Moai, I use PS7 too. I'll send you my brushes if you want.
Man, now I really want to go out and buy that Bridgeman book. I have the Dynamic Anatomy book by Hogarth, but I don't like it very much. I know Hogarth was an amazing comic artist, but his figures seem to have very strange proportions and I find it difficult to learn from figures that are so unrealistic.
Hey, I really like that robot BG! I'm sorry it took so many tries to get there, but It looks good now. It reminds me of Canada (with all of the lakes). The only thing I have to nitpick about it is that the robot has such strong lines that it contrasts a bit too much with the soft BG. Maybe if you made the cast shadow a little darker and more crisp it would help to integrate the robot a little bit more.
Katfayheirti- Sure! Send me some brushes. My email is firstname.lastname@example.org. I'll send you my humble assortment of brushes too, if you want. What I dislike about Hogarth is that sometimes his forms are so exaggerated and rounded and his contrast is so high that you have to shield your eyes. I'll work on that shadow. I've been distracted by a new art toy for the past two days.
Zbrush!! Damn, this thing is fun! I tried Blender and could barely produce a cube after several hours of tutorial reading, but I just got Zbrush yesterday and look what I've made already! This is more a testament to the program's design than my abilities. It's like painting in 3D; select one brush and pass it over the form and it raises bumps. Select another and it creates depressions. It's really fun! It was hard to learn at first, but I sampled several different tutorials, and now almost know how to do a few things. Here's my first project: the frogbear. It's some sickle-clawed, wall-eyed swamp amphibian.
First, I made a general form with the zsphere (basically a sphere that you can cause other spheres to grow out of, useful for sketching out shapes), and then changed it to a regular model (I think that's called a polymesh) and subdivided it, which just means I split all the polygons into smaller polygons, giving me a smoother model. I exported the first image shortly after I changed it from a zsphere to a polymesh. The head and shoulders are sculpted a bit, but the limbs and back end of the body are still unchanged. Changing the zsphere into a model created some very deep creases that I didn't intend to make. I got rid of some of them by basically just inflating, pushing, and smoothing the hell out of them, and incorporated some others into the design (like that big fold in the arm socket; it gives the creature an armored, rhinoceros-like quality). The creases that I got rid of left persistent seams that I can't git rid of; you can see them on the creature's temples and at the base of its neck. I kind of like them, but I would like to be able to get rid of them. Can anyone tell me how, or how to avoid the problem of the huge creases formed when I change a zsphere to a polymesh? And can anyone tell me if I'm using the right words?
After some more sculpting, I exported the rest of the images, which are just different views of the same thing at the same level of progress. I pretty much just made up the forms, muscles, and bones as I went. I think it's a pretty good fake.
So yeah, if any of yous know anything about zbrush, I'd appreciate the info!
Hey Maoi! The sketchbook looks great. The robot looks very spiffy, though I think I liked the idea of the more uneven topography it walked on in some of the earlier background versions. It creates some tension with its tiny, delicate feet and long limbs. Its either very nimble or very much in trouble!
I am completely jealous you got zBrush! Where did you pick it up? It looks like a lot of fun, and the little frog bear you made is great... it looks like one of those collector art toys.
Nice job all the way around. Always love seeing your anatomy studies.
Michael Jaecks- Glad to have you back here, man! Thanks for the comments. The uneven background just didn't want to work out for that piece, and my short attention span has moved on to other things by now. Like zbrush!
Here's some more work on the frogbear, and the beginnings of a sculpt of my Bulbasaur.
bad ass updates moai! I think all the color schemes above for your dragolope look great. keep up the good work
Anurizm- Thanks again, man!
Finally, another sketchbook update. Here are some robots, critters, and Bridgman studies for ya.
-Another sketch of my egghead robotroop, and his weapon. It turns out I don't really like to draw guns. Not for ideological reasons, it's just that they aren't that fun to draw. Also, some compositional sketches, some weird rocks from reference, and some doodles of another robot-type guy. The compositional sketches and robot-type guy are for another, larger piece that I was going to do, but I think I may have moved past it now. Oh well.
-Now skulls...skulls are fun. I like skulls. I like making up strange ones based on real ones. Also, a couple of so-so or gestural robot sketches, and some dragolopes "fencing" with their horns.
