Sketchbook: Briefs-There's nudity in here! - Page 16

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  1. #451
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    Still working on Panels of the Week number 15.
    Name:  pow 15-2-1.jpg
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  3. #452
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    Inking and coloring over the next two days.
    Name:  POW 15-3-1.jpg
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    Name:  POW 15-3-2.jpg
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  4. #453
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    Page 2 and 3 inked. Coloring to come.
    Name:  pow 15 final ink 2.jpg
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    Name:  pow 15 final ink 3.jpg
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  5. #454
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    I went through extremely much to get these into a size that was small enough for attachment manager but large enough for POW. I hope they don't look like crap.
    Name:  POW 15-1 final.jpg
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    Name:  POW 15-2 final.jpg
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    Name:  POW 15-3 final.jpg
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  6. #455
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    testing the GIMP I just downloaded.
    File size was initially too large. Man! I love being able to toggle back and forth between different virtual desktops. Let's try it now. As you can see I have something like the dreaded lesnsflare I can use for all those helicopter explosions I am always drawing. I also have a super useful bell pepper brush.
    Name:  foolin around.png
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  7. #456
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    hey,
    you really improved from the first page to here. especially i like the drawings on the last page you did, the fisherman's wharf.
    I can't get the hang of the dizzy lines you did on your panel-stuff? With these dizzy lines a lot of details get lost.
    I like the way of your story-telling, I can follow the story good.
    The coloration of this story would be better if there were more shades and lights for more deepness and plasticity. The coloration look like it was made with crayons, wasn't it? I can see the strokes really clear in a lot of panels; you can prevent it if you doing more strokes in other directions on the same area (like: first one from up-down, second one left-right, third left hand lower corner-right hand upper corner). This way the strokes can't be seen that hard, because the paper absorb more of the color, so the white sites of the colorations that makes the strokes seen are more and more eliminated with every direction you take. And by the way your coloration is more powerful, the colors are more intensive!
    Oh man, I hope you understood what I wrote, my english is really bad =(

    well, hang in there!

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  8. #457
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    Ah... Thank you. I am never quite sure if I am improving or just going sideways. The dizzy lines were an experiment, but most people think they are a distraction so I won't do that a lot for illustration pieces. The coloring was colored pencils. I wanted to do digital but I saved the files to floppy disks when I scanned them on my old windows 98 computer. Then when I got them home to my Linux computer I could see that only about a quarter of each image was really saved before the floppy disk ran out of space so i had to go to the back up plan (traditional). I couldn't use gouache or watercolor since POW 15 is done with nonwaterproof ink. I am always still learning and I agree the way I have done this is a little too pastel and has distracting textures. I am hoping to solve a lot of problems once I get the hang of all the tools in my new programs. I guess I have to get a scanner that works on the same computer I draw with. The old Windows computer is too pathetic to burn CDs.

    Here is something that started in Open Office and ended in the GIMP:
    Name:  bricks.jpg
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  9. #458
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    Yes, but I think you shouldn't just focus on digital things. Traditional is also important, you shouldn't forget.
    About these dizzy lines... it's good to experiment =) Maybe it would have worked better if you had mix them better up with normal strokes and different thicknesses of the lines (you did that but in some cases i wished you had done the lines a bit more thin).

    On the last pic I like the rough light reflections and shades but I miss some details and sensitiveness.

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  10. #459
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    These are patterns from which I may construct digital hatching brushes. They are done in fineliner.
    Name:  patterns.jpg
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  11. #460
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  12. #461
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    Did you do this with traditional media? I mean with your hand? If yes... wow! A lot of work I think, but it looks good =)

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  13. #462
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    Yes. These are done on Strathmore paper with fineliner pens. Of course, I drew perspective lines in pencil first and have erased the pencil marks before scanning.
    Name:  basketweave.jpg
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  14. #463
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    Things get smaller in the end so u should do that not only with main lines but with with those smallest

    sujak nx
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  15. #464
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    All right, thanks. I'll try to remember. This is an adaptation of a scenario from 1984 by George Orwell.
    Name:  POW 16-1 wip.jpg
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    Name:  POW 16-2 wip.jpg
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    Name:  POW 16-3 wip.jpg
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  16. #465
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    Panels of the Week #16, Page 1
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  17. #466
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  18. #467
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    With inking the pages I like them much better than just from looking at the sketches.
    At the first site I would say there could be more contrast espescially in the hair. But I like the good form of her head and the shadows except of the lines that make it look like wrinkles and thus makes her look a little bit old or that she has some wounds. Her expression looks different from the sketch; now she looks kind of a little bit smiling. Did you do it by chance or did you turn your mind and wanted to make it a little bit ironic? Sorry, I didn't read the book so I don't know what's going on in there and in what context the person is etc... =/

