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  1. #31
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    Lots of good stuff going on in here. Here's my Goazard.
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    Check it out
    Blog, we've all got em:http://davesrightmind.blogspot.com/
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  4. #32
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    MrJuntunen: You're very welcome man, and yes I agree that lighting and value is definitely key in rendering form, we can't forget edges either. Soft and hard edge usage in art is just as important as the values to help push and pull the image. I totally agree man, painting digitally in general is crazy with how many different methods and approaches there are. I remind myself constantly to experiment and to break out of the comfort zone with whatever it is I'm doing in order to try and discover new approaches that may work better for me, while of course still focusing on the fundamentals. At the end of the days and nights of work put it in, it is super important to always remember that it is all a means of getting to a final product and you must find whatever it is that works for you. Aside from the standard rules of image making there are no right or wrong ways to do things in the world of art, it is truly what works for you. I have seen some insane ways of working such as Brad Rigney a.k.a. Cryptcrawler's approach which most would take a first glance at and think it's completely ridiculous but then you see his work and are like WHOAH! WTF?

    I'm with you on the idea of keeping things more traditional when working digital as well. I think this is a good way to focus more on the image, but I do feel it is indeed important to take advantage of the digital options wherever possible because again, there is no specific and right way to do things. The more the merrier, so this means the more you can get to know a program the better for you in working digitally because then you can take incredible short cuts and save lots of time while still being able to produce quality work that looks authentic. I think the basic hard and soft round brush with all it's variants is indeed the most powerful brush in the digital arsenal, and photoshop still seems to have the best round brush of all the programs from what I have experienced and experimented with; nothing quite takes the cake. However, although the hard round is wonderful, I do feel it is very important to learn to use a wider brush economy where possible cause it again, can speed the over all image making process up along with deeming really great effects and over all results in the work. I personally really enjoy making my own brushes. Some of the most interesting brushes I have made are some that were made from pictures of the universe which I find great to add textures or all around paint with.

    I just recently got into gouache because my good friend Jeff Dekal, a Marvel Comics cover artist currently is very into gouache when doing his commission works. It is sadly a very expensive medium, to use the good stuff at least, but I guess that's any medium; BUT FOR REAL gouache can be super expensive. I picked up a tube of black and white and it was like $20. Anyway, I'm currently just getting into the gouache thing and have not worked in it as much as I'd like. I find it interesting because it is like if watercolor and acrylics had a baby, then you'd get gouache,lol. I like the opaque properties of the paint and it's reactivating qualities, but it does seem to have a very stubborness about it. If used correctly tough you can deem some incredible results. I feel using the right brush for watercolor and gouache is super important. I have a good line up at home where I'm not right now but if I get a change I can take a picture and post it for you. I also like using a lot of water , usuall I use mason jars and work on thicker watercolor paper which also is key, I think it's 140lb paper if I'm not mistaken;again I can take a picture of that too and post it for you. I have had some success with the gouach though and produced a nice black and gray picture that I can post too if you'd like. As far as tips and techniques goes for the gouache I would say try best to find happy place way of working wet into wet with some things while using more dry brush in others. If you have any good tips on the gouache feel free to share as well. Keep up the great work man and sorry I wrote a book here, I just really love art and I love to help others where I can.

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  6. #33
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    Hey everybody, typed up a lot of critiques and then the computer crapped out, so maybe if I have time I'll write in all the things I did before. Overall great work!

    Name:  Goat Lizard Detail.jpg
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    64% of all percentages are made up on the spot.

    My Sketchbook
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  8. #34
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    Lege1 Our conversation has strayed quite far off the topic but anyway I would definitely love to see your take on gouache, maybe you can private message me some pictures? The price of gouache varies seemingly according to region, my friend bought 8 tubes of artist's quality gouache for around 20€ so it's probably the cheapest medium to paint with where I live. Also give Jeff Dekal my regards, I've been following him on Instagram for a long time and his watercolour stuff is just mind blowing. Thank you for all your pieces of advice, I'm very welcoming of all the help I can get to develop as an artist.

