Damn I really need to acknowledge that dropping off the face of the forum for months at a time is as unhealthy as spending all my free time posting asspats...
No excuses of course, but I've been really run to the ground with work ...finally got out of Temp status in March woohoo for better pay and bennies, boohoo for being drained at the end of every day.
The real reason I havn't posted in so long though is mainly that I feel like I have had nothing but scribbly regurgitation to post for a long time. I think I may finally be starting to learn how to slow down and place my lines with care though.
MurdokX - What make you think I *have* an imagination? Sometimes I wonder... Heh. Seriously though, great to meet you man, thanks for stopping by.
BohemianChaos - Hey Boho. ... well I have to make up for long stretches of being an worthless antisocial hermit somehow. Heh.
I want you to know your comments about a lack of diversity in my work really struck home... I am struggling to broaden, if only to keep from getting stir-crazy. The idea of getting stuck in a rut really eats at me...
cupidsart - Hmm...your comment makes me consider putting together a tutorial...a lot of the instructional material out there falls short of bringing it all together. On the other hand *snicker* unless you're a double amputee of the upper extremities, everyone has a live model on hand *sorry, can't seem to stop* ... and if you get a mirror and some props, you've really got no excuse.
Earendil - My pleasure Earendil, you seem to be a hard worker.
The7Artist7 - Good to know that someone cares about animal rights around here...cause it sure isn't me...hehe. Seriously though, thanks for stopping by.
Pascallo - Well, as you can see, I've been rather lazy about posting, I'm genuinely embarrassed about that, but its been a while since I've had anything that seemd worth sharing.
Not chalk but General's Charcoal pencils...yeah, I think the fat lines are a manifestation of uncertainty, or a reaction to it, an attempt to be bold and to simplify ...seems to crop up when I'm least sure of what I'm doing, so I'd say its a bad sign.
hp - O Hi o Emily... yeah, tell that to Jason Chan...what a freak eh? Heheh. Yeah, I know about that, its always been a weakness of mine, partly due to a graphic / diagrammatic approach. I'll try to work around it though.
So ... I haven't been exactly idle, just very insecure
I'll have a double Rocktastic with added awesome please
Thanked 1,298 Times in 558 Posts
Thanks for dropping by my thread dude
WOW!! - I just looked at your stuff again and remembered how insane your amount of studying is! Then I realized I see very few if any actual pieces of finished art! hmm - I wanna see some full proper finished stuffs!
Rock on - keep making us feel bad for not workin at studies as hard as you! ;P
Hey man, thanks for your looong post in my book!
I think that recent stuff of yours is very well worth posting. You did a lot of work on details - nose, ears etc. Also the horsies and wolves look decent man.
I should grab myself some noses and stuff as well.
Like the wirey brush strokes on the geisha looking chic. Other practice runs..Shading good...proportion of head big and alien like. They need big bangs for those endless foreheads you are bestowing on them.
Hey man I think you need to give the forehead more shadow on the side, like the head being a little flattened on the side.
What about more horse heads? Do you like them or do you have a special project about horses?
Hmmm...sounds like I need to work on the forehead...that's a tough one, since its a very vague shape with a lot of subtle variation among individuals.
Liquidjack - blegh it was an awful hack it looks terrible
Pascallo - I don't like horses as much as some people
Really I'm just trying to develop an understanding of comparative anatomy and some principles that apply to all 'animals'. Horses are by way of a common quadruped, plus any self-respecting artist should be able to work up an equestrian image now and then...actually there is a horse farm three streets down from me but I haven't got the nerve to hang around th property and do some life studies...
This is as far as my Red Sonja attempt went...just way too much family stuff going on that week. I like a lot of the details so I ought to re-visit it but I'm worried that its just not exciting enough...plus the colors are really design-y and abstract...
Incredibly weak I know, no background, boring pose, not enough costume/prop details... plus its too damn small. I had a bunch of ideas, but I just started freaking out that I wouldn't have the composition and rendering worked out in time... If you guys see any other obvious flaws please let me have it...
The reason the painted heads don't look like the line heads is because you're changing the shapes when you add the values. http://www.conceptart.org/forums/att...4&d=1218894443 It's easiest to notice on the nose: look how the line version is a triangle, but once the rendering is added it becomes more of a "B" lying on it's side.
The character is too impressionistic. I can't tell how the harness hooks up. Individuality is in the details. It helps to have a clear idea of what you're trying to describe, maybe it's some type of loop and then something hooks into it, the idea being have the idea first then use your drawing to decribe that idea. Mentler has a quote that I like, something like "we don't depict light and shade, we use light and shade to depict", if we concentrate on the idea we watch our drawing and check if that idea is presenting itself, rather than worrying about the drawing while neglecting the more important idea.
Have I mentioned John Vanderpoel? Your impressive studies on the Bridgman would be awesomely supplemented with a little study from his book "The Human Figure". This book was a turning point in my understanding of the important aspects of human anatomy. Helped me to really understand the basic shapes of the forms and how one mass sweeps into another.
Keep up the practice. Exercising our knowledge is something we can never stop.
armando - Thank you very much, your precise criticism is useful, but even more important, what you said about being too impressionistic etc. really set off some realizations in my mind about different approaches to art, as it applies to concept design versus, say, illustration. It really resonated with the flaws in my process.
AztcFireFlower - hmm...I'll have to check out some Vanderpoel the next time I'm making a book order. I think you're being too kind about my Bridgman studies, personally I find him quite inaccessible and mostly unhelpful. Clearly he has an excellent grasp of volume/mass and the interlocking of anatomical forms, but I don't see that understanding being transmitted in an educational way from his drawings.
I'm going to the New Zealand Workshop...the other side of the planet...what a mind-blower, I can't believe thats actually happening. Thank God I have a decent job right now and can afford it...Anybody else thats going, if you happen to stumble on this sketchbook and it doesn't leave you in a persistent vegetative state, be a sport and leave a comment, even if only to say hi
So I've been pretty busy I guess, even if I haven't posted much. I suppose its a sign of progress but I look at most of what I've done in the past month and I see tons of flaws and mistakes, so its tough for me to share.
Starting to get a decent grasp of the arm, probably the most dynamic part of the human body in terms of changing shapes...this stuff is pretty old and horrible tho...
I'm really frustrated with the shape of the human head...I can hack some of the features, and If I really pay attention I can kind of work out the proportions, but I think what I really need is to understand is how the component forms of muscle and bone and flesh come together...Posemaniacs seems to be helping some...anybody want to send me a free Asaro head?
By the way I LOVE freakin' LOVE posemaniacs, especially the 30 second drawing ... I won't bore you with the details but I've been trying to do like 3 pages a day of 30 60 or 90 second poses.