-I was dry of inspiration one afternoon, so I snooped through the old Daily Sketch Group topics and drew a couple. One was "Ground Vehicle Releases its Autonomous Probe" or something similar, and the other was "Thick-Bodied Biped has Four Heads atop Four Long Necks" or something to that affect. Then some Bridgman arms.
-More Bridgman arms.
-And more, with emphasis on the blacked form, and the elbow.
Where is everybody? This thread hasn't been this dead in months.
Anyway, here's some art.
-I'm doing ChoW this week. Yes, I really am. The topic is "The Puppeteer." Here's my design. I'm going to need to reference some things and play with the puppet design, but otherwise I'm very happy with it.
-I started a new ZBrush sculpture. This one is more simple than the last ones I attempted; just a head, rather than a full body. I posted a sketch of this same dragon a looong time ago (so long ago that it's back on page one, I believe). It still needs some work, and I'll probably have to figure out retopologization so I can fix those stretched-out polygons by his nose.
There you have it. I'll scan some more things and post them soon.
Come on, guys. My sketchbook's getting lonely.
-My puppeteer as he is now. This guy is harder than hell to paint. I'm kinda liking the way it's shaping up, but getting there is really frustrating. Concept-wise, he's a member of a mysterious sect in which the members are horribly mutilated, with their sense organs destroyed. So, they wear pale cloaks to hide their grotesqueness, and sense the world and communicate through puppets. The puppets, though crude-looking, are actually highly technological and linked to the puppeteer's nervous system. Why on earth do they do all this? I dunno.
-Sketches for yesterweek's CoW, the buoy. Didn't finish that, if that isn't just as surprising as all get out. Didn't really even start it, in fact.
-With this page, I finish the arm and move on to the hand. Even from the few hands I've drawn from Bridgman, the hands that I draw on my own have improved.
-More hands, more buoys, and some initial doodles of my puppeteer. Originally, he was just going to have a cloth draped over his face, or maybe over his shoulders, rather than his entire body.
-Yep, I'm reposting this. I've drawn more since I last scanned the page. Some puppet concepts, some critters, a rather Samus Aran-like character, and my cat, Cookie. She was standing on my sketchbook and gnawing on the end of my pencil as I was trying to draw this morning, so after I wrested my drawing materials from her I decided to draw her. Her head is too large in proportion to her body.
-Sketches for this week's CoW, the Yellow Bloodsucker. I like the creature on the bottom the best. Will I actually finish this one? I hope so.
Some really nice stuff you got here! Really diggin the zbrush sculpts. A question about it...is it easy to pick up? im thinking of picking it up as soon as i can afford it.
Really like the animal sketches aswell, nice clean lines. Keep posting man.
Thanks for stopping by, Renegade! About picking up ZBrush, the answer is yes and no. It's a hell of a lot easier to just jump in and making something that looks like something on your first try than any other 3D program I've used (not that I've used many), but once the rush of first making something wears off you realize that there's a lot to learn, and the recourses out there for absolute beginners aren't that great. It's a very fun program, though.
Monstakill- Thanks, man! Glad to have you back.
Here's what I'm currently working on. It's a Creature of the Week project, and the topic this time is Yellow Bloodsucker. I included some steps, because I know some of you like some insight into my process.
Step 1- This is actually several "steps" into the work, after a few different base sketches and a few false starts in the painting. This is right after I finished the first pass of the painting (the uber-rough pass), and I'd just started the more refined second pass.
Step 2- I learned from my dragolope that trying to maintain a marking pattern while roughing in the painting is too damn hard, so I just painted over most of the yellow with the darker gray secondary color.
Step 3- To easily get the yellow pattern back, I just made an overlay layer, slapped down some yellow, and then merged it down into my creature rendering layer. I did this now because all of my forms are defined now, albeit roughly, and all I need to do is refine and add detail. So now I'm cleaning up outlines, smoothing up rough brushwork, and adding wrinkles and whatnot to the skin texture. Wrinkles are fun.
great studies, love the way you use the pencil, great sketchy look and still very clean and smooth.
a joy to watch...
dkounios- Thanks! Here it is.
Stone- Thanks for the compliment.
