dude ur the shit where I am concerend! yOUR WORK IS THE SHIT! yEahhhhhhhhhhh!
I really love your skeleton work and the muscle drawings, and w00t! evangelion!
Very cool really diggin your lines there very fluid.
Darkwebslinger, omgitsduane: Too much ass patting. Thanks.
maxetormer: Thanks man! I'm definitely trying to step up my game.
OmertA: Thanks, dude.
It's about time I got serious about colour.
Tried to painting an apple, but failed massively so I just desaturated it and carried on in gray.
Think I will stick to grayscale for a bit longer, coz' I don't have a damn clue about colour.
I've read some on colour theory, but now I think colour theory makes using colour sound too easy.
Workshop is coming.
Time to get serious.
Some recent studies. Excuse bad photos.
Strong work here - keep it up!
Kronos: I shall try my hardest keep it up!!!
kidult: Thanks man.
Epias: Aye aye, captain!
'Nother grayscale study for tonight. Think I'll stick to opaque brushes for now - spent more time trying to smooth transitions than actually drawing.
Hey man, since i've had some trouble contacting you, i'll just write here..
The skull in the right, post #181, is, i think, the best example of how you could advance in rendering. I believe that skull shows alot so my advice would be for you to try and explore that render style more, it's a very loose and potent way to draw and i think it might suit you very well. It just needs alittle more contrast to bump some areas and perhaps alittle more care when reducing the stroke size in narrow areas.
Keep it up, amigo, i'll be around.
Dang, I want to be this good when I'm 20.
Looking through your sketchbook was great--I learned just by reading and looking, and that's what I like. You've been learning too, because you've made a lot of progress.
I really enjoy the more developed pieces in the last few posts. They've led you to produce some good stuff.
I'm going to add to a previous idea from that fat kid--line confidence. If you give the viewer just a single line to define a contour, the viewer has no choice but to believe you. If you go back and put in another line, because "the first one didn't seem quite right" or whatever, the viewer has to choose which line to believe. When you use just one line, you develop your own confidence, and moreover you show the viewer that you are confident. The leaves on the bosai tree in post #187 are an excellent example. The viewer has no choice but to believe that those leaves look exactly as you drew them. You've made a lot of progress in this area, I guess I'm just pushing for even more. (I hope I got this right....if any of it's poorly worded and/or confusing, let me know and I'll try to clarify)
Keep on rockin.
Hey man, your last studies look great. Especially the egg - all those soft tones and light situations are good. the only thing that I dont like is your rough usage of different stroke directions in the dark black in the background. makes the image too busy.
Otherwise its looking great - keep it going!
The still life studies are fantastic, they are quite accurate without feeling like you poured in too much time polishing and learned what you needed to.
Try again on that apple with some color!! Maybe you will pull it off this time, or someone can give you some direct feedback. Its great you chose to pull back if you're not ready (which I need to do more) but stabbing at it now and then cant hurt
Sorry, will reply later.
_^SlayeR^_: Thanks for the pointers, man.
Grafguy: Thanks dude.
Max Challie: You can be better if you work hard enough.
Salacuis: Must be the first time anybody said my studies are interesting, hehe. Thanks.
Sedig: Thanks for looking and writing. You made some good points, and line quality is something I'm trying to always be aware of.
Pascallo: Yeah, those scribbles are pretty bad. I'll be sure to stop doing that. Thanks.
Jakers: Thanks dude. I'm totally lost with colours, I just get angry whenever I try colours, so I'm gonna get a firm grasp on values before I move on.
Just an OC session for tonight.
School's been nightmarishly busy, have had very little time to do my own drawing.
Hey... very hard work and talent in your SB! In the last update you have a creature inspired to Blame! very interesting! I¡ll check your sb often,, so... keep it updated please!
anjin: Thanks mate. I love BLAME!
Some train doodles.
I got a new scanner. Yay for faster and better quality scanning.
Deodatus: Thanks dood.
iolarnula: I like loose too, mate.
Nabbed this photo from Idiot's mentor thread. Still a WIP.
Hey man, you are on the right track with that face - its looking really nice already.
Time for some more good natured critique, mainly to even out all the ass pattery going on in the forums now a days. Stupid lounge is killing me, although the young kids on here are entertaining in their naivety.
This here painting is a good start, but I say it's just a start. Or a practice run through before really going through and learning something from the process of a value study.
I have no idea how Idiot says to attack these things, but I do have some specific advice building off of the things I tend to harp on, just remember this is coming from a guy who works almost exclusively traditional, so no resizing, transforming, curves, or ctrl+z.
First off, you're doing a decent job separating the darks and the lights breaking them down into shapes. However, you're not breaking down the shapes within the lights and darks. This specificity is CRUCIAL when trying to get a likeness and control edges and relationships. This photo you're working from isn't the best example because it's heavily blown out in the lights, meaning there's way, way too much pure white for a drawing, however, I'll use some things within it as a reference point so you can get my gist. Notice how the white actually has an edge, a clearly delineated line, where it meets the darker halftone? All values have that relationship because line, an edge, is created when two values come together. So, when blocking in these shapes, start to also find all the more subtle values shifts with line because then you won't have to guess so much end adding the values.
The main problem with a lot of this study lie, obviously, in the edges and value, which are inherently intertwined. Sometimes a value issue is actually an edge problem and vice versa. On her cheek, where her nostril recedes into her cheek and the cheek subsequently swells outward, there are four distinct values occuring, and then the white blow out. The darkest being where the nose is connecting into the face, as no light is being reflected in , then the reflected light off of her nostril onto the cheek, separated by a lost edge, then the terminator, the second darkest value as the form is gradually turning from the light. This too, is a lost edge. Then the halftone as the cheek starts to approach the light, then the light.
Sadly, you've reduced this beautiful transition into two tones, a medium dark and the halftone, flattening out the form. Don't be doing that! It'll make all of this easier to try to indicate these as shapes with line, as even an indistinct light line can mean a fuzzy or lost edge.
Anyway, hope that diatribe helped. I kind of pulled a MindCandyMan in here.....
Looking good, keep it up, SON!
Also, keep comparing for relationship proportions.
Last edited by That fat kid; June 17th, 2008 at 08:06 PM. Reason: Sedig is my underling! And stop calling me Andy!
Obvious troll is obvious