Sketchbook: Madplanet's sketches (updated 3-4-07) - Page 10
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Thread: Madplanet's sketches (updated 3-4-07)

  1. #271
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    Your dog Rita looks torally sweet. I know how hard it is to draw pets as they move all the time. Good stuff, so keep on going!

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  2. #272
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    Heya Bruce !
    Nice stuff with the comic book. A little more variety with points of view/angle [hope that made sense] could be fine in my opinion, specialy with the last strip of the last page you've posted. Nothing else to say, aside the fact it was a pleasure to check your stuff here !
    Cheers my friend.
    Julien.

    Julien ALDAY
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  3. #273
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    Hey, man. I was very much astounded by your recent achievements. I saw your Bronze sculpture at the Lounche and digged it a ton. One recognizes, that it must have been done by madplanet immediately. The thing I like about it the most, is the mood that is being created, same as I lioke the mood created in your last storyboards. Stay with the yellow please.
    Am sorry but I can't help you out with the digi, except that water is not confincing and that the figure lacks expression as pose is not expressive enough to compensate for the lack of a facial expression.
    Love the dog scetches. I used to have a Colie which I loved more thab anything else in the world, and those scetches remind me a lot of "Bety". Thanks.

    So long...

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  4. #274
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    madplanet -

    havent checked back in here for a long time. good to see you producing and trying things out. i saw that you did a marker sketch.
    http://i9.photobucket.com/albums/a78...net/brando.jpg
    looks pretty good but it still looks a bit like your drawing something you know, instead of just observing really well and drawing shapes of grey. im no expert and dont know what youve tried etc. but if i may try some guesses as to what would help you with these: get some good contrasty photos, or from life, squint well and decide to draw just all the shapes with value1 (lets say 30%grey) than draw all the shapes that have value2 (50%) and then add in the shapies with value 3. afterwards you can adjust a bit by going over the different areas a bit. dont think about im going to do the nose with this value, or im going to make the sweater this value. in fact, dont think just look, and put it down on paper. look more at your subject than your drawing and do a lot of those. keep it loose and quick. dont try to make them pretty, just try it out and do a lot. again, im no expert but i personally learned a ton from excercises like that.

    http://i9.photobucket.com/albums/a78...anet/rita4.jpg
    http://i9.photobucket.com/albums/a78...itaandhand.jpg
    these were nice and loose.

    keep it up man.

    Last edited by tensai; May 17th, 2006 at 01:01 AM.
    tensai


    check the Tensai Tokyo Sketch Thread (Sketchbook)

    check the Tensai Cityscapes Thread (Finally Finished)

    bLok


    Quote Originally Posted by strych9ine
    Fuck backgrounds, who needs em.
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  5. #275
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    Taxman: Hey Phil, good to have you back. I already let you know about what you said about my comic pages, so I won't rehash that, but thanks again for taking the time to point out what I let slip by. It's the simple things that get by me at times, so it's good to have a sounding board. Sad to say that the class ended last week, but it was a great learning experience and I met some very cool people. I'll talk to ya soon.

    Johnny78: Yeah, Rita is a sweetheart and she's a real trooper with some of the crap that she's gone through. Thanks for stopping by, Johnny.

    Alday.J: Julien, how are ya, man? Yeah, I'm keeping the angles and points of view in mind all the time and then when I finish a page I see that i did straight on views anyways ! This is something that needs work and I have to experiment with different views. I don't want to be too jarring though. Later, bud.

    Blacky: Hey Blacky. Glad you liked the bronze, it's one of my favorite pieces and it's cool that you recognized my style! I have a few more pages down below, so I hope that they are getting better. Ooh, the digital piece didn't score any points and I was kind of liking the direction that it was taking, but now that you pointed out the lack of expression in the figure I can see it. I like the water, so far, but I'm still tinkering with it. Thanks for all of your comments, I'll definitely be keeping them in mind.