Here's my finished CoW, plus the description. My description is probably longer than any two or three of the other descriptions combined. Hope you guys like!
concept: Dromaenovacula infernis
Dromaenovacula infernis is a creature that goes by many names. It has been called the hell ram, the devil trident, the rushing blade, and its scientific name, which roughly translates as "running blade from hell." Perhaps its most widely-used, if ineloquent, names is the yellow blood sucker, as it was called by the various primitive peoples of Pre-Ascension Earth. For the purposes of this brief essay, it shall henceforth be referred to simply as Dromaenovacula.
Originally from the colony-world Trantosia, Dromaenovacula is a liquivore, as are many predators on that planet. As one naturalist vividly put it, Dromaenovacula can be imagined as "a charging bull crossed with a racing cheetah, and given the feeding mechanism of a spider" (those unfamiliar with Earth-fauna, please follow the links at the bottom of the article). A powerful quadruped, Dromaenovacula is a creature designed for both speed and strength. Its main killing mechanism is its trio of cranial prongs. Using its head as a battering ram, its collides with its prey, snapping bones and piercing deep into its prey's flesh. Given its large mass of up to 150 kilograms and its maximum speed of 80 kilometers per hour (about 50 miles per hour), the impact of predator and prey causes a large risk of harm to booth. Dromaenovacula has evolved a number of adaptations to lessen its risk of injury. Its three prongs are sheathed in enamel, keratin, and tough, leathery skin, and the bone core has an interior latticed structure undiscovered in any other species, which lends the bone incredible structural strength. Its sensitive eyes can be retracted deep within their sockets to lessen the risk of being gouged or punctured by snapped bone. Dromaenovacula's spinal column, in particular, is a marvel of evolutionary engineering. It can be highly flexible to aid in speedy movement, but at the critical moment it can straighten and lock to give the collision with prey battering ram force. Interspersed between the vertebrae are packets of fluid which efficiently absorb impact. Because Dromaenovacula's head can be buried deep within the body cavity of its prey, its breathing orifices are located on its back, negating the risk of suffocation. As a side-effect of this adaptation, Dromaenovacula drowns easily and is hesitant to swim, a weakness capitalized on by its prey (including Pre-Ascension humans). Dromaenovacula aims for its prey's ribcage just behind the first set of limbs, where it can cause maximum damage to vital organs and cause the quick death of its prey, as any struggle while the creature is lodged shoulder-deep inside its prey carries a high risk of injury.
As already stated, Dromaenovacula is a liquivore. Under normal conditions on its homeworld, once its prey is dead, it pumps gastric juices into the dead body and then slurps up the resulting soup with an extendable proboscis. However, for the populations that existed on Earth, this was not the case. As any student of history will know, in the 24th and 25th century, Earth was recovering with devastating bouts of disease and warfare, and its population of only a few million lived in primitive savagery. A tiny fraction of that population, however, was an ultra-rich elite, including a hunting-enthusiast quadrillionaire who imported a small number of Dromaenovacula to Earth for his sport. The creatures escaped, multiplied, and caused legendary havoc amongst the poor Earthlings. Dromaenovacula is a highly intelligent, problem-solving organism, capable of communication, cooperation, and planned action. It proved quite the equal for those sad bands of Pre-Ascension humans. Anyway, Dromaenovacula's method of injecting its gastric fluids and waiting for its dead prey to dissolve proved impractical, as its enzymes were incompatible with Earth-animal tissues. So, Dromaenovacula simply drank up the vital fluid that already existed in its prey: blood. Its status as a vampire ensured its infamy in Pre-Ascension Earth history.
Love the last one!!!the skin and the colors are great!Love your work on ZBrush too!I tried to do something with it but i´m not very good with 3D and got bored...
great stuff as always!
cheers and keep on sharing!
BJ÷RN HURRI | CONCEPT ARTIST & ILLUSTRATOR
MY PORTFOLIO | HURRICANES DAILY DOODLES '12
MY EXCLUSIVE SKETCHBOOK
VIKING: BATTLE FOR ASGARD
THE OTHER BROTHERS
If anyone here recognizes the allusion Cyrano de Bergerac in the title of this post, then you must have taken the same AP English class that I took years ago. Sorry.
Camara- Thank you, my enthusiastic friend. I haven't been doing much with zbrush lately either.
drd- Why is this thread nostalgic? Please tell me.
