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  1. #1
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    Zak's Grindstone

    Hi, I'm Zak. Without boring you too much, I am a 17 year old aspiring concept artist currently studying video games development at college. Whilst this subject is very broad and I'm interested in every aspect of video game creation (especially the visual side), I am very much determined to specialise in concept art and have been for the past 4 or 5 years. I've decided to create a sketchbook after the idea was suggested to me by Dennis Van Kessel, a concept art student at Teeside that I pestered the crap out of at an open day, and he seemed to really get a lot out of sharing what he gets up to and receiving critique from other artists and also using it as a really good way of viewing personal progression, so I figured it would be worth doing for me as well.


    And with that unceremonious, somewhat generic introduction out of the way, HERE'S SOME ART *throws in face*


    Please feel free to critique my work to your heart's content and offer any advice that you have which could help me inch a little closer to becoming a concept artist!


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    Last edited by Zak Coughlan; July 3rd, 2018 at 07:41 PM.


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  4. #2
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    You have a lot of ideas, which is great, but for now, you need to study from life.
    I like you picked that head study, but it is really hard to do from a dark model.
    So, try to get a white plaster head and repeat the exercise, paying more attention to values and proportions.
    Grinnikend door het leven...

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  6. #3
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    Will do!

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    Looks like your guys all shop at guerrilla group neat ideas, would like to see more studies.

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    Awesome that you made a sketchbook, and you didnt pester me at all, never stop asking questions! Ive told you already what I think you should work on. I look forward to seeing more work and giving more precise feedback
    Im sure this will be a great start of your online journey

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  11. #6
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    Hey Zak! How often do you draw from observation? If your work here is any indication, then I would highly recommend drawing more from observation. I think it's very good you're all ready doing the more creative stuff, but I think it's good to find a good balance between the creative stuff and studying from life. Maybe keep a separate sketchbook that's just for drawing things from observation. This way you can practice analying proportions and placing things properly. Also, I'd recommend doing some simple drawings of cubes and cylinders in perspective. It's boring, tedious stuff, but it will help a lot. Look forward to seeing more!

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  13. #7
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    Not very often, but I did about 4 or so hours of it today on a picture of me. It didn't go so great... (Some of the pictures are upside down for some reason, sorry about that. No idea why, I did correct their rotation after I imported themName:  IMG_2441.jpg
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    I had a lot of difficulty with this picture. I used the ' map out the proportions first then add the detail' approach for some, and the 'draw one facial feature and then draw all the others in relation to it' for others. For the most part each try (That survived the eraser because I simply flipped to another page) ended up a grotesque deformation that could be interpreted as a face, whereas the ones that looked alright I ended up erasing to try and further improve their accuracy. Oh well. At least I know what area to work on.

  14. #8
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    Did some wooden hand studies on (you guessed it) a wooden hand. It's been lying around my room for years and up until now I've never used. Also, I did some of the primitives practice that Rau suggested and worked through some more of How to Draw.Name:  IMG_2450.JPG
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  15. #9
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    Did another hour on that same picture this morning. Whilst this one actually resembles a face, I'd still not satisfied with its lack of resemblance.

    Does the key in getting an accurate resemblance lie in getting the head's shape right? I remember hearing that from Tom Rhodes of RnD Fantasy.Name:  IMG_2453.JPG
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  16. #10
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    So I've been working on a project I was commissioned for involving doing illustrations for the characters and locations that are used in someone's zombie apocalypse survival card game. This is the most recent character I've done, they're a hunter that operates in the mountains. I feel like I should have spent more time rendering her out, but because I'm trying to be quite concise with my completion rate of these characters (I'm pushing for 3 days per one) I'm quite strict on myself to move on. Looking back that the bare pose of this character, I can't help but feel dissatisfied with the final illustration. The face in particular generally just looks better to me in the grey background base pose picture. That might be because I made the lighting of her face more interesting, whereas its more uniformly lit in the end result. Also included 2 variants where one has a red bag and the other a line green one. I originally chose the lime green to go with the gas mask, but later decided that the gas mask should be an isolated element as it's drawing more attention to the face, like it should, so I tried it with red which is a result I'm more content with, however due to complications with going back to previous iterations and general tiredness I kept with the more detained green bag. I should probably revisit and revise this character at some point.

    For the texture of their clothing I did a quick jacket study. Each of these characters are a real slog and end up looking pretty garbage and like I've just wildly thrown colours at them in the end, which I suppose isn't too inaccurate. Material study is definately another thing to add to the list.
    I think I'm generally just lacking motivation at the moment, and am very time conscious that I've spent the last 2 days not working on the next character. Name:  jacketstudy.png
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  17. #11
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    Did some perspective grid study today. I also took a wild stab at some shadows.

