Sketchbook: Gloominatis stuff -January 28th - Page 30
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Thread: Gloominatis stuff -January 28th

  1. #871
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    hey

    hey Gloominati

    I do have a limited knowledge of the english language.

    so i speak in german.

    grüß dich ist schon ne lange zeit her das ich dir geschrieben habe hatte damals hier nen anderen nick. Hatte damals nen anderes sketchbook. Es freut mich das du wieder da bist und das du solche riesige schritte gemacht hast das freut mich für dich. Bist du eigendlich noch in der RSAK ? und wen wie läuft es ?

    naja vieleicht schauste ja mal bei mir vorbei würde mich sehr freuen .

    LG Efru

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  2. #872
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    Sickbrush: you're welcome man

    MAcTire - thanks dude, glad you like it!

    verehin- YEAH YOURSELF, MATE!! (Dude your stuff is so awesome!!)

    jessibelle- glad to be back thank you!

    beelow- thanks

    Big Efru- Hi, bin mri nicht sicher ob cih mich richtig erinnere. wie war denn dein alter nickname. hatten wir ma über ICQ geschrieben?

    SOOOOOOO in case you don't care about the bigass text which will follow, I wanna just mention, that I uploaded the Fullres PSD files, with some of teh layers still intact for you to download. So if you're interested in seeing some fullres proces check it out :

    http://cgbrush.org


    aaaaaaaand here we go

    Pictures first, rant will follow:

    Name:  knight.jpg
Views: 1286
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    Name:  knight2.jpg
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    cranking out some metal
    Hi guys. In order to pull off one new personal piece, I decided to spend some time doing some random armour studies.
    It's alsways fascinating experiencing how much there is to learn just from photostudies alone. by far the most fascinating part actually comes in retrospective after having done the study. Before I did quite a bunch of those I thought that I knew how to render metal, and armor and stuff like that. looking at this thought now it's just sooo ridiculous that I had this opinion. in other words: I learned so much doing these studies that it isn't funny anymore, and I am sure if I do some more of those I will be blown away the same way again, it's just nuts and one more proof HOW neverending this whole journey actually is (yeah I know that sentence didn't really make sense but I think that it kinda fits nevertheless).
    So actually I don't know if this is of any interest to anybody but I figured it might be kinda interesting to actually write down the "major" things I think I've learned from doing these, so maybe it might help for some who are already up to make these discoveries, and maybe some of you might notice mistakes in my thoughts and correct me if I am wrong.

    So when I started these I wanted to focus on that entire "environment reflection thing" on armor in general. like when you have highly reflective metal like chrome youn will have this "horizon reflection"-thing going on, like on the helmet of the knight in the first piece. I wanted to see where it happens and when it happens and to witch extend it happens concerning the structure of the metal itself.

    Now maybe this is even too basic to be mentioned but thinking about it, putting this really clearly on the table for me is just so important since it is a basic principle, it needs to be understood in order to be able to render not only highly reflective armor but to understand how light in general bounces around.

    First: This "horizon thing" happens in every outdoor scenario, EVERYWHERE, but sometimes it cannot be seen on first sight.
    When painting this chrome armour it is as obvious as it's gonna get. Basically there are two things to be reflected by the armour: blue sky, green grass. Every part of the armour is reflecting teh part of it's environment it's facing towards. This is most obvious on the helmet. Teh upper part, facing the sky, reflects the sky, the lower part, facing the ground, reflects the grass. The horizon "wraps" around the form of the helmet according to the form itself and the perspective it's viewed from.

    Soooo keeping this principle in mind you can see that ti also applies to the helmet in the seccond study but not as obviously as in the first study simply because the metal isn't as polished as in the first study, so not bein able to giving these clean reflections: The reflections of the sky, clouds and the green ground are way more diffused. Also the reflectioms are in themselfs distorted because of random bumps and scratches in the armor.

