The top guy's mouth/jaw is on a different plane than the rest of his face. Everything else looks pretty awesome, though.
Yep, you're right. I guess I'm still a little rusty from not touching a drawing pencil in a few years...still gotta work out the kinks
@jpeg - oh shit, i remember you being around on the foums back then!
@melting_doll - i quit because i started studying biology and computer science. I came to the realization that art is not incompatible with those interests, so i started up again. I suppose that's as good a summary as i can muster in a few sentences.
I'm almost positive that nobody here remembers me because i think my last post was in 2006, and i gave up drawing around then.
PREPOSTEROUS.
hi2u~
edit: Maybe I should post some doodles too, as I've been doodling a lot at work lately. DUMP.
Cat Mage (inside joke), on a post-it.
I really want some 80's workout gear to wear to the gym like you have NO idea.
I rolled an undead DK on some random-ass server so I could power level one of my friends to 55 so he can roll a DK on MY server. Matine came up on the name randomizer and I liked it and decided she was French. My French is rusty
I'm almost positive that nobody here remembers me because i think my last post was in 2006, and i gave up drawing around then. Well, shit, now i'm back at it again and thought i would post some sketches for the time being.
Quick silly self portrait. My friend did one of him as an astronaut and he's fist pounding me from his piece, which is why it's in this nonsense pose wher eit looks like I should be holding an American flag or something
Ah, oh, I guess greyscale mode in photoshop darkens harshly when you post it online?
Hey Mensch, if you're trying to get more dynamic stuff from your character, I would suggest following the route of that little guy on the left, with his foot up and the exclamation mark. That's much more dynamic than, say, the bigger one on the right were he looks like he's trying to be scared.
some practice...things to make my character look a little more dynamic/experimenting with OC's painting tool (i usually stick to the pen)
barely more substance than gesture drawings
Hey mensch, I really like the concept of this guy, but I've noticed in this and your previous paintings tha when you try to render stuff out-like with the bottom right guy- you end up with little sense of form and muddy colors, and use a narrow range of values. I think you may want to back off from trying to cram in "oh god there's folds and muscles and and and paint paint paint paint" in a mad dash, step back and keep things clean, and progress through in a more logical sort of fashion, at least until you have a good enough grasp of form and color to wing it a bit more.
Paintover:
The first thing to do is to step back to the basic drawing, and getting in a two-tone figure, which shows where the light is hitting and where it is not, in a simple, non-ambiguous fashion. As you can see I've picked a light direction, and used some basic construction principles in figuring out where that light is going to curve around into shadow. Nothing fancy, just basic cylinders, spheres, cones and boxes.
I've also made a deliberate color decision right off. What is the basic color of the raincoat in light, what is the basic color of the raincoat in shade. Already by doing this I'm setting myself up for a clean result, rather than trying to figure these things out on the fly and tripping over myself as I do so.
You'll notice also that I cleaned the edges of the figure up to be more deliberate and less wobbly. While loose rendering can be a good thing, wobbly drawing everywhere can sap a painting of solidity very easily.
Next I punched up the value range with some simple highlights and simple core shadows- not a lot of detail, but it feels believable because of the solid construction of the figure.
After that, and this is more of a color theory choice than DO THIS NOW OMG kinda thing, I brought in a dark purple color into the shadows so it complimented the yellow of the raincoat. With a full range of color and value established, I can then go in and add details and such, and be fairly confident I'm not going to go too far off the path of get muddy color, since I already know how far I can and can't go with my value and color.
In the last part there I eyedropped the color/value ranges of the original and paintover versions, just to show how little contrast the original had, and how even as abstract blotches, you can see the benefit of a fuller value and color range. Try to force yourself to work slower and more methodically in this way the next time you go to paint and see if you can inject some more contrast and solidity into it.
3 cheers for Bacon! Is there anything he can't do?
Give birth!
Well hey now, in my defense I've never tried, and have too much class to do it just to prove a point.
Besides if you made a challenge about it, I'd probably poop the screaming little fleshbag right out on your doorstep, then immediately spike it like a football and say IN YOUR FACE to you and whoever else was in your foyer at the time.
Wow, thank you so much for the paintover/tips bacon! Lighting is definitely my ultra weak-point and that post was helpful as all hell. I need to stop over-complicating forms and just think-i'll definitely refer to this next time I paint.
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jpegODIE, YOUR FACEScenic Illinois FlatlandsRegistered Userregular
edited December 2009
I made a sketchbook!
sloppy pictures of sloppy construction
jpeg on
so I just type in this box and it goes on the screen?
You know you're obligated to draw all over the cover now, right?
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jpegODIE, YOUR FACEScenic Illinois FlatlandsRegistered Userregular
edited December 2009
Of course, made the covers out of illustration board for that specific reason. I do it with a whiteout pen all over black covered sketchbooks already, I'm just making it easy now haha
jpeg on
so I just type in this box and it goes on the screen?
