Taking a break from working on my Battle Tourney entry, I thought I'd do a little sketch in a slightly different style, hopefully a little more toned down from my usual anatomical exagerrations, and doing a little stuff with shading and tone, which I'm completely terrible at.
This is about four times the size of my original sketch. Pardon my notes scrawled across his torso.
I'm not sure if it's too big or not but since everyone( well , just two actually ) wanted the drawings in IMG tags .. Here you go !
Critics ? Comments ?
I think the bottom left guy looks a bit wonky compared to the rest and the layout's not spaced properly.
For those not in the know . . . I'ts the members from a local band where i stay.
More crummy figure practice. Tomorrow I start trying some poses from imagination, to see if I'm actually learning anything from this.
Here's some bonus doodles that I should really have put more effort in to (spoilered for incompleteness).
(Oh man... Those arms... The horror! I really only put them in there as an experiment, but it's still really crummy anatomy. Oh, and it was originally going to be a triceratops, funny that...)
(Well, it was supposed to be a combination of an octopus and a stump. I still like the idea though, maybe I'll give it another shot sometime.)
natri: love your pen stuff
wakkawa: you need to make a tutorial on the art of drawing the womenzzsss
XAL on
0
jpegODIE, YOUR FACEScenic Illinois FlatlandsRegistered Userregular
edited May 2007
I like this but also realize that there are a ton of mistakes on it right now. It doesn't help that I slapped the bottom three sets of stairs on there in all of about 10 minutes.
jpeg on
so I just type in this box and it goes on the screen?
I've been lurking in AC for a while, afraid to post something. I mainly doodle at school and the such, but I've been wanting to get serious with my drawings, so I figured now would be a good time for advice.
I just saw Pirates 3 and am in a Cutlass-filled haze so here's my first AC Post:
I'm not gonna be one of those guys and say "Ooooh, I'm just stylized.", critique at will.
OMG, AoB how much do you spend on Soda a week?! You're just like my brother and his wife. They don't even drink milk, juice, or water ... I don't drink soda, so I guess it's like equilibrium or something in are family.
Good lord ... all that money.
The LittleMan In The Boat on
I don't suffer from Insanity. I enjoy every minute of it.
OMG, AoB how much do you spend on Soda a week?! You're just like my brother and his wife. They don't even drink milk, juice, or water ... I don't drink soda, so I guess it's like equilibrium or something in are family.
Good lord ... all that money.
Man, that's like more than a year's collection of cans, bite me.
And I just went and threw them all away, so whatever.
I've been trying to infuse a bit more narrative into my work lately to help me break out of my safety zone with certain aspects of my painting. Here's a speedy I did earlier in that vein.
Arrr, I must've spent like, 2 hours AT LEAST just changing shit up and trying to become satisfied with this.
I wish I didn't have to resize it for photobucket.
Kinda SOTC based after awhile of changing ideas- it was going to be a dune buggy riding the dunes with a big worm(similar to the Dune Worms in... DUNE) chasing after him, then after that it was a rally car race track in a more oasis type of scenario, and when I realized I can't draw cars on a tablet worth a damn I change it to a UFO scaling mountains and getting attacked by something that was kinda an homage to the Star Wars Asteroid Worm, then I was just painting from life, then after I realized I was getting frustrated with not being able to draw the life picture accurately, I was just messing around trying to make it look correct, and finally I was just like "this vaguely reminds me of Shadow of the Colossus. Let's try that." and Voila, shit is formed.
I think I accomplished making the ground look a little more more uneven, but still have a tangible form. Still something bugs me about the ground but I can't tell what. I failed at the lighting, even though I thought about changing it, I hesitated cause it was already 2:30 AM, lack of anything satisfying, crankiness, and frustration made me save it and show it. I know it shouldn't be that PURE black, but if I can't see really drastic change contrast I feel like I'm doing it wrong. I should be happy that I'm frustrated, because, like Bobby Chiu says, it means I'm being challenged, right?
I tried creating a story about the environment in my head while I was doing this, but for some reason I'm really bad at that, because what I think of and what I put down on the painting, suck. What makes me feel really lousy is that I looked at your color tutorial(Bacon), your paintover tutorial(which I'm really grateful for) watched your speedpainting vid at least 9 times, watched a bunch of Bobby Chiu stuff, but this painting seems to give the impression that I blew all that off and didn't consider it. I looked at this http://bacon.iseenothing.com/cove2.jpg for just a little reference on shading rocks and stuff.
