A little color study, done for our favorite CA frenchman (AldayJ) over in the Doo thread. Ref'd from a pic of Jaime Pressley.
some great new paints!
keep up the effort!!!!
You've been busy!!! The sketches are great, some anatomy quirks here and there but nothing too glaring. The polar bear ones really got me, awesome stuff~* The paintings are lookin good, i'm wondering how you could make that perspective look more "correct" considering the building is on a hill. The underwater leviathan guy is lookin pretty dynamic but the head is suffering from kinda the same stuff your t-dome did, i'd say give him more of a sharkish-lionfish-dragon head Killer stuff i'm so glad your back in action. The Mike thing has been on my mind too I wish I knew what I could do to help~* Sent you the number btw, take care man!
Awesome to see more work from you! My one big crit of a lot of these recent pieces is that there isn't enough color variation to make them look realistic... your T-Dome piece was spot-on with colors, so it might just be a time issue, but try working in more random colors, especially for skin tones, and I bet it'd improve a lot of the speedies.
I really like those mountains in the oil WIP a few posts back - nice light!
Thanks for the awesome crit, BTW! Happy New Year!
So Spectrum entries are due the end of this week, and I think I've finally worked up the courage to enter something. I'm definitely entering the LMSTD round one pic, and I was originally going to try and rework this piece:
with a little something like this:
It's in progress paint wise (I'll get some progress shots soon). However, I'm realizing I won't have time between now and then, as my body is already started into sickness from lack of sleep.
I did spend my lunchbreak today reworking my LMSTD round2 piece in Painter. I'm curious people's thoughts on this. I'm considering entering this instead:
if you have the ability to work with that in Painter, you WILL fix the ellipses on that hover bike.
It's looking good, tho! I like the additional dramatic element of the sinister hands in the dungeon scene, that kicks it forward immensely!
oh, and while you're at it, spend some digital magic time making the smoke more translucent and maybe adding some blue wash to make the space behind the dragon and below the planet recede some more.
Some long overdue replies:
Koshime Lives, yes, but not always paints. Thanks for the encouragement. I'm pushing.
Joel/Sartell Good to see you in here. I quickly dropped the leviathan because I knew the "drawing" (if you can call it that when the whole thing was digital) sucked. I felt like the whole anatomy on the thing was wonkers. I really need to take that idea out to pencil, where I'm comfortable drawing, and then scan it and go back to paint. Not a high priority right now, though. It was good to see you while you were in CT, man, even if I got to listen to you and Dan ramble on about the state of CTCG's for hours.
Nicole/Gryphon Agreed on the color choices. For some reason, when I go digital I end up with terrible color selections. I think I'm going to start playing more with the mixer pallete in Painter to see if I can't get more "real world" color selections when I work digital. We shall see. Thanks for stopping by! (your new stuff is killing in the color dept, by the way)
Brendan Blah blah blah ellipses. OK ok ok. I'll fix the damn things. Actually, I was going to post a picture of the ellipse tool that is now sitting on my drawing desk after you and Dave harped on me earlier. I never did like the smoke, so I'll see what I can do with that one. As for the blue.... clarify? I'm not sure I understand where you mean...
hey ben, nice meeting you for the short bit over the weekend at tiff's.
That spectrum piece your working on is coming along nicely.
quick blue overlay to add depth, for both value and color (blue/cool recede theory of atmospheric perspective as both a social perception due to the nature of Earth's atmosphere as well as the different focal lengths of the red vs blue cones in the retina)
Oh yeah... Process shot... I spent way too long re-painting stonework in order to expand the composition. Here's where we are now. Figure is looking a little jaundiced. Lots to do on everything BUT the stonework at this point (tentacles/hands/figure/lotsa-chain-mail/whole new axe design). GAH!!
CamAwesome meeting you as well. How'd your ink piece turn out?
Hey Ben, that watercolor from last month is incredible. Really sophisticated treatment in the brickwork, and those tree reflections in the windows.
My Benihana emails have been rising dramatically so I came to see what's up. Now that I have, I just want to wish my very best to you this year at Spectrum.... it's going to be a nerve wracking few months waiting for those responses!
As always good to see some new work busting out onto the sb here bro.
Have to give you major props for the knuckle-cracker and the polar bears in terms of sketchings.
In terms of paintings definitely some great things coming down the pike and can't wait to see them in their full finished glory.
Keep at it boss.
So in digging around the studio with Spectrum in mind, I started pulling out some of the half finished projects from the last year or two and really trying to look at them with a new eye. They all got abandoned for one reason or another (the axe painting, for example, lacked a story.) and I'm trying to find ways to fix said issues. Too many of these pieces have tons of time put into them, and I hate to have these paintings sitting around half finished. I also feel that I've started to develop some of the skillset (and confidence) to do these piece up right.
