Results 27 to 39 of 90
July 2nd, 2007 #27
There, you got a free bump. That deserves an update. Boris and Bela, if you please.
Hide this ad by registering as a memberJuly 2nd, 2007 #28
LOL--Sorry, sorry, I meant to update after changing my thread name, found I hadn't uploaded evrything I wanted to add, in the meantime Allan woke up, needed to be sung back to sleep, and since then I've been adding pix to my geocities site and reviewing preexisting stuff i haven't shown here yet.
But first, replies;
Piranha---with the Marv' pix I wanted to do studies of Frazetta's phenominal color mixing you can see in the backgorunds of those 2 original death-dealer pieces--honestly, in alot of Frazetta's stuff his vibrant, volcanic backgrounds are often my favorite parts--but I wanted to do something fun, not just a copy of the originals, and the death-dealer image is so somber and ominous, I dunno, making the figures a version of Marvin the Martian just popped into my head as a way to do a parody of that terribly serious, terribly grim image.
I fished my Boris&Bela studies out of the big box o' old stuff, now I just gotta get access to a scanner to present them. My cheap digital camera won't give me decnt images, even after working them with Photoshop.
O God, Verna-my wife-just called me to dinner, have to go will leave off other replies to post SOME stuff, replies and explanations of this work to follow sorrysorrysorry
July 3rd, 2007 #29
good morning, I'm back!
Shobunkin, thanks much, the Carravaggio(sp?) kitty--so-named because I swiped the doublet he's wearing from one of that master's works--is Verna's favorite too.
Sevans, also thanks. a few years ago while trying to work out inking i tried the technique Frank Cho uses with Pigma microns, because that sounded easiest, and found Cho's talent and skill makes it SEEM easy, and decided I'd better bite the bullet and just start out with a red sable brush as most classically trained cartoonists advocate, and found I really like it. Those elves and Blackwolf the mutant wizard are all brush-inked with white Prismacolor for highlights on blue and grey flecked Canson Mi-Tientes paper. I see I have some inking practice over other cartoonists' work I got off the web archived at geocities, will add them later.
Frazetta is indeed a god, but it's a funny thing, before I'd ever heard of him I saw the movie WIZARDS, which included these great still images by Mike
Ploog, whose beauty are dimly recalled my freeze-frame copies. Anyway, it was shortly after seeing Wizards a dozen or so times just to drink in Ploog's work that I ran across the first volume of the FANTASTIC ART OF FRANK FRAZETTA paperback series. The initial response of the 13 year old I was?
"Hey, this guy's almost as good as Mike Ploog!"
Piranha, it's okay that you can't find Looney tunes on tv anymore, those works of genius timing have been hacked up for decades in the name of political correctness, particularly Jones', it seems to me. They'll end up whole and pristine on dvd, I'm sure!
Thanks for the tip on changing my thread name, finally got it sorted out!
Now, about the most recently posted work...
The first three are all assignments form my pastel class, the first is my most recent end of term project, that term having ended just last week. this was done after the teacher showed us a documentary on Picasso's "Guernica", and told us based on the inspiration of that powerful antiwar antifascism piece, that we were to do a work depicting some aspect of the world of 2007 we feel strongly about, postively or negatively. I think it's clear where I come down on Bush's war. the teacher, Jon Onye Lockard liked the intent, but felt the likeness needed to be better to sell the piece, and the text was unnecessary. The original is on 19"x25" Strathmore charcoal paper, so the Bush figure's head is actually quite tiny, especially for the pastel pieces which at that scale seem really big and clunky. Professor Lockard advocates a technique of conte sketching and pastel finishing because the two media mix so well (pastel it seems slides right off charcoal) so after a few failures with just pastel I tried pastel for the large planes of the head, then bistre and black conte for the details of the face. For a future version sans text I'll experiment with pastel pencils. any advice would be appreciated. It's frustrating to know I could nail the likeness with Prismacolor, but the result would be so weak compared to the Rembrandt-brand soft pastel I've been using!
As for the text, okay I see his point, it's just I was using the text with Bush's cruciform pose to deliberately equate him with Christ on the Cross. In that context the words "Mission Accomplished" become a grotesque parody of Christ's last words before dying, "It is accomplished"; by which He means with His death humanity is saved, whereas in the president's case, with the death of humanity, HE is saved. professor Lockard nodded and said "Draw it without the text."
