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|Color and Light||1.1||Do Assignment|
|Color and Light||1.2||Do Assignment||1.3 | 1.4|
|Illusion of Space and Atmosphere||1||Do Assignment|
|Personal Art||1.1||Do Assignment|
Wow dude. That's AWESOME. My only suggestion is surface lighting. There should be a bit of diffuse light hitting the tops of the stone pillar things (cold light, I'd suspect, from the moon, etc, rather than warm from the lava). To make the city in the back look better (right now it looks like a decal), haze it out - things in the distance lose their edges:
check it: http://www.conceptart.org/forums/showthread.php?t=51913
The light on that dragon looks fantastic.
karmiclychee - thanks! I checked that link earlier, though I'll take a closer look again
raminafshari - thanks. What's so strange with the colors?
Anywho. I liked the skull I drew earlier a lot, so I scanned it and drew over it. With a little extra to make it interesting :>
Smoke from reference.
I think you either need some reference or some landscape studies.
Check out that BLUE. And the diffuse lighting. That kind of ice is kinda hard to pull off. What you've got is a bit more metallic looking, and your pallet and composition aren't supporting the piece as well as they could be.
Thanks again, karmiclychee, for your input
A little study of the dwarf anatomy, for this piece I wanna do later.
Perhaps, I'm jumping the gun here by studying this without knowing 100% anatomy of a regular human, but eh.. Whatever keeps me interested and drawing, right?
Last edited by MrMagic; March 24th, 2011 at 05:29 AM.
Mm... first trick to composition, I've been told, is to treat your entire piece as... well, one piece. None of that "here's a person. here's a foreground. ummm... background too." The environment is the character as much as the character is the environment, if that makes any sense. If you consider the two separately, then you have the environment reacting to the character OR the character reacting to the environment, and it's not as enmeshed a story as it could be (a dialectic) which is a stronger narrative.
Think - this dude. He's swinging a hammer. Why is he swinging a hammer? Is he fighting? Well, his pose is not as tense, maybe he's working. He's a miner, maybe, or a slave. If he's working in a mine, then the environment has to be a mine. And he's shirtless, so it's probably hot as well, maybe there's lava. If there's lava, then he's probably a slave because no one in the right mind with would work next to lava. That shit's crazy, yo.
If only I could apply the thinking above to my own pieces T_T
Also: anatomy note: you see how your study above has a tiny little ass? You forgot the crotch. Check out an image of the pelvis. It's kinda got two layers - the top of the pelvis is the bowl that catches all your organs and keeps them from dribbling down into your legs. They kinda open up like a stage at an angle. Then you've got these two half rings of bone at the bottom - those are where the adductor muscles on the thigh connect from the femur, and the strange dark place between the nuts and the ass. That's where all your pelvic meat went. Good first shot, though!
Haha, I only noticed your post, when I came to upload an update of this.
I know it's bad to think seperately, but it was just the way my mind worked, I scribbled a dwarf pose, and then thought "where should I put him"
Anywho, here's an update. I doubt I made it worse
P.S there's A LOT of the details missing (door hinges, metal hardening, gonna add dust, as if he just took that door down and the dust is settling etc.)
P.P.S The shadows on the ground suck, I'm aware of those
Last edited by MrMagic; March 25th, 2011 at 05:17 PM.
You should do CHOW, man. Seriously. I'm thinking of doing the one next week.
check out all the damage, dude.
I liked the earlier version better, actually, There was more energy in the piece. Your lines were more interesting - it is possible to "over render" something.
I agree that some of the energy is gone. But I'll try to bring it back with more details (not rendering, but more stuff going on).
oh and I never thought about, googling a broken door, hah. Thanks.
I was following the last two CHOW, and maybe I'll try Winning is impossible, but it's fun!
And a note about lighting in composition, a good place to start: http://ennisart.blogspot.com/2011/02/effect.html
Bourin, labas, aciu
Karmiclychee, thanks, I'll take light more seriously in consideration while thinking up the composition next time
WIP update! Not yet done, but not much left, I think. Just need to refine some stuff, tweak the lighting some more, and add some detail to the background.
Not sure about the dust, though...
Thanks for droppin' by my SB.
You've got some good stuff going here.
I'd suggest focus on your construction and valuework. Build your shapes up from simple objects, like cubes and spheres, try to see them in 3D. Form first, detail second.
Do some quick and slow gesture studies to get a better understanding of form and line.
For values, some good grayscale studies will help you tremendously.
Good luck and keep drawing!
Yes, the attachment manager is an abomination.
Hah! Yes, you can't put a finger on your hand studies. Excellent.
Your muscle stuff is good. I think it's vital to learn the muscles and anatomy before heading off into studies, you gotta balance that technical stuff with the observational. Once you know your basic muscles, you gotta overlay some reality learning over the knowledge you've studied.
Keep it up!
How are you studying your hands, by the way? From sight or what? Try spending an entire half hour or hour on a single study, even if it feels "done," I remember being assigned to do that in art school and it was a real ass, but it forced me to see past my own expectations.
Rotor, thanks man. I'll try your advice
Karmi (can I call you that? haha. Or better yet, tell me your name!), I'm studying hands from sight, yes. The scribbly left hands are mine. And the neater ones on the last page are from photos. Just got a bunch from dA by typing in 'hand reference'.
Also, yeah, I'll try that sometime
In the mean time, a self-portrait.
I gotta confess, though. I've been a baaad boy . After sketching the proportions I double checked those by overlapping the photo over the drawing to see what is off.. And later after I blocked in the shadows I placed the photo right next to the drawing again to check everything, cause something was clearly off, and I didn't see it. Is that cheating?
Otherwise I draw on one monitor, and the photo is on the other.
It's not cheating... not really. It can become a crutch, but you can use it effectively to sort out what you're not seeing (proportionally, especially). It's a good check, but if you use it as your foundation, you'll never get better.
For your hand studies, try something a little thicker so you're less worried about contours and forced to work in value. You'll get a better sense of how light and dark fall on the features.
(And my name's Jayml, by the way )
I'm Vlad, nice to meet ya
About the hand study value. Thing is the reference photos were shot with a flash, and so all the value is washed out. Just white hands. And I didn't want to use my imagination for the shading, haha.
And I'll stop doing that when I stop making the same mistakes. I don't trace anything. I just double check. And I've learned that both times I checked the proportions I was making the nose bridge too long, and the gap between the bottom of the nose and the mouth too wide.
Oh! Yeah, no, the whole point of a study is to just work with what you see so you can do it from imagination later
However, get yourself a strong light, like a desk lamp, and point that at your non-dominant hand next time to do a hand study. That'll give you nice, strong shadows. Hell, point it at anything and you'll get nice strong shadows.