Also Thanks fireblade, yeah I dunno, I don't get as much enjoyment out of it as I used to, still do it from time to time but I've been trying to learn programming to make games and music a lot more lately. I like to still keep the skill from getting too rusty though.
Charles Ratteray: Thanks, you've got some great work as well!
IsaacEs: Thanks Isaac, hope I can deliver
So this is something a little different, I've always had issues with patience in my artwork, unlike programming or making music it's very difficult for me to get sucked into a painting or drawing these days, I get a lot of anxiety for some reason. So as a result I've always been pretty terrible at drawing in perspective which clashes with my desire to always improve my fundamental.s ( I guess you could argue that patience is the most fundamental skill of all )So I tried to do a study of a SINGLE BUILDING instead of going crazy like I used to and telling myself I'd do everything in a picture. And I realized a few things part way through doing this:
I realized if trying to be accurate as possible in perspective IT CAN TAKE FREAKING FOREVER and very often is not accurate after all the effort, or at least with my lack of understanding some underlying principles into calculating measurements stretched out in perspective.
So I decided to try a new experiment, do an orthographic drawing and try to project it into perspective afterwards. So here's the beginning of this:
This took hours, I didn't expect it to take this long and I'm sure if I had duplicated more I could have found ways to speed up the process, but I wanted to make sure everything was measured and done by hand so I understood exactly what was going on with every piece.
Up next, made a perspective grid with two points 90 degrees apart, cropped the orthogonal image and transformed it by lining it up with perspective lines. Behind and in front to understand it as a 3d object instead of a billboard-like representation:
Then this is where I stopped because.... I don't feel like drawing all day and night
So basically it's just a wedge-like projection of the silhouette:
So yeah my finger hurts too for some reason, probably from smashing keys all day, so ima take a break on this for now, but i thought it was an interesting way to explore far out of my comfort zone trying to be as technical as possible.
Oh dang, whats crackin seth, didn't know you still were around this site .
Did a commission, I don't do many of these, but they are always challenging and I learn a lot from them when I do do them.
This is a piece for an unreleased book though the art is not made to be put in the book or sold, just an image the author wanted as a poster for one of the intense moments in the novel .
Thought it might be a fun thing to post a little bit of the process since I actually have some saved.
The two grayscales are sketches, I personally still like the more cinematic quality of the first one but the author felt as though it was a bit too massive for the creature and I also felt like it didn't have the right space for having a lot of chaos going on in a single image.
I ended up doing a few other sketches but not being satisfied with any of the results I was getting so I decided to try something i'd never done which was just sort of do a real crappy photoshop of random internet images together like a collage, and that was the sketch he ended up really liking so I went with that. The kraken is just images of octopi photobashed together in an interesting assortment, the author was clear that it needed to look alien and not like it was just some giant octopus monster from earth but it also should feel grounded so I felt manipulating images would help give a somewhat grounded and distorted sense of reality.
After that I painted over the b&w sketch until I felt like it needed to transition to color. Often I feel like painting in black and white is a real test of your fundamental abilities with creating proper form and design in a painting so it's important for me to know the painting could stand on its own even without color. At the same time, if you intend the finished result of a piece to be in color, it's important to add color after you feel like the major components are in place in black and white but not completely rendered. If you fully render an image in black and white and try to just add color with a layer and some photoshop tricks, I'm sure you could do it and create an interesting style doing so, but it has this odd sort of washy effect that I personally feel damages the sense of form in the painting and therefore less believable, which means after you add a color layer, to get the full potential of a piece you will need to repaint over the color layer with pure bitmap(normal layer) to make it really pop.
Basically saying, if you plan on a colored result, start with black and white to simplify the process, but add color early on so you can get an idea for the end result.