Hurricane- I think this must be one of your clones posting, because how could you possibly have time to produce so much art and still reply to everyone who commented in your sketchbook? Thanks!
-More in-depth studies for the Blood Sucker CoW.
-This is Blinky, the brawny bio-bot. Say hi, Blinky.
-Doodles of various entities from Dan Simmons' wonderful Ilium novels. If you're a science fiction fan at all, read these books. Anyway, the Voynix are somewhat of a challenge to depict, since they're never openly described. I had to go by the various adjectives and descriptive words that were applied to them throughout the text. Voynix are fairly large, powerful, and incredibly agile entities that somewhat blend the line between robot and lifeform. They are metallic in appearance (though occasionally also described as "leathery") but are self-replicating and seem to have internal organs. Their hands are able to switch between manipulators and killing blades. I pictured the manipulators as a number of digits arranged in a ring around the "palm" of the hand, and are able to be arranged into different configurations to do different tasks. The killing blade emerges from the center of the palm. Also, a few sketches of Mahnmut, a moravec (a type of sentient robot with organic components, native to the outer planets of the solar system). He also isn't really described to my heart's content, so I had to use my imagination. I'm wasn't satisfied with these sketches.
- I'm pretty happy with this page. I drew a Mahnmut that I was happy with, at least in the body design. He's described as one meter tall, with a smooth face-plate with a visual strip running across it, and with arms and legs that articulate differently from ours. Also from the Ilium novels are the Little Green Men, also called zeks. They are small, humanoid, photosynthetic entities, green in color and transparent, with little particles and organs moving throughout the body. They communicate with each other by exchanging particles coded with information, and can only communicate with beings of different species by having those beings grip a heart-like organ inside their chests. This kills the LGM that does the communicating, but their particles are absorbed by other LGMs and their information is saved. Also, a character that I am happy with, even if his arms are too short.
-CoW doodles and hands.
-More hands, with some emphasis on the thumb.
-After spending some time studying Hogarth's Dynamic Wrinkles and Drapery, I pulled a character out of my ass and drew him. Hogarth's drawings in that book don't really lend themselves to being copied, so I just read and took some notes, then applied what I learned by drawing my own character, who I call the Space Cowboy. Part Dark Tower gunslinger, part Djurdjevician gas mask soldier of doom, and part clown (just look at his shoes), the Space Cowboy isn't a great design, and his proportions are bad. Really bad. His right arm is as long as his leg. The wrinkles aren't as good as they could be either, nor are the values. I like the big guns I gave him, though.
-These last three images are WIPs and sketches for this week's CoW. The first color option is based on the King Bird of Paradise, and incredibly beautiful animal that is poorly represented in photos on the internet. Look in the July issue of National Geographic if you want a nice image of this bird. The second color option is based on some sort of frog.
And there you have it.
i really dig your studies , but mostly i enjoy with how much love and epiphany your creatures are made, they remind me a bit of some works of finalfantasy series (dunno wich ..)
coloring process is coming along nicely.
hehe this is great to make it running like a wild animal
keep it up
aviable for fulltime and freelance
Sorry about my absence, Moai. I've been real lazy lately. And quite inactive in a few art communities, such as this. I'm not in the mood for critizicing, but once again you have amazed me with your creatures and studies. Keep up the amazing work!
Hey Man, glad to see youíre keeping yourself busy. Iím forcing myself to make up time so I can.
Havenít commented or critique in so long so Iím going to try and comment on most of what I missed.
Post # 253:
Really enjoyed the dragolope, his design and color is great. The only thing that stood out to me was the very bold contour line around him. One thing which Iíve notice is you get into doing a large scaled rendering and gets almost to much for you due to just being to of a ambition piece, and ether stop at a certain point and move on. I think Iíve mentioned this before previously on an older piece. I think you should try and plan how much time you want for a piece, and what you want to really do for it way before hand. I know for me I donít mind working on a piece for long periods of time, but it can start to bore you and you want move on to something else or even worse try to do multiple things all at once. I think if you better prepared yourself in the beginning of the process and allowed yourself extra time on a piece, the end results will even be better. Just something Iíve noticed.
