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Duuuun-dunn...Duuuuun-dunn...G'day there. I'm Finn.
I haven't been on this site for a few years. It's time for me to come back, I think. Looking forward to exploring all these new faces' work, and record my own progress in building a new portfolio and honing my skills after so long stagnating. And maybe making some friends
updated 9th May, see latest post.
Last edited by fionkell; May 8th, 2014 at 09:45 PM. Reason: updated title
Here's some more polished work from recently. Some of these were done with a theme used from a list from a random 30 Day Drawing challenge (which I am slowly working through). Others are longer one-off illustrations with the occasion fanart for fun.
Moving the rougher sketchbook stuff down here since it's technically more recent. Here's some pages from my little sketchbook, I bought a 3-pack of those small grey Moleskine cahier journals a while back:
As you can see I noodle a bit too much in the sketchbook, I need to get back to making finished work, something solid. And, you know, have a good portfolio to back it up!
Your line art is very smooth. You seem very confident with characters! Have you tried doing more still life and landscapes?
You have a very distinct style in your colour palette. Perhaps you should try experimenting with more unusual colours! It would probably bring out something different.
What references do you use for your beasts? They look awesome.
My SketchyBooky: http://www.conceptart.org/forums/sho...23#post3800223
Hi Finn. Hope you stick around these parts. Your stuff is great to look at. Your finished work is already impressive and will just get better with work. As far as critiques go, some of your pieces look a tad flat and slightly muddy, and it's keeping them from really popping. Maybe some value and color theory studies would be helpful. I'm not in a great position to give much advice, but it's something to keep in mind.
Overall really great work here.
Ill be talking about this image down there. Cool pose, and i like how the chains are drawn. I think what you could improve here is the contrast and rendition of the materials, specially the fire, it just takes a lot a way from the picture, study how fire looks, render it well so it looks like actual fire, I think if you redo the fire part on this drawing its gonna be way way better as a whole. Other than that, i think you could make that statue look more like its made out of rock, or concrete or whatever. That texture you are using is not very convincing. Hope it helps.
Thank you very much for visiting my sketchbook. Your advice is very useful.
Your sketchbook is wonderful; you have no trouble with drawing from what I can see, well done on that.
The strongest pieces here for me are the compilation of environment studies and the 'something orange'
pair of converse. Here you have a great range of tones and colour that just pops out. I feel like that is
missing from your character paintings.
I'll be sure to keep visiting your sketchbook - so keep updating!
Just great pictures all round.
Last edited by krowthorn; April 11th, 2014 at 10:40 PM.
Buxu, krowthorn, Darkstrider, _Quasar_ thanks guys!
Saf~ Thank you. I try and study a bunch of different types of animals as well as people, bit of a fan of comparative anatomy. It helps a lot when trying to come up with a new kind of creature. I definitely need to branch out into landscapes and the like though, I seem to have stayed in my particular comfort zone unfortunately.
Grumpysaur I think you're right, one of my weakest points is definitely colour and value. It's easy for me to get stuck into line drawings but as soon as I have to take them further it gets messy haha.
The Jeso Thanks for the critique! It's been so long since I've shared anything for real critique that it's refreshing to hear some I was hesitant about posting that one actually as I did it back in July '13, but there's definitely more I can learn from its mistakes. Hopefully I can give Ghost Rider a better portrait one day. With the chains I cheated and used a custom chain-shaped brush (I think the brush head is the shape of two chain links that join together neatly when you paint a line in PS with it), time-saver
CarmelW Definitely agree. I'm not sure what it says about me when the one I'm most proud of at the moment is a painting of some old shoes but there's something I can take away from that eh.
So - I've decided to knuckle down and really do something. I feel like I have always half-arsed everything (not just art study) in life and my brain has finally snapped, I'm sick of the apathy in myself and at the many missed opportunities and lost connections. I've never really tried, and damn it, I am going to do this. I am going to get back to basics in three focus areas (and salvage my career aspirations!):
1. Constructive drawing and figure study
2. Composition and perspective
3. Colour and Lighting
Trying to develop some basic structure for a study plan is proving to be a little difficult today. My old attitude of "hurf durf do studies or whatever" needs to be replaced by something a little more constructive and focused, but without sacrificing opportunities for fun and stoking rather than killing any creative passions too.
