Cooking with Idiot: Frank Wade and Ben V Edition

[Idiot Apathy]

Ok, phew. After much deliberation and such for season one of Cooking with Idiot - going to start with Frank Wade and Ben V.

Still working out how to do this and what to do - planning on a month's worth of weekly assignments. Some sort of assessment at the end of said month and then we see where to go from there.

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Assignment ZERO:
1. Introduce yourself!
2. Explain what it is you are looking to learn.
3. Visit each others sketchbooks, give a crit. Point out each others strengths and constructively identify one possible weaknesses. Link it back here.
4. Point out your OWN stengths and identify what you believe to be your greatest weakness.

Do this as soon as possible, then we can get on to a real assignment

I need sleep... Zzz.

[Ben V]

1. Introduce yourself!

My name is Ben Vinkenburg, 19 years old and I originate from the netherlands. Tho born and raised here I do not feel the urge to stick around here in holland for much longer. Because of this I want to get my skill level up to par with industry standards in country's such as canada and america. I have been taking drawing seriously from my 16th so I have been drawing for about 3 years now. In my free time I like the draw in my sketchbook and paint with oils on occaision, other than that I like making music (play the saxophone) hangin' out with friends or practicing capoeira. The music I like to listen to differs alot from day to day, I am always up for some good Jazz music or some chill out beats. Hope this gives you a bit of a description about me, if you want to know anything else just ask

2. Explain what it is you are looking to learn.

Like I said I want to get my skills up to par with industry standards. Because of this I want to learn EVERYTHING. I am beginning to learn 3d animation and modelling but my main passion stays for concept art. The things I still have alot of trouble with are environments and coming up with original designs when lacking sleep. Wich is basicly 6 days a week. besides this I ofcourse also want to further develope my knowledge of human anatomy, clothing and character/creature design.

3. Visit each others sketchbooks, give a crit. Point out each others strengths and constructively identify one possible weaknesses. Link it back here.

I will do this the moment I get back home when I have some more time.

EDIT: http://conceptart.org/forums/showpos...1&postcount=57

4. Point out your OWN stengths and identify what you believe to be your greatest weakness.

I think my greatest strength is my motivation to learn and do whatever it takes to reach my goals. as for my weaknesses... where to start... I think the biggest issue is lack of being able to finish my work. I never get anything finished... sigh

And thanks Idiot Apathy for giving me this opportunity, really appreciate it, wont let you down.

[Frank Wade]

Assignment ZERO:

1. Introduce yourself!

My name is Frank Wade and I am a 20 year old aspiring artist. I was born in Oklahoma City and then at age two moved out into the country. I relied on the internet to connect me to the outside world, especially concerning art. I have been studying art for about 5 or 6 years now. I love music, philosophy, and trying different drugs.

I am currently at Oklahoma State University, but I'm not sure why. My goal as of now, is to study and draw as much as I can, so that someday, I can make it into the CA Atelier. I'm taking the next semester off to pursuit this.

My favorite subject to draw or paint is definitely people. I love to draw girls, especially their faces. My main goal with my art however, stems back from when I was young, playing different role-playing games. The characters where so inspiring to me! They seemed so brave and real to me at that time. Throughout my life, I realize that some values I hold true have been derived from them. Later, I realized that someone designed those characters and put everything they had into it. It's a great outlet to express yourself.

I want to create so that I might inspire others, and at my current skill level, I can't even express what I want in my art fully.

2. Explain what it is you are looking to learn.

• I want to form and understand a strong and simple process of doing environments, and a general, critical, thought process to maintain while doing so.
• How to compose images based on color and value instead of placement. I just feel like I need more complex compositions.
• I would like to learn more about texture. How to represent different materials, like metal armor or grassy fields. This gives me a lot of trouble.
• I would like to develop my understanding of human anatomy in general, but more so the female body and specifically the legs.
• Absolutely anything you feel important for me to learn or work on.

3. Visit each others sketchbooks, give a crit. Point out each others strengths and constructively identify one possible weaknesses. Link it back here.

http://www.conceptart.org/forums/sho...0&postcount=26

4. Point out your OWN stengths and identify what you believe to be your greatest weakness.

My greatest strength is in portraits, specifically male portraits, although I enjoy doing female portraits more. I also have a very critical eye which is helpful.

