Maybe he needs a new gun engineered to complement his limp-wristed shooting style.
I can't find any examples for the life of me, but I believe that's how lots of soldiers normally hold their guns.
The rifle itself is actually being supported via 3-point sling. He's resting his hand on the handgrip and trigger assembly more or less, he's not really carrying it in his hands. I would put the reference picture up but my bandwidth is awful out here and it would take much longer than its worth.
However, I will say that if his wrist were straight, the rifle would be 90 degrees to his left, flagging everyone he walked passed.
Dodgy doodles i did tonight while watching SNL. Mainly continueous line work. Not really trying to learn anything, mainly just screwing around for fun. *also, i realise that left woMAN anatomy looks all kinds of f-ed up.
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NakedZerglingA more apocalyptic post apocalypse Portland OregonRegistered Userregular
edited July 2009
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NakedZerglingA more apocalyptic post apocalypse Portland OregonRegistered Userregular
edited July 2009
Hey guys i found this on youtube today..HOW TO SEPARATE YOUR PENCILS FROM WHITE...without using the multiply method. I have been using the multiply method and have had issues coloring. This method is AWESOME. I just tried it with a few things and it works perfectly.
(doesn't work with MAC though ) http://www.youtube.com/watch?v=qDq426DMC04&feature=channel_page
Hey guys i found this on youtube today..HOW TO SEPARATE YOUR PENCILS FROM WHITE...without using the multiply method. I have been using the multiply method and have had issues coloring. This method is AWESOME. I just tried it with a few things and it works perfectly.
(doesn't work with MAC though ) http://www.youtube.com/watch?v=qDq426DMC04&feature=channel_page
the hell is he talking about- that never happens to me when I merge my layers. other than that, this is pretty nifty.
the hell is he talking about- that never happens to me when I merge my layers. other than that, this is pretty nifty.
Yeah, what version of Photoshop is he using? Not the right one!
also, good value practice tam. should help you on the way to practicing coloring.
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BRO LET ME GET REAL WITH YOU AND SAY THAT MY FINGERS ARE PREPPED AND HOT LIKE THE SURFACE OF THE SUN TO BRING RADICAL BEATS SO SMOOTH THE SHIT WILL BE MEDICINAL-GRADE TRIPNASTY MAKING ALL BRAINWAVES ROLL ON THE SURFACE OF A BALLS-FEISTY NEURAL RAINBOW CRACKA-LACKIN' YOUR PERCEPTION OF THE HERE-NOW SPACE-TIME SITUATION THAT ALL OF LIFE BE JAMMED UP IN THROUGH THE UNIVERSAL FLOW BEATS
Hey guys i found this on youtube today..HOW TO SEPARATE YOUR PENCILS FROM WHITE...without using the multiply method. I have been using the multiply method and have had issues coloring. This method is AWESOME. I just tried it with a few things and it works perfectly.
(doesn't work with MAC though ) http://www.youtube.com/watch?v=qDq426DMC04&feature=channel_page
Or you could just leave it on the background without doing all that merging shit, click the channels tab, have either gray or all the RGB colors selected, click "load channel as selection", Go to Select>Inverse (ctrl+shift+I or command+shift+I in mac), go back to layers, make a new layer, and fill it with black (or whatever other color you want). Select the whole background, and then cut it. Same thing, maybe just a few less steps.
I don't think I ever used multiply, I've known about this for years, heh. Good trick to know.
Not on the BG layer because it's locked. You'd have to go to Layer>New>Layer from background and then make it layer 0 or whatever before you do that. Then you'd have to put white or gray or whatever below it if you dont' want it to be totally transparent. But yeah, that works, too.
Well you have to do that with his method also, really its just the same step but instead of using the shortcut key you have to use the channels palette.
Well, Charis and I (as we are well acquainted IRL)have been thinking about a few possible webcomic ideas, and a new one popped up tonight. So I sketched out some characters. The one on the left would be mine, and the one on the right, hers. Though I designed the legs. Which were a lot harder than one might think to make look ok.
PROX, I'm loving how the icing and candle come off. I think it might be worth it to add a few roadside features to give it a better sense of speed though.