Maybe putting Wander on top of that little rock/whatever formation holding up his sword would have been more interesting. Hm. Maybe next time I should paint while looking at a similar reference.
Just drawing from the real life environment I think would solve millions of my problems.
I'll just get some sleep and start fresh tomorrow. I just hope none of that practice was an actual waste of time.
@McAllen: The latest is a definate improvement over the last two, so the time has certainly not been wasted.
What seems to be the source of your frustration is just running up against the walls of your current anount of knowledge- we've all been there (hell, we're all contantly there, if we're being both honest and not lazy), and the only thing for it is to do whatever you can to fill in the gaps.
I'd reccomend whenever you find you're starting to work on something specific, you load up google image search and just load up 10-25 images into firefox tabs based on some broad search subjects. Something like this image, I'd look up things like "overcast", "desert", "mesa", "overcast desert", etc, etc. Not to search for any one image to copy, but to find those things about those pictures that make them interesting, what makes those things look like those things.
Take, for example, how you've noted that having such a black shadow doesn't look right, but you still need the contrast- you're right, on both accounts. An overcast day wouldn't have such sharp, black shadows in the middle of a plain like that. So, you have to look up how the light actually works on an overcast day to solve this problem.
On an overcast day, the sun's rays get scattered and diffused by the cloud cover, meaning the light will be coming from not one single source, but light will be coming from the entire sky. Therefore, any sort of deep, dark shadow on an overcast day can only manifest itself where the sky's light is being blocked- a cave, a very significant overhang, etc. But this leaves us with the second problem of contrast- if we can't get it through the simple method of using a change in the major planes of the form to mark off a contrast between light and dark- lit and unlit surfaces- we'll have to look at our references, dig deeper. Where does the contrast really come from on an overcast day? Several solutions present themselves:
1) a more subtle, nuanced lighting method- remember, there are still shadows here to take advantage of, just not on a major scale. We still will find smaller, diffused shadows in the small overhangs, in the crevices of rock, under each rock. The light won't appear uniform even on the lit surfaces as well, but will get darker the more vertical the plane. Not into total darkness mind you, but enough distinction to demark the top of an object from the side.
2) This is actually fairly close to 1, but I'll mention it seperately. The clouds themselves are rarely on even composition as well, even on the most overcast days. Across a huge plain, you will see breaks, or thinner cloud covering, causing a pattern of uneven light distribution, some part receiving more direct, bright light, some recieving heavy shadow and diffusion. This can be put to use for the purpose of adding contrast, and focus if you wish.
3) Local color. Even with totally even light, not every object is colored the same, has the same value. Contrast the color and tone of rock against sand, against dry grassland, against cacti or what have you. Can you use tonal change in rock stridations, or the change in texture between a smooth, vertical rock face versus a crumpled, eroded one?
Nature offers an infinite number of tools to help you solve the problem of contrast- or, for the most part, any other essential of rendering objects, so be sure to take advantage of observing it for these things you can put use.
Christ, I'm getting wordy and pretentious. I probably should have started this post with a better looking picture to justify all this talking.
Zbrush 3's new sculpting tools rock my pants right off. I should go find them. This would have taken me ages to do in Z2.5, but this only took me a few minutes.
Zbrush 3's new sculpting tools rock my pants right off. I should go find them. This would have taken me ages to do in Z2.5, but this only took me a few minutes.
A few minutes?! I'm gonna have to check that stuff out. Getting sick and tired of just plain old boxmodelling, and I have to learn how to bake normal maps anyway. This looks like it would be a great way to make the high poly version. Tried mudbox before and it didn't really work for me, such a shift to not be working with vertices and such, hope the new ZBrush is as hot as it sounds.
I've lurked here forever and this is my first post. Not great but heres a couple sketches
yes the one above with that pedophile cosplay creeps me out as well
Ive been practicing on my own for a bit. This forum has been pretty helpful. Here's some stuff from a few months ago for comparison.
Crackerpie on
OMG I saw the greatest sig today! IT WAS TOTALLY SELF-REFERENTIAL.
0
jpegODIE, YOUR FACEScenic Illinois FlatlandsRegistered Userregular
edited May 2007
That's a pretty good improvement, Crackerpie.
Every few months I remember how much fun it is to mess around with artist's oils in Painter. This is the product of rendering out the shapes I saw after I painted over the background.
The light on the grass under the light looks very wrong but I can't seem to put my finger on it. Too bright, I think.