My greatest weakness is that I'm gridlocked in my art. Whenever I go to design a character, male or female, the angle of the head, the perspective of the body, even down to the hands and feet, I am completely at the mercy of what is comfortable. I get stuck in my comfort zone, and it's been a long time since I've pushed myself out. Faces stay straightforward, or 3/4th view. Bodies face the viewer. It's all static and boring. I think this is my biggest weakness. I'm scared!

[Idiot Apathy]

Frank Assignment One:
Working in black and white you will do 10 environment thumbnails. These are composition sketches, you will focus on capturing the viewers attention. Doing thumbs you will focus on shapes and how they control the eye and doing so in black and white you will focus on how value does the same. It is my hope that this will help you form the "strong and simple process of doing environments, and a general, critical, thought process" you are after as well as more complex compositions (everything starts basic) as well as value composing and color composing (value is the most important part of color).

I would like to see:
a variety of canvas sizes, both portrait and landscape.
a variety of environments.
in at least 4 I want to see you place a simple silhouette figure.

Notes about your thoughts are REQUIRED.(Is there anything that is troubling you? Did you make any breakthroughs? Any questions?) Taking notes will not only help you learn, but will help me help you learn

Due Date: Sunday Oct. 7th (The sooner you finish the sooner we can move on however, provided I'm free )

Break a leg homey!

[Idiot Apathy]

Ben Assignment One:
Hey dude, I've got a few ideas for you - but you didn't really hit anything too specific on your introduction like Frank did. Is there something specific or shall we just go ahead?

[Ben V]

Basically I just want to learn everything, so it might be a good idea to work on the same assignment as Frank. On the other hand, if you have a better idea of what I should be workin' on I have no problem with doing something else for this week.

[Ben V]

So here are my 10 thumbs. I hope this is what you meant with thumbs Idiot Apathy, they are all pretty quick. I wrote down the notes right after I finished a piece.



1. After trying out some different methods of approaching it I found out that starting with a midtone works the best. After that I try to define a basic silhoutte of the environment by using a lighter value for the sky. afterwards I can start defining what I want to actually show in the enivornment. I find myself having trouble with finding a good composition, also figure placement is a problem here...



2. Trying out some different shapes and forms, starting to see to much similairity between this one and the first. Going to try some different burshes in the next one and see if that helps things out, not really happy with this one.



3. Trying out the brushes that came with the Vyle speed painting dvd. they really seem to help to block in some basic texture and shapes. Still find myself just wingin' it when it comes to composition, going to read up on this for the next thumb.



4. Damn... attempting to paint water, way harder than I tought it would be, it doesnt really read like water to me. I like the composition a little more, tried to aply "the rule of thirds" composition technique to this one, seems to work better than what I have been doing before. Time to start experimenting more with placement of major elements.



5. Finding myself having trouble with the perspective, maybe I should try using guidelines on the next thumb....



6. Tried not to use any of the custom brushes on this one, instead I tried to define some basic shapes and put a little action sequence in. I also used some persperctive guides to help me out on this one. Found out that it does seem to help when doing cityscapes but if you would be doing naturalistic environments I think i'd be better off not using any guidelines.



7. Tried to create more of a mood in this one, also tried to create some more interaction between the figure and the environment.



8. Went for a different sort of environment on this one, a cave. dont really like how it turned out. No custum brushes used in those one, I need to work on finding a mixture between custom brushes and actual painting.



9. Tried to do another cave environment. I think this one went a little bit better than the last, mainly because of the better composition and better use of texture.



10. I like the way I did the sky in this one but thats probably mainly because of the moon.

To sum it up: what I still find myself having trouble with in general is:

- Finding compositions that work.
- Figure placement (part of composition ofcourse)
- Balance between custom brushes and actual painting (going to start making my own brushes so I dont have to keep ripping on Vyle)
- Creating a "epic" feel in my pieces, if that makes any sense.

[Frank Wade]

Alright, here's mine, notes first.

I just wrote down anything I was thinking whenever I thought to.

Originally Posted by Notes

What do rounded surfaces do to the viewers eye as opposed to flat surfaces? How can I take advantage of different shapes?

I feel like my value range isn't good enough.

I need to keep in mind not to center my focus point, it's boring.

Should my foreground mid ground and background be clearly separated? Is it good for this separation to be obvious?

I'm trying to make elements of the composition aim or angle towards the focal point.

