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.
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.
I agree. It'd be nice to see the designs have more of a relationship with the text. Right now, it looks like text was just throwin in between the designs.
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.
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:
PAINTOVER.JPG
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.
You just pretty well much described a problem I've been having forever. Cleaning up messy hard edged strokes has been a pain in my ass for as long as I can remember. EDIT: Whoops, just re-read what you wrote.
Hard edges can be a nuisance, but thats why its better to keep things much softer for as long as you can until you really want to create a focal point with a nice harder edge. It took a long time to get out of that habit, and I have to constantly remind myself all the time to keep things softer.
The only problem with that pinup, which I don't know if it was stated, but the lack of a background is not helping whatsoever. Hard to understand lighting without it. The background also has a large influence on whats interacting with it, and right now its just a floating figure on a page.
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited September 2010
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.
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.
Your structure actually should be nice straight lines, not so much edges at that point. But once tone comes into the picture, or at least when large shadow masses are filled, soft all the way.
Edit: this is of course, in relationship to academic drawing. Concepting/creative stuff is pretty much open to anything.
Hope ya don't mind! Also I blew the linework up to 150 dpi, so can give you the larger color picture if you want.
[BOPT'd]
(also holy freakin' crap, Obilex, that's awesome. I can tell you got the clouds from a brighter, middle-of-the-day picture, though. I'd maybe tone 'em down and desaturate them a bit.)
Also learn to do what ND did but in oil paint. So I can buy an original. I will put it on my wall next to my Adam Rex or Jon Foster or something if you like.
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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.
I agree. It'd be nice to see the designs have more of a relationship with the text. Right now, it looks like text was just throwin in between the designs.
tried to add in suggestions from last time
need to fix the hands for sure X_x
(and here's before changes, for reference)
edit: that study is coming along really nice, sublimus
balphagore?
but damn that's way cooler than my thing
it's not very good.
I like your things, Tam
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.
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I hear you guys like drawing crazy crap erry now and a-then.
Fantastic.
You just pretty well much described a problem I've been having forever. Cleaning up messy hard edged strokes has been a pain in my ass for as long as I can remember. EDIT: Whoops, just re-read what you wrote.
The only problem with that pinup, which I don't know if it was stated, but the lack of a background is not helping whatsoever. Hard to understand lighting without it. The background also has a large influence on whats interacting with it, and right now its just a floating figure on a page.
Maybe I will fix it
Your structure actually should be nice straight lines, not so much edges at that point. But once tone comes into the picture, or at least when large shadow masses are filled, soft all the way.
Edit: this is of course, in relationship to academic drawing. Concepting/creative stuff is pretty much open to anything.
I like the originality with the shape of her body. Steering away from the cliche body shapes of popular pin-up posters.
you're everything i would like to be.
i could soar higher ... than an eagle.
because you are the wind beneath my wings
(i will try out your suggestion for sure.)
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Hope ya don't mind! Also I blew the linework up to 150 dpi, so can give you the larger color picture if you want.
[BOPT'd]
(also holy freakin' crap, Obilex, that's awesome. I can tell you got the clouds from a brighter, middle-of-the-day picture, though. I'd maybe tone 'em down and desaturate them a bit.)
Also ND, that shirt is awesome.
I would definitely like the large version, please
I hate you.
just to spite you
[edit] and I will send you the larger picture when I get back home.
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You would get hired rather quickly. Just sayin'
Man, that reminds me how much I want to sit down and work with oils again...:C
I agree with everyone else. But I have a secret agenda. make them turnaround so I can sculpt them! rawrwr