Anyway.... This piece was posted as a comp over a year ago now. I started it up in Acrylics, and quickly realized that some of the things that I did to make an interesting linear composition didn't work as I started to consider the volumes of objects and how they reside in space. The painting was pushed aside and more or less abandoned. I pulled it out recently and started trying to figure out if I could recover what was there. Lots of scribbling in white pencil over it and now it's a mess:
So I broke out the old tracing paper and took it to task:
I think it's heading in the right direction. Unfortunately I have a strong desire to do this up in oils, and the support that the acrylics are on (unprimed illustration board) is probably not the best for such things. It's also a little smaller than I'd like to work it now that I think about it. I may take that tracing and blow it up so I can get this on a new support and do it right.
Incidentally, I was talking to Dan (DSIllustration) about my list of half finished work, and what to work on in what order. He was quick to point out that the piece, compositionally and thematically, reminded him of two others-- one by Donato Giancola and one by Stephen Youll. I looked both pics up and can totally see where he's coming from. I think compositionally it's different enough, and I'll have to push the color choices even more to seperate from their work... But the ref for the figure is of my grandfather that passed away in November. In some way I feel like it would be a fitting tribute to him if I finish this piece up. Expect more on this once the axe painting gets done.
And for those who are interested, the aforementioned DSIllo comparisons:
Brendan Sorry I missed your post earlier. Looks like you and I were posting simultaneously. I can see where you're going. I'm not sure it works as an overlay layer, but I get the idea. I was intentionally going for a high-saturation, warm landscape. Really trying to push that alien landscape feeling. I think it may not work as well if you subscribe to the whole rod/cone theory you mentioned (as the atmoshperic persptective one goes out the window outside earth's atmosphere). There's some interesting color theory stuff here: http://www.handprint.com/HP/WCL/color12.html#warmcool that seems to discount the focal length theory in an incredibly scientific review. Check it out
MikeD Thanks Mike. Watercolor was my first painting medium, though I like the "look" of it the least now. I'm glad you dig it, though. I'm nervous as hell about Spectrum. What did you submit?
HelzMike Thanks bro. As always, the best sketches started with ref. Someday I'll manage to break away from that, I suppose. As for the paintings... yeah.. to quote Marco Nelor, "No more Phuckin around"
Looking good, Good luck with the Spectrum entry, I hope you get in. This is a great book cause I can really see how you are improving. My only crit would be to paint some more from life. Which would help your understanding of what you are painting from your imagination. Keep of the good work and good luck again with Spectrum. What book # are they up too now?
ok, red/cones not withstanding, you need some darker values in space beyond the planet. keep us updated with how you finish these off.
hey ben! some great studies goin' on in here....some of those pencils from mid december and the one of the space guy are really quite compelling. i'm inspired by your desire to get some work into spectrum....i'm makin' it a goal to do that next year. good luck to you! i know there isn't much time before the due date, so don't rush quality. relax and use the force.
There is no "I" in team, but there is an "I" in pie. And there's an "i" in meat pie. Meat is the anagram of team...~Shaun "Shaun of the Dead"
Hey Ben, that last piece is super strong..and just brimming with potential!!
The one thing in the comp that if i had to crit would be those forceful linear parts to the ship and control panel. In the comparison pieces....they both utilize graceful sweeping curvilinear elements to lead the eye around. Also the rocket launcher at the far bottom right could probably get pushed more parallel with the axis of the guy and movement of your lines that you are using in the control panel.
Seriously though..this could make a very intense portfolio piece!
Can't wait to see how you tackle it.
Also, can't wait to see your Gods At War work as well.
Best to you.
Here's some pencil scans for all you lovelies....
A little something I started thinking about when looking at Spectrum entries. I may come back to this idea some day
I'm not sure what possessed me to sign up for the Gods at War Thunderdome. My original idea for a composition was a bit too much of an undertaking given the time I have, so I've scaled back considerably (future triptych?). Here's some early sketches playing with the look of certain Norse deities.
One Eye (early sketch):
One Eye (searching for a look)
Hammer swinger (dislocated shoulder and all. decided to go back and relook the pose with some thumb-gestures):
Hammer swinger (decided the whole thing needed more action. trying to get a look for the Frost Giants...)
David Great to see you popping in here! Spectrum is taking entries for #14. I agree wholeheartedly with the crit. I'm glad that you see improvement. I'm not always sure I do, but that might be because I'm in the middle of it. Incidentally, your name came up in discussion with a bunch of folks from this forum, and I mentioned we graduated together. When I showed your site to Dan Dos Santos (DSIllustration) his comment was, "Well that's disheartening. I'd be pretty frustrated if I graduated with someone who could already paint like that." We were all very impressed.
Brendan Submission had to be mailed mid-week, so what you see is pretty much how it went in. I'll probably go back to the beasties face even more to do some more blending and detail work. I'll see about the value suggestions too.
Dave The force is not strong with this one.... but thanks for the support. This might not be my year, but I'm going to get in whether it kills me or not
MikeThanks for the feedback and crits. I loved the curvillinear stuff in that piece-- it was all done with the linear composition in mind. It was also the stuff that made no sense in terms of the "space" within the piece. I may stick to the original control panel I had in there. Not really sure. As for the Gods at War... It's been a slow progression to say the least. Thanks man...
