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  1. #430
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    cool sketches dude, i like the fluidity of them, the fingers on the hand looks a bit off to me though

    also with your process...i cant help but feel that the end result would look better if you went a bit further while still in B+W sketching stage, make the contrast higher with more values for form, and also the lines cleaner, before moving on to colour. try checking out bumskee's sketchbook and seeing his process when he works from a similar method, i find that the colours and forms of his stuff ends up look really natural as he's painting from a b+w foundation thats taken to the level where it serves as the solid base for his colours. it also relates to the underpainting methods used by old masters too, try checking those out if possible

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  3. #431
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    paperx: thanx again. Ill look at bumskee's stuff. Im still working on my grayscale to color techniques.

    some random characterish design thing, played with softlight glazes on this one like keith thompson does. Here is the line and glazed final. ran it through a bunch of finishing layers and filters lol.

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    OBX - drawing a.d.d.
    The art of Joel Hladky

    -Fear is the enemy of Imagination - Andrew Jones-
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  4. #432
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    Nice updates recently. The creature in post 426 is especially good.
    One thing I noticed in the last one is how much more realistic the fabric on the arm looked than the rest of the piece. I don't think it has so much to do with applied textures or anything as just the values acting as they would on that surface. I might be worth your while doing some just palin value studies for different surface types.

    Keep up the great work! (And thanks for coming to my book even though I don't get to your's often.)

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  5. #433
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    Cupajoe: yah dude thats no problem. Just check when ever you feel like. I update that way. heh. Your right I gotta do some texture and material studies. been meaning to do that for a long time. just never got around to it.

    another one of those keith thompsonish pieces. I really like the softlight glaze technique he uses. Gives a sort of watercolor style wash. and they act a lot like real glazes. Ill show you the thumbnail, the line art and the glazed line art.

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  6. #434
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    another one. see you all next year.

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  7. #435
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    i think the thumbnail in post 433 is bad ass

    its just the final colours that let your work down sometimes, especially some lighting issues that can be confusing, remember to check the values, temperature and saturation of your colours after you've done the overlay.
    Also, try and not use pure black for shadows, either a healthy balance of opposites or complementary colours or even just a dash of some other exciting colour that suggests light bouncing off surroundings can make the piece look much more convincing

    btw im sorta just rehashing theory stuff here lol my colours are worse than yours in reality so take my comment with grain of salt

    PS: i added you on aim if you dont mind happy new years man

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  8. #436
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    Paper: heh, thank you for the harsh crit! I need em, even if they aren't from pros. Its good practice to step out at say stuff like that, and im glad for the disclaimer as well. very tasteful. and yes my colors are wack. Im more concerned about the black tho, I normaly never use a pureblack. I use to many level and or color balance adjustments to have a pure black in the last few recent ones. I know coz I color picked them. However, if you are implying that the value range is out, your right. I did drop to a heavy dark very quickly in a few areas, but thats coz I wanted to keep the line art and the hatching built up a tad heavy.

    Here is one I did with a lil more consideration of the light source etc. etc.

    spent 2 hrs on it. think I took it way farther than i wanted to. lost a fair bit of the line art, but it was quick n' shitty line art anyway.

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  9. #437
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    hahaha funny stuff. I like your palette and wierd textures, but a lot of the stuff on this page is pretty flat. Like the trooper in #433 for example. So yeah, what Joe said, value studies?

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  10. #438
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    i think the lighting is looking better man, though i still see some really black colours in there, i like what u did on the leg portion though, the green and sienna-ish colours look nice together

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  11. #439
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    Serp: thnx, and value studies I shall do.

    Paper: glad you like. yeah I liked the green too.

    Here are some no ref'd value studies, well the first two are. and the mohawk dude is just a line doodle after I got bored. really concentrated on my light source and tried to ease my values in while working off a middle ranged canvas. all sorts of painting techniques used. pretty sloppy. I gotta do some stroke exercises and work on my line control again. starting to loose it a bit.

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  12. #440
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    holy shit. i just went through this whole sketchbook. you improved SO MUCH. that was amazing. keep on going.

    good value study without ref... i have to try that sometime. i'm gonna keep checking back here from now on.

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  13. #441
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    good one man, im still seeing too much grey/mid-tones i think...get some darker darks in there

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  14. #442
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    Definately keep pulling in a wider value range I think you can improve the appeal of your characters by pulling more reference into them - even if they are other-worldly, I think its the familiar elements on some characters is what make them believable...something we recognize, such as the old style gas mask of your character in #434. and perhaps if it does have a completely imaginary armour design, it needs a more consistant design? The helmet of your ubertrooper is cool, perhaps wider shoulders would make him more powerful feeling. Keep up the work sir

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