  9. #35
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    MrJuntunen: It's an art forum, we're still talking art and that involves sharpening skills so I don't see anything wrong with that, plus I don't see many others talking too much about art and process and stuff, but it's all good. Be the change you wanna see in the world right? For sure, I have a pic I can send over in gouache you'd probably appreciate. I don't get to travel much so I'm stuck in my overpriced Florida cage for all of my days, and everything is costly, and least anything that's decent. I will give Jeff your regards man and totally agree that his work is fantastic, the watercolor stuff especially. He's a very approachable dude, so if you message him on Facebook or something you may be able to get a reply back and I would even ask him if he has any good gouache tips for sure. I think the gouache medium is more about being just being patient and focusing on your values with how diluted the paint is, but there could be some crazy secret we haven't discovered yet like mixing a little vinegar in the paint, or who knows. Yeah, you're welcome on the advice man, I far from know it all but try my best to do best and most importantly always continue learning. A big part of getting good as an artist seems to be just putting in non stop mileage in all you do and all the branches of making a proper image. Cheers and good luck with everything!

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  11. #36
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    Scorge: Absolutely rad piece man! Concept and rendering always on point. The horns on your creature look amazing and as always I really love your overall rendering approach. The color palette is also fantastic on this piece.No constructive critiscism to you man as you are the creature master and we'd all be wisest to take notes from you.

    Tyrus: Great piece man and I really like your concept and render. The scale texture looks really good and the overall forms on your creature look great too. I would have liked to see a slightly meaner creature but that's just me. Either way good work and I'd love to see your crits toward my work and anyone else's. We learn through each other =)

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  13. #37
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    Scorge- Great to see your work here! It's always inspiring to see how you get so much out of your brush strokes and implied textures. I would definitely put you up there as one of my big inspirations in creature design. Keep up the good work!

    Mr Juntunen- It's great to see some traditional work on here too. I think that the style you are working with is really good and the second attempt really improved with the added contrast. You were also able to build forms really well with your implied marks and brush strokes. If you wanted to add in detail, I often find that increasing the size of your art works best in traditional, since brush marks can only get so small. I don't know how it is with gouache, but with oil painting you can do something similar to what I do on the computer by starting with a greyscale design to build the forms, then go over it with thinner color (a soft light layer in Photoshop) to build up the hues you want. It helps me to find the right levels of shadow without having to figure out colors and color mixing at the same time.

    GEE!- Keep up all the good work. You have a lot of great studies and concepts in the mix here. I really liked the page with the multiple studies. I felt that really captured some of the anatomical forms of the animals together (But I am a sucker for that style) The godzilla style ones were really good too and I can tell you spent some time thinking about the forms. I'd love to see one or both of them in color. The psychedelic one is fun too. The colors do distract a bit from the textures beneath, but that was was all about a graphic style and it was a great exploration of that.

    Guillaumedelor- I really liked how you pushed perspective with your latest piece and really punched up the pose. There are few compositional things I'd suggest, like moving the right arm so it wasn't just hugging the edge of the creature to give more to look at there, add in the right ear and feet, and maybe extend the tail past the beard to add more interest there too. But all the tweak are just compositional or to add in the finishing touches on texture and clean it up a bit, but that's all finalizing work, which I'd love to see. It feels good to finish a piece. (even though I rarely do it) I'm impressed with your ability to make the strong perspective work. I have a tough time getting all the proportions to look believable.

    Stridiggio- I like how you were able to transform the goat lizard into a sort of dragon-goat-demon. It's a fun fantasy concept that I wish I had thought of. You were talking about adding in all the scales and it made me think of some of my earlier pieces. I would get my concept out and then hop right into the details, thinking it would all come together as I went. I've found out that it's often best to start with a solid form foundation, then start working in general to specific on details. When you work general to specific from forms, some of the earlier steps can actually make the next ones easier. On my piece, once I had form and color, I could just pull colors up and down from the shadows and highlights of my piece to make implied scales that took a lot less time. If I have time, I might try a bit of a paintover to show some areas I might improve on your forms, if you would like.

