Having a break from the other piece for a few days. In the meantime, i decided to re-work this one. Its due next friday, and figure its a little late to start re-doing it. I think its heading in a better direction. It was waaaaay too dark before. I think i need to fix up the colours. A little too saturated?
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comparison to before
refined the volcano to look a little more realistic, plus im trying to 'bump' the piucture out a little by adding cooler colours. hopefully it will be successful
noice. I like the colours and the depth your getting. Its still a little hard to know its Adelaide. Maybe add the infamous black swan or maybe a burning torrens river paddle boat? hehe Or a church in the swamp? mostly under water. I dunno.
Also. One thing I kind of cant get my grasp on is the perspective seems a little odd at the bottom. I get that its a lake in the middle but for some reason the rocks and things at the bottom of the composition look lover than the lake
I know i said that id finished the greyscale before, but my tutor recommended me adding in some more visual elemenets into the image. like ppl/vehicles etc. i agrred. it was looking too empty like my other scenes. anyway heres the real final greyscale. anyhing i add will be the colour version
update: you can kinda see the colour palette im going for, but i dont think its working too great. i might quickly finish this off and try another colour version.
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The_Glad_HatterOne Sly FoxUnderneath a Groovy HatRegistered Userregular
edited June 2009
i'm pretty much lovin' the colour palette. the sky ads some wow-ness to it.. (wow as in impressive, not as in the mmorpger)
Cheers dude.
Last update for tonight. gonna finish it tomorrow. i think this'll end up as a good portfolio piece.
and closeup of the detail of the dude. i think ive wasted time trying to do details in these areas because when its printed its not even going to be noticed. oh well.
I'm guessing that guy is supposed to be running away. If he is, he doesn't look like he's running at all. Looks like he's just casually looking over his shoulder.
Yeah hes supposed to be walking. Kinda a slow, doesnt want to draw attention.
That boot is looking pretty bad. Id better finish it before i submit it friday. Cheers people!
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited June 2009
Yup this is definately a step in the right direction. Well done.
I agree with bombs. If there's giant billboards advertising his presence, it's strange to see him so unconcerned and so out in the open. Could a human really go unnoticed on the street of a city of robots...?
Also, general crits: the furthest buildings have sharper edges than the closest ones, especially in contrasts with that building on the left with the elevator; and on that building, what is up with the giant, utterly white rectangle? Which, by the way, is the only thing you utilized a rectangular marquee for, whereas I think you should've used that for all the buildings/edges so that they wouldn't be as messy. It's not a bad thing to use the digital equivalent of a ruler.
srsizzy on
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
and on that building, what is up with the giant, utterly white rectangle?
I was thinking it framed everything together nicely, in that it kinda closed off the edge of the image so the viewers eye would focus on the centre of the piece. There are still bits to fix. Especially that typo i forgot about AGAIN! ill give it a break for a few weeks. Ive beemn looking at it too much.
and on that building, what is up with the giant, utterly white rectangle?
I was thinking it framed everything together nicely, in that it kinda closed off the edge of the image so the viewers eye would focus on the centre of the piece. There are still bits to fix. Especially that typo i forgot about AGAIN! ill give it a break for a few weeks. Ive beemn looking at it too much.
I do feel like it's not wrong, but when you notice it, it's kind of like "Huh, that's not rendered at all." If it were more of an actual thing and not just a shape, I think it does work great there, because I really don't notice it when just looking at the piece as a whole.
srsizzy on
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, ive been doing some work for a Tafe group on a game mod using the unreal tournament engine. Ive done concept art trying to help design a theme to the game. Its a bit iffy at the moment with designing stuff they like but overall its good expierience and helps me learn to work fast. ANYWAY, this game is going to be shown at this years Adelaide Avcon convention (anime and videogames and all that shite:)) so im going to be designing some posters to hang around the booth to kind of promote the game and arouse interest. So here are some thumbnails ive done. Much of the game revolves around this chasm with a bigass door. They want the poster to be a shot of this door, kind of a mood piece. Anyway (again) spoilered are my concepts. Please let me know which are working best. cheers fellas.
btw normally i probably wouldnt have bothered doing stuff for a mod group, but because my work would be shown at the convention, i thought this would be a good oportunity to promote my work and hopefully hand out some portfolios.