    Tensai: Hey man, I'm glad that you stopped by again, I always appreciate your comments. I misunderstood what you were getting at before about the marker exercises, thanks for clearing that up. I have some more time to do some exercises and will practice them. Thanks.

    I have architecture and chimneys on me brain, lately.






    And some more of my Hat Maker story...






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  6. #276
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    U continue to rock....... I love this one........

    Thanks for stopping by my SB.......

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  7. #277
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    you have a very interesting style!

    keep at it!
    cheeers!


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  8. #278
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    Woohoo, updates! Me likes where your Hat Maker story´s going, no crits on perspective issues this time. Very solid three new pages, I like what you did with the colors a lot. And who would have guessed skull guy´s gonna be attacked, I was thinking that´s it for the poor old man. Good capture of a fight, your storyboard class payed off I´d say. Do we get to see a lettered version? I hope so.
    Those chimney people are great, they look like I feel lately.

    Phil

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  9. #279
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    the other buildoid versions are less convincing, but that one turned out awesome. Chimneay seams to be real part of that guy. Like the movement and metaphorik/ psychologic depth of't too.
    Your storyboard's getting better and better, nice to see it stir up some action.

    but,

    Bruce,

    WHERE'S THE TEXT?
    I want to know the story!

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  10. #280
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    Yo, Bruce ! How's things my friend ?
    You know there's not only the variation of point of view but also the variation of scales who can be effective for give dynamism to a sequential stuff. In the case of your last update, it's something you did. I like it. Better.
    See ya soon Bruce.
    J.

    Julien ALDAY
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  11. #281
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    Go Madplanet!
    Latest comic is real cool!
    I'd love to see some more studies tho!

    post more!

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  12. #282
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    Like Hurricane says, you have a very interesting style, Bruce. I love the look you have in the sequential pages. Page 2 with the samurai in the first panel.... I LOVE the composition in that panel as well as the layout of the entire page. Simple and yet so effective. The architectural/people blended sketches are great.... Of course, this is to be expected of me since we both use architectural terms to describe people!

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  13. #283
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    Arya: And a thank you for coming back to my sb, I always appreciate the comments.

    Hurricane: And thanks to you too, for making an appearance, Bjorn. It's always nice to hear some words of encouragement from CA's hardest working member.

    Taxman: Phil, great to talk to ya, man. I'm glad that you like the Hat Maker story and there is more to this little old guy than meets the eye--so more suprises coming. when I update with more pages, I'll put in the text. Talk to you soon.

    Blacky: ha, ha, yeah, yeah, text will come soon! You can't expect words too now? C'mon! The chimney guy did come out ok. That was done at a boring day at work when the bosses weren't looking. Well, not really, I semm not to care if they are looking, but they don't say anything, so I'll do it until they do say something. yeah, right.

    Alday.J: Things are just great Julien, and I hope that they are with you too. Yes, you are so right about the scale and I have to keep that in mind constantly, so thanks for that reminder. That last page didn't sit quite so well with me and I don't know why, but I'm glad that you think that it was good. See ya, my friend.

    Tigermilk: Hey, thanks for stopping by Tigermilk and leaving some comments. You're right about me needing to do some more studies too, so I'm going to put that on my to-do list.

    Dutton: Hey Mike! I kind of liked that first panel with the samurai too, and it was a lot of fun doing it. hopefully, I can keep that thrill going. I'm glad that you like those architectural kind of guys. It's funny, because I never really thought of myself as being architectural minded--too technical, but they seem to be coming to me easier as of late. Talking to you certainly helps and it's just a different way of expressing something that is creative, I guess. Tensai has that great way of expressing buildings and structures that are full of character and life in a way that I couldn't see before. I'm learning. Talk to you soon.



    from reference...


    Here's one for Dutton. It's not exactly how I pictured him, but close.




    And another stab at some digital goofiness...

    that nose is friggin' huge!