I'm wondering what's important regarding different page layouts in terms of environmental compositions..

With a flat land type, maybe a strange texture hole shape thing will draw attention?

I have realized that the focus point should be the first thing in mind when starting.

The viewer needs detail to stop on, so the focal point should provide that.

Vertical compositions are hard -- I don't understand..

I tried a composition with some trees for a vertical comp, I can't think of interesting shapes.

Maybe if I use random lines for a while in the beginning I can pick out interesting shapes and elaborate on them..

about my brushes
I find that somewhere between 50-70% opacity good for these, with a dark value and pen pressure set to opacity so I can get a wider
range of value without using the color picker.

I liked finding random shapes I think it works ok for me..

I realize that I jump quickly to the things I like..

I am quick to attempt to balance a composition as soon as I feel like it's unbalanced..

I keep repeating "use shapes to draw the viewers attention" and I only think about squares and circles wtf

trying smaller, more abstract shapes

Working from the back, the sky then foreground and work from there.. but this doesn't seem to work very well.

That's all I took, it is kinda hard to take notes while making thumbs, it disrupts any momentum I pick up. But, I understand the necessity, I just hope I put down something that can help.

Ok, thumbs:

[Idiot Apathy]

Ben, These are hotsauce man. Good shape and brush control and such a nice range of values and shapes not to mention an impressive variety in subject matter and composition. Cow! Great notes too! *high five*

1. Great conclusion, you are already putting in great thoughts to process and efficency. WOO! Good gradiations too, adds a lot of depth and atmosphere. Composition is fine, though I think you are right about the placement of the figure. I would either move him away from what I see as your main focal point (that door) or combine him with it. At the moment he is a bit tangent of it you know? Great start! numbatwo!

2. Not a fan of the spacing artifacts in your brushstrokes here. Lower the spacing! Figure is a bit odd, but at the same time it adds quite a bit of character, character is good! I like the composition, nice - simple and direct. pow. Looks like you are fighting your brush a bit though, besides the spacing. Are you using manual opacity?

3. Brushes can be great timesavers or visualization tools but I think you also need to be able to render with the simplest of brushes. Not to say don't use custom brushes, just don't always rely on them. Actually don't always rely on anything Love the path on this one, really cool and I will have to steal it sometime. Sky could use some more love and thought, So much is possible with the sky and clouds - they are your most flexible tool for composition, make use of it! Did you paint those birds by hand or did you use photo/custom brushes? If it's #2, hahah nice! You already have a cheap bag of tricks! Brownie point. Composition wise I wish the horizon wasn't so close to dead center, same with the the furthest right edge of the archway. Variety is the spice of life, try and keep your shapes different and interesting - including negative shapes. Anyhow, great job on this one too! *gives you a cookie*

4. Haha, sweet! Again, very direct. I love it. Water ... yes. Water is so hard. Still wrapping my head around it as well. Best thing to do anytime you can't figure it out is use reference, study it! I've foolishly shyed away from using reference for a long time and have just barely come to understand it's importance and how to utilize it. Anyhow, good narrative in this pic too - adds so much interest.

5. Nice, great variety of shapes and surfaces. Not kean on the spacing artifacts from your brush here again, this time on the fence. Perspective doesn't bother me, the only thing that would be really affected is the fence, but there is only one so it's hard to tell really. If it feels odd it's because it's of contrast - sometimes contrast can make something feel out of place. Here the contrast is more mmm, psychological? Having only once fence feels out of place, a bit arbitrary perhaps. I think this could be a really cool image if you extended the fence down the side of the river, zigzagging the whole way. Next!

6. Hey that's a color! You failed! Hehe kidding. Values are sometimes imperfect in distinquishing things, that's where color can really help. You know in some old black and white movies they used chocolate syrup instead of blood? . Anyways, great variety here man - you've got balls doing a cityscape! The figure in the shadow is such a pro move, he pops so so very well with the dark foreground against the light middle and background. You could perhaps take this even further and have a darker background, light layers of light and shadow. The figure is nice too, the figure getting shot bugs me a little though, more placement than anything else. Great notes, man I am super impressed at how analytical and adventurous you are being.

7. Hotsauce! Very different. I need to do more night scenes ... flashlights... mmm. *highfive* Composition could be a little more interesting, just a change in viewpoint could do wonders. You could make it more personable, zoom us in on the figure perhaps. Not completely keen on the path either, very straight - I really liked the path on #3 in contrast.