I really like the self-portrait, its something different from you, and the color choice is nice, and makes it stand out. From the color choice is gives off a retro/hippi-ish/70ís feel.
Post # 255
Really strong studies, glad to see you keeping up with them. Iím still working through Loomis and Wolff now. I have Bridgmanís 100 hands book, and Iím enjoying it so far. Iíll be giving him a visit soon after Iíve finished through the others. Be interesting to see some humanoid characters to help mix up with all of the creatures and what not.
Post # 257
I really enjoy all the descriptions you said about the zoo, sounds like it was a great experience, makes me want to head out to one which I wanted to like two months ago. Can tell you had a lot of fun with the animal sketches and the line quality is loose and reads well.
Skipped to Post # 271
Iím really enjoyed the Tidewalker, and watching your progress. I think your last choice for the background worked out for it. Itís simple but doesnít take away from the robot. I think something that would be interesting would be to give him a more chaotic texture quality. Heís very clean and looks like he was just fresh built from the factory. Thatís nitpicking though, and I think this one turned out great.
Itís cool that youíre trying out zbrush, and experimenting with different things. Iíll be switching my focus in the next few months getting back into 3D more, but Iím still going to working on my 2D work as well. Damn both worlds I really enjoy both.
Post # 277
Great studies once again, really enjoy the animal skulls on the second page to the right, and also the bottom head below them, and that robot design. Like I said before you have a lot of gems through out all of your sketches, and I think they deserve more attention.
Post # 279
I think this post is one of my favorites from you. For some reason I like the puppeteer how he is, not sure why. I really like the fish creatures, like the left Ėcenter one the best, he has a funny expression. Really strong hand studies as well. Ha, love the puppet faces. Pretty much all of the concepts are awesome. For the last batch of sketches, I like the top one the most.
Post # 286
I really liked how the creature came out. I think what makes the piece great is the pose of the creature. Very cool, he kind of reminds me of a creature from Discovery Channels Alien Planet.
Post # 290
Cool to see all of the more in-depth sketches for the blood sucker creature. Its great seeing what inspires you and watching you depict the Voynix from the Illium novels. Really like the design of the top creature fifth page down, he stands out to me. Also great to see more of a humanoid character from you. Cool pose, and looks like your learning from those hand studies, they read well from him. As for the Space cowboy, itís good you already know where your mistakes are and everything. I think maybe just experiment more with humanoids a little, and this will allow you to apply what youíre learning from the Bridgman studies even more so.
Some great improvement since the last time Iíve visited. Your color work and illustrations are improving from each one you do. Also good to see youíre changing up your subject matter ever once in awhile. Another thing is maybe try to applying some of those anatomy studies you have been doing to some characters, they do still apply to a lot of your creatures, and I think it would be interesting to see some more character work from you as well. I know you surely have the creativity to do so. Again I apologize for being inactive for so long, but Iím back finally and Iíll try not to be gone for so long.
Wasker- Thanks! I'm pleased that my Bulbasaur rated in at three cool cats.:hip:
Goblinshark- Thank you.
Monsterkill- Glad to have you back, man! I know you have an update that I haven't gotten to yet, so I'll be over in your sketchbook before too long.
Yautja892- Thanks for all the crits and comments, man! If you don't mind, I've bundled all of my responses into a single, big, messy paragraph for you. Yeah, keeping motivated to stay working on one piece is a problem for me, especially when I get inspired to work on something else. It's something I'm working on. I've never heard of this Wolff you mentioned. Is that a good book to study from? The cleanness and shininess of the Tidewalker compared to its surroundings is definitely a little bit of a problem in that piece. I'm definitely going to start applying my anatomy and clothing/wrinkle knowledge to some more humanoid creatures and characters. I enjoy character work almost as much as creature designing, but I don't do it very often because of my lack of knowledge and design skills when it comes to costumes and whatnot. It's definitely something I'm going to do more of, though. Again, thanks for all the comments!
kovah- Hey, kovah! Thanks for stopping by, as well as for the compliments. To answer your question, all my digital work, except for some slight little things in a few of my very early pieces, is 100% Photoshop. If you see painterly brushes in my work, those are just custom brushes made for photoshop. I've tried working with Painter a few times, but it always seems that there is never a brush just right for the task that I want to do. I've only used Painter Essentials, though.