Hey Ben, I submitted two of my LMS entries: the Great Discovery (airship and dragons), and Welcome to the Beginning of the End (the corporate ladder/slide). The latter was submitted to the editorial category of course. I also submitted the Kindercatcher (old man with a large net for catching kids). I feel all three are miles ahead of what I submitted last year, The Rescue (piece o'crap), but we'll see what happens.
I have to say, Ben, I'm digging the way that tracing paper drawing is looking on top of the painting a couple updates back. You might consider cleaning it up a little, making a black and white photocopy of it in reverse, then heat transferring parts of it onto the painting once you've blocked in a few more shapes. Just a random thought.
Currently on the easel:
Got frustrated with the weird perspective on the axe handel versus the head. Since it's still pretty wet, took it into PS to start playing with it, though not with great success (trying to find a solution that doesn't involve a complete repaint of the axe head) Some days it doesn't pay to avoid digital.
Here's said tweaks
Couple other things that are cooking right now. More on those as I finish this little bugger.
MikeD The tracing paper transfer-- are you talking about this piece? Or the SF piece? It may be too late for the former....
Alrighty boss..you got a touch of Flataxius Painintheassius.
It's your arcs. The arcs directly relating to the axehead itself.
You have the top and the bottom represented equally here. That's fine if you're doing an axe flat up against something. If you are pushing foreshortening..it won't work. The front of the top blade of the axe has to show a little more of its cross section, while the edge with the feathers on it, toward the back has to come closer to the outer edge itself. That will push the ass end back toward the figure and the front end out toward the viewer.
Set up a box in perspective that encompasses your axe completely, draw a mid line down the center of the axe with respect to perspective. Then inscribe in it the ellipses of the cross-section the axe head describes. In this case 3 of them. The inner bevel edge, the cutting edge, and counter bevel edge on the other side. Make sure to draw through everything so you can see if this is going to justify with your handle. Hopefully it will.
Erase any unnecessary lines and you should have it more or less in place.
There is a chance you may also have to rework the bird.
Hope this makes some sort of sense...and if anyone has a faster or better method, i will gladly defer.
Good luck bro..it's coming along nicely.
Last edited by Helzon; February 28th, 2007 at 04:42 PM.
hey Ben I tryed to fix the perspective on your axe. It still looks a bit wobbly, maybe just straightening out the whole axe might help. Ok I hope this helps somewhat
bingo! Tiff got the axe correction down, that's what you need to do Ben. nice progress on this one, I like the hands, but I think the vines might be sending the viewer a mixed message. I think they are supposed to be hiding the danger, but they could also be hindering/holding the evil hands.
Sorry, looks like I missed a couple of posts, the drawing of your grandfather the battlestar captain looks really good as does the asian flamethrower chick. Can I twist your arm into working on the one of your grandfather digitally or do you have your heart set on taming the winsor-newton griffin? that viscous beast defeated me long ago, but I think I can help you shift some pixels if you are interested. I don't know that you'll be able to paste that tracing paper down without getting lots of wrinkles...
Last edited by bwkeough; March 1st, 2007 at 09:37 PM.
Mike-- Thanks for the input. Yeah, I think the bird's getting repainted. Dammit! (time to bust out the tracing paper and redraw)
Tiffy--Thanks for the chat the other day, and the feedback. You're like Skillzerella. The P/O looks great, though I might tweak it to the longer blades I've got. Definitely pushed me in the right direction (once this dries....)
Brendan-- I'm fine the with ambiguity in the vines, though I definitely get where you're coming from. They're more of a design element than anything else at this point... Why the push to do the SFGrandpa digital? I have more chance of taming it in oils than I ever would digitally-- My digi skills suck..... but give me a reason and I'm there.
So while the Axe paint was drying, I had the chance to bang out an underpainting for another sketch that's been around for a while. This will probably be my next project (though the Gods at War piece that I never got off the ground is still lingering pretty hard.) Here it is... just quick value knock in with acrylics:
Also took tracing paper to the Axe painting and fixed the errors, and blocked that section back in. It doesn't read right now, so I'll wait till I get further into paint to put that one back up....
Hey bro, you using ref for this figure?
I sense a bit of that here. If so, check that area between
the right(viewer) knee and fur cuff of the half boot. It's really flat and loosing that sense of ooomph to push that foot into recession.
Other than that...keep it goin man..look forward to the next phase.
Mike-- Thanks for popping in. I had ref for the original drawing of the figure ages ago (I think it's somewhere on page one of this SB). The costuming is completely made up, though, so I "faked" the part you're referring to. I'll definitely play with the values on it to get it working post-haste.
hey bdfoster - this is sort of random since i don't frequent these chats, but just thought it would be interesting to track you down and let you know that i used your design of a phoenix (sketchbook27.jpg) and had it adapted for tattoo on my upper arm. i go to a guy in hollywood who is the best there is.