Edited it a bit to make the tube fit to the dome more.
jpeg on
so I just type in this box and it goes on the screen?
Newbie poster, but i've lurked for a couple of years. I've just recently become more motivated to draw. and this is my first attempt at digital inking. Crits?
Every few months I remember how much fun it is to mess around with artist's oils in Painter. This is the product of rendering out the shapes I saw after I painted over the background.
The light on the grass under the light looks very wrong but I can't seem to put my finger on it. Too bright, I think.
Edited it a bit to make the tube fit to the dome more.
whoa that looks almost exactly like a field/building that was in my dreams a few years back.
The rendering/shading seems a little uncommitted Kiolia. Really try to push the shadows. I like it for the most part though. There is a small tangent with her shirt collar and gun that could be fixed also, but its not too damaging.
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This is about four times the size of my original sketch. Pardon my notes scrawled across his torso.
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Madam, I can assure you that the situation is far more dire than you expect.
EDIT: Is a "draw/paint your desk as a still life" practice thread a good idea? I'm thinking yes, but what the hell do I know?
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I'm not sure if it's too big or not but since everyone( well , just two actually ) wanted the drawings in IMG tags .. Here you go !
Critics ? Comments ?
I think the bottom left guy looks a bit wonky compared to the rest and the layout's not spaced properly.
For those not in the know . . . I'ts the members from a local band where i stay.
Here's some bonus doodles that I should really have put more effort in to (spoilered for incompleteness).
(Oh man... Those arms... The horror! I really only put them in there as an experiment, but it's still really crummy anatomy. Oh, and it was originally going to be a triceratops, funny that...)
(Well, it was supposed to be a combination of an octopus and a stump. I still like the idea though, maybe I'll give it another shot sometime.)
Micheal Scofield
wakkawa: you need to make a tutorial on the art of drawing the womenzzsss
I just saw Pirates 3 and am in a Cutlass-filled haze so here's my first AC Post:
I'm not gonna be one of those guys and say "Ooooh, I'm just stylized.", critique at will.
EDIT: Fixed the back of the coat.
Oh it's such a nice day, I think I'll go out the window! Whoa!
Lemme fix that real quick.
Good lord ... all that money.
I don't suffer from Insanity. I enjoy every minute of it.
Man, that's like more than a year's collection of cans, bite me.
And I just went and threw them all away, so whatever.
Twitter
I've been trying to infuse a bit more narrative into my work lately to help me break out of my safety zone with certain aspects of my painting. Here's a speedy I did earlier in that vein.
I wish I didn't have to resize it for photobucket.
Kinda SOTC based after awhile of changing ideas- it was going to be a dune buggy riding the dunes with a big worm(similar to the Dune Worms in... DUNE) chasing after him, then after that it was a rally car race track in a more oasis type of scenario, and when I realized I can't draw cars on a tablet worth a damn I change it to a UFO scaling mountains and getting attacked by something that was kinda an homage to the Star Wars Asteroid Worm, then I was just painting from life, then after I realized I was getting frustrated with not being able to draw the life picture accurately, I was just messing around trying to make it look correct, and finally I was just like "this vaguely reminds me of Shadow of the Colossus. Let's try that." and Voila, shit is formed.
I think I accomplished making the ground look a little more more uneven, but still have a tangible form. Still something bugs me about the ground but I can't tell what. I failed at the lighting, even though I thought about changing it, I hesitated cause it was already 2:30 AM, lack of anything satisfying, crankiness, and frustration made me save it and show it. I know it shouldn't be that PURE black, but if I can't see really drastic change contrast I feel like I'm doing it wrong. I should be happy that I'm frustrated, because, like Bobby Chiu says, it means I'm being challenged, right?
I tried creating a story about the environment in my head while I was doing this, but for some reason I'm really bad at that, because what I think of and what I put down on the painting, suck. What makes me feel really lousy is that I looked at your color tutorial(Bacon), your paintover tutorial(which I'm really grateful for) watched your speedpainting vid at least 9 times, watched a bunch of Bobby Chiu stuff, but this painting seems to give the impression that I blew all that off and didn't consider it. I looked at this http://bacon.iseenothing.com/cove2.jpg for just a little reference on shading rocks and stuff.
Maybe putting Wander on top of that little rock/whatever formation holding up his sword would have been more interesting. Hm. Maybe next time I should paint while looking at a similar reference.
Just drawing from the real life environment I think would solve millions of my problems.