The next pic is an assignmen from the previous term. In class Professor Lockard had the model assume three different poses each for 5 minutes. we were to sketch a portion of the figure in conte on three separate sheets of paper. Then we were given ten minutes to arrange our three sketches into one interesting composition. After that the model took each of the poses again, this time 20 minutes each to give us time to begin working up our final composition in pastel, to be finished at home. It was a great exercise as it necessitated hitting the anatomy texts at home to really understand the protions I'd picked to draw. I have 4 different texts I like to check my drawings against:
by Paul Richer, translated & edited by Robert Beverly Hale
ATLAS OF HUMAN ANATOMY FOR THE ARTIST
by Stephen Rogers Peck
ANATOMY LESSONS FROM THE GREAT MASTERS
by Robert Beverly Hale
ALBINUS ON ANATOMY
by Robert Beverly Hale and Terence Cole
By the way, I really like Robert Beverly Hale!
Anyway, Lockard really liked my composition, but wasn't so keen on the "mix of techniques", the way some highly finished portions clash with more abstract, planar portions. I saw what he meant. Instead of controlling the drawing I was too reactive, and let the drawing evolve on its own terms, in the words of another instructor "you let that drawing boss you around!"
The next drawing from life was a breakthrough in that I finally started to understand how color can capture the quality of light based on whether it's warm, which Lockard defines as the light reflecting on the side of the figure facing the brightest light source, or cool, which is light reflecting on the side of the figure facing away from the brightest light source.
finally, an old Obi-wan in Prismacolor, slightly layered with photoshop for intensity. Before I started painting in acrylic with him Professor Lockard asked to see samples of my previous work in color. What I had was Prismacolor on brown Mi-Tientes paper drawings, like the Obi-wan. he pointed out that the colored pencil medium is a transparent medium, that the darkness of the brown paper was coming through and killing the brightness of the pencils. By this time I'd finished my first term of pastel work with him, and was already sold on soft pastel over colored pencil anyway.
But I do like the look of that brown paper...
These next three are assignments over three terms. Professor Lockard has us work from the book FIGURE DRAWING by Nathan Goldstein. He both assigns reading and has us do drawings based on the illustrations. A re-curring assignment is Leonardo's drapery study. I've got 'em posted in the order I've drawn 'em, with the last having been done this last term. Glad to say it looks like I've learned something!
finally, I'm posting some old gesture drawings in ballpoint pen from MUSCLE&FITNSS mags I did a long time ago. It used to be my habit to start the drawing day with a bunch of studies like this, then go on to finished work when I felt I was "in the groove". I picked up the practice from Gil Kane's decription of his working day. Incidentally, DC Comics just published a showcase edition of his work on THe ATOM in the 60's. Burne Hogarth fans might want to take a look at it. You can see a strong Hogarth influence. I believe Kane was one of his students, along with Frazetta. I know Kane and Hogarth were friends for a while, but had a falling out which ended their friendship and sadly was never resolved before Hogarth's death. By all accounts they were both strong-willed, highly intelligent men.
Anyway, I'm posting these older sketches becuase Sevan's sb thread has really inspired me, gonna get back in the habit, only try to do pages as well-designed as Sevan's!
July 3rd, 2007 #30
O God, none of my images appeared with the last post. Trying again...
July 5th, 2007 #31
I'm posting this pic to contribute to a discussion Allejo05 is starting in the "fine arts" section under the listing "narrative painting"
This is version 2, closer to my expressive intent than version 1, which sadly I lost in the process of moving about 3 years ago. There will be a version 3, before I move on to the next in a planned series, so crits on this would be appreciated.
Anyway, I call it ELECTION2000:Beloved Son, and is my statement on the election, or as some including myself style it, "selection" of George W. Bush. Candidate Bush asked us to examine his character through the prism of his faith, a faith I share with him. I've conceived of a series I'm calling the King George Bible Accounts, which place President Bush at the center of certain Biblical narratives, to see what I can illuminate about him.
Here I've chosen the "The Baptism of Christ" as related in the Gospels. As Jesus is baptised by His cousin John, the Holy Spirit in the form of a dove alights on His shoulder and a voice from on high which we understand to be emanating from God the Father proclaims variously "This is/ You are My Beloved Son, in whom I am well-pleased."