Well, Charis and I (as we are well acquainted IRL)have been thinking about a few possible webcomic ideas, and a new one popped up tonight. So I sketched out some characters. The one on the left would be mine, and the one on the right, hers. Though I designed the legs. Which were a lot harder than one might think to make look ok.
When designing characters for something like a webcomic, simplicity and difficulty are really important
do you really want to redraw that tentacle, complete with suction cups et al a jillion times? Will they be easily recognizable next to other characters? Right now your design is pretty cookie cutter sci fi lookin dude, and also you know if you want people to actually read your webcomic it will take a lot of work and man,
you have to actually want to devote time to it.
No. Fuck oil. I need someone to teach me how to use it.
Work VERY THIN, block in underlays and then gradually build up to thicker paint. I think they are great, but unless you have the right facilities (like a proper studio) then its a bitch. It's slower, smellier and messy. At least with acrylics you can work fast.
Yeah, see, I'm not sure I can handle doing a layer of thin paint then waiting a few days before I can work on it again without smooshing everything to a muddy gray. I just don't have the patience.
Yeah, see, I'm not sure I can handle doing a layer of thin paint then waiting a few days before I can work on it again without smooshing everything to a muddy gray. I just don't have the patience.
Exactly why since finishing my painting class at uni, i dont bother with oils anymore.
When designing characters for something like a webcomic, simplicity and difficulty are really important
do you really want to redraw that tentacle, complete with suction cups et al a jillion times? Will they be easily recognizable next to other characters? Right now your design is pretty cookie cutter sci fi lookin dude, and also you know if you want people to actually read your webcomic it will take a lot of work and man,
you have to actually want to devote time to it.
You make a good point, RubberAC. I can see where you're coming from with the cookie cutter design on mine. As for the detail, I couldn't disagree with you more. For one, this is an extremely simplified style I employ when I feel like working fast. Normally, I am much, much more detailed and precise. Both of those characters combined maybe took me twenty to twenty five minutes. Not long at all, considering how I might spend two to three hours on a duo of character normally. The tentacle wasn't really hard, nor annoying. It just looks like it because the suction cups give it a lot of form.
And really, like you said, you have to want to devote time to it. One of my favorite artists is Kentaro Miura. He draws the comic Berserk, which if you haven't read, is insanely detailed. All black and white. None of his character designs are very simplified at all. And yes, he doesn't push out volume like mainstream graphic novels, but damn, they look good. And he has a strong fanbase for that. There is no such thing as too detailed, as long as you can handle it. And I think I can.
We need more webcomics from people that can actually draw form, anyway, and not just "working hard" to push out 3 pages a week when they're not strong pages. Compositionally, or stylistically. Perhaps I'll redesign them more complexly, and you can see what I mean. I'm not trying to burn you here. I just respectfully disagree is all.
Desperate Robots: You don't have to wait days for it to dry before you can work on it again. Oils do take some level of patience, but that's why artists work in series. If you have a couple of ideas, work on them all at once. And in the meantime, if you really want to get something done fast, indulge your mild ADD (I am attributing this to myself)with acrylics or watercolors or digital.
1: The way it works is that you generally gesso paper, canvas, or medium density fiberboard (white drywall indoor house paint works, too, instead of Gesso), and you let that dry for anywhere from an hour to a night, depending on how much you put on, how much texture you want, or how many layers you use (generally two to three is good, smoothed out).
2: Once it's dry, you can sketch whatever you're going to paint out. Detail and accuracy is important here, as it's good to be able to paint over correctness if you're referencing. And, of course, no shading.
3: You subsequently paint an underlayer over the sketch. This step is optional, but helpful. Classically, this is a brown tone (In a class I took, I used Raw Sienna and Burnt Umber, combined with Galkyd and some odorless mineral spirits. Should be roughly the consistency of coffee creamer). It can also be a gray, or whatever other color you want to set the tone of the piece.
You paint this over the entire piece to set a midtone. Then, using your brush with a little bit of mineral spirits on it (You can even dip it and then wipe it off, recommended for control), you lift and push the paint to establish highlights, value, etc. Once you have some major, notable highlights established, grab more paint, and add thicker and thicker levels of your brown tone to establish darks. The thicker the paint, the darker it becomes. Working your way down to subtleties.