8. Again, hotsauce! Great seperation of foreground and background, does wonders for your depth - and you spice that up even more by placing your figures where you did. I even like the massive amounts of black negative space. Yeah this one is ace. You should take it further! Wait what? You don't like it?

9. Good thoughts in this one and good focal points - especially good use of the figure placement. I wish the cracks in the wall weren't centered in the middle of the canvas though. Ouch! Could perhaps use more even higher values inside the cave. Anyhow, lots of potential in this one too. Man, I think I will do some caves!

10. Not a big fan of this one Lots of wasted space and once again equal space division. Nothing a quick crop can't fix I call it the crop'n stop. haha, ok I am getting tired. Really impressed overall duder, *high five*


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Assignment Two: Due date: ASAP
1. Identify your two strongest thumbnails. Analyze why they are your strongest.
2. Identify your two weakest thumbnails. Analyze why they are your weakest.
3. Once you finish, I will tell you where to go

Franky frank, Imma get yours tomorrow - word? Hold off on part two until then ok?

[Noë]

Hey Idiot Apathy, Frank Wade and Ben V!
I'd just like to say I really like where this thread is going.. The thumbnails are looking très sweet! (much better than my first four turned out anyways ).
I hope you don't mind that I do some of the assignments on my own? I think I can learn a lot from doing these myself and checking the great advice on your assignments back here.

Oh, by the way, maybe I'm not supposed to post responses here? If that is so; please PM me and I'll delete this post.

Keep it up! ^^
Love
Marleen

EDIT; I didn't mean to ask if I could post my assignments here as well I'd just like to follow along in the background. I'm getting plenty of awesome feedback in my sketchbook anyways.
EDIT2; Hey ^^ Ben lives in Holland, I only just noticed.. Stop by at the dutch sketchmeetings thread once (it's in my sig) ^^

[Ben V]

First of all Idiot apathy I want to thank you alot for your critique, you have no idea how much it helps me.

Not a fan of the spacing artifacts in your brushstrokes here. Lower the spacing!

I actually used one of my own brushes on that (sort of a palette knife brush), is there any way you can save the spacing in the default preset? It always keeps jumping back for me

Are you using manual opacity?

I am only using the "other dynamics" opacity by pen pressure.

Did you paint those birds by hand or did you use photo/custom brushes? *gives you a cookie*

It's a custom brush... mmmm... cheap tricks... tasty.. *munches on cookie*

Assignment 2:

1. Identify your two strongest thumbnails. Analyze why they are your strongest.

Personally I think thumnail number 3 and 7 are my best, mostly because they both tell a story wich adds great interest for me. Now that I look at it a day after I think that the way I did the clouds in these 2 also really helps set the mood and helps with the composition. this doesnt mean I think these thumbnails have the most potential of being a awesome painting, as for that I think those are 6 and 3. Every time I look at them I see all these tasty details I can add and especially after your critique I see lots of ways to improve them.

2. Identify your two weakest thumbnails. Analyze why they are your weakest.

At the moment I think number 2 and 5 are my weakest. At number 2 I think the reason why it is so weak (not taking the brush spacing into concideration) is because there is no clear subject matter, also the composition is pretty basic and its just boring to look at (mainly because there is nothing happening). As for number 5 I think the main reason why I dont like it is the value's and the lack of clouds. In this one I still see potential tho, especially after reading your critique. I think if I would spend a little more time on this it could turn out to be a pretty nice composition.

So to conclude on what i've learned:

- Add a little bit of story/personality to the environment.
- Clouds can really help sell the picture/composition.

[Idiot Apathy]

What do rounded surfaces do to the viewers eye as opposed to flat surfaces? How can I take advantage of different shapes?
Rounded, depends on what exactly you mean. Rounded objects will of course have different shaped light sides as well as shadows and generally their edges are a bit softer. Go into more detail and I can too (hopefully ). Different shapes? Use them to keep things interesting, variety is the spice of life. Use them to lead the eye - generally USE them! Make them have a purpose.

I feel like my value range isn't good enough.
Agreed. Punch it up! You don't usually want a full value range on a single object or even area - but you can just about always get away with a full value range in the entire image.

I need to keep in mind not to center my focus point, it's boring.
Yup, learned from your mistakes - most important thing you will ever do.

