Sketchbook: .:: Still Goin' ::. - Page 16

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  1. #451
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    Bendragon: Thanks, Ben.
    Quike Garcia: Hopefully I can finish it, thanks.
    cout<mecha: Are you refering to the Chow entry? Thanks.

    .:: Still Goin' ::. .:: Still Goin' ::.

    .:: Still Goin' ::.
    International selfportrait day piece.


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  3. #452
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    hey, good thread. I like anatomy studies. I hate the anime stuff. personal taste...
    The rest is good!
    Could you do a study of facial muscles? I think it would help.

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  4. #453
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    Love that self portrait; it shows some real confidence in your technique. Did it hurt when you got that scar?

    Please give erudite, constructive critiques or give none at all.

    - b l o g - s k e t c h b o o k -

    "Maybe this world is another planet's hell." - Aldous Huxley
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  6. #454
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    phiq: Glad you like it, thanks.

    .:: Still Goin' ::.
    Frazetta copy


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  8. #455
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    Great Frazzetta!!... Love how this last ink piece came out

    Also, like very much the naturality of the previous post and the self portrait was nice too

    気計 - Quike
    "Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present.."

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  10. #456
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    Quike: Appreciate your kind words.

    A drawing after a day of self loathing.
    .:: Still Goin' ::.


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  12. #457
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    Your art is getting really solid. In comparison to first and middle pages in sketchbook this is miles ahead. Definitely inspiring.
    I like Frazetta study and this one. Also the B&W robot.

    Maybe try to contrast edges more in rendering. Cast shadows much sharper while local shadows softer (or as soft as you have now).

    Cheeers.

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  14. #458
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    Heya HK,

    Be sure to push your value contrasts, especially the darks. I'm not sure if its because of your monitor (most LCDs today are cheaply made and compensate by over-emphasizing darks and saturation).

    On that Four Seasons piece, I really like the thematic elements...the personalities, skintones, and costumes of the characters are nicely varied and emblematic. However, even if you were trying to go for a more delicate pastel palette, I still feel like it comes across as not bold or polished enough, like a preliminary marker drawing rather than a finished piece. Also I think the poses are a bit stiff, although they do communicate the different personas.

    These latest inks look very well, much less 'feathering' in the line quality. The forms are well communicated and aesthetically pleasing.

    As a side note on value, in addition to pushing for bolder contrasts, try to think compositionally and divide the drawing into major tones. These major tones should not only form the pillars of your composition (perhaps on the basis of some thumbnails) but should also imply to the viewer the volume of the major forms and the placement of the primary light source(s) which should be consistent throughout.

    I know you know this stuff, I'm just sayin' ...a reminder to work on value.

    ...and go easy on the self-loathing >:-(

    Last edited by BludHund; November 7th, 2009 at 05:52 PM. Reason: spelling
    sketchbook...a kitten dies every time you don't comment

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  16. #459
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    Farvus: Thanks dude, really appreciate it. Yeah, I gotta pay more attention to edges.

    Bludhund: Thanks for the critiques, man.
    I thought I had a clear idea of what the 4 seasons was gonna be, but when I got up the coloring stage, I didn't know what to do. Regular case of 'can't draw what I see in my head', and the fact that I need a hellova lot more practice with color.

    There are some amazing guys, you could give them half the value range and they come up with an amazing picture, but even when I use the full value range, it still comes out... well, 'not contrasty'. I'm not sure if it is a case of not using enough darks, I feel like there's something else that I'm not understanding...

    I don't think it's anything to do with my monitor, it's a good panel. Although the fact that I sit facing the window doesn't help.
    The values/colors on my monitor look drastically different between day and night.

    .:: Still Goin' ::.
    A bit of color/fashion study...


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  17. #460
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    Quote Originally Posted by HunterKiller_ View Post
    There are some amazing guys, you could give them half the value range and they come up with an amazing picture, but even when I use the full value range, it still comes out... well, 'not contrasty'. I'm not sure if it is a case of not using enough darks, I feel like there's something else that I'm not understanding...
    I got two solutions.

    1. Try painting with limited amount of tones but also make sure that the difference between these separate tones in brightness stays consistent and is highest possible. For example the tone between 10% and 30% will stay the most separated and clear in the middle at 20%. This way when you put for example light gray on dark gray, it's still pretty strong. Try color picking from these swatches I made for myself some time ago. I used them when doing value studies and pictures ended up much more juicy.