    BUT (and this is the important part that needs to be taken away from these studies) ALL the reflections which can be observed in the first study are still there in the second, but they are more diffuse and distorted.
    AND this needs to be hammered into the brain: these reflections, or better: the light causing the reflections (sun, sky ground) is EVERYWHERE, it's even in the cloth and the brown west but they reveal themselves in different ways, cloth and metal interact in very different ways with the same lighsources, this is why we can distinguish between armour and cloth in a picture.
    it really is all about finding out what LIGHT DOES TO STUFF, rather than trying to paint stuff "as it is" or as we think it is.

    Again, obviously this is all petty basic stuff but even now, having been into painting for some years now it is still so fascinating to me seeing these basic powerful principles of light revealing themselves in front of my eyes, allowing me to see the stuff I've been seeing all the time with entirely new eyes and from another perspective. It just feels so good taking stuff out of that area which you've kinda taken for granted and experience it conciously and being able to appreciate the simplest stuff in a much much much greater way.

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  4. #873
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    This is really amazing! I have never actually seen someone paint armor like that, reflecting the environment from the steel. Very perceptive indeed!

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  5. #874
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    Great to see you back and posting here man. Those armor studies are kicking ass, and I appreciate you putting down some notes about what you learned, very useful.

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  6. #875
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    I have to say those armor studies look spot-on and terrific. I really like your brush strokes. Keep going, I'm liking everything i'm seeing

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  7. #876
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    "It's alsways fascinating experiencing how much there is to learn just from photostudies alone. by far the most fascinating part actually comes in retrospective after having done the study. Before I did quite a bunch of those I thought that I knew how to render metal, and armor and stuff like that. looking at this thought now it's just sooo ridiculous that I had this opinion. in other words: I learned so much doing these studies that it isn't funny anymore, and I am sure if I do some more of those I will be blown away the same way again, it's just nuts and one more proof HOW neverending this whole journey actually is (yeah I know that sentence didn't really make sense but I think that it kinda fits nevertheless)."

    Totally with you there man.

    sb most art copied to page 1
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  8. #877
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    Excellent studies, man. Thanks for the insight; very helpful to some of us more lazy artists.

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  9. #878
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    Very nice studies. And I enjoyed reading your thoughts on them, would be cool if more people did that because I love to read what going on in an artists head!
    Some advice, if you have a 3d program I would suggest making some reflective objects along with non reflective and just move them around and see how it works. Working with 3D programs helped me alot in different areas of painting. Reflections is one. And forms is another, youve probably seen contes post on how he does his studies, it teaches you that basically. Anyhoo, look forward to more studies

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  10. #879
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    Thank god your back i love looking through your old stuff, the armour studies look fantastic, and your thoughts are insightfull. Keep posting im subscribing

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  12. #881
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    p sage is offline in pursuit of hot lines Level 14 Gladiator: Dimacheri
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    "O_O" is right

    Nice learnings and result-ings

    Thinking connects desire with creation.
    How good are you?

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    Juki - thank you

    Jasper_- thanks a lot man. dude your stuff rocks!!

    Minelo- thanks !

    Velocity Kendall- cheers

    Shadow Stalker- haha thanks dude!

    Malakuko- thanks man, yeah I have actually thought about getting more into 3d, jsut can'T seem to find the time though

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    p sage- thank you

    Hi everyone.

    First the images, then the notes
    You can download the fullres PSD files on my blog!! Check them out : http://cgbrush.org . I have split these images up in ridiculously many layers so that you can check out the process (jeez it was so tempting to just merge everything )


    Name:  clouds_3.jpg
Views: 1101
Size:  145.7 KB
    Name:  clouds_4.jpg
Views: 1094
Size:  80.8 KB

    Soooooooo it's weekend again, time for some updating. First of all sorry for this kinda lame post but I've been busy with personal portfolio work which is not ready to be shared yet and all the other studies I made just suck ass, so there's no need to share these.
    So here we go with some better ones and as always the fullres PSD files.
    Since all the cloud studies I've been doing recently included some crazy lighting and colors I wanted to go with something more subtle for now, meaning clouds under normal daylight conditions.
    It's fun studying something you have never actually done a study of before, because you don't even know what to watch out for, all the principles of light, texture, drawing etc...which pply to this kind of lightsetting and this type of clouds reveal themselves during the process. This si actually the reason why the first study took ridiculously long for the actually result (around 3 hours) and why the seccond one took only a fragment of that time (around half an hour).


