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Posts

  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • MustangMustang Registered User regular
    edited September 2009
    There's some major eye placement issues on your paints.

    Your head studies are really improving though Ken. The placements on the rest of them are a lot stronger.

    Mustang on
  • NightDragonNightDragon 6th Grade Username Registered User regular
    edited September 2009
    These things you are pointing.. im not understanding if you are saying they are working or these areas especially are not working.

    Oh, I was mentioning that those areas are the ones that I think need improving, as the short, parallel brushstrokes are most obvious there.

    NightDragon on
  • KendeathwalkerKendeathwalker Registered User regular
    edited September 2009
    ND- Gotcha

    Mustang- Agreed.

    Villpu-4-web
    Bout an hour and a half?
    Very slow on my part...

    Kendeathwalker on
  • rtsrts Registered User regular
    edited September 2009
    Face is looking much nicer. However I feel like her pelvis is probably getting small and the way you have rendered her abdominals is fairly unpleasant.

    rts on
    skype: rtschutter
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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    Kendeathwalker on
  • surrealitychecksurrealitycheck the search for the means to put an end to things an end to speech is what enables the discourse to continue ~ * ( ͡° ͜ʖ ͡°) excelsior * ~Registered User regular
    edited September 2009
    aye- I made her abs look rather bulbous.. shoudlnt have used the darker tone.. she was very soft.

    I hope you ascertained this with a swift poke.

    surrealitycheck on
    obF2Wuw.png
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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    Kendeathwalker on
  • MustangMustang Registered User regular
    edited September 2009
    The concept is not really working for me, I'm not sure if there is a girl standing behind harry or if he has a third leg. I can see what you're trying to do and it's almost there, but I think the concept was flawed from the start. That being said, I think it still gets the message across and it's beautifully executed.

    Mustang on
  • ManonvonSuperockManonvonSuperock Registered User regular
    edited September 2009
    the cropping of the owl is uncomfortably distracting.

    ManonvonSuperock on
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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    Kendeathwalker on
  • ManonvonSuperockManonvonSuperock Registered User regular
    edited September 2009
    you've got a point with the wing, but I meant the eyes. I understand he's peeping/peering, the eyes being adjacent to the edge is what I was referencing.


    also, with the lace is better.

    ManonvonSuperock on
  • VeritasVeritas Registered User
    edited September 2009
    What if you removed the legs/robe from harry, like it was coming out from under an invisibility cloak or something.

    The idea is pretty solid, but I think that bit of dissonance in what is actually being seen might muddle the concept.

    edit: also Harry's lack of a right leg is a bit disconcerting.

    Veritas on
  • DeeLockDeeLock Registered User regular
    edited September 2009
    What's on his crest?

    DeeLock on
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • MustangMustang Registered User regular
    edited September 2009
    All your still life work has been amazing Ken, however this one
    is amazing too.

    Mustang on
  • dazzler_143dazzler_143 Registered User
    edited September 2009
    This is great. You have an eye for detail and good taste. Congratulations and good job :)

    dazzler_143 on
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • LoomdunLoomdun Registered User
    edited September 2009
    kendeath, your moving into the whole toning/swirly lines to indicate mass way to fast, take some time in your stuff, spend 20 to 40 minutes just measuring it, and lean back to check if it feels right. Your getting squinty football eyed people that are covered in dirt, with super duper long noses and giraffe necks by rushing, it wont kill you if the drawing isn't completely finished

    Loomdun on
    splat
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • LoomdunLoomdun Registered User
    edited September 2009
    everything

    if 10 minutes you cant finish a entire lay in of measurement how can you possibly expect to start applying values with the form being accurate? You need to build up your sight and measurement to gain speed to the point of even applying any tone

    if its something like a quicksketch 5 minute pose then yah I find that reasonable to apply tone and quick rhythmic measurements on the form its not exactly supposed to be 100% accurate in that short of a time but at the same time if your sacraficing any resemblance to a human for some tone then your going to fast.

    you could just spend 5 minutes measuring and toning a arm in a quicksketch, and you'll be making more progress

    edit: those were actually specific things I was looking at, the tone is rushed a long with the measurement, only the afro lady is remotely accurate and she looks like she just came out of a coal mine, you just need to simply slow down a tad and make sure the measurement is right before you do any of that crazy toning/coloring stuff

    Loomdun on
    splat
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • LoomdunLoomdun Registered User
    edited September 2009
    Theres nothing I can do to change a opinion nore is there much point to it so if thats how you feel then continue as you do

    Loomdun on
    splat
  • rtsrts Registered User regular
    edited September 2009
    You make him look pretty feminine in a lot of those head drawings. Also a lot skinnier than he is. Also in the portrait it almost looks like the features were painted onto a featureless manikin.

    rts on
    skype: rtschutter
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • rtsrts Registered User regular
    edited September 2009
    The 10 minute head drawings of JJ, and the portrait painting.

    rts on
    skype: rtschutter
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • GodfatherGodfather Registered User regular
    edited September 2009
    Ken, I do not think it is wise to shrug off Loom's criticism. It did not seem like he was being a jerk, just giving some honest critique.


