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  1. #61
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    here is my work on COW 74 the Golden Guddle Greaper:
    Attachment 80853
    I shrunk these wips down just to view more easily in my sketchbook...unlike a lot of previous work I started at my final resolution of 600x800 and just began detailing. I wanted to create a painted, realistic look to my creature rather than looking illustrative. I began with some custom texture brushes to block in an underlying roughness to everything then built up my final colors and textures on top of that rough sketchy image. I feel I made a good step forward with this piece and I am happy with the look.
    Attachment 80855


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  3. #62
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    Great work in your thread. Your pencils and digitals are great. I would love to see some more of your finished pencils. Keep posting the step by step of your pieces as wel. Great way to learn for the rest of us here.
    "Imagination is more important than knowledge"- Albert Einstein


    Eric wants to LEARN! Sketchbook



  4. #63
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    Nice piece Tom. Good concept and painting.
    Nice to see you're throwing yourself into thje COW challenges.
    Figure's 'n' Stuff SketchBook

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    "Just because something doesn't do what you planned it to do doesn't mean it's useless."-Thomas A. Edison

    "Convention is craft. Invention is art. In art, knowledge assists invention"-John E. Carlsson

  5. #64
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    Hey Tom. This last piece seems to be a huge improvement over previous pieces. One thing that I've noticed as a recurring thing in your digis is the use of small soft edged brushes being used to fill in large areas. Try using large hard edged brushes on a high opacity for filling in those large spaces, and always try to use the largest brush possible that will fit in the given area you're working on. I read somewhere on these boards, and i'm sure it's been said more than once, that to help in developing a sense of brush economy turn off shape dynamics in your brush property dialog. You mentioned in one of your posts about being worried that your colors are too washed out, and I have to agree that some of them do look very washed out. If you feel that your piece is getting a little washed out, try experimenting with your saturation, and hue settings to get a little more saturation in your colors. Although the washed out can be good in creating a feeling if you learn how to use it. Anyhow, good progress so far. Keep at 'er!

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  6. #65
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    Thanks all. I really try to improve myself with each painting, even if its just using a little tip I learned somewhere. I appreciate all the support I am getting from this community, you guys are all just a driving force of inspiration! Thank you!

    Here is a freshly finished piece for my friend's Lovecraft work. A Deep One.
    Attachment 82248
    I am trying for a classical looking illustration quality to these. At least as a starting point. To fit in with the era in which the mythos exists.
    Last edited by TomCardin; January 24th, 2007 at 12:08 AM.

  7. #66
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    This went together quick...just a couple hours. The great race of Yith...another Lovecraftian beauty. My take on the creature from "The shadow out of time" by H.P. Lovecraft.
    Attachment 86176
    Lovecraft describes the skin of the main body of the Great Race of Yith as "rugose" (heavily wrinkled) and "iridescent" but doesn't give it a color...whereas he says the 4 trumpets are red, the 4 flower stalks on the head are grey as well as the rubbery skirt, the head is yellowish and the 8 tentacles suspended from the underside of the head are greenish. This is what it all comes together as in my head.

  8. #67
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    nice texturing and creature concepts!

  9. #68
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    cgoz - Thanks! Trying hard.

    Here's my entry for COW 75: 75 Tons
    Attachment 87139
    I am really happy with how this came out. I found some satisfying techniques for the ground and sky and I worked out a dynamic pose that was fun.

    I would like to evolve my technique more...I still see speedpaintings that are more effective but I am not sure how to get from A to B if that makes any sense.

  10. #69
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    Not sure if this is the type of advice you're looking for Tom, but the first thing that pops into my head is that your colored images will benefit from stronger contrast and sharper highlights in certain parts (or more discrete shadow masses). For that very last one (your cow entry), maybe you want to reserve the light orange color for the streaky, sharp highlights only, while applying light purple/pink for your diffuse light effects on the body.

    Not sure if you know what I mean, I'm only beginning myself so I can't express it very well. Still I hope that's relevant to you.

  11. #70
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    nice stuff! Most pleased me your last sketch...good, unusual dragon! respect! I will look after your updates ...)
    old sketchbook
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  12. #71
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  13. #72
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    Realy cool stuff but I have a sugestion if u dont mind. Your paintings have a lot of atmosfeer but they could use a bit more impact. Try more contrast and sharper edges. I photoshoped your pseudodragon from COW to show you the amount of contrast I thinck looks good, but in the end it could be just a matter of taste so dont go changing if u dont agree with me.
    Keep on keepin' on!
    I'd love some constructive criticism : my sketchbook TY for taking the time
    Let's all just be friends and chill the f*** out, k ?

  14. #73
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    These COW pieces are sweet! The human in the last one is odd though, his pose could enhance the action more.
    Nice nude dragons, now do some clothed and draped ones

  15. #74
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    Great contrast! I love the lighting. my only recommendation would be to make the light coming from under the scales and armor glow more, merely by stronger contrast within those cracks.

  16. #75
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    Jeri - thanks for the tip. I was going for a heavy atmosphere in this piece...the dust being thrown up by this creatures travel across the waste...also the sun is partially covered by clouds. I thought if I was too sharp with the lighting and contrast that it would mess up what I was going for. I am really happy with how it came out. Its easily the best digital painting piece I have done yet in terms of the end result meeting my goals. I think the high contrast and close to spectral highlights that you are suggesting are great tips for me moving forward. I do need to sharpen up on lighting details...In this piece I paid a lot of attention to the atmosphere and how it was lightening and fading the contrast as we got further from the viewer. I was using that to show the scale of the creature, it needed to be big.

    DeMoon - Thank you! More is coming. I am hard at work on cow 76 but I won't be posting that to the cow until sunday. Not going to put up any more wips...they seemed to hurt me...and they certainly were not getting me the critiques I needed.

    MUNIZ - Thanks! yes more coming.

    cotletan - I appreciate the paintover. As I told Jeri I got the effect I was looking for with cow 75. I am very happy with it..but it appears that the viewers are not happy with it...its gotten no votes. Thanks for spending the time with the pic. The high contrast doesn't match the atmosphere and hazyness I was going for though.

    Bendragon - thanks for the input. I put a lot of thought into the knight in the cow 75 piece...He's not a fool, his sword is out but he had no intention of actually trying to fight a 75 ton demonic magical dragon single handedly. So I didn't want him in a combat pose...what I did want was to show him almost knocked off his feet by the impact with the stone ground just a few yards away. I acted out the pose myself, falling down a few times...It could have been a bit more dynamic with him actually flying backwards, but I wanted to keep more of the focus on the dragon and I feel I achieved that. I also kept the detail down on the knight for the same reasons.

    archnemesis dbal - thanks..good direction. I played with that interior glow a lot. I felt I made it bright enough to be a secondary focus of the piece, and if I had gone brighter or stronger with it that it would have overwelmed the primary focus of the sillohette of the dragon.

    Thanks everyone for the input.
    I am a bit discouraged that I didn't get input this good while the cow was in progress...seems like nobody likes it because its gotten no votes. I am concerned because I feel personally its some of my best work to date in digital painting, also because my previous entries got votes yet they were done more hastily and not finished nearly as well. Whats an artist to do? Well I also bear in mind that some top talent participated in cow 75. It also seems that though flawed other pieces are picking up a lot of votes.

    I get feedback about my contrast and highlights and there's pieces getting votes that have shadows going perpendicular to the direction of the lighting...big as life flaws.

    So there I am discouraged at what I am getting back from the community in feedback and encouraged because my cow 75 entry was personally very satisfying.

    I just have to move forward with my personal goal of gaining more expertise at digital painting.

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