    The next page is pretty good and the description of the text fits to the picture somehow. Only thing I want to criticize is the shadow of her smiling wrinkles - looks a little bit like a moustache. In this case it's better not to draw these shadows or make them not too intensive, I think =)

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  19. #468
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    1984 was about a no longer young man and a woman who I haven't really changed here. They live in a world where everybody is watched by cameras everywhere 24/7. Rationing is so tight that Smith can't find any new razorblades and so he has patches of stubble and perhaps a few razor cuts on his face. Anyway, he gets into this forbidden love affair and both of them end up getting sent to the torture chambers for it.

    With the Patriot Act and the fact that Obama and the Congress will have no choice to tax the crap out of everybody (or else devalue all our money through runaway inflation) I feel that 1984 is here now. The cameras on page 1 are all drawn from cameras I pass every day in my two block walk to work.

    I was particularly appalled by the recent ballot initiatives in three of our states that removed equal protection under the law from gay couples. I felt the need to speak out a little bit. In the lounge there has been a lot of recent talk about sexual idealization of females and about drawing females whose body types, outfits, or expression fall outside the teen age wet dream idealizations so often seen. I am attempting to portray Smith as a no longer young woman trapped in the dehumanizing police state where she cannot reveal her dissatisfactions even in her facial expressions for fear of ending up in the torture chambers (as what they call a "thought criminal"). I have imagined her as being unable to find much makeup and also being under naturally unflattering florescent lights, bravely trying to wear her fake smile as she struggles on forbidden to love. As you can see I am dressing them in jumpsuits instead of bikini armor.

    I am a straight man rather than a gay woman so I am hoping I can manage to do a sensitive and dignified treatment of this subject matter. At least I can know how Smith must feel in this world of cameras where rights are a thing of the past. I am no longer young and I am alone.

    I hope these touch ups I have done are an improvement.
    Name:  POW 16-1.jpg
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    Name:  POW 16-2.jpg
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  20. #469
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    weird style, i dont know what to think of it. are you after a realistic style? or is this an impressionistic style you've developed. i think the last one. and weird ass poetry too! im not artsy enough to dig this i guess, but dont mind that..

    cya

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  21. #470
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    I was a cubist for my first couple of years and then I was an expressionist, or at least I thought I was. Sometimes my oil paintings make people think I am a southwest impressionist or something. I am not really trying to create light effects by placing dabs of paint next to each other. I am trying to paint feelings.

    At shows, my drawings got the best reviews, and yet drawings (and prints) are the abused stepchildren of the fine art world. I am on here to try to be more accessible. To that extent I am going for a simplified realism. If I am drawing at a pace to crank out one of these pages in four hours or less there is no way I can do photorealism. I don't see why i would try, since that would rob me of any chance at a signature style as Mr. Solomon put it.

    Thank you for visiting my sketchbook. I hope you didn't find it a complete waste of time.
    Name:  POW 16-3.jpg
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    Last edited by arttorney; December 24th, 2008 at 12:30 PM. Reason: a misspelling
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  22. #471
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    I've been very busy at work, but I still draw a bit on the side. Here is some easy read pleading paper I made last night. In a couple of days I'll have my two pages for POW 17 ready, and perhaps can show the Victorian borders with "coins coupee" I am drawing that I'll put a professional announcement of mine into later with calligraphy. I won't put the announcement words into it to show here because I don't want to spam the boards.
    Name:  easy read pleading paper.jpg
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  23. #472
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    Here is what I rushed out for POW 17. I hope it doesn't burn your eyes. It is page 4 and page 5 of the three pages I made above for POW 16.
    Name:  POW 17-1.jpg
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    Name:  POW 17-2.jpg
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  24. #473
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    Victorian Letterhead.
    Name:  victorian letterhead.jpg
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    I have been trying to do my Panels of the Week for 4 hours or less a page to see what I would be able to crank out if I had a job producing 22 pages of pulp a week. It's pulp all right. For POW 18 I am planning to try doing about two days a page like I have heard many United States style comics guys say they do. I hope to provide you guys with some improved stuff to look at this time.