    .:: Still Goin' ::.

    2. Try to stick to basic tonal plans provided by Andrew Loomis in "Creative illustration". Here's his introduction:

    "On the following page we will find that by juggling these four values (white, light gray, dark gray, black) we get four basic tonal approaches. In each case one is chosen for the general or background tone and the three remaining are placed against it. Each plan will have equal visibility and vitality. Any picture or poster based in this way will have a "punch" as far as value and pattern are concerned."

    Here are two first pages about it. You can read all on this website. He later show thumbnails with examples for using those tonal plans.

    http://fineart.sk/photos/creative/082.JPG
    http://fineart.sk/photos/creative/083.JPG

    Hope it helps.

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  19. #461
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    Your progressing pretty good man, really digging those self portraits they look just like you. Ditto what farvus said, regarding grey scale you really can get away with a lot with a limited choice, 3-4 tones is more than enough, tones in between those act more like edge softeners.

    I usually find it easier when i start from a mid tone base (around 60-70% grey) then work it from there, mostly going down rather than up.

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  21. #462
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    Dude this stuffs really taking off! Love the octo-girl in *456, great self portraits too, and the inkling's are awesome!
    I can't really add anything to what Farvus and Rusty, great advice guys, appreciate that!

    Next year I'll be more available for sketch meets and such, you guys in Auckland still do stuff?

    Cheers man, keep the goods coming!
    matt

    Quote Originally Posted by gutss View Post
    yesterday, God came to me in a dream and told me that if I don't become a comic book artist, he has decreed that I shall instead be a burlesque dancer.
    And I said, "But God, nice panties are so expensive!"
    And he said, "Welp, I suppose you better shut up and draw."


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  23. #463
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    Farvus: Thanks again bud. I've got the Loomis PDFs. Better get reading.
    Rusty: Cheers bro. I'll have to try it.
    Matt: Thanks dude. Hope you'll start making an appearance at sketchmeets.

    .:: Still Goin' ::.
    Quick screen cap study


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  24. #464
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    Great lines mate.Clean and nice.Also this last concept looks great
    Keep up the good work

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  26. #465
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    kingkostas: Cheers dude.

    .:: Still Goin' ::.
    Study of screen cap from Bjork's 'All is full of love'


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  27. #466
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    The Frazetta study solid inking and the Octo-lady was nicely done. It's most like she has a dress but not.

    Quick screen cap study, ah too many worry lines. I want to see some board wide confident strokes which can be carve out/erased or paint smaller strokes on top.

    wilkerson...doesn't like anime... T_T

    Last edited by Pigeonkill; November 16th, 2009 at 01:05 AM.
    Make a sketchbook happy, feed it a tip to improve!

    http://conceptart.org/forums/showthread.php?t=85628
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  29. #467
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    PK: Thanks dude. Man, I get told about my strokes alot, but I never seem to listen *sigh*.


    .:: Still Goin' ::.
    Somethin' I started working on. Not really sure where the f*** I'm going with it (as usual).


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  30. #468
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    Monolithic man looks great

    And I loved your screenshot from the Björk video.

    Regarding the topic of your values, I think that everything is said already.. my two cents is that I was taught once that you had to keep in mind the amount of darkness of the different areas (I know it sounds silly as hell) and if you're making an area very dark you'll have to push the values of all the rest of the drawing so they match this darker tone.

    I think I explain myself as a closed book, so better ignore this

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    "Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present.."

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  32. #469
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    Hey thanks for checking out my sketchbook! I stopped by your blog, and was blown away by some of the studies. Very nice. regarding your question about my brushes, I mainly use a hard oval with a tiny bit of texture and a big soft round with a tiny bit of texture.
    what brush are you using for those value studies on your blog?

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  34. #470
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    hey hk, man you improved like crazy since page 1, havent checker all the pages , only the last 5 but the progress is really impressive, especially the pencils, they look very professional now.. keep working on those digis they are coming along well, use big brush and work zoomed out as much as you can before getting in the smaller details. My cpu crashed the other day, so i just went to bed cursing like crazy, hope to catch you another time for a chat,
    cheers !