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  14. #284
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    Your sketches have quite a unique flavour to them, I dig ´em a lot. So it´s root people now, chimney heads, seems your figures live in an interesting world. This profile sketch of the guy with the hat is creepy as hell, dunno why. My only crit would be the last one is, uhm, too red maybe?
    Anyhow, interesting work, I look forward to a lettered version of the hatmaker story.

    Phil

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  15. #285
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    Hello, Bruce. You are forgetting that I'm a foreigner, English language for me is like somebodies clothes, I don't feel naked in them, but sure feel funny. . Whenever you feel sad after my words think that I just didn't find better word to express my thought or didn't know one more meaning of some phrase which you knew from your childhood.

    You have wonderful ideas in your head and unique way to carry your thoughts to viewer, I always knew that. Your book as full of philosophy, I see very personal approach in every image, You don't imitate anyone. it is very individual thoughts and images, only yours.
    And as I said many times to you, your line and the way you draw from imagination and your shading is the only ones like this in the site. Again very personal, I can see it was born, collected, built from all your past experience. I think your style is very hard to copy, I think it's impossible. You draw with your nerves.
    And I think the place where you live is present a lot in your art. Strange combination of human heart and cold indifferent city.

    I like very many images here, well the most interesting for me, some from technical point of view, the others from philosophical, and in some I like emotion. You are pretty rich.

    http://i9.photobucket.com/albums/a78...encecenter.jpg very elegant lines of yours and graceful manner to built your imaginative figures and heads, I think they are very beautiful, pure pleasure to see. Especially the woman head in the turban and the fast sketch of the girl.

    http://i9.photobucket.com/albums/a78...cloudgiant.jpg Oh, it is so strange and sad, and touching somehow for me, maybe the thought of thin, tired naked man in the cool air, or maybe the expression of the face, but it is very sad feeling of loneliness and not be able to find your place on Earth, being homeless, always on the road. I like it for this disturbing feeling.


    http://i9.photobucket.com/albums/a78...himneyback.jpg I like the craziness of this image, it has very scary impression on me, like this is fear itself, And it will never stop, I don't know why. looks like repeating nightmare with impossible to understand, never ending motion. I like the beautiful simple shading very much, very elegant.

    http://i9.photobucket.com/albums/a78...andfigures.jpg sketch from above, very nice and truthful.

    http://i9.photobucket.com/albums/a78...Cartoon488.jpg
    http://i9.photobucket.com/albums/a78...Cartoon489.jpg Like both cartoons, breathtakingly stylish, it is in your blood, I doubt anyone can repeat the same. And the gesture, I think you saw it in your head before putting it on paper, very precise, striking really because this gesture carries on its shoulder the main focus, your drawings are very laconic and you talk to your viewer exactly, I would say only though this gesture and lines. it works btw. don't try to kill this.

    All the portraits based on your own face. Very expressive, mostly because of the expression and lines.

    all cardboards, colored , I like them, very solid work, very stylish.

    http://i9.photobucket.com/albums/a78...et/noseeum.jpg It is sweet, I like it. very sympathetic. Keep in doing them, such lovely original creatures.

    The road accident series
    Dutton portrait, Truthful in depicting his polite, suave and well mannered, well educated nature. .

    OK. wish the best to you,
    Bye.

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  16. #286
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    Hey bruce, good looking updates. I realy enjoyed tha the guy with rooted legs. Thats what I feel like at times, when times are hard and'd like to be somewhere far away but can't cuz I'm "rooted".
    Like how you emphezise hands and face on that one. Looks familiar, a celebrity?
    Does your boss have a beard and a hooknose? There's gotta be a source of inspiration for these ^^. like the one with the hat.
    So long....