    Lege1- Thanks for keeping on with COW for so long, your growth on this site has often inspired me to get back into it and build up my skills. And thank you for the advice on my piece. I think the arms look a lot better now. On yours, I think you were able to add a lot of character into your piece, especially in the pose and how you placed emphasis/exaggeration on the right parts of a lizard and goat in the piece. I think that there are a few areas that are a little to "graphic" and not quite built up as forms, like the arms and the right leg. They need a little more work to show how they are connected and how the pieces of the body overlap and hit the light. I used a lot of references in my piece to help with the anatomy of my creature and it seemed to help me.

    Tyrus- I definitely agree with Lege1 that the creature isn't really intimidating, and I think that a major part of that is the stiff pose and lack of compositional interest. I do really like how the texture, color and forms of the body turned out. It does look like a realistic animal in that regard. There are some areas I need to clean up, and adding some interest to the background could help the composition too. Next time, I'm going to push myself to have a more dynamic pose and composition.

    I also thought I would include my layers/steps for anyone interested.
    Name:  Goat Lizard Progress.jpg
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    64% of all percentages are made up on the spot.

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  15. #38
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    Tyrus: Thank you very much for your post man and breaking down your process some; also yes, I've been on here for a good and solid decade now and love it just as much now as when I first discovered CA.org and these forums. You're along timer too on here =) I can really see how you were able to focus on the lighting and form with working up from black and gray into color and your color adding process seems to go pretty smooth for you. I find it's hard for a lot of people to make a smooth transition when working from black and gray into color. Thank you so much on everyone's critique too as I'm able to take in good information here from the mention of what everyone is doing which is a big part of what makes this forum so great. I really appreciate the critique on my piece and tried to get some personality in that thing,lol. I definitely will go back and look at that anatomy more if I get a chance and like you say, reference, reference, reference. Definitely want to see if I can push the form on those arms and legs more. I'm with you on the dynamic pose thing too, Scorge does such an amazing job with this everytime, it adds such a layer of realism in thinking how the animal would function in movement, I'm an admirer of how much he gets out of his brush strokes too. Let's keep working hard and try best to raise the image making bar for ourselves man. Thanks again!

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  17. #39
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    Can't tell you guys how awesome it is to see see activity back in the COW after all this time...makes my heart swell big time.
    Tyrus and Lege you guys are way too kind, and in the spirit of the old ways of the COW, it's critique time! Hehe, you guys both have good concepts, but I think you both need to push a lot harder in the beginning phases. It's pretty common for folks to want to render right away, I too am guilty of that and my designs and work suffer for it, but if your sketches are off, then you start jumping into rendering, or as Lege put it, "Going ballz deep on the color" lol, it's important that your designs work in the rough before you move to final.

    For you Nick (Lege) my old buddy, it's a very cool design, has a lot of potential. Some tips: Go crazy with the eye if you're gonna go for it. Of course the eye is the focal point so that's really got to be perfect in expression and personality.; The limbs and hands should be more thoughtfully organized, it looks like your dude is flailing wildly like an old monster movie, try to control the movements a bit more and use contours to help with foreshortening and construction (fingers, joints); Know your horizon line! I think for some reason that you never really take this into consideration, but it's one of two of the most vital of details because it will determine the viewing angle and can help sell the scale of the creature a bit without scale reference in play; Second most important thing is silhouette, in fact that's pretty much how I come up with all my creatures for the COW these days, it's really fast, and once I get it down, it's easy to make changes. Hopefully you can read the text I wrote in there.

    Tyrus: Your case is merely a matter of exploring options. You've got a great rendering technique but you've not given yourself enough options to choose from in developing the creature. Once you get the first iteration down, copy it and erase some parts to redraw them in different positions, add different details, so on and so forth. It's all well and good to get the animal or creature down on the page, but you've got to get some more going on with the arrangements of the parts before moving to finalizing.