Traditionally artists have used this narrative to depict simultaneously the 3 Persons of the Trinity. Jesus stands in or near a body of water in company with the Baptist, while in the sky immediately above His head the Dove of the Holy Spirit hovers, and in the highest region of the sky among the clouds, artists have pictured hands in an attitude of benediction or a white-bearded elder for God the Father.
I included the words "Beloved Son" in the title not only to link this piece to the Baptism narrative, but also to speak to Bush being the scion of a wealthy, powerful family who owes all his achievements in life to that connection, and "no merit of his own".
For the Baptist I've placed Supreme Court Chief Justice William Rehnquist, who at the time presided over the narrow partisan majority which "selected" Bush for the presidency. He anoints Bush with a solid gold bowl filled with blood vomited from the beak of a wild-eyed, war-crazed bald eagle standing in for the Dove of the Holy Spirit, symbolizing the crazed war-fever the administration was stirring up at the time I conceived the piece. Where the eagle on the president's seal grips arrows in one claw and an olive branch in the other, my eagle grips arrows in both. Beaming down from above I place the eternally genially smiling face of Bush's true spiritual father, Ronald Reagan.
in the distance, on the shore of the river stands a crowd of African-American men and women held back from the proceedings by white secret service men, symbolizing the flagrant suppression of the African-American vote in Florida in 2000 which helped the current president to so horribly exceed his real level of incompetence.
Additionally, I wanted to make the larger point of how routinely people of color in our society are denied full access to justice, as symbolized by Rehnquist. An interesting side-note is that, only after executing this second version, further research revaled to me that Rehnquist first came to political prominence when as a young attorney in Arkansas in the 60's he spear-headed a Republican effort in that state to suppress the minority vote! You can never do too much research, it seems.
Allan woke up about 5 minutes ago, gotta post the image and fish him out of his crib before he goes nuts!
July 5th, 2007 #32
Hya Cory, g´night Allan
That´s some really impressive study work and good progress. I very much like the cartoon style pieces witht he strong shadows.
Talking about shadows. YOURS ROCK. I am so in love with the character and the stuff around. Great style. Cool captures. I´ll be back. Carry on.
A tutor once said to me: "Let your mind go!" and it didn´t come back.
Wolf@WorK aka Sketchbook
my Heavy Industrie, Military and Steampunk References/Textures (updated Oct 2012)
July 5th, 2007 #33
Nice updates. Great to see a huge pile of sketches in there.
my sketches here... http://conceptart.org/forums/showthread.php?t=92997
www.sevans.co.nz , for more images and to kill time.
July 9th, 2007 #34
WOW...that's quite the political statement. Everyone wanted some blood after Sept. 11th, though, not just the Bush administration. Myself included. It is time for my buds to come home, though.
Bush is definately no Reagan. Ronnie would have this shite wrapped up by now. Alas, where is Ron when we need him most? Notice the terrorists didn't pull this crap when he was around or else...HAMMER OF THE GODS. LONG LIVE REAGAN!
PS- I've posted at least one sketch of Madison so far, my very first post in fact. Where's Allan, I ask you? ("Touche, salesman." --Peter Griffin)
July 9th, 2007 #35It is time for my buds to come home,
But here's a link to a news story which gives me hope that they may be coming home sooner than later
July 12th, 2007 #36
Bbwolf, thanks! I've loved the Shadow since first encountering the character in the Kaluta-drawn comic in the 70's. a few years after I read the paperback release of the original novels with Steranko covers and was REALLY hooked on the whole milieu Gibson and his successors conjured for the character, to say nothing of the radio dramatizations!
Toward the bottom of this update you'll find some sketches I did to prepare for the "Shadow up against the wall" piece, which, as happens too frequently, I like better than the finished piece, but hey! the guy who commissioned me to draw a Shadow image for him was happy! It's interesting; back when I was still doing character commissions I'd get a lot of requests for Batman, and I admit doing him makes sense for me. I never came up with a pose and composition for Batman, however, but I felt it would make a much cooler image with the Shadow! To date, I've yet to do a color Batman!
Sevans, thanks, man, will definitely be back at your thread for more
Also posted near the end are colored pencil portraits, one from long ago of Conan the Governor--another tiny scan, with the orignal sold long ago--and one I'm currently wroking on of Tom Baker as the Doctor. Colored pencil on toned paper was where I cut my teeth on color work, but as mentioned, for the last 2 years I've been studying pastel portraiture and figure painting. This WIP is my first colored pencil work in all that time and OMYGOD, this now feels like PULLING teeth! 3 hours I've been working up this little 9"x12" pic, and I'm still not nearly done, where as with soft pastel on an 18"x24" sheet of paper, I would be just finishing up and the image would be at so much more powerful. I'll finish this for discipline's sake, but then that's it for colored pencils.
