Man I just realized that all that comments that you make in someone else's Sb's have actually some kind of meaning and are far from the trite "great! keep doing it" or "awesome stuff" you know..ass kissing. Thanks for taking the time to actually think about what you're going to write. CA.org and other art forums need more people willing to blatantly give critiques rather than just empty complacent words.
Also thanks for posting updates on FB..It makes me feel like shit when I see that you (or anyone) have done lots of studies on a given day whereas I've done nothing, it encourages me to push even harder the next day to compensate the time lost. As my taekwondo trainer used to say "for every day that you don't train, there's someone else out there working his/her ass off"
Fuck it, I'm doing it, by February 1st I will move from a big comfortable appartment back to a little shitty one in order to save up even more money so that I can definitely quit my job without any urgent financial needs by the end of next year.
If this is what it takes, I am doing it, no questions asked!!
hey, you got a great sketchbook here, very inspiring. Cant believe i needed until today to find it i especially love all your studies, very well done and it badly reminds me that i should do much more studies too...
Wish you good luck with freelancing and leaving your old job behind you, i think its definitely worth it and i hope it pays off for you.
Hi guys. A new piece I've been working on teh last few days. Had huge fun painting it, especially since I chose to focus to experimanet and do some stuff that I haven't done yet, trying to find some new exciting stuff, which definitely worked. So without further due, here we go
Beautiful work. I think i definitely see you reaching Brad Rigney level on the rendering in no time!
You have grown alot the last 2 or so weeks in terms of conveying a sense of depth. Keep an eye out on how edges are softened with spatial depth. Also the dagger is a bit flat i think its because the highlights arnt as specular even though its the closes thing to the viewer. It should either (IMHO) have the strongest highlights or you could use the fog to create lost edges to downplay it.
The back shoulder/arm looks odd and flat. I would almost rather have it lost in the fog or not present at all for this posture. The hip as well.
Spend some time studying mechanism and machines. I notice that the armour your character is wearing is flexing in an unatural way that would be impossible even for the lightest plate armour. For an advertising illustration thats totally passable because your rendering is done with expertise. But i think that as a designer we should be careful to follow some sense of rules regarding the physics of movement in terms of smart character design.
Remember that hue shift happens as things recede in space. I think that will allow your figure to stand out and will give you more room to play with how your specular highlights have color variation.
Very strong piece. You are definitely kicking ass. I would like to see you do something with foreshortening and full/group figures. More elaborate environments could take your work to the next level. Just spending more time in the preparatory phase so that you begin to lose the sense of arbitrary aesthetics as your continue to grow as an illustrator.
I respect you as an artist and hopefully you know i think very highly of you. I believe that a helpful critique is more helpful than just telling you that you're great (which you clearly are!)
Im gonna refer to a slightly old post of you
#933 what you say about comfort zone, really expressed something I've been feeling for a long time, specially when about digital painting, there are many traps, many "satisfying effects" that actually cover flaws, too much eye candy ways of painting in photoshop that offer a poor learning curve when used on a day basis
guess you know what I mean
so here we go, the last update in 2011, nothing fancy, since I didn't have much time for personal work last week becasue I was basically just finishing off comission work.
Basically there's not too much to say in this post becasue everything thats relevant for the next year has been said so far, it will be all about the deathlinechallenge, focusing on improving my portfolio, getting more work and stuff like that.
Until now things are in general going pretty well, slowly but surely the exposure I get through my work is catching up, attracting more people, which might hopefully have something to do with me gearing my portfolio more towards "commercial" stuff mixed with what I like about it the most and hopefully also because my work itself is getting better, at least I try to improve it .
One thing I want to take care of now is managing my comissions, getting better payed jobs. My situation right now is that the amount of joboffers is kind of decent, but these are all not very well paying jobs, so even if I took on all the comissions people want me to do (last month for example I got around 10 comission offers) it would just barely enable me to make a living out of it. So what I basically want to do is actually try to actively go for better payed jobs instead for only letting people contact me. For example I really would like to get into making book covers, managing that would be a huuuuge step into the direction I want to go with my work.
Other than that my main focus concerning the studies I do will be head and faceconstruction as well as how to paint them decently (meaning not rendering the shit out of them until something somehow finally works but actually learn to paint ) and being able to create more complex character based illustrations.
So to get to the artwork itself here'S the first masterstudy tackling that subject, and yeah, it failed terribly, like everything does for the first time
So this is a study of a repin-sketch I would say which I did because it simply amazes me how simple it was and how real it looked nevertheless. You can check out the painting itself, it'S just NUTS how much he looses in the face, making entire features just melt into shadow, and still, if you zoom out this thing looks like a photograph (even better).
