great sketchbook ! great art ! keep up the good work !
The first POW pieces are awesome! I like the last one also, but they don't have the appeal to me as those first three images!
No crits at all, although I'd love to see a few more pencils
Bhanu - Thanks man! Guess deadlines are good for me .
ThomasM - Thanks! I do agree about the last one, doesn't quite have the... something that the first 3 do. If I do anything with pencil except chicken scratch in my sketchbook, I'll certainly post it . In the meantime, here are some old sketches I did for the character in that Dune painting a few pages ago .
Ryan - I can't take credit for the outrageous pace, it's all the cocaine. (Disclaimer: I'm a liar.)
kikindaface - Thanks!
Velocity Kendall - Thanks so much!
So my plan today was to work on the final POW painting, work on some freelance stuff, write a paper for class, hit the gym, and do a whole lot of thumbnails for homework. All of that is still happening, but much later than expected because I saw a pretty pink cherry blossom outside the studios. So, here's my first plein air painting since last Spring, and first oil painting in over a month. The copious amounts of paint and looseness are inspired by the amazing Huihan Liu, whose class I'm taking this semester. Watching that man paint is mesmerizing @_@.
skMOP - Thanks! Yeah I see what you mean about the veins, shouldn't have waited till the last minute to do that painting . I'll watch out for that next time.
Ryan - D'oh!
Here's a quick portrait study from photo (again of my favorite model at school). I'm still trying to stay really loose with these and pay attention to color and brushwork.
OH man, your work is KILLER. Are you working?
Your paintings are just phenomenal, great display of form building and maintaining a value structure. Your technique looks awesome- you build form so solidly that nothing looks "unfinished" and works with your focal arrangement (the cowboys on horses above could go further, but it could also stay there- stuff like that). The optical blending effect is stellar- it can be finished and chunky... my favorite!
Keep it up, you're killing it.
Holy shit Sid I missed some pages on my first pass through here, theres so much rich interesting stuff... the umber notebooks are something else
Whats in the box?
sb most art copied to page 1
Weapons of Mass Creation 2011 ::: Add your favourites!
facebook: Alface Killah
Gone through your sb and I've got to say that you've done hell of the progress. I admire your skills with traditional materials, these last portrait of asian girl is really great. Late digital stuff is great too, but, IMO, you should use little bit more blending (smudge tool+textured brush) and spend some time on texture detailes. This will pump your stuff up even on the higher level. Anyway - great skills, be sure to make good use of it (I don't know, conquer the world?). Cheers!
Quigleyer: Thanks man! Nah I'm not working at the moment, need to start sending my portfolio out . I'm actually in the process of replacing my entire portfolio right now, the last few paintings I've done are such a leap ahead of what I was doing before Christmas that I can't include my old work alongside the new stuff anymore X_X.
RBeek: Whoo, thanks!
Velocity Kendall: Thanks man! Toned paper sketchbooks are the best... need to get myself a new one.
Seraph Fawkes: Thanks! I'll try to keep that stuff in mind on my next digital piece.
Here's a color study for my next Dune painting, which is probably going to be in oils.
Wow, I just browsed through your sketchbook and I have to applaud to your progress. Very inspirational. I love your use of colors in post #757.
Keep it up.
I'm mainly posting this just to give an idea of what I'm learning from my professors at AAU. I met with my teacher Craig Nelson to go over the color study I did, here it is with the corrections he suggested. He had me darken the sky a bit, especially around the knife, and had me put a lot more atmosphere on the figures as they go back in space. He also told me what changes to make to the dust clouds.
Your POW entries really kicked my ass, wish I had finished mine. The Dune colour study is looking pretty sweet, I didn't realize the knife was a knife until I read the post. Maybe shrink down the size of the sun or push the sky to a slightly more orange-yellow so you can read the blade as a blade. That Huihan Liu is pretty damn amazing, does he teach at the Academy?
Not sure where you're going with the latest piece, but def sharpen it up, composition is interesting and the structure's in place, i don't feel fit to even suggest you might not be doing that
anyways, i love the brush strokes on your oils..if your teacher amazes you, i can't even imagine how awesome that must be!!
keep posting..makes me wanna paint!
oh and i agree about the veins on frank-en-stein
Pierce9: Thanks! Yeah I'll be darkening the sky around the blade to make it pop more. Huihan's teaching a group directed study class this semester, we do some painting but it's mainly for portfolio development.
Dope Fiend: Thanks! Definitely will sharpen up parts in the oil painting .
Quick study from Huihan's class.
Here's today's painting from Huihan's class. The made up the wooden wall, the poster, the glass on the table, and most of the cool fill light. Otherwise it's just a painting from the model.
Also, the rough sketch for a painting I'll be starting soon. This one rough sketch has been redrawn over and over again for the last week. I got a lot of great feedback over its development, especially from Kev Ferrara.
Ryan: Thanks man! The oil piece is one sitting, probably about 4.5 to 5 hours of working time. It's a very loose painting.
This one's from today's class. I'm experimenting a lot more lately, especially with thicker paint (mostly inspired by obsessing over Harvey Dunn, and because it's so much fun to watch Huihan do it). The amount of paint on this thing is obscene for me. I've used more in the last few weeks than I usually do in months. Anyway, today the experimenting backfired a little- painting this thickly really requires tremendous skill and experience, since you need to be able to put a stroke down correctly the first time. I'm nowhere near that level yet, so I end up having to redo passages a lot- doing that with thick paint makes things look tortured and dirty very quickly.
The other problem I'm starting to have is the same as when I learned how to make a soft edge; my paintings went overnight from having all hard edges to having none at all, so they started to look flaccid and weak for a long time (I'm only recently starting to push sharp edges back into my pieces). Now that I've started using thick paint, I'm finding it very difficult to do a thin passage. Especially in the shadow areas, you really (usually) don't want thick impastos, so I need to start forcing myself to do both thin and thick passages. Contrasts are a good thing.
Edit: The other big mistake I made with this painting- the model was sitting against a black cloth, so I loaded the background with Ivory Black. Don't do that. Instant mud.
GREAT stuff!! The only thing I can tell you is that you might want to lower your chroma if you want more realism. Also you organisation of values could be better. Maybe the darker values get lost on the computer screen.
But in this one as an example I feel the balance would be better if you had more use of the darkest dark
You could also use value sticks as an aid.
Love the compositions and subjects! I'm sure you could get a job in the movies doing story boards easily.
Capital G: Thanks!
hummel1dane: Thanks man! For the value sketch I was trying to stick to 3 main values only, on the actual piece I've made use of a fuller range.
Thought I'd post a quick update just to show I'm still alive .
Here's a Dune painting I've been working on, the near finish on the big battle painting, a color study for another Dune painting, and week 1 of 2 on an in-class painting.