I think you should pick your best composition (or two) and work on some lighting ideas for them. At the moment you've mostly just got slightly different angles on the door, but all the moods are the same.
I'd suggest definitely including some human figures for scale.
I think you should pick your best composition (or two) and work on some lighting ideas for them.
Which would you think are working best in terms of composition. personally i like 11 and 8. might roll with those two
btw thanks leggs. ive been doing this shit non stop for about three weeks. having others tell you what to draw and with pressure of meeting deadlines (my work was shown to Holopoint) really help with working fast. But i feel theres little creativity in it.
Hmm. The point of doing heaps of quick thumbnails is to be creative. Small and quick, so you can make as many mistakes as you need to come up with the best solution.
I dont know which are working best. 8 does have a good sense of scale. 11 does allow for an audience to identify with a character. What's more important?
Narratvie rpoject for uni. Illustrating a story. Im a bit lazy on my uni work. Havnt really felt enthusiastic about doing it. the background outside the cab is a paintover of a photo, and ive added leather texture to areas of the seats. The rest is my own drawing. My folks where over in New York and SanFrancisco a few months ago so i had them take loads of photo references for me (2000 snaps). ITS REALLY HELPED OUT. No more google images +
LMAO - It would help if i post the image
And heres my original ref. I did a print screen from the movie Taxi Driver with Robert DeNiro. I tried to styleize it a bit.
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NappuccinoSurveyor of Things and StuffRegistered Userregular
edited July 2009
Everything seems oddly disjointed- the faces, the coushins, the body parts. Was this something you were trying to go for?
Everything seems oddly disjointed- the faces, the coushins, the body parts. Was this something you were trying to go for?
its probably more so my shitty drawing skills. lol. i wasnt going for 'real life' but i did try to have some sort of structure.
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited July 2009
I feel you probably would've learnt more had you just straight up reffed this and not just used it as a loose guide.
Also you tend to draw very strange jaws, i'd suggest some reference face studies for practice.
Here try using this for reference. http://www.posemaniacs.com/tools/handviewer/
Select 020 CT scan, third one down. The wire frame layout allows you to see the structural makeup much easier.
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NappuccinoSurveyor of Things and StuffRegistered Userregular
edited July 2009
I think you're disjointed style does have some potential,but I have to agree with Mustang for now. It'd be best just to follow the reference until you can make those disjointed things consciously and know exactly how/why you want to make things appear that way.
I feel you probably would've learnt more had you just straight up reffed this and not just used it as a loose guide.
Also you tend to draw very strange jaws, i'd suggest some reference face studies for practice.
Here try using this for reference. http://www.posemaniacs.com/tools/handviewer/
Select 020 CT scan, third one down. The wire frame layout allows you to see the structural makeup much easier.
Yes. Please do some kind of facial reference drawings, or studies.
I did a very fast sloppy little paintover with some multiply and overlay layers and a big fat soft round brush, and a teeny tiny bit of opaque painting on a normal layer on top of that to pop a few things out. This is meant to show you what a difference value composition can make. Your image overall lacks contrast, and every part was in the same general value range. This makes it not only boring to look at, but it makes it hard to separate the foreground from the midground from the background and everything just becomes a busy mess. Your brightest light is barely a 60% gray. I did not make much attempt to fix your drawing errors.
I couldn't really tell what time of day it was supposed to be so I went with midday. Darkening the passenger in the back seat and illuminating the street visible through the rear creates a much stronger silhouette and the sharp value contrast clearly sets them apart. Rim highlights further help distinguish things.
I took out that cross bar on the windshield because unless they're driving a HMMV it has no business being there and it is compositionally distracting I felt.
I took a cue from the lighting of your reference photo and poured some light on the driver, while darkening the wall behind him. In your original, the driver and the wall through the window next to him are basically the same value. He may as well be camouflaged. Your important figures deserve better, so set them off with contrast.
I, for one, think that the lighting is a minor issue compared to the form and structure of the characters. You should take a long look at what makes Scosglen's faces read better than the original's, because he's actually simplifying the forms a lot to great advantage.
Have you ever done paintovers of your own work in photoshop WCK? It can help you play around with colours/contrast/lighting/etc without wasting paint/screwing around too much.