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  17. #287
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    Hahaha, thanks Bruce. Rand idealized Roark so much I can't even begin to conceptualize what he would look like (she was in love with this character after all). I do think with the kind of self confidence and absolute-mindedness he had, he probably didn't keep his hands in his pockets. If it were me on the other hand, it'd be dead-on accurate. My hands are buried in my pockets so frequently you have to wonder how I manage to draw, paint, turn pages, type.....
    The Capote drawing is strong. I love the treatment of the hands. And the bearded fella, is that Whitman? The soft lost and found edges are looking nice, I'd push that even more, especially in the beard, giving it a smoky look that blends into the background.
    Talk to you later!

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  18. #288
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    Taxman: Hey Phil, glad you dig my weird little world! It keeps me entertained at times. That last one is too red, I just wanted to try something other than a white background. Just experimenting, though. I'm just about finished with the next page of the Hat Maker story and I WILL include text this time. See ya dude.

    Sve: Please, Sveta, your use of the English language is better than anyone that I know and your observation skills are even better than that. You can't fool me.

    Thanks for taking the time to pick out certain sketches and give your thoughts on them; it's interesting and helpful to hear your thoughts. I should take the time to think about just where some of these idead are coming from, but sometimes when I do that I don't sketch, so I just try to put them out no matter the cause or reason.

    That one sketch isn't of Mike, it's Howard Roark from The Fountainhead.

    Blacky: Hey Blacky...

    Those root guys have two meanings. One, as you said about being rooted and not moving, but also one where the roots are searching for ground appropriate enough to root in. New ground, i guess. The one sketch is from the dvd box for Capote, I liked the pose.

    Dutton: Hey Mike, how's life? You're so right about the hands being in the pockets, I just didn't think of that and it's all in the details... I guess i would be doing that too, so it just crept in there. I was thinking that he would look like that when he had a down moment and was watching the construction of his latest building. The bearded guy is Rodin, but he could pass for Whitman in that view.

    I might use this for the letterhead on stuff that I send out. What do you guys think?

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  19. #289
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    Here's an update on The Keystone painting that I seem to be taking forever and a day on. There's still a long way to go, but I like the way that this is turning out (finally!). Any helpful hints and whatnot would be keen.

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  20. #290
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    Hey, the recent stuff is good. I like that you are getting into storyboarding and graphic novel story telling. Looks like you are still locking down your own style, but you have shown lots of improvement; keep it up!

    "Oh my God who is flying this thing! ......... Right, that would be me." ~Wash

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  21. #291
    Dutton Guest
    Hey Bruce, nice work on the textures in the masonry. I like the shadows in the faces too; the greens balance out the reds nicely. I think the top face is working better in terms of throwing in different kinds of greens to show temperature change, like the deep blue greens in the core shadows. Maybe some ochres in the lighter areas for accents to push warmer colors. I'm not too sure about the reflective shadows in the bricks being brighter than the local value in light. When I squint the local red is darker in light than the green in shadow on the same brick. Glaze it with viridian and ultramarine perhaps. Very interesting composition though. Care to give some background info?

    And my bad on calling Rodin Whitman. heh, now that I think about it, it was a shot in the dark! I think Monet and Sargent looked very much like that at one time too.... I might go for that look in another few years.

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    Hey Mad, the rubout technique is great <> done be afraid of it <> use your kneaded easer with more gusto in picking out the lights

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    Hey Bruce, yay for the hands and the ladies. I´m always glad when someone draws some good lookin´ girls, ´cause I´m a simple mind, can´t help it. And since when do the sketches of the last post don´t show when you´re writing your reply? Gotta work from memory now, but I have none. Anyway, your keystone painting looks good so far. I think you should darken the horizontal bricks at the top, so that the arc pops out more. But bear in mind that I have never painted or worked with color, so I have actually no idea what I´m talking about.
    The Royal Guard´s supposed to be a teaser for the whole story, right?
    There´s something about your sketches I really dig, I just can´t explain what it is, I´m not sve, lol. Look forward for more.