Apologies on the quality of the image. I'm between scanners, so this is a heavily Photo-shopped pic from my cheap digital camera, speaking of which...
Piranha, THE TIME IS NOW. Last night I set up a time with my brother for scanner use to post my subtler pen and pencil sketches, including Boris&Bela---and the night failed miserably. Chaos was erupting in his house by the time I showed up--he has 2 teen-age sons and my sister-in-law breeds and trains malamute sled dogs, at any time she has 3 or 4 of the gorgeous BRUTES stalking around--So I thanked him for his good intentions and headed home.
This morning I gave one more try with my digital camera, opened the crappy image in Photoshop, and WOTTAYAKNOW, with massive and varied layering got pretty close to the original sketches. so herewith,
Followed by a figure study of Allan, who'll be turning 2 end of this month, but from my imagination, inspired by an assignment Lockard gave last term, wherein we were supposed to render in pastel a typical scene/occurence in our daily life, as always with reference to the figure. As he laid it out in class I pictured exactly what i wanted to do. Every morning I take Allan for a walk through the yard of the local elementary school; that is, I used to, near our old house in Ann Arbor, we're in nearby Ypsilanti now.
Anyway, from that ritual walk burned into my memory is the image you see here, Allan clumsily but fearlessly running before me down the sidewalk, head thrust forward, arms flapping behind like a baby chick. I'm especially pleased with the right arm and hand, that is SO Allan! This image is especially important to me because one day during this routine, as I was wool-gathering behind him, he suddenly really poured on the speed in his head-long rush to engage the world, so of course I snapped to attention and sped up, thinking "Oh, the boy is getting away from me" and was suddenly siezed by the realization "my boy is going away from me in space...AND TIME". I felt genuinely grieved at suddenly understanding he won't always be like this.
"Wait, stop, PLEASE!" I wanted to cry after him. He's changed so much in just two short years, and I feel like I missed so much of those earlier stages, I wasn't paying attention enough...I explained these feelings to Lockard at the end of class that day as I showed him some conte scribbles of Allan. He gave me a great suggestion. In the space ahead of running baby Allan, put a ghost-like image of Allan in his teens, then ahead of that, adult Allan, to convey that sense of time. I have a pastel sketch of that composition I'll look for to post later.
After Allan I have a mess of gesture drawings reffed from muscle and sports mags . Tennis and basketball mags seem to yield the most interesting poses, with the former frequently suggesting sword-wielding warrior poses!
July 12th, 2007 #37
My favourite Docter Who (basically stopped watching after Tom Baker was replaced), a Conan, and a cool idea about raiding basketball pictures.
The old classic monster movies were so cheesy and yet are so cool to draw.
my sketches here... http://conceptart.org/forums/showthread.php?t=92997
www.sevans.co.nz , for more images and to kill time.
July 12th, 2007 #38
Nice update. I have to get ready for work. I'll edit this post and add some thoughts tonight.
Edit: I'm back. I dig the idea for ghost Allan, it's a great friggin' idea. That should prove to be an especially interesting and complicated challenge: to project what he will look like as he grows into adulthood. What a fun piece to look at with him in the future! Makes me want to do the same with Madison, but my challenge would be to go in reverse as her mom took most of the baby pics so I would have few refs to work from. How close will you come to full-grown and uncontrollable(heh,heh) Allan? Time will tell...and it IS so bittersweet and melancholy, them growing up. Allan's still little. Make the most of it, my friend.
Boris is cool, I like the one where he is reaching out. You should do one of your great full-blown pastels of him! Arnold's face looks off a bit...too big or too square maybe, not sure...but good color and anatomy. I don't know who the doctor is, for shame, but it's probably the strongest piece in the latest update. Nice, suttle colors.
You keep talking about your mentor...are you taking formal art classes or just something on the side? Done any more commissions lately? Anyhow, great stuff, as usual.
Last edited by Piranha Clan; July 13th, 2007 at 03:51 AM.
July 12th, 2007 #39
Last term...laid it out in class...assignment...
OK. So you ARE taking some formal classes. Duuh. Dumb question.