This is the kind of quality or better said the kind of thing I want to get to know better in the next month or two: learning what can and what has to be left out when painting faces
AS I said, that's the last post this year, I now gonna visit my family over the holidays for the next two weeks, which will unfortunately unable me to paint digitally at all, but I will defininitely keep up with my schedule for the most part doing pencilstudies, which is what I need the most right now nevertheless.
So thats it, happy holidays and take care, guys, see you next year! That stuff is just starting there, wooooooooot!!!
amazing sketchbook, Christof! very inspiring. very often I get into a state of mind and belief where I think, "I can't do it," "I'll never reach my goals," etc., which makes itself a self-fulfilling prophecy. (I've found ways to overcome those limiting beliefs, now it's only about utilizing them properly.) But looking at your sketchbook shatters that belief, even if just for a while, and makes me once again realize, that through persistence and alignment, there's nothing I (or anyone else, for that matter) could not accomplish. Maybe others would agree with me... there's just something about your work and progress that resonates particularly with my thoughts So, you get my respect.
Hopefully you'll update again soon! Something that I ought to do soon, too...
Happy holidays & keep on rocking!
sooo yeah 2012, THE year! I already love it
So I'm finally back home, after quite a long vacation but since I really don't see my family that often at all I don'T feel too bad about taking off so much time.
I did quite a bunch of sketchbook stuff the time I was away but I don't think I am going to upload it here simply because I am a lazy piece of shit and scanning all this would take too much time away.
So without much more blabla here's the next Repin study. This one was so much fun it's crazy, and I think I could take away quite a bit concerning color and brushwork.
One thing that I would really love to get into and get decent in is all that colorvariation in these traditional paintings. (take a look at the original painting to see what I mean). When painting with traditional media it's pretty easy (technically speaking) to get all that colorvariation going, when looking at repins rougher paintings one thing you see often is that even individual brushstrokes have multiple colors in them. GEtting this is easy, since you simply dip your paintbrush in two colors and put down careful strokes, doing this in digital media is actually really hard and as far as I'm seeing it right now pretty impossible to do the same way you would with oilpaint (colorvariation settings are pretty cool but don't give you that effect).
I think I managed it pretty well to get this effect in the background, but I got to this using a bunch of masks, creating a new layer smacking some messy colors on it, masking it out and repainting it in some areas using "traditional" using brushes. While this technique is pretty cool for backgrounds and stuff like that I personally don't see how to actually paint faces like this, in addition to that this technique was used on a already painted surface, so it's not more than that typical "digital" adding of texture and not something that I would consider painting
sooooooo yeah quite a bunch of stuff to think about, gonna see what I can do next
Gloom, you inspire the shit out of me, man.
Your choice to move into a smaller place, just so u can live comfortably off of freelance is huge, but so awesome! I respect you highly for that brave choice! I've always had problems chasing the jobs myself. I think its a fear of blocking myself. I never feel I'm good enough, so if I approach someone and offer my services, its like wasting my one and only chance to work with them. Do you ever get that? (Even though you're much better than me).
Seage- thanks man.
Well yeah it's a common thing to be insecure with ones own work, especially in the beginning it's hard to overcome this fear of sending off portfoliowork to artdirectors, I still have it. I think the only way out of it is to actually be doing it + being deadhonest with yourself!
Right before I started working professionally (the studiojob I have right now) there were all kinds of people who told me that I was not good enough, that really frustrated me because back then (haha one year ago) I actually gave a shit about what other people told me, even if they didn't know ANYTHING about art or the "industry" themselves(most of them were SHITTY teachers at the artschool I went to for one year). SO what I did was, I sent e-mails to some professionals asking them what they thought and some of them answered and the one thing I got out of all their answers was that I MUST develop the skill to be able to judge my own work realistically, and this is probably the most valuable lesson I have learned so far concerning my work. I do believe that this is one of the most fundamental skills an artist has to learn if he wants to work professionally. Not only will it help you to not embarrass yourself in front of artdirectors you want to work for but it will also help you the most with bringing your own work further and further to where you want it to be!
It's a hard skill to learn, many many many "professionals" who actually work as conceptartists still don't have it (unfortunately I have to surround myself with this kind of people all day long at my dayjob) and probably never will, the result is them being self complacent, arrogant people with poor skills which never develop and it's torture to be around such people, at least for me
Schneller- thanks man!
soooo one more for today. In case some of you know the original painting: YEEEEEEEEEEEAH I killed the Hand, I'm lazy, fuck you ! ;P
hehe so yeah not much to say, basically all this is is experimenting, playing with stuff and maybe find something I can use in personal stuff