    So what is it that can be learned out of these/what did I learn out of these:

    The first and most important thing which I learned is actually almost everything you need to get the character of the subject. knowing this you can actually use not more than 5 broad brushstrokes to show that you are painting a cloud in this particular lightsetting.

    So first of all:
    The lightsetting: in both studies, there is basically a standart more or less clear sky lightsetting, meaning that there are two lightsources : the sun which acts like a strong warm lightsource coming from one direction and one diffuse lightsource which is the cold blue light coming from the sky.
    In general this means that every shadow area the sunlight creates will be filled with the blue light of the sky.
    BUT (and this is what needs to be taken away from this study):
    This would be true if we didn't have clouds but solid objects which won't allow light to pass through them. So if we had a big white cueball hanging around in the sky there would be a side lit by the sunlight and a shadowside which would be filled with a dark grey-blue color.
    But when you look at clouds in this lightsetting something else can be noticed:
    The parts of the clouds which are directly hit by strong sunlight don't just fall into blueish shadow as the form turns away, but the shadowcolor becomes waaaaay warmer at first on the shadowside for the most part and then when it turns away even more, getting even darker it eventually turns into this dark blue tone.
    So why is that?
    Clouds are not solid objects but they actually lett light get inside where it gets scattered. So there are two possibilities:
    1. When the mass of cloud is really big the subsurface scattering happening in the cloud won't be really visible, the cloud just kinda swallows all the light and shadows will behave almost completely like on a solid object.

    2. When the mass of clouds is not that huge, it can happen that light will hit the cloud, get inside, scatter in all directions, become really difuse and actually exit the cloud again on the other side.
    when this happens the result will be a warm shadowcolor on the cloud.
    So what does happen, and why is the warm shadowcolor this warm?
    Sunlight is warm light actually it can be said that it's kind of yellowish (it can have a lot of different hues, but this would go too far right now). But when sunligh is really intense it appears almost white. Like when it hits a cloud, the lit side appears to be white , and when we look at clouds in real life clouds lit by sunlight appear really white and sometimes it's just as hard to look at them as looking directly into the sun. so even if it appears to be "just" white, it it is warm. the lit side of a cloud will rarely be pure white but mostly the lightest area will be a very light, very desaturated yellow.
    SOOOOOOOOOOO again what happens with a cloud with a warm shadowside (final version ) :
    - Intense warm sunlight hits the cloud= light side - very light-very desaturated yellow
    - Sunlight actually travels inside the cloud: scatters in all directions = gets weaker and darker and actually makes the warmth and "yellowness" of the original intense sunlight visible again when it's able to exit on the other side of the cloun.
    --> warm shadowside

    - cloud turns away from light even more -> the distance for the sunlight traveling through the cloud gets bigger, so that it might not be able to exit on the other side of the cloud again
    --> the "actual" shodow kicks in (meaning complete absence of sunlight) --> result is a "normal" dark blue-grey formshadow.

