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  1. #556
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    great stuff! they work real nice togehter ( photo + illus ) keep sharing plz
    Grab your pencil, grab your dream!
    My Sketchbook - Blog - Fineart Blog


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  3. #557
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    Wahoo, great work bro. It's great to see a real job and not just hypothetical work, you should feel really good about it. I'm really glad you are back.
    "absorb what is useful, discard what is useless, and keep what is essentially your own." - Bruce Lee

    Bojee's Monkey Brain
    http://www.conceptart.org/forums/sho...=29869&page=54

  4. #558
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    Ya man great stuff! That project really worked out well over all, congrats! I have a couple that are my favourites though. Cheers man keep up the great work.

  5. #559
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    Stunning, stunning work, friend.

    Bravo!

  6. #560
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    Hello, Lok, glad to see you back and glad to see you lived on all full capacity all these times.
    I wish i didn't write my impression right away but have more time to sit and enjoy and listen to my own sensation to try to tell you what makes some of illustration work more for me and some less. But it is a spring break and I will be away for a week. So forgive me for not well thought out comment, just first impressions.
    Is this cover for the tour book black on gold or black on just yellow? Fat, black, aggressive letters on elegant delicate gold lace of your city would be better, in my opinion. I don't know if it's a good match with an image of this punk group, but maybe it is, in sense that they have a peculiar mix of looseness and energy, self-awareness and nihilism, desire to communicate and staying aloof. I would add a energetic, ironic mix of non-conformism and legacy.
    So solid, in any time appreciated gold and destructive black are working well in my opinion and overall it looks beautiful the way your design looks at very every day objects, as a ladies purse.

    My most favorite illustration are those:
    http://www.conceptart.org/forums/att...9&d=1173527837 the one on my right, pose is very nicely fit between those catacombs. The perspective of his figure and the perspective of BG a very good match. I like the colors and I like the feeling from his thin graceful figure passing by those unfriendly buildings. Makes him look fragile and not belonging, a abandoned flower dancing in the wind. Sorry for the pretty words, I just trying to get the impression as precise as I can. He doesn't look weak though, just rootless, homeless, outcast in a way. I think something else is needed in BG though, some little dust or debris in the air, more wind and more sharp details to bind the character and BG.

    http://www.conceptart.org/forums/att...0&d=1173527844 I like this one, for the cut out figure and his hand on the border of the frame. I'm not sure about vector, smooth feeling of the set and his brown color. A bit too straight forward and active maybe, more active than the character, but it is your choice of course. In a way it is good, because it makes him look more fragile than his environment. I have to say I have a mixed feeling form the most of the illustrations in this update. I like it for one sensation and am doubtful about another, in the same image. Maybe that's the whole idea. Band looks like they live by current moment, not remembering yesterday or over analyzing it or their future. I have kind of hopeless, pessimistic feeling from their figures. Young and so tired already, fatigued, empty, too much life spent in a short time period, too much soul destruction.

    http://www.conceptart.org/forums/att...1&d=1173527850 I like this illustration on my right. I have a dubious feeling about the white. I might have preferred a little more flickering of the colors, but on the other hand I like the white, it is extreme and final. And I have one more association with it.
    I wonder if you are aware of it. you probably are. The Japanese art, the old scripts and their gentle images were very often just splashes of delicate colors on the white BG. Like a fish staring at us with its round eyes and its mouth open in the middle of nowhere, whiteness... or black letters on the brilliant white paper. Very laconic language and association with whiteness as a beginning and the end of everything, so to speak, primary chaos from which life appears. That's not my thought, that's I read in one book, author of it was refined appreciator or symbols and subtle nuances.
    So I like it one minute and doubtful about it in another.
    Maybe I would feel differently seeing it on the bigger size illustration.