    Also did a 30 minute sketch of a TMRU police officer from a documentary I was watching yesterday. These don't seem like the nicest guys ever, I'd go as far as to say that they're almost like a real-life version of U.F.E. from Max Payne 3, which is quite worrying. Wouldn't want to be in the Philippines at this time.Name:  IMG_2518.jpg
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  18. #12
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    Revised Francina tonight (that's the name of the character I was moping about earlier) so that now her face and posture are more readable, and she looks considerably less 80's. I also finished the 6th playable character, Dr. Quintin. He's an old guy. I've never drawn an old guy before. How'd it turn out?Name:  quintinfinished.jpg
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  19. #13
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    I drew some cringy pose studies over a holiday, as well as an incomplete study of a plant which was a frustrating experience, and I also translated a character design sketch form a 3/4 view to a front one on the plane journey homeName:  IMG_2655.jpg
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Size:  48.9 KB. I don't think it turned out that bad, and because I did it in grey scale it kinda looks like something you'd see on a wanted poster, which I think compliments the seedy and bitter nature of the character in question.

  20. #14
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    Made some tweaks to a Samurai-esque PMC design I've been working on on-and-off. I'm trying to get out of the habit of adding stuff to the design solely because of its aesthetic value and be more selective and deliberate, something I am keen to exercise with the body because for the head I was pretty much on autopilot. I looked at Kabuki masks for some general reference, and the most direct thing I took from that was the eye shape. However, I have little justification for the fact I chose Kabuki masks as an inspiration point other than I thought it might look cool. So yeah, need to work on being more deliberate. This design is meant to be of the 'Primary antagonists of a stealth game that are guarding some blacksite facility/research lab/cool high tech place or another', akin to a lot of the designs from Deus Ex: Human Revolution and Deus Ex: Mankind Divided, such as the Belltower guards, Belltower spec ops and Gold Mask Mercs/Shadow Operatives. So these guys would be proxy soldiers for the illuminati, which means they can look flashy and cool with their identity-shrouding outfits, but they still need enough believability to pull them back from being straight up sci-fi.Name:  16.jpg
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  21. #15
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    Nice updates Zak! Especially the figure studies are looking really good, definitely continue doing those. The characters for that comission are also looking pretty good but could use some cleaning up around the edges and overall a little moer clarity. It's really good that you posed yourself and then took a picture because that's one of the best ways to understand the pose and of course to make it accurate. It made the design really good. For the self portrait it's not bad for a first try but getting resemblance when drawing faces I think is the last thing you should worry about. First learn about their construction, the underlying skeleton, then muscles and rendering faces. And then, after all of that worry about how to get a face to look like a certain person. Our brain is so good at recognizing faces that it's about all the small and big things, so not something you want to be worrying about when starting out learning faces. Keep at it, you're doing really well!

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  23. #16
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    Nice start to your sketchbook!

    I think it will help a lot to look into some basic face construction techniques. There are a few different methods but a really popular one is the Loomis method.

    Check out Proko's channel here, he has a good beginner vid on head contsruction

    https://www.youtube.com/watch?v=1EPNYWeEf1U&t=2s

    The trick is to not get too caught up in making every line perfect. You want to be loose when you make the construction lines so that you can use them as a guide for drawing the details of the head/face.

    Anyways, keep it up!

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  25. #17
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    Thanks! Sorry for the late reply, I've been dormant for a few days. Yeah, so for this comission, I'm kinda trying to get it out of the way so I can focus on my personal stuff, hence why they're quite messy, couple that with my tendency to work with solid colour and general impatience and you get... that. To stop making excuses, that's something I'm aware of and intend to address. So for this project, when the person asked me to do loads of assets for the game I was like "Sure", thinking that I'd get loads of good portfolio pieces from it, and whilst it's produced some work I'm happy with I'm really aching to develop some of that personal work, now that I've been doing this for the last 2 months, and I've learnt not to say yes to every oppurtunity. For these characters for the most part I spend 3 days on them, which usually results in a frantic "Half-baked to finished" session that spans long into the night on the final day. Also that is an interesting insight, when I draw portraits my primary goal is to get their likeness. I'll keep that in mind next time I do one.

    Also, here is a watermelon squid. Name:  WatermelonSquid1.png
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  27. #18
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    Good start, I just suggest you give your sketchbook a more descriptive name...
    Grinnikend door het leven...

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  29. #19
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    Is it possible to change the name?

  30. #20
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    Thanks! that construction technique will definately come in handy. I'll study it more in-depth when it isn't midnight (Couldn't get to sleep and I'm not looking forward to facing the consequences of that) and I will as Proko suggests study it a hundred times or so.

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    Name:  CloneStanceStudy.jpg
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Size:  214.7 KBHere's a study of a Clone Trooper maquette. I'm trying to get into toe habit of doing a study a day, although that isn't going great at the moment. My main enemy is organisation. I've also thrown in a study I did about a month ago but forgot to post.

    Is the choice of topic for a study quite important? My main reason for choosing this as a study object was I thought it would be interesting, but is there something tangible you need to be able to take away from every study, other than "this might be interesting"?Name:  RockStudy.jpg
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  32. #22
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    It's vital that you actively pick an object to draw for a specific reason. Just "this looks interesting" isnt enough. When doing a study you'll really learn from it when you know why you're studying something. For instance this is an object with a lot of small very bright highlights and darker areas. Before you started did you want to draw a hard surfaced item so you could mainly focus on how reflections and highlights work? It's important to think like that. I would stick with less reflective objects at the beginning because understanding reflective surfaces and different materials is less important than getting better at seeing values and form change. Also always think about where the light is coming from/bouncing to and how that interaction with the object is shaping the light and shadow surfaces.