    oooofff okay so this explains how it can be possible that the shadowside fo a cloud lit by sunlight can appear to be really warm
    So this was the big thing for me when I painted these studies, there is quite a bunch more stuff that I noticed which needs to be taken caree of when painting stuff like that:
    1. when we have the case that sunlight exits the cloud on the other side creating a warm shadowside, it also appears that the cloud itself seems to be kinda glowing on that side. this happens because teh lightscattering happening inside the cloud forces the light to exit the cloud not in the direction it entered but in all kinds of directions, so the warm light inside and exiting the cloud is very diffuse, creating this glowing effect
    2. The point of determining HOW warm the scattered sunlight really is is especially interesting in this scenario:
    When we look at these images there are basically only two colors : light-desaturated yellows for the light (darker yellows for some shadowareas) and eevrything else which lies in shadow and the sky itself will have a blueish tone.
    So according to the laws of complimentary contrast every color which is next to a blue hue will appear to be shifted towards a warm, yellow,orange tone.
    This happens here as well and when you download th PSD file you can colorpick it:
    Even though the warm yellowish tones on some shadows appear to be reall really warm most of them are surprisingly grey, some of them are even completely gray, but because of all that bluie stuff surrounding it they appear to be much warmer than they really are. This obviously does only happen in this bluesky setting but it's definitely somethingt o watch out for when painting something like this in order to get a realistic effect.

    Soooooooooo this is basically it for these studies. One more thing I want to mention here is that all these notes and observations MUST be interpreted further in Order to get the basic principles lying behind it in order to really learn something. So everything I wrote in here can be applied or at least must be searched for in every other painting (including clouds for example). No matter wich color the sky is, or which color the primary lightsource is, the stuff that happens with the light is always the same:
    -Light hits the object and gets reflected
    - Parts of light travel into the object -> light gets scattered, thus the color tends to shift towards a darker, more saturated color of the lightsource -> Object "swollows light" or Light exits on the other side of the objet
    - "real formshadow" in areas where light of the primary lightsource can't travel through the object and thus stays invisible -> formshadow's color illuminated by the color of seccond lightsource (+ reflected light)

    Oh man what a post again, but I gotta admit that I kinda enjoy writing down the stuff I've learned from these, even just for myself. At this point I want to stress again that all these notes are based on my own observations, I don't claim at all that they are completely flawless or that there isn't anything to add, so if you see that I missed or misunderstood something, please point it out!!



    Soooooooo it's weekend again, time for some updating. First of all sorry for this kinda lame post but I've been busy with personal portfolio work which is not ready to be shared yet and all the other studies I made just suck ass, so there's no need to share these.
    So here we go with some better ones and as always the fullres PSD files.
    Since all the cloud studies I've been doing recently included some crazy lighting and colors I wanted to go with something more subtle for now, meaning clouds under normal daylight conditions.
    It's fun studying something you have never actually done a study of before, because you don't even know what to watch out for, all the principles of light, texture, drawing etc...which pply to this kind of lightsetting and this type of clouds reveal themselves during the process. This si actually the reason why the first study took ridiculously long for the actually result (around 3 hours) and why the seccond one took only a fragment of that time (around half an hour).


    So what is it that can be learned out of these/what did I learn out of these:

    The first and most important thing which I learned is actually almost everything you need to get the character of the subject. knowing this you can actually use not more than 5 broad brushstrokes to show that you are painting a cloud in this particular lightsetting.

    So first of all:
    The lightsetting: in both studies, there is basically a standart more or less clear sky lightsetting, meaning that there are two lightsources : the sun which acts like a strong warm lightsource coming from one direction and one diffuse lightsource which is the cold blue light coming from the sky.
    In general this means that every shadow area the sunlight creates will be filled with the blue light of the sky.
    BUT (and this is what needs to be taken away from this study):
    This would be true if we didn't have clouds but solid objects which won't allow light to pass through them. So if we had a big white cueball hanging around in the sky there would be a side lit by the sunlight and a shadowside which would be filled with a dark grey-blue color.
    But when you look at clouds in this lightsetting something else can be noticed:
    The parts of the clouds which are directly hit by strong sunlight don't just fall into blueish shadow as the form turns away, but the shadowcolor becomes waaaaay warmer at first on the shadowside for the most part and then when it turns away even more, getting even darker it eventually turns into this dark blue tone.
    So why is that?
    Clouds are not solid objects but they actually lett light get inside where it gets scattered. So there are two possibilities:
    1. When the mass of cloud is really big the subsurface scattering happening in the cloud won't be really visible, the cloud just kinda swallows all the light and shadows will behave almost completely like on a solid object.

