City lights composition, I think the rocks take too much focus from the eye but I'm not really exactly sure how to fix that...
First is a pretty quick sketch I did of beethoven's bust, I was trying to experiment with hatching with my pen but it didn't turn out
Did some character design stuff too, first is my rough and a more refined version. I did this in Painter and I really really like painter, I have a pretty slow computer and it picks up brush strokes so nicely.
Wow there's a crazy amount of improvement in here. It's really inspiring to see. C:
In your pencil work, I think it would help you to push your values a lot more. I see you're starting to do it in your drawing of the Beethoven bust, and it has a lot more presence than most of your previous sketches. Also paying attention to the values really helps you get your mind around the 3d-ness of things.
Keep up the great work!
Clur- Thanks! I'm really touched that so many people see such an improvement!
I definitely need to push values more, thanks for the tip!
I've been sketching this guy out for the past day or so, did a colorization of him. I like how he turned out much better than the other guy too.
I decided he's some sort of city guard
It really helped to get his anatomy down first and then design his armor on top of him.
Hey! Great stuff I'm seeing here. The amount of improvement is really impressive.
My suggestion for combating the 'hairy line' is to do lots of gestures in a short amount of time- when you're forced to come up with a form on a time limit, you use fewer lines, and those lines eventually become much more efficient at conveying form.
I recommend posemaniacs.com if you don't already use it. They have a random pose generator that gives you about 30-90 seconds per pose before it generates a new one.
I use this site almost daily as a warmup. I think it will help you!
Kuddlekins, thanks. That's a great resource. I've been using another figure drawing tool with picture's but at this point I've literally drawn most of the pictures- so hopefully this will set me up with some new poses.
Here's an environment painting from photograph, photograph was originally taken by my room mate =D
Soft brushes are usually a bad idea, especially in the beginning. Well I'm a hug hard brush fan, they can be way too soft for me and for my critics
But in this very case, the colors don't work. They don't seem real, at least the bright ones.
The mountains painting looks way better. It's sketchy but the feeling/atmosphere is there
Don't worry just keep it up and you will surely improve!
Good stuff here, definite improvement as well. Keep up the studies and you'll see the improvement in your imaginative stuff. It looks like your sketchy lines are getting better, keep at it to refine your line work. I'm a bit of a perfectionist myself and can get so hung up on drawing something that is accurate that I completely remove the liveliness of the piece. I write music and was told by a close friend to not be afraid to write the bad songs. Sometimes I can get so hung up trying to hit a homerun with every song or art piece that if it doesn't come out amazing then I get discouraged. Don't fall into that habit, don't let the fear of "crappy" art stop you from creating it. It's all a learning experience and you can't build your skills without a few hiccups. Your landscape pieces do need work, but at least you're creating them. That's where you start. I haven't even ventured into much beyond figures yet so you are inspiring me to get out there and try some landscapes. Keep it up!!
You need to sketch more and do some anatomy and figure studies. It's too soon for colours, focus instead on some basic stuff like perspective (it's way off on that last piece with a throne). Anyway, you made quite an improvement since your first posts so you're going in a right direction Keep posting!
Whew, ok sorry this is going to be a big dump of images. Sorry about the quality, I tried to take the best pictures possible and scanning wasn't an option.
I've been trying to work a bit more on anatomy, I've gotten back in the grind of practicing brigman again. I had a lot of fun today drawing, it turned into a comic sort of - unfinished because I started to get handcramps before I finished the third picture of the set. But basically it's a tribute to the original Prince of Persia.
Here's my finished little project for a tribute to the original Prince of Persia.
I don't really know how to orient comic panels, and anatomy is a bit off. I had a hell of a time trying to draw the face on the last panel. Maybe I should do that draw 50 exercise for faces turned to the side.
Study of Mathias Verhasselt. Concept artist who is probably on here somewhere.
Here's his website http://mv.cgcommunity.com/
Mine turned out pretty messy - it looked like he did parts of his painting with single swipes of his brush which was amazing to me. I really worked with like a half opacity brush with this instead of more 100 percent. Seemed like that turned out ok? I'm learning that using less opacity is helpful in mixing the colors I need for the beginning. But finding a mix of where that doesn't look muddy is hard.