    Hope this helps guys! Any questions let me know. Love you all! Long live the COW.
    Name:  Goat-lizards.jpg
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  19. #40
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    Total newbie coming through! Been lurking on this thread all week and trying my hand at this whole concept art thing. This is as far as I've gotten but I'm hoping in future weeks I'll be able to work a little quicker. I too am guilty of many of the critiques that have already been given, but I don't think I'll be able to work on this more before the deadline so I wanted to jump in before it's too late. I hope to get in sooner in the coming weeks and be a more active member of this forum. Y'all are my heroes and I look forward seeing more amazing work in the weeks to come!

    Name:  COW-402 Goat Lizard_3.jpg
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  21. #41
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    Scorge: Dude! Really?! You are the absolute man!! This was so awesome for you to break Tyrus and I down like this man and super informative and very good information indeed as always. Seriously thanks for taking the time to do this man. I'm super stoked about the activity on this round of COW and hopefully it will just grow and flourish again from here. If everyone can get and stay on the same page with understanding that we can all help each other grow we can really all acheive great things.

    I'm super pleased to know you actually like my concept and that alone really gives me a great sense of accomplishment because you are so good at creature design and over all image making period. You're right about the foundation being set strong cause you can't polish a turd and yes, we all want to just jump in and start detailing shyt, but being disciplined and setting that foundation off strong and right is everything.

    I really like how you went crazy with the eye of my critique and you are totally right about the arms flailing around like an old monster movie. I'd like, if you don't mind, to please elaborate more on this horizon line thing; I think I get what you're talking about but don't want to assume anything so if you can give a little more detail that would be great man. Also, the silohuette use sounds great. I remember Richard Doble put out a great concept art tutorial on here years ago and that is how developed his creature concepts too. I tried that approach but always feel like line work is so expressive.

    I know that this may be a lot to ask, but do you think you could do like a break down of how you approach your process. I would really like to see how you go from silohuette and work your way into final. I know you are very advanced and probably work various different ways, but I guess the most common approach is what I'd really be interested in seeing some. I feel like the beggining stages of the image are so important and that is where so many different approaches can apply. Again thank you for everything and I love what you did with the revamp of my concept, it looks insanely good, and the goat ear additions and all hand adjustments, and over all face of the creature are just brilliant. It's psychotic looking but in the most awesome way =)

    battrry: WELCOME! Very cool concept and your forms are pretty strong. Speed comes with time for sure, but keep doing. We all help each other improve on here so try to do as much as you possibly can and you'll start to improve. The head and body of your creature look pretty solid but I think I would definitely re evaluate those legs and feet. The back leg forward most has a monster calf and the back leg furthest back doesn't. I struggle with proportions too, so try to keep things proportionate and symmetrical cause that really makes things look good. You can get asymetrical on patterns and details of stuff but the over all forms should always be symmetric. Also, you've got some good darks, and midtones in your piece but a good light source or some highlights would really bring it to life more as well. Glad you decided to join in on Cow and definitely keep with it.

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  23. #42
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    Hi!
    Just found this forums, and decided to try and enter this challenge as it sounds fun! Im normally a pixel artist, but been learning some digital painting for a while too, but having trouble just getting used to the tools and such. But anyways, here's my first entry! It's a lizard mixed with a sort of normal goat body.

    C.O.W. #402- The Goat Lizard - WIPS Thread

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  25. #43
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    Name:  Lizard Goat.jpg
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    lizard goat hybrid. I tried doing a goat that had more of a low, slinking lizard body type but I couldn't get it to feel natural.

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  27. #44
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    Another one, tried applying Scorge's guidance best. Running out of time though, so rushing some....
    Name:  COW402_GoatLizard_120117_C2w1.jpg
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  28. #45
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  29. #46
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    Here's my second entry...Tried a whole other approach on this one....
    Name:  COW402_GoatLizard_120117_C2_Fini_web.jpg
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