This process, in fact, has to be a quick one. You probably want to establish all of your lights and darks and values within 3-4 hours, because after that the paint will become tacky and harder to lift. At least, get anything lifted before then. You can always add. So at first, darks are thicker than lights.
4: Color it. Not that simple. Of course, I'm not getting into color theory. Generally, warm and cool yellows, reds, and blues, and the two browns above can work to make close to any color. But in terms of technique, you start with darks. You want to make darks thin. Basically a little bit (depending on the size of your painting, but for, say, 18x24, you can cover a single dark color with paint that you get touching the open tube to pallete)of paint, and a lot of mineral spirits. Thin it out a ton, and establish a color to your darks. This is why the underlayer also sets the mood. It can just be left to show through.
Work your way up to midtones, all of which can be done in he same day. It's true, it'll mix a little, but plan for that and make things brighter than you might expect. It also almost forces you to use more layers and gradient things. Hard light can always be added later. Just follow the forms and paint the thing. Wait for it to dry out (really, oxidize. This can be helped by leaving it under a strong sun lamp, like for plants. On the opposite spectrum, if you work in a darker room, it takes longer to dry.) overnight, and the add your final highlights, and any other touches you want. If you fucked up any darks, you can go over it with slightly thicker paint. But generally you want to highlights to stand out a lot and the darks to just define form subtly.
And I know you know about painting, man. So I bet you'd be sick with oils. They're great once you get the hang of them.
Radar, I really appreciate the effort you put in to that post. Thanks a lot man. Especially interesting was the lifting the underpaint to establish highlights. I'll keep this process in mind when I give it another shot. If I had a studio I'd have more than one painting on the go, but with one easel in a small bedroom it's difficult. :P
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[edit] @ Tam
Just filling a request for someone with a cat avatar
but yeah, I definitely have Ms. Butler's excellent work on the brain
Characters from that thar lawyerin' game.
don't judge me.
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The rifle itself is actually being supported via 3-point sling. He's resting his hand on the handgrip and trigger assembly more or less, he's not really carrying it in his hands. I would put the reference picture up but my bandwidth is awful out here and it would take much longer than its worth.
However, I will say that if his wrist were straight, the rifle would be 90 degrees to his left, flagging everyone he walked passed.
PSN: MaximasXXZ XBOX Live: SneakyMcSnipe
@Bacon: aaahh Phoenix Wright. I don't think anyone would judge you for that.
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I approve.
e: Especially of the robe.
(doesn't work with MAC though
http://www.youtube.com/watch?v=qDq426DMC04&feature=channel_page
I present to you Sargent(sp?) Chum
~Jeremy Clarkson
I don't really get it.
Also, Tom Waits!
The aforementioned event is a device, stratagem, trick, or the like for catching a person unawares!
the hell is he talking about- that never happens to me when I merge my layers. other than that, this is pretty nifty.
also, good value practice tam. should help you on the way to practicing coloring.
Or you could just leave it on the background without doing all that merging shit, click the channels tab, have either gray or all the RGB colors selected, click "load channel as selection", Go to Select>Inverse (ctrl+shift+I or command+shift+I in mac), go back to layers, make a new layer, and fill it with black (or whatever other color you want). Select the whole background, and then cut it. Same thing, maybe just a few less steps.
I don't think I ever used multiply, I've known about this for years, heh. Good trick to know.
Tumblr Behance Carbonmade PAAC on FB
BFBC2
Tumblr Behance Carbonmade PAAC on FB
BFBC2
artistjeffc.tumblr.com http://www.etsy.com/shop/artistjeffc
The red knees are a nice touch.
My Portfolio Site
When designing characters for something like a webcomic, simplicity and difficulty are really important
do you really want to redraw that tentacle, complete with suction cups et al a jillion times? Will they be easily recognizable next to other characters? Right now your design is pretty cookie cutter sci fi lookin dude, and also you know if you want people to actually read your webcomic it will take a lot of work and man,
you have to actually want to devote time to it.
Work VERY THIN, block in underlays and then gradually build up to thicker paint. I think they are great, but unless you have the right facilities (like a proper studio) then its a bitch. It's slower, smellier and messy. At least with acrylics you can work fast.