    Also work on setting up a good gesture before getting into the details. Every one of your figure studies is reading flat, and all the anatomy knowledge in the world won't solve those problems.

    Godfather on
    0WBv0.png
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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  • GodfatherGodfather Registered User regular
    edited September 2009
    Don't worry, i'll back up my words with some studies.

    The way we do things here at Max is kooky, but it works. We're big into gesture and putting energy into the pose, and as an animator it's absolutely vital to nail this down. As a result there's a much bigger push towards that than tone, but that doesn't mean we downplay the latter.

    I'll try to get you some great examples when I get back home later today; hopefully I can snag some examples at the school.

    Godfather on
    0WBv0.png
  • rtsrts Registered User regular
    edited September 2009
    Where are you at Godfather? Max the Mutt?

    rts on
    skype: rtschutter
  • t i mt i m Registered User regular
    edited September 2009
    Ken, posted in your ca sketchbook, thought I'd post here too. You sir are getting wickedly good. The last oil portraits awesome, great control, and I liked the brush work on the still life one especially. Keep it up!

    t i m on
    God put me on this earth to accomplish a certain number of things. Right now I am so far behind that I will never die.” Bill Watterson
  • KendeathwalkerKendeathwalker Registered User regular
    edited May 2015
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    Kendeathwalker on
  • GodfatherGodfather Registered User regular
    edited September 2009
    cakemikz wrote: »
    Where are you at Godfather? Max the Mutt?

    Yup.


    It's actually really hard, and they're picky as shit. They really don't fuck around this year; it's either you do 110 percent or your ass is outta there by Christmas.


    Godfather wrote: »
    Don't worry, i'll back up my words with some studies.

    The way we do things here at Max is kooky, but it works. We're big into gesture and putting energy into the pose, and as an animator it's absolutely vital to nail this down. As a result there's a much bigger push towards that than tone, but that doesn't mean we downplay the latter.

    I'll try to get you some great examples when I get back home later today; hopefully I can snag some examples at the school.

    Please do but in the mean time how exactly do you define "flat"? In terms of a form not appearing to have volume or flat as in lifeless and stiff. Flat as in flat like a heart rate monitor showing no pulse? Ive had art conversations in the past where we were discussing something only to realize the two of us defined a word slightly differently and once that was established we were in complete agreement.



    It's your entire underlining infrastructure. It's a pretty bare bones set-up, and then you tend to go all crazy with the values and tones. If you sat down and prepared out either a decent gesture, modeling study, silhouette exercise or all three, it'd be much easier to establish that coveted depth in space with your tones, rather than the color stacking you seem to be doing.


    Don't get me wrong here, what you're doing is working, but by combining both the knowledge and purpose of these exercises with your already-present knowledge of light/shade, your artwork would be frightening.



    Out of all three of these exercises, the gesture is the most important part of your piece; the Magnum Opus to your figure structure. If your gesture doesn't feel like it can leap right out of the page from the sheer energy of it, you shouldn't move on. I don't know how to put it, but you should be able to feel the weight of the figure solely from the gesture. Everything else is just icing after that.


    Earlier today I said i'd post a copy of the gestures that illustrate the point i'm so desperately trying to make, but unfortunately the office didn't have a copy at the ready (understandable really). I'll take a couple of pictures for your viewing sometime during the weekend, but in the meantime check out these life studies from the third year animation students:


    http://www.maxthemutt.com/2009-yr3-a-lifedrawing.asp


    To be honest, none of them fully grasp the "weight" I was talking about, but the general idea is there, so they have a decent enough understanding of it. The most emphasis is put on the part that supports and balances the entire pose, and it was beautifully done in the examples i've yet to post.


    EDIT: Also look up Glen Keane to further back up this post.

    He was the leading supervising animator at Disney for the Beast himself in Beauty and the Beast, which is arguably his greatest piece of work. His runner up would probably be Pocahontas from the movie of the same name, in charge of supervising the lead character herself.


    Even though he's not in the same field you're pursuing, his animation has the extremely difficult subtle gesture emotions and movements that are so coveted among animators at the Disney studios. Pocahontas was the best example of this because of how limited the range of emotion was for the heroine.

    Godfather on
    0WBv0.png
  • KendeathwalkerKendeathwalker Registered User regular
    edited September 2009
    Now I get what you are talking about.. Fantastic critique man. Gave me a lot to think about. Id very much like to see those drawings if you get a chance to photograph them. Also that school looks aweome.

    Kendeathwalker on
  • ShizumaruShizumaru Registered User
    edited September 2009
    As important as gesture is, you can't have good gesture without good structure. Structure doesn't necessarily mean 'anatomy', more like sound shape and volume. Animation is great from a gesture standpoint and people should look at those drawings for that. Because beyond that, most of those drawings can get chaotic, and have wavering degrees of structure. And thats okay, because they really aren't about structure as much as the weight and gesture.. ateliers will emphasize more structure than anything, but it'll vary from school to school.

    Also.. Glen keane.. As good as beast was.. still doesn't hold a candle to tarzan.. from an animation standpoint that movie is sheer brilliance.. also.. the bear scene in fox in the hound. Pocahontas was only awesome for her hair. She has nothing on Ariel lol..

    Shizumaru on
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