Should my foreground mid ground and background be clearly separated? Is it good for this separation to be obvious?
They don't have to be, but it can really help. If you have a good reason for them not to be or find yourself abusing it - branch out!

I'm trying to make elements of the composition aim or angle towards the focal point.
Good man! It can even be good to make incredibly obvious at times. It can be a bit cheese, but cheese can be good too

I'm wondering what's important regarding different page layouts in terms of environmental compositions..
You mean canvas dimensions? Not incredibly important, but more variety means more experimentation - and it's through experimentation that you learn. Maybe not so much with drugs though

With a flat land type, maybe a strange texture hole shape thing will draw attention?
Hahaha, that sounds really bizarre. Generally in just about everything we experience it's contrast that makes things stand out. Same is then of course true with visual experiences. Red stands out in an ocean of blue. Circles stand out amongst squares. Curves to straight lines. So on and so forth, it can even be intellectual contrast or just less visual and more mental.

I have realized that the focus point should be the first thing in mind when starting.
Not necessarily. It should probably be in mind most of the time though. Just make sure you have one!

The viewer needs detail to stop on, so the focal point should provide that.
Yeah for sure, but just as important the viewer needs nothing to look at just so the detailed areas have -wait for it- contrast and will draw attention.

Vertical compositions are hard -- I don't understand..
Haha, Especially with landscapes. After all, the opposite of portrait compositions is called landscape. You might try shifting your focus vertically rather than horizontally.

I tried a composition with some trees for a vertical comp, I can't think of interesting shapes.
Go abstract. Shapes are shapes, they don't need to be anything right away. That's one of the most pleasant things when working from chaos, figuring out what things will be. Make them interesting and then make then into something. Not always how you will and should do things, but have fun with it.

Maybe if I use random lines for a while in the beginning I can pick out interesting shapes and elaborate on them..
BAM! I should have just read ahead. Good man! *high five*

about my brushes
I find that somewhere between 50-70% opacity good for these, with a dark value and pen pressure set to opacity so I can get a wider
range of value without using the color picker.
I can't stand manual opacity. It's clumsy and messy. I really recommend you set manual opacity to 100%, set your brush up with opacity and flow to pen pressure. It will be so much smoother and so much more natural. I also have alt on my pen switch so I can color pick constantly, this way I rarely have to open the color picker unless I need to to introduce a new color.

I liked finding random shapes I think it works ok for me..
Yeah buddy! Me too, lots of fun.

I realize that I jump quickly to the things I like..
? What you mean? Subject wise? Find yourself doing the same thing over and over or what?

I am quick to attempt to balance a composition as soon as I feel like it's unbalanced..
Good, it's a balancing act that you have to do constantly. But think outside the box at times, it's not always shapes and values that can balance things. (it's of course contrast again), but figures can often balance other much larger areas. Color can be a real beautiful balancer as well.

I keep repeating "use shapes to draw the viewers attention" and I only think about squares and circles wtf
Hehe, there are an infinite amount of shapes Frank!

trying smaller, more abstract shapes
Word.

Working from the back, the sky then foreground and work from there.. but this doesn't seem to work very well.
You are smart to work back to forward when it's from reference or life, in digital - unless you know what you are doing, probably not going to work. Your priority is instead - idea generation.

1. Definitely leads the eye around. Could probably use more values, but not necessarily. You will just have to make up for the loss in visual interest elsewhere.

2. Nice, this the textured hole one? Definitely draws the eye, good to see you thinking about this sort of thing.

3. I really like this one. Nice and simple, lots of potential. The hill really controls your eye. POW!

4. Not working very well for me. Definitely some interesting shapes, but my eye keeps getting kicked out of the canvas. You can almost think of your shapes like the way a ball makes its way through a pachinko machine. Is it going to keep me in the canvas or kick me out?

5. nice, good trail for the eye to follow. Figure adds a bit of story and a lot of interest *high five* He might be better on the other side, not sure but it feels a little unbalanced.

6. Mm, good value range and good aerial perspective. Kept your darks right up front too. Nice. Horizon seems to be tilted, not sure I like that. If you have a reason for it, then sweet. If not, why?

7. Needs more values or more interest elsewhere. Just detail I suppose. Strong negative shapes like the gate looking shape here are usually heavy focal points. Not a bad thing, well it could be... but not here Consider overlapping shapes more, great way to add/show depth and add interest.