So, only one image for today. Actually, two views of a single image. This is the final for my Summer Plague CoW. This guy was really fun to paint, and I'm very happy with the results. Also for the curious, here it is full size.
Now a legally protected species and a successful tourist attraction, the Sauromander is in many ways a flagship species for Pogonoro. Tens of thousands of tourists flock to the small nation at the beginning of its Summer rainy season to see the baby Sauromanders wriggle out of the ground almost at the same moment in one of the great spectacles of nature. The Sauromander was not always so well-loved, however, as indicated by its local, colloquial name: araroco, the "Summer Plague."
Sauromanders are small (two feet in length when fully grown) herbivores, adapted for moist and heavily-vegetated environments. Though included with frogs and salamanders in the amphibian class, Sauromanders are of an evolutionarily distinct lineage and are not closely related to any extant species. This evolutionary distance is expressed in the large claws and hard beak, both unique among amphibians. As both an avid burrower and a generalist vegetarian, eating everything from leaves to fruits to nuts, both of these unique adaptations are put to good use. In addition to the beak and claws, the Sauromander has several other noticeable features. Its brightly-colored skin is mostly a ploy, an attempt to convince predators that it is poisonous and not good eating. In fact, the flesh of infant Sauromanders is slightly toxic, but all that remains in the adult sauromander is a slightly sour taste to the flesh, and poses no actual danger to hungry predators. The Sauromander's head features a noticeable bulge, which houses its large olfactory organs, and several antenna-like feelers, useful for feeling around in dark burrows or underbrush.
One of the most notable characteristics of the Sauromander, and what earned it the ire of Pogonoran farmers, is its strange life-cycle. During the Winter, Pogonoro's climate cools and dries, becoming inhospitable to the Sauromander. To ensure the survival of the species, the Sauromanders mate and bury huge numbers of eggs, and then most perish. When spring comes around and the soil begins to warm, the eggs hatch, and the infant Sauromanders begin the larval, burrowing phase of their existence. In this form, they pose a threat to the root systems of crops. With the onset of Summer and the rains, however, the young Sauromanders emerge from the ground en masse. Open air and sunlight cause the release of growth hormones, and the Sauromanders reach their full adult size in just a few weeks, with a corresponding increase in appetite. In the past, this spelled disaster for Pogonoran farmers, who would sometimes loose their entire crops to the ravenous creatures. So, in an effort to save their livelihoods, the farmers ran an extermination campaign against the Sauromanders, nearly driving the unique creatures to extinction.
What the farmers did not understand is that each species plays a part in the infinitely complex check-and-balance system of nature. Without the Sauromanders to eat them, weeds flourished, causing just as much damage to the crops as the Sauromanders themselves. Just before the species vanished altogether, it was placed under protective legislation, and the populations slowly recovered. A number of techniques were invented to protect crops from the hungry little beasts. One of the most successful was to place large piles of bitterfruit between the rows of crops. Sauromanders are typically not picky eaters, but the bitterfruit, which ripens around the same time the creatures emerge from the ground and is nigh inedible to humans, seems to be an irresistible treat to the small amphibians. With the Sauromanders glutted on bitterfruit, damage to crops went down sharply. This, and the incoming tourist dollars from rich Americans and Europeans, ensured the Sauromander's survival.
Last edited by Moai; July 2nd, 2007 at 05:54 PM.
Missed alot of good stuff! These are incredible!
The 3d renders are a treat, nice to see those great creature of yours 3dimensionaly also.
What can I say dood, Your too great at creatures!
The robot looks swell, great design!
Bard- Thank you so much, my friend.
redSpade- Hey hey hey! You in SLO yet? Anyway, in answer to your question, I've basically just been looking at great art, studying some art books, and using that inspiration and information to light a fire under my own ass to get some things done. And I'm finishing pieces too, not just working on them to a point and then moving on. Thank you for your complements!
No art today. I have a few picture ideas, so I'll get to work on one or the other of those shortly.
awesome to hear from you too man! thanks for the crits, they were very very helpful! im going to start doing that (desaturating pieces to study value).
my sister is moving there for college! so ill be around the weekend that she is moving to help her out. will let know you when exactly, because i dont know myself either. i think its sometime in september.