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    Hey there, You've been busy! I like how these comic layouts are coming along. Seems like your storyboarding has been paying off. If you have time, you should check out this link. Frans Masereel is a master at the narrative picture- and your style kinda reminded me of him. Here is link to his masterpiece, Die Stadt or The City, 1925. http://www.graphicwitness.org/histor...toric/s01.html

    "The progress of learning is from indefinite to definite, not from sensation to perception. We do not learn to have percepts but to differentiate them."
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  25. #295
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    Hmmmmh,
    that's funny.... can't open page Nr. 5.
    (But hey, what am I working at an Internetcafe' for, if I couldn't solve that Pr. )
    Like your updates, specially first image of't. I always have loved those oldscool divinghead thingies. Great job on't and on the fish.
    Also glad to see you do more of those hand studies and more of those original headcombos. Although I liked the aproach about the rooted guy more, cuz the fullbody view was more expressive and showed what the person as a whole was doing/ looking like.
    I'm not sure if critique concerning anatomy of a face/ head is apropriate cuz you have a distinkt way of drawing cartoonish faces that match the rest of your drawings real well. Otherwise I'd have to point out that eyes and noses are exagerated, for example.

    That painting you're working on, is coming along quite well, but I'd say that it is a bit static due to its symmetry. When something is in the middle of a picture, it usually means, that it's heavy and not going to move anywhere. Hence there is no action. You made the lightsource come from one direktion (right). That's good in that case. The more you enhance it (one part bright, the other dark) the more you can help break up the symmetry if you so wish.
    So far, the dark area inside the chimney is looking quite flat. You could try to add some depth to it, or make it look like the head was coming out of there for example. But I aint am sure about your intentions, so I dont want to give you false advise.
    So long...

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  26. #296
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    Masterpug: Thanks for stopping by MP and yeah, I really liked doing the storyboarding stuff and want to get better at it.

    Dutton: Mike, hey man. I am sure glad that you took the time to give me some tips with The Keystone painting, as I was stuck on it. Everyday, I would look at it on my easel (good thing that I was doing stuff at my drawing table) and just couldn't figure out what to do next. As stupid as this sounds, I don't quite get what you were saying about the reflective lights on the bricks. I'm not seeing what you mean. There's more to this painting, it's a little bigger than my scanner, so the next time I update with the painting I'll take a pic of it so that you can see the whole thing.

    ok, a little background into the story behind this painting. A few years ago, I read this book on the beginnings of religions, secret societies, symbols and such and so I came up with this idea using some of the symbols. There is going to be a bee hovering just above the keystone face and the shadow of that bee falls on the forehead on the head. The bee was and is still a symbol for wisdom and I'm using it in this instance as understanding and the keystone is the "key" to that understanding. The man below the arch is the guy who is searching for that understanding. I hope that that made some sense.

    You're gonna have to show me a pic of you with the Auguste/Walt beard. Although, i think I may have to wait awhile!

    Mentler: Hey, it's nice to have your comments and help show here again. I always appreciate them. You're right about the kneaded eraser, I just don't think of using it when I'm sketching and the silly thing is is that I always have one with me.

    Taxman: Phil, hey how are ya? I must be a simple mind too, 'cuz I like drawing the ladies as well. I just need to do more of them. I think that you have a point about the bricks above the arch and I was thinking the same thing, so some tweaking may be in order. And I'm happy as a clam that you dig my sketches. At least someone does, ha, ha!

    Sleeperservice: Hey, hey, SS... I checked out that link to Die Stadt and some of the other ones as well and I have to say that as much as I'm flattered that you think that way, I can't see it! That was cool though. The one thing that he did so well that I can't is to simplify the image yet get the full impact from it. I over think things and complicate them and then end up throwing the idea in the trash, ha, ha. But, thanks for the comments and support.

    Blacky: It's cool that you like the diving helmet as I've been using this image as a symbol for the old self for the past few years. It's fun to fool around with and I find that it has many meanings for me, so I guess that it's appropriate. The rooted guy worked in the body language and I'm glad that it came through. I do tend to exaggerate the eyes and noses on my faces. When I was younger I would draw these huge freakin' eyes way out of proportion, now it seems to be noses. I seem to like crooked noses for some reason. Quirks.