8. Tents! Not bad, good depth. Compositionally the tent on the left traps my eye on that second edge. Usually our eyes enter a canvas from the left, so I generally check to make sure nothing is going to keep me from making my way across the canvas here.

9. Kewl. Can't figure out the scale or really what it is. Figures are an instant scale marker. Good job offsetting the shapes here, they are very symmetrical but by doing what you did you've kept it interesting.

10. TrRREeeees. I like this one. Pretty good comp and lots of depth caused mainly by overlap. Brush strokes are a bit dirty.

Make them bigger next time ok?

Assignment Two: Due date: ASAP
1. Identify your two strongest thumbnails. Analyze why they are your strongest.
2. Identify your two weakest thumbnails. Analyze why they are your weakest.
3. Once you finish, I will tell you where to go

[Frank Wade]

Alright! Thank you for the in depth crits. I feel like I've learned a lot already. Some of my questions where not worded very well, sorry for any confusion. And yes, I will make them bigger next time, my bad.
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Assignment TWO:

1. Identify your two strongest thumbnails. Analyze why they are your strongest.

My two strongest are number 3 and 6. Number 3 is working as a composition because of the main, dominating hill that slopes towards the the shape in the horizon. It leads the eye directly to focal point, nice and simple. Number 6 is my favorite, I think the values are good. I like the lighting possibilities and I think where the camera is creates a good dynamic feel.

2. Identify your two weakest thumbnails. Analyze why they are your weakest.

Ah, my two weakest thumbnails. Number 4. I completely see what you mean about it. When I just look at it, I can't find a spot to really stop on right away. It doesn't flow well and doesn't have a strong focal point. Number 7 has no flow, the eye just stops in the middle. The shapes are boring and the figure isn't placed effectively.

---

Ready for Assignment 3!

[Idiot Apathy]

Ben: After you have changed the spacing you will have to save a new brush to replace your old one. In addition to opacity by pen pressure you may also enjoy using flow by pen pressure and manual flow if you need to blend even further.


Assignment 3: DUE DATE: OCT 14
Frank:
1. Rework your number 6 taking into account the critique and any thoughts you had. Move it past thumbnail stage into sketch. Refine shapes and begin adding preliminary detail.
2. Rework Ben's number 7 taking into account the critique and any thoughts you had. Move it past thumbnail stage into sketch. Refine shapes and begin adding preliminary detail.
3. Rework your number 4 taking into account the critique and any thoughts you had. Move it past thumbnail stage into sketch. Refine shapes and begin adding preliminary detail.
4. Rework Ben's number 2 taking into account the critique and any thoughts you had. Move it past thumbnail stage into sketch. Refine shapes and begin adding preliminary detail.

Ben:
1. Rework your number 3 taking into account the critique and any thoughts you had. Move it past thumbnail stage into sketch. Refine shapes and begin adding preliminary detail.
2. Rework Frank's number 3 taking into account the critique and any thoughts you had. Move it past thumbnail stage into sketch. Refine shapes and begin adding preliminary detail.
3. Rework your number 5 taking into account the critique and any thoughts you had. Move it past thumbnail stage into sketch. Refine shapes and begin adding preliminary detail.
4. Rework Frank's number 7 taking into account the critique and any thoughts you had. Move it past thumbnail stage into sketch. Refine shapes and begin adding preliminary detail.

[Idiot Apathy]

How's it coming guys?

I did 3 30 minute sketches in black and white. The sort of thing we have been doing in here, well almost A few cheap tricks. Anyhow, I also recorded them as I was doing them; maybe you will find them interesting.

http://www.conceptart.org/forums/sho...&postcount=120

[Ben V]

Damn you idiot apathy! you make it look so easy!

Anyway I am coming along slowly but steadily, I'll be done before the deadline Those vids were really helpfull, kind of shows me I have been going about it the wrong way. Oh and you have to tell me the songs you used in those vids, love em.

[Frank Wade]

Amazing, I am going to devour these and squeeze out something good.

Also, I love the little guy and dog that repeat in all three, a nice little story it adds. Great work man, very inspiring!!

I will also be done by the deadline.

[Ben V]

ugh... been sick all week, tried my best anyway overall not too happy with the results.

Frank's #3:


Ben's #3


Frank's #7:


Ben's #5

[Frank Wade]

Sorry to keep you fellas waiting!