I'm attaching these two pics, originally wasn't going to but I figure these will be the last drawings I post before jumping headlong into this challenge of mine, they can mark a waypoint. The first one is a snippet of something I started out with enthusiastically and then have just been grumpily meandering about with (still like the original skull drawing though). Second is some warmups from my little sketchbook (Kaijuuuuuuu!).
P.S. I promise to never write so many words again, hahahaha
level up. Maybe at least try a few of the free comp 1.1 exercises and see if it's for you. I'm telling' ya, this stuff makes you STRONG!! In ways that you don't even expect. It's undoubtedly better by far than an art education you can get affordably in any school. Key word being affordably - I think it's only the really good art schools that come close, and who can afford them? Level Up costs the price of a short stack of art books..
i tottally understand you... good luvk tacking down those fundamentals, what i usually do to dont get stucked in just studies > apply from mind is at least 1 hour a day sketch something for myself, it was great to do that cuz the fun really kept my mind from becoming all robotic with so many studies. about your work, hit those fundamentals! keep researching dude and practicing.
hope to see more soon
Nice sketches - I like the sound of your challenge, all important stuff. Don't forget to look at some books to help with your studies; I'm working through Loomis's 'Figure Drawing for all it's worth'; doing one or two pages at a time is giving me a nice pace and structure to work within. You just need to decide what resources you're goijng to use - for instance, that thread you linked on my SB
Have you got any more finished works on the go, like your Ghost Rider pic?
Thanks for sharing, I love the thumbnail studies you did. Those vibrant colours really bring the environment to life. Amazing line work on those skulls(canine?)by the way.
Looking forward to seeing more from you.
This stuff is awesome, keep it up !
Critiques on my work always welcome!!
Darkstrider I had a peek in the Start! subforum, once I get my mojo back I reckon I will go through the intro ones. I also noticed the Spartan Camp weekly gestures and Environment Studies threads too, they look like something I will get stuck into as well.
Buxu I know what you mean about getting zombied-out from endless studies. Got to remember to have some fun to break up the monotony when it happens aye.
CarmelW I took a photo of mah berks, check it out below So far I have also bookmarked a few threads on the forums here that are going to help me out as well, there's gold to be found in here. As far as finished work I am going to try and work on that alongside the studies (my portfolio currently is very sparse and not awesome), hopefully they will bounce off each other nicely.
Vokram Thanks, they're hyena skulls They have some crossover features with doges, they're like a weird mix of canid and feline bone structures. So cool.
Vayne108 Thanks heaps!
My primary book pile, in no particular order:
Over the years I've made my way through some of these but never actually finished any of them. So I reckon I should be a bit of a completionist about things for once. I 'm going to start over with Bridgman and then the Loomis figure drawing first. The Mattesi and Hogarth figure books will be secondary to the former three. Color and Light and the composition books will be cracked open later on once I've found a comfy rhythm.
I do have some other supplementary books mostly about sketching/oil painting/colour mixing to see if I can glean any techniques to take over to digital, not sure what they're like yet.
Was kind of hesitant about posting another block of words here but it's a good way for me to keep track of my progress (and let others call me out on slacking off if that happens, har har).
That's an excellent stack of books you got there. My only caveat (and something you would have no way of knowing before this very moment) - from what I understand Bridgman's Complete Guide is a conglomeration of all of his books, but with some of the diagrams missing and jammed together in a jumbled order that doesn't make much sense as you're working through it. The advice I got was to get the smaller books, in particular Constructive Anatomy and The Human Machine (there are PDFs floating around, since you already spent good pocket money on the Guide).
