Sketchbook: (update 5/6/2013) from now on art study is the most important thing in my life!! - Page 23
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Thread: (update 5/6/2013) from now on art study is the most important thing in my life!!

  1. #661
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    HunterKiller_, yeap I am Chinese too, I am from Hong Kong

    Stark, thanks you are in marines waoo that is awsome

    Chate Noire, thanks you might misunderstand I have started coloring for ages but I never learn how to color properly and seriously so I pay off now

    algenpfleger, thanks I don't think my coloring is any close to your level, but good suggestion on the learning realistic thing just I get bored too easy on it, I will try through, I may use stronger life next time too

    agelaos, thanks I will keep that in mind

    kidult, thanks

    Carnifex, thanks I will try to fix it next time

    Josef K., thanks

    one more value exercise this week

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  3. #662
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    Wow, those values gets better everytime!

    "Sadly, most artists prefer to give the elite their attention."
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  4. #663
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    Pawkfox, thanks
    another character waiting for value

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  5. #664
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    crazy good, man! love these characters!

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  6. #665
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    your character designs just completely blow me away. wicked awesomeness at its best. keep up the good work yo.

    it is better to have sketched and sucked than to never have sketched at all.

    Visit my sketch book at
    http://conceptart.org/forums/showthr...ghlight=Devere
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  7. #666
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    ugh.... im jealous
    edges on the more rendered piece are a little blurry.

    do you have painter?
    you would probably like painter x

    sketchbook

    looking for work! pm me

    blog!
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  8. #667
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    Haha man, you kick so much ass, it's not even funny anymore. You... do this for a living, right?

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  9. #668
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    Man, I went through your whole book and its crazy how much work youve got. amazing work ethic. Keep it up man, I cant get enough.

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  10. #669
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    I really enjoy how you release your characters in thematic clusters . Any particular projects you working on? Or are you fully exploring a theme before moving on?

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  11. #670
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    I LOVE those characters and value studies. That's a really great exercise. I should try that out.

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    Chiko, thanks but seems I did it wrong

    Havoc-DM, yeap I am trying to find a character then I can model it in 3d, always have more driving forces to have a reason to do it haha

    Aveh, takmask, Devere, Flaskpost thx

    algenpfleger, I am serious your coloring is impressive especially those faces portrait you have done recently, yeap I am a concept artist now and still I am suck at coloring, man if you can give me some harsh critiques I will be very appreciated

    roidvoid, thank you I agree that it is too blurry and I will try to fix it, I stick on one software because I don't even master ps

    I halfway done another value exercise, but it is too blurry again and loose form and I need critiques thanks

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  13. #672
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    Carnifex is offline Registered User Level 17 Gladiator: Spartacus' Dimachaeri
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    hmm,pick a lightsource and accentuate it totally. have a look into danielc's sketchbook,he's always taking a very focused lightsource. also,smaller brushes add more sharpness usually,though one has to be careful about messiness. maybe increase the contrast between skin and clothing?
    as for the characters themselves,i've got no crit at all,very elegant and interesting.
    maybe you have some tips/discoveries yourself? i'd appreciate you stopping by my sketchbook
    cheers

    Sketchbook

    Sketchbooks of inspiration:
    Marc Taro|Maxetormer|ZhuZhu|Jeri|Dobu]


    Always think about:
    lighting! design! perspective! proportion!
    And (self)motivation is still everything.
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  14. #673
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    Dude you're being too nice! Well at least I'm happy now hearing that you're professional, if even your level would not be enough I'd have probably killed myself

    About the colors. Carnifex saif a very important thing, using a single strong lightsource is quite a challenge in itself. And what helps a lot with the colors is to try to make materials read. If you look at your stuff, you see that you tend to treat pretty much everything the same. Paint a bit more from lief and find out how different surfaces react to light, for example, gold has very saturated, bold highlights, while Cotton tends to reflect light in a more diffuse way. Dive into that stuff

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    If you want it sharper, I've noticed in photoshop that when you use any kind of transparency the edges get alot softer. In painter many brushes are razor-sharp even when giving a really smooth blend, but when using Photoshop and applications like it. Some tend to use Sharpen tool/filter to get certain edges sharper. It's not a bad thing. Just don't over use it.

    Don't be afraid to exaggerate darks and lights when you're just practising to get a more contrasty feel.

    I hope any of that helped. And one day I will find your source of inspiration! There must be some secret well in china that spits out awesome ideas to people who walk past it =_= *paranoid*

    "Sadly, most artists prefer to give the elite their attention."
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    I have gone through your sketchbook for a couple of times,and each time it blew me away....your linework, characters, it just kicks ass. I wish I could critic something, but I cant (I am still a noob in training and you are like a master for me), so all can say is that keep it up and dont give up, with your talent and skills I am sure you will soon achieve great great things (but as if you havent already, right? )

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    I think your line art is fantastic.

    The inside rendering you do when you paint is too noisy in some cases (not in post #520 though). You have texture and brushstroke banding where an area should be silent. The jittery brushstrokes are especially harmful in places where you have... defining high contrast meetings (light and dark). It's not much work to go in and place an extra brushstroke or two to make sure an edge is clean.