I did a lot of quick paintover stuff of the paintings I did for my exhibition last year, so I quickly visualise what I was thinking in terms of colour etc, without wasting hours painting.
Posts
Latest
comparison to before
refined the volcano to look a little more realistic, plus im trying to 'bump' the piucture out a little by adding cooler colours. hopefully it will be successful
Also. One thing I kind of cant get my grasp on is the perspective seems a little odd at the bottom. I get that its a lake in the middle but for some reason the rocks and things at the bottom of the composition look lover than the lake
Oh btw, i dont know if anyones noticed, but theres a flying DeLorean in there somewhere. Ill remove it for the final piece.
Last update for tonight. gonna finish it tomorrow. i think this'll end up as a good portfolio piece.
and closeup of the detail of the dude. i think ive wasted time trying to do details in these areas because when its printed its not even going to be noticed. oh well.
btw thats two police robots. they have genders.
mully says the boots look unfinished.
That boot is looking pretty bad. Id better finish it before i submit it friday. Cheers people!
Also, general crits: the furthest buildings have sharper edges than the closest ones, especially in contrasts with that building on the left with the elevator; and on that building, what is up with the giant, utterly white rectangle? Which, by the way, is the only thing you utilized a rectangular marquee for, whereas I think you should've used that for all the buildings/edges so that they wouldn't be as messy. It's not a bad thing to use the digital equivalent of a ruler.
I was thinking it framed everything together nicely, in that it kinda closed off the edge of the image so the viewers eye would focus on the centre of the piece. There are still bits to fix. Especially that typo i forgot about AGAIN! ill give it a break for a few weeks. Ive beemn looking at it too much.
btw normally i probably wouldnt have bothered doing stuff for a mod group, but because my work would be shown at the convention, i thought this would be a good oportunity to promote my work and hopefully hand out some portfolios.
I'd suggest definitely including some human figures for scale.
Which would you think are working best in terms of composition. personally i like 11 and 8. might roll with those two
btw thanks leggs. ive been doing this shit non stop for about three weeks. having others tell you what to draw and with pressure of meeting deadlines (my work was shown to Holopoint) really help with working fast. But i feel theres little creativity in it.
I dont know which are working best. 8 does have a good sense of scale. 11 does allow for an audience to identify with a character. What's more important?
LMAO - It would help if i post the image
And heres my original ref. I did a print screen from the movie Taxi Driver with Robert DeNiro. I tried to styleize it a bit.
its probably more so my shitty drawing skills. lol. i wasnt going for 'real life' but i did try to have some sort of structure.
Also you tend to draw very strange jaws, i'd suggest some reference face studies for practice.
Here try using this for reference.
http://www.posemaniacs.com/tools/handviewer/
Select 020 CT scan, third one down. The wire frame layout allows you to see the structural makeup much easier.
Yes. Please do some kind of facial reference drawings, or studies.
Maybe reference wasnt the right word, but it was just to get a basic idea for the angle and how to place characters within the space inside the car.
I did a very fast sloppy little paintover with some multiply and overlay layers and a big fat soft round brush, and a teeny tiny bit of opaque painting on a normal layer on top of that to pop a few things out. This is meant to show you what a difference value composition can make. Your image overall lacks contrast, and every part was in the same general value range. This makes it not only boring to look at, but it makes it hard to separate the foreground from the midground from the background and everything just becomes a busy mess. Your brightest light is barely a 60% gray. I did not make much attempt to fix your drawing errors.
I couldn't really tell what time of day it was supposed to be so I went with midday. Darkening the passenger in the back seat and illuminating the street visible through the rear creates a much stronger silhouette and the sharp value contrast clearly sets them apart. Rim highlights further help distinguish things.
I took out that cross bar on the windshield because unless they're driving a HMMV it has no business being there and it is compositionally distracting I felt.
I took a cue from the lighting of your reference photo and poured some light on the driver, while darkening the wall behind him. In your original, the driver and the wall through the window next to him are basically the same value. He may as well be camouflaged. Your important figures deserve better, so set them off with contrast.
I did a lot of quick paintover stuff of the paintings I did for my exhibition last year, so I quickly visualise what I was thinking in terms of colour etc, without wasting hours painting.