    I posted the beginnings of the Keystone painting last fall and got the same response from Mentler and Johnny78 about the composition. This image is just one of those things that got stuck in my head and even after their comments I just wanted to see it through and use it as a learning experience. But, I found as I was going along that I like the way that it was turning out. It is kind of flat, though.

    Here are some head studies that were inspired by RebbeccaK and her 50 heads in 30 days thread. I don't have a deadline or specific heads, but I thought that it would be good for me to do. All from ref, of course.

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  27. #297
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    These are looking much better. I think you are getting into it, you just need to draw volumes. Just really refine you skills by lots and lots of practice. I think the ink work is the strongest, but I am glad you are not neglecting the other media. It is good to build up skill in a bunch of things until you REALLY find that one niche; and even then, practice in other media still helps. Just keep going.

    "Oh my God who is flying this thing! ......... Right, that would be me." ~Wash

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  28. #298
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    Bruce, wow I have alot of pages to go through here!

    I am so inpspired by Arthur Rakham too, I loved to see you do some work inspired by reading a book on him.

    Those hands with the sand are great, a great improvement and cunning use of sand.

    The minotaur... brilliant. That is something I want to do now too definately. I had never heard of this, but I can't imagine your glee going back to see it still there after so long on its perch. (just read he got destroyed argh thats terrible)

    Your inks show miles more confidance than you pencils, do you notice this when drawing? Its something I notice a lot with people and myself too. I can't wait to see your pencils gain that confidence... and speak of the devil (I'm writing this as I go through, so this is a flowing train of thought)... I love that you are doing figure drawings now from life. The first series of ladies from your thursday session, are the last ones posted in that reply the last ones you did in the night. It looks like you simply needed to warm up, then you gained a lot more comfort and confidence and it showed. The pen and pencil ones even more.

    The chicago skyline is one of my favorites, are you using watercolor with that? as a matter of fact I'm really enjoying your achitectural sketches.

    Venus of Urbana. You know I'd like to see you do this one again, as an evolution or different aspect every once in a while, not sure why.

    Always great to look through your sketchbook

    --marie--


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  29. #299
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    Arrow

    -... you are so busy man. I saw your sketchbook. There is too many interesting & so tasty stuff & characters. I like them... more posting... CHEERS...

    Here is my: S-K-E-T-C-H-B-O-O-K




    /.....if there is someone from AUSTRALIA especially from SYDNEY on this site, then leave a msg for me, and I really want to meet with you & to making a friends-of course if you'd agree it...............please
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  30. #300
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    Masterpug: Yeah, the inks I find that I have the most fun doing. It's strange that I'm more confident sketching in ink than I am in pencil. And you're right about the need to draw in volumes, I just need to go.

    Marie: Hey, it's nice to read some comments from you again and it's good to hear that your up and running again. Now, let's see some art.

    I often think about doing something Rackham related, but it's an intimidating thought. If I could achieve that kind of effect...hoo boy! Have you ever seen the stuff that he did for Wagner's The Ring? Incredible stuff.

    I do notice the inks thing (see reply to Masterpug). I've always enjoyed inks more, but I do remember way back when I first tried it. Some of those were just awful.

    Yep, that Chicago sketch had watercolors in it. I liked it too, even though the perspective is lousy.

    The Venus of Urban is one that I think of doing differently. Not change the pose or anything, but using different mediums, say digital or acrylic.
    Thanks for the comments.

    Mag-Neo:Hey, thanks for stopping by and leaving some comments. I thoroughly enjoyed your sb.

    The first one was done after re-watching the Shawshank Redemption (the best last half hour of any movie) and I was thinking that Andy had to crawl through more than 500 yards of shit, he had to go through all the people too, so this was in response to that.

    The third one down is a scene from The Lost World, and none of those guys even look like the actors , but it was good practice.

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