MetalbourneInside a cluster b personalityRegistered Userregular
edited December 2009
I can't remember where I saw it, but a guy had one of those sketchbooks with a picture of a hand holding a pencil on the cover. He drew a femlin straddling the pencil and sitting on the hand. It was awesome.
Hey Ikage, there's a mythological creature you should look up.
I finally got round to working on some more of the refs from cakes thread from aaaages ago (better late than never?). Hoping to do some more before this holiday is over.
BuckwolfeStarts With Them, Ends With UsRegistered Userregular
edited December 2009
Fox - I prefer the first figure by leaps and bounds. It shows a hell of a lot more personality, with fewer lines, and a surprising, complete lack of value. For something with so little, I feel like there's a lot to look at. Some of the proportions feel off in areas, but not in an inaccurate, uneducated way. More in an intentional, mildly exaggerated way. I really dig it.
The second one definitely feels like you were trying to do a more traditional, straight forward study. I can see, and appreciate that you were trying to use value to define the figures form, but it comes across as sloppy, and a little muddy. If you squint, it's basically two tones. Light, and dark. If I get you right, then I can appreciate what you're trying to do, but its just not coming across. Like you're jumping the gun by trying to separate light and dark tones into straight black and white shapes, ya know? Maybe that's not the best way to describe it. My main point, i think, is that if you're going to try and do value studies, whether it be of the human figure or not, if would probably be best if you did full value studies, rather than straight black and white.
That being said, I honestly haven't seen any of your other posts. Studies, completed pieces, or otherwise. So I don't know what you're actually capable of beyond these two pieces. I'm just throwing that in there for clarification.
Bacon you make the best criiques ever! Moar please.
And jpeg, I took an Artists' Books class in high school and we made books just like that. You've inspired me to want to make some again.
But I won't because I'm lazy.
haha, I had always wanted to but never did until now for the same reason!
I was actually pretty surprised by how easy it was. including cutting paper and making mistakes and stuff, it only really took me like an hour and a half to put one together, even for my first time.
jpeg on
so I just type in this box and it goes on the screen?
Thanks Buckwolfe, I'm honestly not sure what I'm doing when it comes to shading, I haven't really studied tones/values so definitely lost there. Maybe worth sticking to proportions/gesture before trying it again?
I do lurk a lot but haven't posted much, but if you're interested I'm trying to gather my stuff here.
Food, you're definitely right, d'oh.
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BuckwolfeStarts With Them, Ends With UsRegistered Userregular
edited December 2009
Dude, even I don't know what I'm doing 98% of the time. This is especially true when it comes to shading and value. I can tell if something is off, but shit if I'd know how to do it right if it were me in another person's place.
I'll check out your link though.
I'm not even sure what kind of worthwhile advice I could offer you on the subject. Try working your way through the Help/Advice discussion thread for topics on shading/value/anatomy. There's no doubt a number of links and references to texts/images/books with the info you need. It'd be worth your while, if you haven't already given it a shot.
In my experience separating values into straight dark and light is a good way to begin a drawing and a good way to get a handle on values in general. My experience is admittedly pretty limited, but that's the way I was taught at least, and it seems to work.
Posts
Yep, you're right. I guess I'm still a little rusty from not touching a drawing pencil in a few years...still gotta work out the kinks
@jpeg - oh shit, i remember you being around on the foums back then!
@melting_doll - i quit because i started studying biology and computer science. I came to the realization that art is not incompatible with those interests, so i started up again. I suppose that's as good a summary as i can muster in a few sentences.
BTW, I found tons of errors in the anim so here's an update:
Good work mayday.
PREPOSTEROUS.
hi2u~
edit: Maybe I should post some doodles too, as I've been doodling a lot at work lately. DUMP.
Cat Mage (inside joke), on a post-it.
I really want some 80's workout gear to wear to the gym like you have NO idea.
I rolled an undead DK on some random-ass server so I could power level one of my friends to 55 so he can roll a DK on MY server. Matine came up on the name randomizer and I liked it and decided she was French. My French is rusty
I laugh at cats (true story).
Babby Muse (my gryphon mount).
Also, everyone should go back to 80's gym clothes.
Stupides? Man it's been like... six years since I last took any French XD
I also think cat mage can be acomic adventure. hurrrk
artistjeffc.tumblr.com http://www.etsy.com/shop/artistjeffc
lol STRANGER DANGER
Nice work, Lexxy. I particularly like the Matine head sketches; they're neat.
And DJ, I am glad you picked it up again and came back. I definitely like totally remember you!
some practice...things to make my character look a little more dynamic/experimenting with OC's painting tool (i usually stick to the pen)
barely more substance than gesture drawings
Hi, DJ!
I browsed your archive on Bomb's website a week ago and wondered what had happened to you.