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  36. #471
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    Quike Garcia: Cheers dude, yeah I gotcha.
    matt kohr: Thanks for droppin' in dude. I think all of the greyscale stuff currently on my blog are done in Painter Tool SAI, using a smeary brush.
    WhiteC: Thanks for looking, man.


    .:: Still Goin' ::. .:: Still Goin' ::.


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  37. #472
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    the specular light on those pecs is tasty hahaha keep doing those digis man !! carefull to keep the range of values not to wide between light and dark, especially on lighter surfaces. I envy those sexy lines
    cya

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  39. #473
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    WhiteC: Cheers dewd.


    .:: Still Goin' ::.

    .:: Still Goin' ::.
    More progress on the character


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  40. #474
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    Hey, great mma drawings

    Maybe monolithic man could benefit from a more dramatic light setting?

    気計 - Quike
    "Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present.."

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  42. #475
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    Blockhead guy is looking very good. Most of what I was going to say you've already corrected since the first pass. He probably needs to 'pop' from the background a little more, a simple low-opacity gradient might do it. On the fist, remember that the tendons are only visible when the fingers are extended, not clenched. There should probably be a little reflected light on the bottoms of some of his armor (especially the belt).

    Totally agree with what has been said about conserving values. Loomis and practically everyone else says to divide your composition into strict categories of light and dark and repeatedly stress that in no case should any tone appear both in your light area and your dark area. So you have one palette of tones for 'shadow' and one palette for 'light'. Some folks (Craig Mullins, Ron Lemen) say to avoid the middlest midtones as well.

    The reality is that when people say 'value contrast', they may not know what they mean, or what it takes to have 'good' value. I suspect that it has more to do with the composition of light areas and dark areas rather than the actual contrast of intensity. I think I read somewhere that Kevin Chen said that the least-used value in any composition is automatically the focal point.

    This is disorganized, but it has some good points:

    http://www.kissthetime.org/Day49/Light.pdf

    If you haven't already, read Loomis' section on value here, its a goldmine:

    http://www.scribd.com/doc/377389/And...e-Illustration

    Keep it up man, You're getting some good pieces done here.

    sketchbook...a kitten dies every time you don't comment

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  44. #476
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    good update HK, if i can add something to what as been said in the previous post.... you should keep in mind 2 values only, 1 for dark area , 1 for light area. Try doing some paintings this way... after that, add 1 value in the light area ( specular light ) and one value in dark area ( bounce light ) make sure the bounce light is still darker than any value you got on the light side, to keep the demarkation bewteen light and dark always evident.. otherwise your image will flatten. You can also consider adding that 5th value which would be the midtone i guess...

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  46. #477
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    Quike Garcia: Cheers dude.

    BludHund: Thanks heaps. I'm learning from working this character piece that I'm not thinking enough about the placement of value, and I'm also realizing that it's mission to keep all these factors in check.

    WhiteC: Thanks bud. I am starting to realize the importance of keeping to a limited amount of values.


    Phew, so much talk about values, lol.
    Almost done with the character piece, just need to go over some fine details.

    .:: Still Goin' ::.


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  48. #478
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    Damn good boxer value studies man, and you say you use SAI, how dose that compare with PS? That is, could someone familiar with PS pick it up easily?

    And the last Character is looking real cool, but I'd suggest giving him a more solid ground to stand on, instead of just floating in smoke there

    And thanks a bunch for the invite to the Sketchmeet this weekend. If it was any other weekend I'd love to come, but it just so happens I'll be in Australia from Friday for a week! But once we're into the new year things will start freeing up a bit.

    Cheers HK, keep updating mate!

    Quote Originally Posted by gutss View Post
    yesterday, God came to me in a dream and told me that if I don't become a comic book artist, he has decreed that I shall instead be a burlesque dancer.
    And I said, "But God, nice panties are so expensive!"
    And he said, "Welp, I suppose you better shut up and draw."


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  50. #479
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    Interesting character.

    My only suggestion is to maybe change the material around his thong? The center piece covering his manhood is okay. Just the string part looks like metal would be too solid to put on an move about. Maybe a chain, cloth, or belt?

    Make a sketchbook happy, feed it a tip to improve!

    http://conceptart.org/forums/showthread.php?t=85628
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  52. #480
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    Good poops as always HK. Getting serious with the detail in some places. Keep your foundation solid. Merry holidays!

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