Man, these changed a lot.

My #6



Ben's #7 (Nighttime is difficult..)


My #4


Ben's #2

[Idiot Apathy]

I didn't specifically ask for them, but if you have any notes on this one post them. All exercises will require notes from here on out. Remember, it's not just what you've learned - but what you have had trouble with. Use these to ask any questions you have, make it much easier for me to help

Working on replies

[Frank Wade]

Ok, on the notes: I don't have any. But I will remember to take them from now on, sorry about that.

However, I did watch your videos a few times each and stole some of your tricks. I had a couple questions about layers types you where using. When you go to "remix" a landscape, (merging all the layers, copy+paste, transform), is overlay the only layer type you use?

I had better questions, but I forgot them.

man.. I have the urge to do more landscapes all of a sudden..

edit: ok so I just did one for fun, thought I would post here for feedback (if you have time). I guess this was kinda a warm down. Or maybe I'm just warmed up, I don't know but this was fun.

[Frank Wade]

Mentor! I am in need of assignments!

[Idiot Apathy]

Haha, sorry buddy. Will wrap up tonight and get the new assignment up, been a busy week!

[Idiot Apathy]

Ben: Hey dude, hope you are feeling better.
Frank's #3: What I liked most about franks thumb was how simple it worked with so little - efficient. The hill brought you down to the ground and then your eye hit the structure in the background. I think you lost that a bit here. The figure - even if it wasn't psychologically a focal point - would still draw the eye due to it's complexity (a contrast with the overall simplicity) as well as it's value contrast. Though I think both the figure and the camel are great additions and tell a story, I think their placement may not be an improvement on the thumbnail. I think you manange some good depth, but you could increase this further with a more obvious/distinct middle ground. Great rendering on the path, very interesting shapes. Kudos for trying something this hard Oh, good to see you thinking about using clouds for composition. Overall I think not only the sky but all the shapes could use more gradation, you might try using a multiply or soft light layer and glazing your values.

Your #3: Some good values going on, good amount of depth. Could be pushed just a bit further. Again, multiply or soft light layer - glaze them puppies! Oh, or you could use dodge and burn (though I don't recommend using that so much with color, it's perfect for black and white). I prefer the fence the way it was in the thumbnail, it lead the eye more powerfully - the angle of it that is. Trees are looking nice, good addition. I do miss the white flowery bits and the birds - the birds really broke up the space. I think I liked your cloud shapes better too . Not sold on the figure either :/ I feel like I am being a jerk right now, but I don't want to hold back either - just know that I am not trying to offend, only trying to help. I'm not sure but I think I liked the placement of the figure in the thumbnail as well. Hey! Does he have a dog in the new one?

Frank's #7 The change in values is great, I like the sky a lot too - ooh and stairs! . Figure I think lost a little character that came from the pose - it's a bit small but he seems a bit startled in the thumbnail. The leftmost edge of the bright inside part of the gateway is in the direct center of the canvas - makes things a bit static I think. You could either crop or extend the canvas - this is something I do quite a bit honestly :|. Also looks like you might turn the spacing on your brush down a bit, getting the ()()()()()() effect. Something else to play around with is bloom, having light sources kind of mmm.. bloom is a hard thing to explain. Sort of like when you come out of a movie theatre and your eyes have to readjust to the sunlight, or a light in a dusty room? That sort of thing. /ramble

Your #5: It's good to see you playing with shapes like this cave ceiling - but keep in mind you should make all major changes like this in the thumbnail stage! (This is not to say you shouldn't make major changes later, but the idea is you shouldn't have to!) Waterfalls are nice, leads the eye a bit. I think you have lost some depth from the thumbnail - mainly from lack of aerial perspective. I'd like to see the extreme foreground distinguish itself a little more from the midground. The cave ceiling would benefit greatly from a clean deliberate edge ( not necessarily sharp nor consistant - just refined).

Ok dude, feels like I bagged on you a ton - but I do think you are getting loads better and getting a better handle on your brushes - not to mention I can litterally see the thought you've put into composition.

Frank!
Your #6: Yup, that changed a ton - and I think for the better. I do miss the darker shapes in the foreground from the thumbnail - added quite a bit of depth. You might hit up the background with a huge airbrush at a very low flow and give it a little atmosphere. Your shapes could use a little more refinement not only to buff out the digital brushstrokes but also to further distinguish them from the other shapes - those that border the sky especially. Neatness counts! So very very much. You know how a chickenscratch line looks next to a clean confident line?