    http://www.conceptart.org/forums/att...2&d=1173527858 I like it, the same question about whiteness maybe.
    Maybe i would like some subtle, washed out introduction of colors in FG and BG. I do think that composition is a bit too symmetrical and calm, I wish you left a bigger space on the top of the page than on the bottom beneath the man character. Right now it is equal and it is a little predictable.

    http://www.conceptart.org/forums/att...7&d=1173527821 I like the composition very much, I wish the character was little more blended with BG colors. On the other hand maybe it would be better him being outstanding from the drawn BG more. To make it obvious. As I said I'm dubious in very many things in this update. I don't know why.

    http://www.conceptart.org/forums/att...6&d=1173527814 I wish more roads went from me to the center of composition, creating a deepness and perspective. I just feel there is need of some FG objects.

    http://www.conceptart.org/forums/att...5&d=1173527808 I like the illustration on my left in overall. I just feel the reds in surrounding is bit too thick and active, I would prefer them thinner or maybe varied in thickness. I wish it was more variety in lines there.
    I have to say this character looks very cozy and handful. He is the most eager for contact i think, there is something very homey in him, very domesticated. He dressed intimately, very personally, the good word will be the opposite of intimidation. Contact, probably, searching for contact and human warmth. He is dressed to create a sympathy and trust in me, I think. Almost a child playing in make belief game.
    Illustration on my right, I like it the less, it is less expressive for me in his body language and pose. Not engaging enough, cold, distanced, random in color and gesture, IMO.
    http://www.conceptart.org/forums/att...4&d=1173527801 I likt this one, I wish it was not that symmetrical from the left to the right and from the top to the bottom.

    http://www.conceptart.org/forums/att...3&d=1173527794 I like eh both of the very much, heh, this character is really searching fo my sympathy, he is adorable. Hiding in dirty cracks from a big aggressive world.
    His old-fashioned opera hat and red lapels make me think about Beatles and their song:" Will you still need me, will you still feed me, when I'm sixty-four ..."

    http://www.conceptart.org/forums/att...2&d=1173527786 I wish you created more objects on FG, looks a bit flat, I don't feel a deepness too well.
    I think I better stop now. I probably made horrifying number of grammar mistakes, I feel bad about that.

    I like your red squares creation, it is beautiful.

    Forgive me if I said something painful to you.

  7. #561
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    great work on the Sid book, looks very much like your own world they're moving in.

    I'll be looking forward to seeing the rest of that store in Amsterdam, I hope you didn't have to paint all of those boxes.
    bee-dubya-keo
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  8. #562
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    Cool stuff mate, really like how you've done the last image (cover of the tourbook?). Didn't know you were out of Tokyo (last post), how has it been since you got back?

    Cheers

  9. #563
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    thanks for all the comments.

    CallOps - often when you see photography and illustration together, the illustrated parts serve more as a graphical element. what i tried to do is put them more inside a (drawn) space, so that photo and drawing interact. we could do that because i did thumbnails for poses etc. if there is one thing in this that is new, i think it is that.

    Bojee - it's great to be back man. i very often wanted to post more on CA while i was in Amsterdam but just couldn't let myself get sucked in here. it's been a mad hectic time over there. glad you like 'm but what, no crits?

    Ham-e - that's definitely how i feel about it. i have my favourites too, but it's funny to see how they differ from other people. i went back in and changed a lot of them, right up till the end, but at some point time is up.

    gugg - cheers man, like what you've been doing with the traditional stuff...

    sve - wow, thanks again for such an elaborate 'first impression'. we have a lot we agree, and disagree on. i find it all equally interesting. like when i show these in real life to people, it never fails to surprise me what people go for and what not.

    i have to say it was very mixed between being totally free to propose anything, but at the same time there were many constraints - sometimes really childish, sometimes really understandable. i did some really nice versions that were out because the client changed their minds on the photographs that they ok-ed, so i had to redesign compositions, redo drawings etc. time was also real short and i don't mean it as an excuse, but it did end up being a mayor factor in how it turned out. i don't think that is necessarily a bad thing though. you do what you can at that moment in time.