Also, there's a method for studying Bridgeman (the e is sort of optional - sometimes it's there, sometimes not): Bridgeman study method on E M Gist's blog
Actually I think this approach works well for any anatomy or figure drawing book. Don't do what I did years ago and just read through and look at the pictures and expect to learn much. Though that's better than not.
WOOOuuuhhh pacific rim
Hey nice selection of books youve got there
And nice selection of art cool variety
Sometimes your art has a 'rusty' quality to it, maybe adding to many dull colors.
Is it because you start greyscale often?
Anyways try to leave less black since it's unnatural.
T___T I must follow this as well, I like to start out with greyscale
Darkstrider That makes a lot of sense, I've already noticed some of the drawings get repeated within the first few pages for no reason. Not his fault though But that link you've given me is fantastic - I'll definitely keep that handy when I start using Bridgman's methods in my ref studies.
Pou Knifeheadddddddd Most likely. Colour is a massive weak point for me, here's to my renewed interest in studying it.
Started making my way through the Bridgman book, here's some of the first few to try and get the feel for his methods again. I'll get a few more pages in before I start trying to apply his technique onto referenced studies. I do take notes as well but you don't really need to see them, eh?
It is interesting to note that (so far) Bridgman seems to start with placement of the head, then the rest of the figure. I've been doing the head last (as per Hogarth's method of figure construction) so this is very intriguing.
You're approaching it from the same direction I did - Hogarth first, then Bridgeman. Well, I also studied Robert Beverley Hale's Master series. But yeah, Hogarth has me always starting with the torso and adding the head last, as the smallest mass that has the least effect on the body lingo. Your line quality is very nice - wish mine was half as decent.
Darkstrider Thanks man. You mention my line quality but that's something I find I am really struggling with changing up. I'm trying to be more confident with lines and using as few as possible when drawing, but I have this bad habit of just going over the same line several times, it's almost automatic. I have a feeling this will be a hard habit to break.
So I've been a bit busy over the Easter weekend what with catching up with family and friends, and then some of my freelance work, back to Bridgman.
Here, still going through the early drawings of the book and getting my head around Bridgman's basic approach to forms. I tried and early application to a ref photo but was somewhat lost (again, lines all over the place).
Another attempt at translating the block forms to a more fleshed-out figure from the book. I should have continued the legs there but I was getting a bit frustrated.
Working through the section on the idea of balance in a figure, I went straight to applying the muscles on top of the block forms in the lower two figures. It was starting to click a bit here, going to continue on in this vein.
Figuring out my rough "study skeleton" for days when I have a lot of time free:
- First few hours dedicated to studies (Bridgman/figure)
- Last few hours dedicated to "fun stuff", loosening up
It needs a bit more detail than the above ideas but it's a start.
I have nothing useful to add other than: wow, gorgeous!
Arrrrr. You people are making me super jealous with all your Bridgman studies. One day I will do them too. You are also showing me book porn, which is not helpful for my art related impulse buying.
You have such a fun sketch book so far. Well rounded with studies and lots of treats and goodies too.
One day I will post a helpful comment in here, but today is not that day. Sorry.
love your work, especially your color palette.
verilyvexed, grumpysaur thanks guys!
lekker that's one of the areas I need to improve, haha Thank you.
CarmelW when the Loomis books finally came back into print I jumped at a couple that were on special together. Still need the others. They're very big books, eaters of desk space. But the print quality is so nice and clear.
I'll get around to other folks' sketchbooks later today, first up is a small update. Back to some Bridgman. Haven't gotten as far through this book as I would have liked but gotta work around work + life errands I guess.
More loosening up and getting a feel for his way of looking at the figure, going through his notes on "rhythm".
Now beginning the method of drawing his figures but then trying to apply muscles over the top. It's an interesting way of interpreting his work, I think it's helping me understand his forms more as a result. Early stages though, it's hard. Focusing a bit more on the legs here.
Applying this to some loose drawings from reference! Also hard.
I'm a little worried that I will fall back into my habit of just copying the drawings from the book but not really applying the techniques when studying from reference or building from imagination. At least this time around I know to watch out for that.