    2. When the mass of clouds is not that huge, it can happen that light will hit the cloud, get inside, scatter in all directions, become really difuse and actually exit the cloud again on the other side.
    when this happens the result will be a warm shadowcolor on the cloud.
    So what does happen, and why is the warm shadowcolor this warm?
    Sunlight is warm light actually it can be said that it's kind of yellowish (it can have a lot of different hues, but this would go too far right now). But when sunligh is really intense it appears almost white. Like when it hits a cloud, the lit side appears to be white , and when we look at clouds in real life clouds lit by sunlight appear really white and sometimes it's just as hard to look at them as looking directly into the sun. so even if it appears to be "just" white, it it is warm. the lit side of a cloud will rarely be pure white but mostly the lightest area will be a very light, very desaturated yellow.
    SOOOOOOOOOOO again what happens with a cloud with a warm shadowside (final version ) :
    - Intense warm sunlight hits the cloud= light side - very light-very desaturated yellow
    - Sunlight actually travels inside the cloud: scatters in all directions = gets weaker and darker and actually makes the warmth and "yellowness" of the original intense sunlight visible again when it's able to exit on the other side of the cloun.
    --> warm shadowside

    - cloud turns away from light even more -> the distance for the sunlight traveling through the cloud gets bigger, so that it might not be able to exit on the other side of the cloud again
    --> the "actual" shodow kicks in (meaning complete absence of sunlight) --> result is a "normal" dark blue-grey formshadow.

    oooofff okay so this explains how it can be possible that the shadowside fo a cloud lit by sunlight can appear to be really warm
    So this was the big thing for me when I painted these studies, there is quite a bunch more stuff that I noticed which needs to be taken caree of when painting stuff like that:
    1. when we have the case that sunlight exits the cloud on the other side creating a warm shadowside, it also appears that the cloud itself seems to be kinda glowing on that side. this happens because teh lightscattering happening inside the cloud forces the light to exit the cloud not in the direction it entered but in all kinds of directions, so the warm light inside and exiting the cloud is very diffuse, creating this glowing effect
    2. The point of determining HOW warm the scattered sunlight really is is especially interesting in this scenario:
    When we look at these images there are basically only two colors : light-desaturated yellows for the light (darker yellows for some shadowareas) and eevrything else which lies in shadow and the sky itself will have a blueish tone.
    So according to the laws of complimentary contrast every color which is next to a blue hue will appear to be shifted towards a warm, yellow,orange tone.
    This happens here as well and when you download th PSD file you can colorpick it:
    Even though the warm yellowish tones on some shadows appear to be reall really warm most of them are surprisingly grey, some of them are even completely gray, but because of all that bluie stuff surrounding it they appear to be much warmer than they really are. This obviously does only happen in this bluesky setting but it's definitely somethingt o watch out for when painting something like this in order to get a realistic effect.

    Soooooooooo this is basically it for these studies. One more thing I want to mention here is that all these notes and observations MUST be interpreted further in Order to get the basic principles lying behind it in order to really learn something. So everything I wrote in here can be applied or at least must be searched for in every other painting (including clouds for example). No matter wich color the sky is, or which color the primary lightsource is, the stuff that happens with the light is always the same:
    -Light hits the object and gets reflected
    - Parts of light travel into the object -> light gets scattered, thus the color tends to shift towards a darker, more saturated color of the lightsource -> Object "swollows light" or Light exits on the other side of the objet
    - "real formshadow" in areas where light of the primary lightsource can't travel through the object and thus stays invisible -> formshadow's color illuminated by the color of seccond lightsource (+ reflected light)

    Oh man what a post again, but I gotta admit that I kinda enjoy writing down the stuff I've learned from these, even just for myself. At this point I want to stress again that all these notes are based on my own observations, I don't claim at all that they are completely flawless or that there isn't anything to add, so if you see that I missed or misunderstood something, please point it out!!