I also got to say though, it's extremely important in any creative endeavor to maintain a fluid process
Even though you may plan and plan and plan, there are moments in creating something where you will have to make significant decisions and you have to be willing to destroy your previous plan and build a new one or take a completely unexpected path for sake of experimentation, I find when I'm deep in the work of a song or painting that these things ALWAYS come in any prolonged endeavor and you have to make a choice, and it's not just a go one way and you can reload your old save and continue if you screw up. You have emotional momentum while you're working and you have to feed that momentum to get your best work from yourself, if you take a risky path in your work and it doesn't pan out, it costs you energy and often a lot of time. Usually by the end of it, whether you have a good or bad result you will feel somewhat drained, especially if the risk doesn't pay off, you either quit and do something else or you go back to an earlier save but even if you go back your momentum will be out of whack, you won't be in the same emotional or mental headspace and it can often cost you some potentially good work if you hadn't taken the risk.
But if you have the option I would urge anyone learning to really go for those risks if you aren't on a strict schedule, if you work hard you will receive art that will amaze yourself that you often won't be able to replicate.
There's something to be said about the act of discovery in art. It's not enough to just work hard at the same thing over and over, at some point you build a tolerance like with anything, it's almost always best the first few times. Then your enthusiasm will not come with the same intensity after you've experienced something for the first time. It's a personal philosophy of mine to always be trying new things and learning new things because the best work I feel I've done in anything is when I first discover it through hard work and experimentation. But when you find one of those really cool things while experimenting you MUST have the discipline to follow through on it and FINISH that work. This is something I've often regretted when I look back at old stuff, more-so with music than with painting for myself.
Your art will be 1% inspiration, and 99% perspiration, that's a Thomas Edison quote and I really believe it. It's something that went in my ears on numerous occasions but never seemed to truly sink in until a few days ago.
Anyways, that turned from explaining a WIP to some theory about things I've been thinking about for the past year or so haha. Anyways, I hope someone likes the art, I'm going to go get back to work
Last edited by Kvick; June 17th, 2014 at 01:49 AM.
Woah that portrait you most recently did looks awesome, love the warm under lit effect on her top and the hair is nicely done! I think you would have benefited if you added some motion blur to the characters running in the above piece or blurred their edges but a otherwise really cool piece.
Thanks kan! good to see you're still around, I really like the new work on your devart, I might do a piece with some of those crazy textures you have posted in your SB as well
Thanks Jack, yeah I'm not totally satisfied with how that piece turned out, part of it was the constraint of needing to have lots of chaos going on which is generally the opposite of what I try to achieve with most of my personal art, I tend to favor one main thing going on in any piece so it was good practice. As for the motion blur suggestion, I didn't try it but I almost always do try some form of blur when creating a final piece at some point, I just felt like it wouldn't have fit with how the rest of it was falling in place, I much would have rather emphasized some more impressionistic elements and economic brush strokes, but I'm just not that fucking talented!
thanks holdolart, yeah maybe they're not so sketchy... in the years developing my talents my primary form of practice was real quick 5 10 and 20 minute figure drawings 90% of the time, as a result I got a lot of practice NOT FINISHING ANYTHING. Which is a terrible terrible habit, so I guess I strive to put a bit more work into any piece I start these days, still not perfect but I think I'm getting better at it.
Thanks dragning, I'm glad you could find it helpful or insightful, often I feel like I'm just writing that kind of stuff for myself to get it out of my head to free up space for more crap to fill it!
I was being a slacking son of a bitch today and was watching a tournament on twitch instead of working, so I somehow got myself to stop and make a sketch. I really don't paint nearly as much as I used to, pretty much everything in this book is like all I've been doing it's kind of depressing, so it's nice to have something to put up once in awhile. I've been taking a class for hardsurface modelling in maya so that's been interesting, but I haven't had time to devote to freekin practicing other than the homework! D: I've been helping out some friends at the Unity SF office move to a new building so that's been keeping me busy on a nearly fulltime schedule but that's almost done so maybe I can get myself to do some more art, I might start posting some concepts for the game I'm working on in here.
Anyways, here's the sketch, it's a maybe-WIP, I have this weird love/hate relationship with mechanical things, on one hand I love how they look, but on the other I hate the process of creating technical things. So I'm this weird messy gray area where I try to make things look technical but I'm just painting impressions of it.
Last edited by Kvick; June 30th, 2014 at 06:52 AM.