    I think you should be less worried about creating portfolio pieces. Why do you want portfolio pieces? I don't think you should focus on getting comissions and making some money with drawing at the moment because it's better to focus on just improving and then making a lot more money from commissions when you're at a higher level. If you mean portfolio for university than you really shouldn't be worried about having loads of final polished pieces in there. They would probably prefer to see figure drawing, studies, and imaginative sketches. Doing final images is fun but it won't help you improve as quickly as actually studying certain subjects. For instance, I know you're studying perspective because you asked me about that grid system, but I don't see any of those practices here. It's better to have 2 full sketchbook pages filled with "How to Draw" excercises than a few final images in my opinion. When you study at Teesside you'll only create final images as homework is not focused on the fundamentals at all, so I highly recommend you put more focus on them before you go to uni.

    Keep at it, you're doing good work!

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  34. #23
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    Are you planning to go to Teesside as well? I'm applying there this year. Really nice sketchbook btw.

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  36. #24
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    Alright, I'll be much more deliberate about what I study. I suppose that my main incentive for having a portfolio is so that I have something to show what career path I'm pursueing and what point in that journey I'm at. All in all I've got a lot to consider. I was wondering what your thoughts would be on deferring for a year to fully focus on studying the foundations and doing online courses? Or would it be a better idea to jump straight into uni, I'm still quite on the fence as to what would be the best course of action. I know that you can't decide for me, but I'd appreciate any thoughts on the matter.

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    Yes, I am. Although I'm unsure as to whether or not to apply this year or next at the moment. And thanks c:

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    Name:  thinb2.jpg
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  39. #27
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    Quote Originally Posted by Zak Coughlan View Post
    Alright, I'll be much more deliberate about what I study. I suppose that my main incentive for having a portfolio is so that I have something to show what career path I'm pursueing and what point in that journey I'm at. All in all I've got a lot to consider. I was wondering what your thoughts would be on deferring for a year to fully focus on studying the foundations and doing online courses? Or would it be a better idea to jump straight into uni, I'm still quite on the fence as to what would be the best course of action. I know that you can't decide for me, but I'd appreciate any thoughts on the matter.
    Mmm that's a very hard call to make and as you said I definitely can't make the best decision for you. On the one hand I think having foundational skills is very important before starting the course because in my opinion it's covered very poorly (they have changed the course significantly and I did tell them this at multiple board meetings but I think the course changes had already been made, so I know that there is a little more fundamental stuff in there then we got but it wont be much)
    On the other hand, there's so few hours in the week of actual classes there is plenty of time to study the fundamentals on your own. You would just have to make sure that you do like 60% work for the modules and 40% on fundamentals, but that would mean you work like 6-8 hours a day minimum. So for me it's super hard to tell you what the best decision is because I don't know what kind of student you'll be and if you'd be able to stay motivated if you took a year off and had to work on your own (it's really hard to keep up working hard when no one is telling you what to do) You could always also take a year at the end of the course but it's up to you. I think taking a year off to focus on art if you think you can actually force yourself to do work is a good idea, but starting the course and working hard is also a good idea. Both will result in succes if you work hard.

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  41. #28
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    What would you say the fundamentals are, in order of importance? Or are they all equally important? And should you study them in like, month blocks where you just focus on that one thing? Or do a little of each every day.

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    Oeh good question, there must be some thread or articles on this that will give a better overview than I can right now, but I'll do my best.

    How I would define them:

    -Perspective
    -Anatomy
    -Value
    -Color Theory
    -Figure Drawing
    -Composition

    With perspective in my opinion being the most important because everything that we draw has perspective to it (as good as everything) while not everything has anatomy, color theory etc. For some people it will also be the hardest to learn because it's very technical and can become quite mathemetical and complicated, and often artist are not such math types. After that probably figure drawing and then anatomy to learn how to properly construct people.

    Value is probably the biggest and entails a lot of stuff that takes years to learn. Basic shapes, how light works, different materials. There is a ton to learn and a lot that has to be covered. But I think value is something that should definitely not be tackled before knowing proper perspective because it's very important to understand 3-dimensionality and how to convey that on a 2-dimensional piece of paper because applying value to your drawings.

    Composition I personally don't find so complicated, it's mostly just a few rules and a lot of tricks that you can use to make sure the viewer's eyes stay within your piece and are dragged to the places that you want them to go. Just takes practice and a lot of work to realise what works and how to apply it. Although I guess storytelling also kind of works into this which would entail what colours and lighting portray what mood, which again can get pretty complex.

    Colour theory I can't really tell you much about because I haven't really started this myself, well not proper studied it yet anyway. Will do so in a few weeks. I think this should be pretty late on your list of things to study because it's not as important in the beginning, nothing builds on top of the knowledge you get from understanding color but you need to understand the previous things to be able to put colour into use.

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  44. #30
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    Thanks for the info, I can definitely say that I now have a clearer idea of what to tackle.

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