    -----------------------
    Available for freelance work! contact me via : cgrobelski@gmail.com

    PORTFOLIO

    cgbrush.org

    deviantart

    Follow me on Twitter!!

    aaaaaaaaand

    friend me on Facebook!!!!

    .....bitches!

    Finally Finished

    Da sketchbook
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  15. #883
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    Greaaaat, thanks, subscribed!

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    Wowzers, that metal rendering just blows my mind.

    Multi-class - Programmer / Artist

    My sketchbook -here.

    My indie gamedev blog - here
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    WOWWWWWW
    really awsome work!amazing!

    good good study,day day up!

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    sketchbook of manvin
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    my exp bar filled after your thread. amazing study force mate. i like the way you deal with your journay and share with us =) thanks for that. your DA link not working if you still have one.


    please visit my page and help me.
    or deviantart
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    Inspiring! thanks for the writeups on your studies, extremely informative and helpful.

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    matejkovacic- thanks

    Naked Ninja- thanks, cool to hear that

    manvin- thanks

    weashell- niice, glad I could help oh and thanks for pointing out the issue with the link. it's fixed now

    Suprore- thank you

    sooooo finally a new personal piece. had huuuge fun painting it and think I've leveled up quite a bit with this one. Gonna upload some steps later on my blog, so stay tuned: http://cgbrush.org

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    Available for freelance work! contact me via : cgrobelski@gmail.com

    PORTFOLIO

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    deviantart

    Follow me on Twitter!!

    aaaaaaaaand

    friend me on Facebook!!!!

    .....bitches!

    Finally Finished

    Da sketchbook
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  22. #889
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    Woah....seriously impressive armour drawings.

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    Wow that armour study is wicked!

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    Oh yeah and thanks for sharing the work process on the dragon piece it's coming on real sweet!

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  25. #892
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    Goddamn !! i dont have words about your amazing progress..seriously man, what an incredible thread ! just WOW !

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  26. The Following User Says Thank You to shyamshriram For This Useful Post:


  27. #893
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    great sketchbook man x__x'

    "What is a cynic? A man who knows the price of everything and the value of nothing." Oscar Wilde

    MY_SKETCHBOOK
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  29. #894
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    The rendering on this last one is fantastic, so realistic. The composition is the only thing that seems.... odd? Otherwise, great job, man.

    SHADOWBOOK | BLOGSPOT
    Looking for critique!
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  30. #895
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    Thank you for the comments on reflections, I found that really helpful =) I'm sorry I don't have anything to add cuz your painting is awesome! =) Cheers =)

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  31. #896
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    killin it, this thread is inspiring
    keep having fun learning
    -Jamie

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  32. #897
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    Man, I LOVE YOUR SKETCHBOOK! You've made a huge amount of work and your drawing&painting skillz improved a lot since 2006 and even in comparison with 2009! And thank you very much for sharing your progress, psd files and thoughts, it's really very useful! Keep up your great work!

    deviantart accountsketchbook

    ★ may your pencil always be sharp except for when you need it blunt ★
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  33. #898
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    fantastic studies on those armor ref!!! Keep up the great work

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  34. #899
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    what the fuck! delicious, man...

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  35. #900
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    Thanks a lot for sharing your studies! I was tempted to do one myself now, but it looks nowhere near yours. Need to update later I might also try to study some armor now, haha!

    The finished painting looks insane. I love the shiny armour, your studies really seem to pay off here. I also like how you worked on the edges and the light effects of the sword. Great work! Keep it up and definetly keep sharing your thoughts

    “Nothing in this world that's worth having comes easy”

    My Sketchbook DeviantArt


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