The face model I used on the character has no exposed face bones! I guess she is a fairly fresh forsaken.
BoTP:
mully deleted a good pic she did because she is a butt
Quick silly self portrait. My friend did one of him as an astronaut and he's fist pounding me from his piece, which is why it's in this nonsense pose wher eit looks like I should be holding an American flag or something
Ah, oh, I guess greyscale mode in photoshop darkens harshly when you post it online?
Hey Mensch, if you're trying to get more dynamic stuff from your character, I would suggest following the route of that little guy on the left, with his foot up and the exclamation mark. That's much more dynamic than, say, the bigger one on the right were he looks like he's trying to be scared.
Sorry...
I've been eating sugar.
Hey mensch, I really like the concept of this guy, but I've noticed in this and your previous paintings tha when you try to render stuff out-like with the bottom right guy- you end up with little sense of form and muddy colors, and use a narrow range of values. I think you may want to back off from trying to cram in "oh god there's folds and muscles and and and paint paint paint paint" in a mad dash, step back and keep things clean, and progress through in a more logical sort of fashion, at least until you have a good enough grasp of form and color to wing it a bit more.
Paintover:
The first thing to do is to step back to the basic drawing, and getting in a two-tone figure, which shows where the light is hitting and where it is not, in a simple, non-ambiguous fashion. As you can see I've picked a light direction, and used some basic construction principles in figuring out where that light is going to curve around into shadow. Nothing fancy, just basic cylinders, spheres, cones and boxes.
I've also made a deliberate color decision right off. What is the basic color of the raincoat in light, what is the basic color of the raincoat in shade. Already by doing this I'm setting myself up for a clean result, rather than trying to figure these things out on the fly and tripping over myself as I do so.
You'll notice also that I cleaned the edges of the figure up to be more deliberate and less wobbly. While loose rendering can be a good thing, wobbly drawing everywhere can sap a painting of solidity very easily.
Next I punched up the value range with some simple highlights and simple core shadows- not a lot of detail, but it feels believable because of the solid construction of the figure.
After that, and this is more of a color theory choice than DO THIS NOW OMG kinda thing, I brought in a dark purple color into the shadows so it complimented the yellow of the raincoat. With a full range of color and value established, I can then go in and add details and such, and be fairly confident I'm not going to go too far off the path of get muddy color, since I already know how far I can and can't go with my value and color.
In the last part there I eyedropped the color/value ranges of the original and paintover versions, just to show how little contrast the original had, and how even as abstract blotches, you can see the benefit of a fuller value and color range. Try to force yourself to work slower and more methodically in this way the next time you go to paint and see if you can inject some more contrast and solidity into it.
Twitter
Give birth!
Well hey now, in my defense I've never tried, and have too much class to do it just to prove a point.
Besides if you made a challenge about it, I'd probably poop the screaming little fleshbag right out on your doorstep, then immediately spike it like a football and say IN YOUR FACE to you and whoever else was in your foyer at the time.
Twitter
spdpnt
sloppy pictures of sloppy construction
Hey Ikage, there's a mythological creature you should look up.
Yeah? Well I wish you weren't a mythological creature so that you could go extinct!
ref
ref
DJ, was it you who did you did the street fighter drawings a while ago, particularly Honda?
And jpeg, I took an Artists' Books class in high school and we made books just like that. You've inspired me to want to make some again.
The second one definitely feels like you were trying to do a more traditional, straight forward study. I can see, and appreciate that you were trying to use value to define the figures form, but it comes across as sloppy, and a little muddy. If you squint, it's basically two tones. Light, and dark. If I get you right, then I can appreciate what you're trying to do, but its just not coming across. Like you're jumping the gun by trying to separate light and dark tones into straight black and white shapes, ya know? Maybe that's not the best way to describe it. My main point, i think, is that if you're going to try and do value studies, whether it be of the human figure or not, if would probably be best if you did full value studies, rather than straight black and white.
That being said, I honestly haven't seen any of your other posts. Studies, completed pieces, or otherwise. So I don't know what you're actually capable of beyond these two pieces. I'm just throwing that in there for clarification.
Steam handle: Buckwolfe
haha, I had always wanted to but never did until now for the same reason!
I was actually pretty surprised by how easy it was. including cutting paper and making mistakes and stuff, it only really took me like an hour and a half to put one together, even for my first time.
I do lurk a lot but haven't posted much, but if you're interested I'm trying to gather my stuff here.
Food, you're definitely right, d'oh.
I'll check out your link though.
I'm not even sure what kind of worthwhile advice I could offer you on the subject. Try working your way through the Help/Advice discussion thread for topics on shading/value/anatomy. There's no doubt a number of links and references to texts/images/books with the info you need. It'd be worth your while, if you haven't already given it a shot.
Steam handle: Buckwolfe