Exactly why since finishing my painting class at uni, i dont bother with oils anymore.
You make a good point, RubberAC. I can see where you're coming from with the cookie cutter design on mine. As for the detail, I couldn't disagree with you more. For one, this is an extremely simplified style I employ when I feel like working fast. Normally, I am much, much more detailed and precise. Both of those characters combined maybe took me twenty to twenty five minutes. Not long at all, considering how I might spend two to three hours on a duo of character normally. The tentacle wasn't really hard, nor annoying. It just looks like it because the suction cups give it a lot of form.
And really, like you said, you have to want to devote time to it. One of my favorite artists is Kentaro Miura. He draws the comic Berserk, which if you haven't read, is insanely detailed. All black and white. None of his character designs are very simplified at all. And yes, he doesn't push out volume like mainstream graphic novels, but damn, they look good. And he has a strong fanbase for that. There is no such thing as too detailed, as long as you can handle it. And I think I can.
We need more webcomics from people that can actually draw form, anyway, and not just "working hard" to push out 3 pages a week when they're not strong pages. Compositionally, or stylistically. Perhaps I'll redesign them more complexly, and you can see what I mean. I'm not trying to burn you here. I just respectfully disagree is all.
Desperate Robots: You don't have to wait days for it to dry before you can work on it again. Oils do take some level of patience, but that's why artists work in series. If you have a couple of ideas, work on them all at once. And in the meantime, if you really want to get something done fast, indulge your mild ADD (I am attributing this to myself)with acrylics or watercolors or digital.
1: The way it works is that you generally gesso paper, canvas, or medium density fiberboard (white drywall indoor house paint works, too, instead of Gesso), and you let that dry for anywhere from an hour to a night, depending on how much you put on, how much texture you want, or how many layers you use (generally two to three is good, smoothed out).
2: Once it's dry, you can sketch whatever you're going to paint out. Detail and accuracy is important here, as it's good to be able to paint over correctness if you're referencing. And, of course, no shading.
3: You subsequently paint an underlayer over the sketch. This step is optional, but helpful. Classically, this is a brown tone (In a class I took, I used Raw Sienna and Burnt Umber, combined with Galkyd and some odorless mineral spirits. Should be roughly the consistency of coffee creamer). It can also be a gray, or whatever other color you want to set the tone of the piece.
You paint this over the entire piece to set a midtone. Then, using your brush with a little bit of mineral spirits on it (You can even dip it and then wipe it off, recommended for control), you lift and push the paint to establish highlights, value, etc. Once you have some major, notable highlights established, grab more paint, and add thicker and thicker levels of your brown tone to establish darks. The thicker the paint, the darker it becomes. Working your way down to subtleties.
This process, in fact, has to be a quick one. You probably want to establish all of your lights and darks and values within 3-4 hours, because after that the paint will become tacky and harder to lift. At least, get anything lifted before then. You can always add. So at first, darks are thicker than lights.
4: Color it. Not that simple. Of course, I'm not getting into color theory. Generally, warm and cool yellows, reds, and blues, and the two browns above can work to make close to any color. But in terms of technique, you start with darks. You want to make darks thin. Basically a little bit (depending on the size of your painting, but for, say, 18x24, you can cover a single dark color with paint that you get touching the open tube to pallete)of paint, and a lot of mineral spirits. Thin it out a ton, and establish a color to your darks. This is why the underlayer also sets the mood. It can just be left to show through.
Work your way up to midtones, all of which can be done in he same day. It's true, it'll mix a little, but plan for that and make things brighter than you might expect. It also almost forces you to use more layers and gradient things. Hard light can always be added later. Just follow the forms and paint the thing. Wait for it to dry out (really, oxidize. This can be helped by leaving it under a strong sun lamp, like for plants. On the opposite spectrum, if you work in a darker room, it takes longer to dry.) overnight, and the add your final highlights, and any other touches you want. If you fucked up any darks, you can go over it with slightly thicker paint. But generally you want to highlights to stand out a lot and the darks to just define form subtly.
And I know you know about painting, man. So I bet you'd be sick with oils. They're great once you get the hang of them.