    all the ills were ment to look like loose, nonchalant sketches. i had to redo them a lot, and be able to draw 10 or 20 or 30 a day for 24 days. i also wanted to merge photography inside an illustrated space, but with very basic, flat elements. and i felt i wanted to offset all the chaos and lines with empty space.

    its funny how some of your favourites were almost out because it didn't fit their personal request very well. but i kept them in because i liked the technique, and they did something good for the book as a whole. than some (things) you like least i do really like, often it is just a personal taste. like i said, there is a lot i wanted to change in the end - but i don't any more. illustration is also fun. its important, and work, but it's not like architecture and you can be more loose, more careless. so i do not like all of the pages equally (some i really don't care for), but i don't want to change them any more. i just want to do more ...

    i'll comment on specific pieces if you want later on, but i got to start some work now. thanks a lot for the food for thought.

    bee-dubya - haaa no man. it was the first time i did almost nothing on the construction myself. just all designing and planning (or non planning). there was very little money for the interior and i couldn't really afford regular construction doods. so i hired artists that do construction/painting/electricity jobs on the side to support their autonomous work. worked quite well. they were nice to deal with, and could think with you and talk work over some drinks on a saterday night etc.

    shinryu - cheers man. i wanted the front and back to be one illustration and in the end i used one of my cityscapes for that and did some handwriting over it. i like how some japanese in the 18th century pulled that stuff all the time. i also like how it contrasted with the other logo that was supplied by them. loved the pencils you are doing and the inks really surprised me. good stuff mate.

    some photos of the book, will have to redo properly but my camera is being repaired...

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    i'll try to sort through some of the sketches and post some of them here.
    cheers everybody!

    edit - forgot these. ink sketches of the main man and a robot try-out for alan...
    Last edited by tensai; March 12th, 2007 at 01:26 AM.
    tensai


    check the Tensai Tokyo Sketch Thread (Sketchbook)

    check the Tensai Cityscapes Thread (Finally Finished)



    Quote Originally Posted by strych9ine
    Fuck backgrounds, who needs em.

  10. #564
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  11. #565
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    Hey tensai, The book looks great you really rocked that project! I'm glad I got to see it progress right from the thumbnails some of which I see made it into the final. It's great to see you post some more portraits those are always good. See you around

  12. #566
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    hey! great to have you back and posting!
    thanks a ton for all your help lately i've been much more productive and it's helping a lot.
    the tourbook looks great i really like the one with the bottles and the one with the instruments.
    my sketchbook

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  13. #567
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    yo tensai, cool to see new stuff from you
    that book must have been a blast to work on. (really like the pipes in those drawing, they fit well in the composition,
    cheers

  14. #568
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    Wow beautiful style of line. Those ink sketches are nice ~

  15. #569
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    cheers everyone. bigger photos of the SID tourbook...

    later


    comments and crits as always appreciated
    tensai


    check the Tensai Tokyo Sketch Thread (Sketchbook)

    check the Tensai Cityscapes Thread (Finally Finished)



    Quote Originally Posted by strych9ine
    Fuck backgrounds, who needs em.

  16. #570
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    Lok- Crits, hmmm, kinda hard to crit something after it's already printed and I know you didn't have complete control over how your work was used. I think it turned out really well, I think some of the images work better than others because it goes a little flat in some of them. I don't know if you thought about using a slight drop shadow used with some of the pics of the group to integrate them with the background. I think it would've been cool if they would have let you draw the group for at least some of the images. Or use some photo, some drawing, in same shot, like they are coming out of this world or going into it, or you can't decide which is which. Hope that helps, and again I think it looks great the way it is.
    "absorb what is useful, discard what is useless, and keep what is essentially your own." - Bruce Lee

    Bojee's Monkey Brain
    http://www.conceptart.org/forums/sho...=29869&page=54

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