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  25. #474
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    I did a spot of life drawing with a ball point while waiting for my hearing this morning.
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  26. #475
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  27. #476
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    My third chess piece for Industrial Design of the Week.
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  28. #477
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  29. #478
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    Daily Sketch Group #1437 a feasting warlord chokes on the poisoned mushroom pie.
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  30. #479
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    Heya attorney

    I gotta admit the sheer body of work you do is puzzling.
    But I gotta ask too: Why don´t you do some more persistent studies
    and exercises? There are a few basics in shading and perspective and
    stuff that with your verve should be relatvily easy to pick up. Or don´t
    you want to? I mean that´s fine if it is intended. But since the mos ppl
    here are constently trying to improve and favor a more realistic stlye
    I tend to wonder. You have an kinda in-your-face-quality in your work that could really benefit from a little more substance imho.

    just thinking here. No offense intended.

    A tutor once said to me: "Let your mind go!" and it didn´t come back.

    Wolf@WorK aka Sketchbook

    my Heavy Industrie, Military and Steampunk References/Textures (updated Oct 2012)
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  31. #480
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    I don't have a finished drawing to post today, but I didn't really want to let this go for very long. You are one of my longest running and most helpful sketchbook friends, bbwolf. You may say what you wish. If I didn't care for criticisms I wouldn't go to the trouble of putting stuff on the internet. If I just wanted to hear how great I am, I would just show my drawings to my brothers and sisters. There is value inherent in a good criticism. Others may chime in about this rant, if they wish. I am definitely at a crossroads.

    I don't fully understand some of the things you said but I think they are important. The "in your face style" is very intentional on my part because for years (even before I came on CA) I have been trying to make the kind of paintings that take the viewer by the shirt collar and work his brain over. I felt that was substantial and I would do anything to avoid painting a bunch of vacuous zombies like that Alta-Tadema guy did. (sp?)

    Re Substantial-Unfortunately, a member of the viewing audience feels that substance is lacking and so I am apparently dropping the ball somewhere. If you come back, do you mean by "substance" that I should actually take my time and render a decent image? If so, I would tend to agree. (More on this below). If you mean that I am just drawing a bunch of nonsense, I am aware that a lot of people are having trouble figuring me out and I am desperately trying to figure out how to reach a common ground with people. I am not very good at that, but I am trying.

    Re body of work- I am trying to keep drawing and painting notwithstanding the vagaries of a difficult life. Some of the things, such as the sculptures, I did because I still wasn't sure I had found my true and full voice. I now know that sculpting is not really my cup of tea. Some things are simply because I need to draw and yet also to try to get other things done. I needed to send out a huge number of professional announcements recently because the law firm I am at is unstable, my brother living in my house just got his stupid ass fired (and he was not paying rent properly even before that), and yet in all this I can see enormous opportunity for me if I reinvent myself as a bankruptcy attorney. Of course, the public must be told so I can do some volume business and make the money I need. I am now 53 and I can therefore count on my fingers and toes how many years it will be before I need to make major medical expenditures. I cannot afford to be broke. For myself, though, I cannot afford not to draw. Hence the letterhead, business card, and pleading paper efforts. I am trying to solve the question of how to kill two birds with one stone sometimes.

    Re persistent studies- I think this relates to the drawing of things substantial. I think the community activities and Daily Sketch Group are very valuable and I get exasperated that people won't do them. The activities will go away if they are not supported. I couldn't hang out here if this place just turned into the Finally Finished section and the lounge. I'm just not enough of a fanboy. Regrettably, my efforts to provide entries for under-represented community activities often has me drawing things I am not good at drawing and drawing them too fast. Thus my body of work as seen in this sketchbook is of uneven quality. Since I make an adequate living and now see the path to becoming relatively wealthy open before me, I was not really on here looking for fanboys any more than I was on here looking to be a fanboy. Some systematization of my studies would no doubt do me some good. I have an anatomy book to copy out. I can't do much outdoor stuff right now because of certain pressures inherent in my career and domestic pressures. I would like to be very good indeed, but what I would like to be good at is neither a concept artist nor an illustrator. I understand that people drawing plaster casts of feet are not doing so because they are looking to become professional plaster foot draftspersons. It is a tool. I had thought working away at community activities was also a tool, but perhaps it is a tool that has grown dull with excessive use and misuse.

    Re perspective and shading- In my drawing class I proved capable of doing this stuff right. I think the problems probably stem from me half-assing too many things to get them done in a fast time frame. I aim to take more time with things in the coming year.

    Re realistic style- Not really a major goal for me. I have a camera that can do that. Still, I am trying to be more realistic than I am. The studies would probably help with that (as would the process of taking my time). Some of the distortions are intentional. I am sorry to put everybody through those but I don't really know of an expressionist website to go to where there is honesty about criticism like there is here. I just wish there were more expressionists on here. (I doubt if the admins share that wish, but there it is).

    [/rant]

    Last edited by arttorney; December 24th, 2008 at 01:45 PM.
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