DMAC wrote: »
The framing artwork doesn't really seem to relate to the shape of the text. It makes a frame around the names but doesn't really hug the text or react to it if that makes sense. I think it would strengthen the designs if the art felt more like it was built to the contours of the text. (Bringing some of the curves of the second design in around the names, wrapping the scorpion's claws/mermaid's tail around the text, etc.)
There's also a real disparity between the thin lines of the text and the thick heavy lines of the artwork. It would be nice to see some of those thin curves in the artwork as well.
Tam wrote: »
Angel_of_Bacon wrote: »
Nice progress on the pinup, Mully- now that you've got things blocked out pretty solidly, I might suggest (depending on the ultimate sort of feel you're going for) going in and softening a lot of those brushstrokes. If you look at a good reproduction of an old-school Gil Elvgren type pinup, the use of hard edges are limited almost exclusively to defining the figure's contour or clothes, while the interior space is defined almost entirely through soft or firm edges.
I think you paint sorta like I do usually, spending a lot of time with a hard-edge brush scrubbing in color, just hammering at it to get it right. This works well at getting you 90% there, but after awhile I've found it becomes increasingly difficult to get the sort of 'polished' finished that I want to end up with, as it leaves a lot of hard brushstroke edges everywhere, and trying to get rid of them with more hard brushstrokes is a huge pain.
At this point, what you might want to do is select all that background blue and use it as a mask, so you can only paint inside the contours. Then, using a 100% soft brush at a high opacity, eyedrop select the colors you've got and paint with clean strokes running down the form. The temptation here (and this is what I tried for a long time with little success) is to dance around committing to that sort of bold stroke by working with a soft, low opacity brush- but that ends up leaving you with a lot of leftover bits from your previous work that then look out of place, and are hard to get rid of. In order to prevent bleeding while working this way, use the lasso selection tool to retain the hard edges you want- ie: make a selection around the thigh in front so your stroke doesn't bleed into the one behind.
Example paintover so you can see what I'm on about:
Now you obviously don't want to go too overboard with soft edges or else you wind up with bad 70's airbrush art- but it's something to consider when moving forward.
Mustang wrote: »
The only problem I'd have with that method is that I would struggle to get a functional structure to begin with. I need my hard edges for direction otherwise I get lost and end up with soup. I suppose that's an experience thing though.
mully wrote: »
still working on this thing
tried to add in suggestions from last time
need to fix the hands for sure X_xhttp://www.mulldacity.com/mechanic2.png
Obilex wrote: »
getting more of a handle on matte painting.
Tam wrote: »
I really enjoyed drawing fedora dude's face, but that body was painful to put down
Maybe I will fix it