Ben's #6: Mm, yeah nighttime is hard. You've really got to limit your value range - you can still use pure white and pure black, but you have to limit what is light and what is dark. Also keep in mind things like water - unless illuminated otherwise won't be bright as they are no longer reflecting a bright sky. I miss the trees and mist from ben's what didn't you like about them? Try not to change things too much from the sketch or thumbnail - to state differently try to nail the composition IN the thumbnail. (Even though it wasn't yours ) Remember also that due to the lack of contrast your edges probably won't be as sharp at night - again unless illuminated.

Your #4: Wait what? This is number 4? It's completely different! Instead of scrubbing everything out when something doesn't work - it pays to figure out why it doesn't work. I do like this one however, good depth, values and an interesting structure as well as shapes - yeah a nice variety of shapes. *high five*

Ben's #2: I prefered the figure where it was - by having him next to your only other shapes in the foreground you've dramatically reduced the depth. You could put some other shapes in the foreground sure - but why fix what isn't broken? Nice pose though! You might also break up the mountain line in the background, try to give things variety to keep them interesting. Nice gradation in the sky and nice ground plane.

Looks like you are getting better with the brush duder, good work. You should pump some more thumbs out - you enjoying them at all yet?

Edit: Sorry, missed your 2nd post frankyfrank.
The merge, which by the way is ctrl+alt+shift+e (merge all on new layer) - I don't use overlay I generally use lighten and darken. It's a real nice mix!
The image: Cool, good aerial perspective. Mind that not only will values affected, but by no coincidence so will edges. I would soften them up the further you get out there. I'm glad that you are hitting the high exposure in most of these but it would be nice to see some darker skies from you - just for the sake of experimenation and explorationg (learninnnnng). Good to see more thought put into texture too! *high five*

[Idiot Apathy]

Assignment 3: 1 to 1 Photo Study
Emphasis Accuracy of Shape and Value
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DUE DATE: Oct 30th (Or after halloween if it interferes )
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Changing gears a little bit here, but I think this is a good spot to pause on the environments and focus on some building blocks.

Copying a photograph is a great way to learn via isolation. You do not have to create the subject, nor composition, nor value - so on and so for. By isolating what it is you want to study you can better focus upon it - divide and conquer. Here our focus is on accurate shapes and accurate values. It is my hope that this will teach you not only these necessary observational skills but a more efficient process, more complete brush control and blending.
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Step Zero!
Notes! You'd better take notes! RAR!

Step One!
Take this photograph:

Apologies if you find it disturbing, I find it intriguing and oddly beautiful. I sounded like a sicko there huh? :| Anyhow, if you can't stand looking at it talk to me and I will find something else for you. It's got amazing lighting and values. I think it's a bear fetus? No clue.

Step Two!
Set it up in your graphic program of choice like so:

Do note that the photograph is on a seperate layer and LOCKED! Can't tell you how many times I have painted on the photo layer :|

Step Three!
Block in the biggest shapes and values! Be as accurate as possible!

Step Four!
Check your big blocking shapes! Use negative space, angle checks and level line checks!

Step Five!
Block in the medium shapes of these big shapes!

Step Six!
See step four, minus big and insert medium!

Step Seven!
Small shapes!

Step Eight!
See step six, minus medium insert small!

Step Nine!
Rinse and repeat!

Step Ten!
Is it accurate both in shape and value? Don't forget to blend!

Step Eleven!
Crap, too many steps. Anyhow, post it up!

[Cyclop3000]

I'm going to go ahead and stick my nose in here, just to say this thread is great... and Idiot, your criticism, even on other people's art, is very helpful to us viewers.

I am sure it's hard work keeping up with all the critics and post here, but well worth it for the community. Keep up the excellent work, I'm liking this!

[chaosrocks]

fun!
Go idiot and lucky idiot studentia

[Idiot Apathy]

Thanks guys,
Found out it's a bradypus tridactylus - cute lil three toed sloth

[Frank Wade]

Man, as I'm painting this, this thing is fucking crazy!

But, it is as you have said, strangely beautiful..

[hp]

hey idiot apathy, these exercises are awesome! tell me when you are accepting more ppls ^^