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  1. #27
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    Framerate

    Is there anyway to slow down the frame rate as this baby flies-- would like to watch at a slower rate- PLSE help

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  3. #28
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    tex> I don't know if you can slow down the framerate. I know you can speed it up with an option though.
    I might do some more OC tutorials, but it would be great if other artists made some aswell. I have little academic knowledge about art. I know what I know from experimenting on my own so I feel a bit insecure about some parts of what I say.

    Jamen jag tror att han skäms, och har gömt sig. Vårt universum det är en av dom otaliga spermasatser som Herren i sin självhärliga ensamhet har runkat fram för å besudla intet.
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  4. #29
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    Great

    I would love to see more- I took your advice got a picture and just went at it no scanning in my pencil sketch just me and my tiny wacom- My big problem was that I kept wanting to smooth using the water tool in painter- instead of leaving the chunky colors- well take a look at what I did and plse give me some insight on it- thanks BradSmall tutorial (part 1,2,3)

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  5. #30
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    You're drawing a floating helmet from the front which isn't particulary interesting. It could be more interesting with more asymetric lighting, but I would recommend that you draw design from an isometric view (or as many views as possible).

    Metal is really hard to render, you must consider the reflections of the enviroment around the subject. Also remember what I said about certain values not being allowed at certain places. I know it's easy to add white highlights everywhere. I see some on the 'jaw' of the helmet that probably couldn't exist there, judging from the background atleast (which is flat black), but values can go crazy with metal so who knows.
    Here's a thread with some armour reference btw.
    http://www.conceptart.org/forums/sho...&threadid=3668

    To practice painting or drawing, start with stuff that's easy to draw and understand, like still life stuff (onions and oranges etc.) and you don't have to struggle with getting the shapes right. Likewise, if you want to study more complex shapes, then use a medium you can handle so it doesn't get in the way of the studies. I wouldn't recommend making anatomy studies with woodcarving tools for example. If there's several things you can't handle then you won't see what it is you're doing wrong. Try to break up the things you want to learn so you can practice one thing at a time.

    Here's a couple of things I practice and how:
    • Sketching & 'wrist' - (pencil and various sources)
    • Line art & drawing - (pencil and ink from comics)
    • Shapes, values and 'modelling' (various media and sources, greyscale recommended)
    • Reflective light/ambience/radiocity - (photoshop from photos)
    • Reflective surfaces & speculars - (photoshop from photos)
    • Indoor and outdoor light color - (photoshop from photos)
    • Anatomy - (pencil with shading from photos)
    • Dynamic poses - (fast pencil skething from photos or comics)
    • Faces & hands - (pencil from photos or comics)
    • Enviroments and scenes - (unfortunately not)
    • Daily clothing - (another thing I've been neglecting)
    • Animals - (pencil from animal books)
    • Design - (mostly thumbnail sketching from various sources or my mind)


    Jamen jag tror att han skäms, och har gömt sig. Vårt universum det är en av dom otaliga spermasatser som Herren i sin självhärliga ensamhet har runkat fram för å besudla intet.
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  6. #31
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    your advice

    Ok took your advice except for drawing oranges and crap lol- way to boring- I know I know it will help me and I will honestly try- however in the meantime- I paid more attention to what I was doing and pumped this helm out in about 10 min tell me if its better- tried to keep some of the chunk color to it! Thanks Brad Oh yes thankyou for taking the time to respond and write a fantastic post-Small tutorial (part 1,2,3)

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  7. #32
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    Tex> Better!


    Here's a few more thoughts:

    Most common painting mistakes:

    :nono: To go shadow - midtone - higlight on all shapes, regardless of location and angle of the shape.

    :thumbsup: Try to zoom out, flip it, turn your head upside down. Don't render each detail individually one at a time. Equally lit minor shapes flattens the painting and makes it hard to make out the important major shapes.

    ---

    :nono: To render and highlight details that will only distract the viewer.

    :thumbsup: You have to sacrifice a lot of details if you want a painting to work. You might wanna skip putting flares on the belt buckle on the unimportant little guy in the corner. The eye homes in on highlight, contrast and saturation. You should lead the eye to the important parts of the painting.

    ---

    :nono: To mix black into the shadow and white into the light, and then smudge the inbetween colors.

    :thumbsup: This makes the painting look grey and dull. Shadow and light often has a color, and don't forget that the midtone has a color too.

    ---

    :nono: To draw poses flat. Like if the model had been squezed flat under the scanner lid.

    :thumbsup: I do this a lot. It's so easy to draw people from the side or front with arms stretching out. It often ends up looking very boring and undynamic. Learn foreshortening and dynamic poses from doing studies of comics and real life models or photos. You can only get away with drawing flat poses of you paint icons or symbolic pictures, or if you have some sort of compositional idea.

    ---

    Thinking in layers
    Before laying down a stroke, try to consider these things:

    • Feel volume and angle of the surface (plane).
    • Where is the light coming from?
    • Try to figure out if there are any shadows that might be falling on the surface.
    • Is there any reflected light (radiosity) that hits the surface?
    • What is the ambient color of the scene? (sorta like global reflected light.)
    • Any speculars. Is the surface gloss/wet and also angled so it reflects a lightsource, such as the sky?
    • The exposure level. Perhaps it's so heavily lit that it becomes more than white? Perhaps it's so dark that even the brightest spot is hidden in darkness.
    • Is there any fog in the way?
    • The texture of the surface.
    • Will rendering the surface this way disturb the unity of the painting?


    ---

    Any thoughts?

    Last edited by Prometheus|ANJ; March 18th, 2003 at 05:36 PM.
    Jamen jag tror att han skäms, och har gömt sig. Vårt universum det är en av dom otaliga spermasatser som Herren i sin självhärliga ensamhet har runkat fram för å besudla intet.
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  8. #33
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    wow

    Speechless- I suppose I need to spend more time painting from reference instaed of trying to imagine pictures in my head as I did these helms- I get so tight sometimes I catch myself trying to make the picture detailed way to early and get caught up in different areas instead of the whole compostion- I am reading alot on perspective and hope this will allow me to draw more dynamic views of my concept art- Thanks a million Brad

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  9. #34
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    Fantastic thread, thanks a million, Prometheus. I'm just learning painting (on a wacom) and I suck at it. I don't really have much idea how to go about it, so your thread is a massive help

    Texturez, wow, that second knights helmet is such an improvement! although the right side doesn't have 'it' yet IMO, the left side really has something...you nailed it with just a couple of well placed brush strokes and it ends up looking really nice!...keep it up man

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  10. #35
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    I love this - it's just what I've been looking for. Thanks guys.

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  11. #36
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    AHHH...
    An artist's journey marked out and at your finger tip.
    This is great to read.
    Thank you for you time.

    One thing i would like to add.
    As in texture, there are many values of colours in it for example skin. But also their are bump and scratches. Not all surface is completely flat, like the human their is a mere close to grainy look and it softens out further away.

    And also how does motion work?

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  12. #37
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    Wow Prometheus!
    I can't thank you enough for explaining all that you have said. You indeed know your stuff! These are the basics that every artist needs to know. Thanks for the Huge Inspiration!

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  13. #38
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    I have learned and grown so much from this tutorial. I can NOT POSSIBLY thank you enough for posting it. You know how when you're drawing and you hear someone's voice from a time when they gave you really good advice that's aided your process, which you then apply to your drawing? Well about 70% of mine come from exceprts of this tutorial. Hope I'll have something decent to post soon

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  14. #39
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    OMG this thread is very insightful ~ I certainly have learned alot just from reading through the texts. THANK YOU ~!

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