This took 2 hours
Hi liquorbleu, thanks for stopping by . Try to concentrate on drawing continuous confident lines for your studies, it might be that they're less accurate to begin with but the finished article will look more pleasing to the eye. Try doing some warm-ups before a session, just draw lines, circles and scribbles - go crazy and you'll loosen up.
Looking forward to seeing more,
I've felt sorta stuck moving forward lately, so I've watched some tutorials and stuff. I got the idea to set my brush opacity to *pressure*, so that I can control it without having to stop and move my opacity up and down manually all the time.
I like this SO MUCH BETTER. Holy shit it was so much easier to render. It took much less time. This painting of a scene from 28 days later took me maybe 2 and a half hours.
Good start on your work, one study I found to help with structure and perspective is to draw cubes in every angle of perspective, this will force the artist to think hard, and leave the comfort zone, I say this general but give it a shot, its almost similar to how bridge-man draws his figures
here's work from the past couple days. I'm taking a 2d design class. Here's one of the assignments. We were told to make a simple composition with very few lines - create depth.
I've been struggling with time management. Taking 4 classes, have a job, juggling art, and I met a girl. haha!
You really seems to be improving, specially at #79 and #81.
And yes, if you got a tablet with pressure sensitivty it's a must to set at least one brush to change it's opacity based on the pen pressure or you're not going to take full advantage of it.
My tip is to focus a bit on this stage or be willing to spend more time on each piece. Since you're learning composition, drawing and painting at the same time it's not really bad to create some photo studies with large and loose shapes, focusing in mimic only the colors, for example.
You could also do a black and white study of a landscape to understand it's composition, sketches using only lineart to check something's shape and it goes on.
We kinda build up visual libraries for everything, from how the human body twist to the common colors and shadow colors of the sand in a desert.
Oh, and tips for painting. Try to notice the color variations. There are 3 color variations you could focus your observation by now.
The first one is the color variation of the object/person itself. If you look with attention to the mirror, you'll notice your skin has not only 1 color. Quick examples: People with light skin will have some flushed pinkish areas, due the blood, people with darker skin, besides the higher skin reflectivity probably will have lighter palms of the hand.
The second one, that you already noticed is the variation caused by the atmosphere. Farther objects will be tinted with the atmosphere's color and it can be a great way of composing you perspective and defining the background and the foreground.
The third one is the variation caused by the light. The color of the lights can change the highlighted areas and the shadowed too. They're not different values of the same hue but something more. Often the shadows seems to have impossible colors, purplish, redish and etc. First try to study these colors and to detect the slighty variation of the color pallete present in the shadows of a photo. The bigger variation, less dry the illustration will look.
Later you could also start to play with hot and cool tones. I still have to get near this phase, but I can say that in the pieces I like I often see cool shadows and hot highlights or vice-versa.
Last edited by Vielmond; January 19th, 2012 at 09:22 AM. Reason: Getting past the spam filter! >.<
@Vielmond Thanks so much for your advice, I'm going to come back to your advice many times. I kept some of those things greatly in mind with this piece I did today.
This is a noah bradley piece, definitely not my composition. Noah is on this site and definitely one of my biggest inspirations. Here's his website http://www.noahbradley.com/ Please please check him out if you haven't
This took me a couple hours, I was just trying to focus to see how colors work. I do need to do a bunch of perspective studies soon. I'm reading a book on perspective that's been hard to get through with my free time lately. Thanks @KrispyKream for reminding me I need to get on those perspective studies, haha!
The last one looks kinda nice in general but some parts aren't clear enough and there should be more depth. The orange-ish part, for example. I realized what's going on there after a little time passed but the painting itself should have quide me. The gray merges parts that should be separated. I hope you understand what I try to say.
Here's a photo study I did - I refined and refined and just couldn't make the contrast of the light on the rocks work right. Frustrating. I worked for 3 hours on this and it looks more or less like a speedpainting.
I think I have a really hard time with "rendering" I can't really find any good tutorials for it or anything. Most I find are charging money for a tutorial.
Keep up the good work, you are improving. You could try to incorporate your studies into your observational and imaginative works. Like with the Bridgeman studies; try to see the forms and their direction in real life. They will be way more subtle and sometimes hard to see. Exaggerating your observations can also help in creating a clearer definition of the forms and their direction in space.
Work hard and have fun :3