    Respect your line art. I noticed that sometimes when you paint over it you color outside the lines, making them wobbly. I do this too. Sometimes I find myself correcting my brushstrokes so much that I 'drift away' from the initial lines, often destroying the curve harmonics I had going with the line art.

    Sometimes though, the details works in line art but not when painted with volume, or maybe you just don't see the problem until you start painting...

    In some cases you shouldn't paint stuff just because it's there on real humans. Six-pack belly muscles on females are one example. Your post #577 has some girls which are both drawings and paintings. I think those are nice. The internal stuff is clean and you've even used some rim light to make the outlines pop. Appearing and disappearing line art (lost) is nice too. It's like line weight basically, but when painting you can also play with opacity rather than thickness.

    Painting can be like drawing too. When you draw a females you omit much of the internal details. Like six-packs or very defined muscles. If you start doing line art for internal details (cross hatching six-packs), you know that the drawing will be messy and the silhouette (supreme power of the outlines) will be lost. It's the same with painting... well, at least with some styles.

    You mentioned wanting to keep some of the quality of the line art in your paintings. Line art and painting are apples and oranges, but you can keep some of the qualities. Maybe think like this: if you find yourself painting lots of internal details, think, "Would I do these as lines when doing the line art?". If not, keep the rendering subtle and low noise.



    Look at how the delta/shoulder muscle meets the biceps on the line art. That contrast could be transferred into the painting. The same goes go the delta meeting the shoulder strap. The hip bone part too. You've got a line there but it's just blur on the painting. I think it's best to only use this on spots where you actually want focus though.

    I sometimes use curves to give my drawing a bit of extra contrast and punch. Sharpen makes things crisp too.

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    Last edited by Prometheus|ANJ; August 26th, 2008 at 04:06 PM.
    Jamen jag tror att han skäms, och har gömt sig. Vårt universum det är en av dom otaliga spermasatser som Herren i sin självhärliga ensamhet har runkat fram för å besudla intet.
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  19. #677
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    Hey Open, when you begin your value exercises, how do approach it. Do a basic painting underneath the lineart and then build on top of it, or do you just paint on top from the get go. Also what brush settings do you use. I find that when I use lower opacity I can get that banding. Also is the process of value painting long for you or do you find that its relatively quick. Good job by the way on your above value piece they do rock

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    Prometheus|ANJ, thank you so much for your advise I made another one too, but
    1) I still can't avoid the banding thing even I try, is it because the brush or just I need work a lot more on it?

    2) I keep following more to my line work but still feel weird, you mentioned when I draw picture sometimes I use lighter line and sometimes I use harder line right, but in coloring if I ignore some parts they just turn out blurry again

    3) when I paint I have so many things in my mind even with value, when you paint you mainly focus on the shadow or you also focus on the value of the object itself? and do you think the secondary light source and bouncing light from the background?

    I am really appreciated about your suggestions, I should focus on making a form and I definitely try to do that in the future exercises

    GeistDel, I really don't think I am the right person to give you advise here, but I do it like 3 to 4 hours for each one, and I use standard brush and paint under it first and then on top, but beside that you should look at http://www.itchstudios.com/psg/ Prometheus|ANJ's site there are good tutorials

    Pawkfox, thanks

    algenpfleger, thank you I will keep that in mind for sure stronger light source, take care more on the reflection of light from different material, a bit busy in weekday but this weekend I will try to draw some more exercises from real object, hopefully you can give me more critis

    Carnifex, thanx I will put stronger light source in the future exercises for sure, about the brush I am not really sure I use a few special brushes but end up the picture just looks unnatural and impossible to work on detail, well I will post some examples in here later on about brushes and again hopefully you can give me more critis

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  22. #679
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    Whoah, nice one.

    To avoid banding you can simply change the hardness and opacity of the brush and gently blend the banding together using light pressure. Takes more time but looks smoother.

    I'm not as pro as you but when I draw I finish the value first and THEN add shadow and lighting, either on a new layer or an overlay layer or on the same layer. That way I don't have to think about all at once. Except some lighting but nothing extreme.

    Now I'm going to save all your pictures to my harddrive and study them till my eyes bleed. Peace!

    "Sadly, most artists prefer to give the elite their attention."
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  23. #680
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    Also, banding occurs only between separate strokes, if you don't lift the pen it will still be the same stroke, so if you do fewer strokes, i will look cleaner
    Man, that last one's awesome. Looking forward to seeing those lief studies!

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    You don't have to use just a hard brush. You can do passes with the airbrush to smooth, push back and forth into light and shadow... sculpt the volumes (often more effectively than with the hard brush). Then you can go in after and hard brush things up to give it a painterly look.

    If you want to you can add some noise. Noise can be... well, some people don't like it. It can be a bit cheap and filtery, and it blurs things, but it can also make the brushstrokes blend better (because of the blur). It also adds some homogeneity, i.e. it makes brushstrokes seem like they were made with the same tool because they share the noise... and it adds paper feel. I used a magic wand to select the figure so the noise is all internal.