I'll just get some sleep and start fresh tomorrow. I just hope none of that practice was an actual waste of time.
*glares*
:x
@Iruka: Noice. :^:
@McAllen: The latest is a definate improvement over the last two, so the time has certainly not been wasted.
What seems to be the source of your frustration is just running up against the walls of your current anount of knowledge- we've all been there (hell, we're all contantly there, if we're being both honest and not lazy), and the only thing for it is to do whatever you can to fill in the gaps.
I'd reccomend whenever you find you're starting to work on something specific, you load up google image search and just load up 10-25 images into firefox tabs based on some broad search subjects. Something like this image, I'd look up things like "overcast", "desert", "mesa", "overcast desert", etc, etc. Not to search for any one image to copy, but to find those things about those pictures that make them interesting, what makes those things look like those things.
Take, for example, how you've noted that having such a black shadow doesn't look right, but you still need the contrast- you're right, on both accounts. An overcast day wouldn't have such sharp, black shadows in the middle of a plain like that. So, you have to look up how the light actually works on an overcast day to solve this problem.
On an overcast day, the sun's rays get scattered and diffused by the cloud cover, meaning the light will be coming from not one single source, but light will be coming from the entire sky. Therefore, any sort of deep, dark shadow on an overcast day can only manifest itself where the sky's light is being blocked- a cave, a very significant overhang, etc. But this leaves us with the second problem of contrast- if we can't get it through the simple method of using a change in the major planes of the form to mark off a contrast between light and dark- lit and unlit surfaces- we'll have to look at our references, dig deeper. Where does the contrast really come from on an overcast day? Several solutions present themselves:
1) a more subtle, nuanced lighting method- remember, there are still shadows here to take advantage of, just not on a major scale. We still will find smaller, diffused shadows in the small overhangs, in the crevices of rock, under each rock. The light won't appear uniform even on the lit surfaces as well, but will get darker the more vertical the plane. Not into total darkness mind you, but enough distinction to demark the top of an object from the side.
2) This is actually fairly close to 1, but I'll mention it seperately. The clouds themselves are rarely on even composition as well, even on the most overcast days. Across a huge plain, you will see breaks, or thinner cloud covering, causing a pattern of uneven light distribution, some part receiving more direct, bright light, some recieving heavy shadow and diffusion. This can be put to use for the purpose of adding contrast, and focus if you wish.
3) Local color. Even with totally even light, not every object is colored the same, has the same value. Contrast the color and tone of rock against sand, against dry grassland, against cacti or what have you. Can you use tonal change in rock stridations, or the change in texture between a smooth, vertical rock face versus a crumpled, eroded one?
Nature offers an infinite number of tools to help you solve the problem of contrast- or, for the most part, any other essential of rendering objects, so be sure to take advantage of observing it for these things you can put use.
Christ, I'm getting wordy and pretentious. I probably should have started this post with a better looking picture to justify all this talking.
Twitter
Zbrush 3's new sculpting tools rock my pants right off. I should go find them. This would have taken me ages to do in Z2.5, but this only took me a few minutes.
Though, many would probably be too creeped out to try it.
Including me.
A few minutes?! I'm gonna have to check that stuff out. Getting sick and tired of just plain old boxmodelling, and I have to learn how to bake normal maps anyway. This looks like it would be a great way to make the high poly version. Tried mudbox before and it didn't really work for me, such a shift to not be working with vertices and such, hope the new ZBrush is as hot as it sounds.
yes the one above with that pedophile cosplay creeps me out as well
Ive been practicing on my own for a bit. This forum has been pretty helpful. Here's some stuff from a few months ago for comparison.
Every few months I remember how much fun it is to mess around with artist's oils in Painter. This is the product of rendering out the shapes I saw after I painted over the background.
The light on the grass under the light looks very wrong but I can't seem to put my finger on it. Too bright, I think.
Edited it a bit to make the tube fit to the dome more.
took me a helluva long time, but i'm pretty happy with it.
acrylic, 20" x 20"
visit my webcomic at http://www.kiolia.com/shadowfolk Science fiction, updated almost never.
whoa that looks almost exactly like a field/building that was in my dreams a few years back.
My Portfolio Site
And yeah, it's not finished. 2 hours so far because i'm slow as fuck.
"We are horribly disproportionate!"
His limbs seriously need to be shorter. His thighs and upper arms are about as long as his entire torso sans head. That's not right.
I'll redraw him later when I have the time.
What.
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