    One thing to think about is to make light and shadow defined and separate and I think I didn't... tend to that with this paintover. In the shadows things are often ... dark and flat and here it's a bit difficult to tell if a shadowed area is really a shadow. In the light you might not have much sculpting sometimes. It depends on the angle of course, but here I choose to flatten the light on the knife arm.

    Edit.. having a bit of a problem with Mac color profiles, not sure how this will look in the browser.

    Name:  openpo2.jpg
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    ---

    I try to paint with shadow mostly, keeping the light flat. Meaning, I block in with colors all lit up, then I paint shadows over that. Sometimes I keep line art, colors and shadow in different layers. When I'm done I flatten or make a new layer for putting in highlights and various balance stuff to bring stuff to life / make it 'pop'.

    I avoid banding by color picking and doing multiple strokes over the banding, or I use the airbrush. Some places on the body can have banding. I sometimes keep it along the length of a leg. I wouldn't keep it on female, because that'll look like cellulite.

    The airbrush can be pretty fast to work with. If you want a gradient, doing that with a hard brush with opacity and color picking means you'll have to make an awful lot of strokes (which can look gritty), and it's harder to push things back and forth smoothly value-wise. Sometimes I block in the light and shadow situation first with a hard brush but no gradients. Then go in with the airbrush and do all the gradients. Then go in with the brush again.

    This is ancient. I just alternated with the airbrush and hard brush (paintbrush in ps.5.5). It's quite few strokes.
    http://www.itchstudios.com/psg/tuts/leg.jpg
    http://www.itchstudios.com/psg/tuts/leg2.jpg

    Last edited by Prometheus|ANJ; August 27th, 2008 at 05:47 PM.
    Jamen jag tror att han skäms, och har gömt sig. Vårt universum det är en av dom otaliga spermasatser som Herren i sin självhärliga ensamhet har runkat fram för å besudla intet.
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  26. #682
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    ah sweet you guys are awesome thanks for teaching

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  27. #683
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    wow. extremely impressive!

    if this is your first night, you have to fight.

    my sketchbook - http://conceptart.org/forums/showthread.php?t=121451


    www.ianmillerart.com
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    i know a lot of people think that using the smudge tool shouldnt be used but i dont subscribe to that

    i will (rarely) use a smudge brush to blend colors and value. I use a textured brush set to scatter and opacity

    most of the time though i just take it into painter and use palette knives

    sketchbook

    looking for work! pm me

    blog!
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    oh and something that i learned kinda helps bring everything together-

    copy everything onto a new layer shift ctrl alt e
    filter>artistic>paintdaubs
    lower the opacity of the layer (so it doesnt look like you ran a filter)

    this sharpens and blends a little but it has to be subtle.

    also dont use "add noise" until the color stage. i will sometimes add some noise when im at the tail end of a piece to mess with the color picker and introduce even more colors to my piece. again the idea is to be subtle. you dont want it to look like u have done some neat "tricks"

    keep color simple and make a color wheel. a real color wheel that you can hang on ur wall by ur computer. think about the colors you use and why u use them.

    sketchbook

    looking for work! pm me

    blog!
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  30. #686
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    I just found your sketchbook and - wow man! you have some serious stuff here! I will keep an eye on you mate!

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  31. #687
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    Wow, this has been really interesting! i understand the dilemma when it comes to painting my own lineart and i find i get a real conflict of interests when i want to keep the tight lines but also want to start defining it with some rendering. So this has been great.

    Thanks you two! this has made a lot of sense



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  32. #688
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    Quote Originally Posted by Prometheus|ANJ View Post
    This is ancient. I just alternated with the airbrush and hard brush (paintbrush in ps.5.5). It's quite few strokes.
    http://www.itchstudios.com/psg/tuts/leg.jpg
    http://www.itchstudios.com/psg/tuts/leg2.jpg
    thank you thank you thank you too bad you dont have a sketchbook i can subscribe?!!! sorry to openanewworld for hijacking your thread!!!

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  33. #689
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    Prometheus|ANJ, man it is just outstanding, I really want to have a few day off from work to practise what you have mentioned, you made your point so clear and those ideas are crucial, I feel ashamed after go through your tutorial from your site I still can't pick up those ideas, I don't know how to say thank you to you, I did a quick one sorry for the low quality I am still in step 1 and 2, I will contiue to block the shape with normal brush on it later on, just want to show you what I have learnt as soon as possible to answer the great lessons you have gave me, I will finish the proper one tommorrow

    zenichi, it is okay

    Jackwhat, you should thank Prometheus|ANJ not me

    mr. m, BoiModl, thanks

    roidvoid thanks for sharing your ideas, I definately need a color wheel but filters I try to avoid I want to learn straightly on how to paint

    jedininjaman, thanks to Prometheus|ANJ not me again he is teaching everyone is learning

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  34. #690
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    gaaaawd I gotta work on my own values!!!

    Chris

    Work hard, anything is possible. I know, I know, it’s a very cheesy response but it’s true. Hard work and dedication is the key to reach your dreams. -Bjørn Hurri

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