Calling this one finished, I've been toiling away at it for ages and I'm ready to move on. Thanks a million to @angel_of_bacon for being super informative and helpful!
NakedZerglingA more apocalyptic post apocalypse Portland OregonRegistered Userregular
I found this neat glass sculpture in greg's pocket, and started to paint it along with my lighter. Trying to really look, and it's taking a looong time. any trick to block in color faster? or is it just practice. I tend to work light on a white BG then add a layer and go darker. Its been taking a while.
I found this neat glass sculpture in greg's pocket, and started to paint it along with my lighter. Trying to really look, and it's taking a looong time. any trick to block in color faster? or is it just practice. I tend to work light on a white BG then add a layer and go darker. Its been taking a while. http://img.photobucket.com/albums/v702/rabidwombat/pipe_zps4586bae0.jpg
Without really seeing your process it's hard to say. I think a pretty okay operating procedure is to block in the basic colors as soon as you can with the values mostly where they should be, and then refine from there. I see a lot of white halos around some of the color blocks, which tells me you're laying in your colors in these kind of discrete groups. There's nothing necessarily wrong with doing that, but it can make it difficult to get a really good sense of what a color or tone should be if you're just laying it down straight onto white.
If you do a neutral tone wash (like a median gray, or a color group that mostly occurs in the study) over your sketch, it can help in a lot of ways. First, it removes the psychological barrier of having blank space, because everything has a tone or a color. Second, by setting up a tone, it's a lot easier to calibrate the rest of the colors and values relative to that. Since our perception of color and value is pretty much entirely affected by their relationship to each other, getting basic colors blocked out as quickly as possible and tweaking them from there is a lot easier than trying to paint straight onto a white canvas. Getting all of the colors into the study as early as possible, even if they're just sort of in the right ballpark, is better than spending a lot of time trying to get exactly the right color for a shadow on your first stroke.
I found this neat glass sculpture in greg's pocket, and started to paint it along with my lighter. Trying to really look, and it's taking a looong time. any trick to block in color faster? or is it just practice. I tend to work light on a white BG then add a layer and go darker. Its been taking a while. http://img.photobucket.com/albums/v702/rabidwombat/pipe_zps4586bae0.jpg
Without really seeing your process it's hard to say. I think a pretty okay operating procedure is to block in the basic colors as soon as you can with the values mostly where they should be, and then refine from there. I see a lot of white halos around some of the color blocks, which tells me you're laying in your colors in these kind of discrete groups. There's nothing necessarily wrong with doing that, but it can make it difficult to get a really good sense of what a color or tone should be if you're just laying it down straight onto white.
If you do a neutral tone wash (like a median gray, or a color group that mostly occurs in the study) over your sketch, it can help in a lot of ways. First, it removes the psychological barrier of having blank space, because everything has a tone or a color. Second, by setting up a tone, it's a lot easier to calibrate the rest of the colors and values relative to that. Since our perception of color and value is pretty much entirely affected by their relationship to each other, getting basic colors blocked out as quickly as possible and tweaking them from there is a lot easier than trying to paint straight onto a white canvas. Getting all of the colors into the study as early as possible, even if they're just sort of in the right ballpark, is better than spending a lot of time trying to get exactly the right color for a shadow on your first stroke.
good stuff! THANK YOU. I think i saved layers to show process. i don't know how to make a gif so ill post them in sequence.
Hey peeps! I've been lurking here for ages (on and off for years) but never quite worked up the nerve to post.
Decided to finally give it a shot with a bit of fan art I started yesterday.
I'm not quite done yet. Still have to do a detail pass on Ellie's face and the Clicker, but I think Joel is pretty much done. Think I might make the thing they're leaning on a bit more interesting when I'm done too.
Oh yeah, and I forgot to add a brick.
The coloring style is heavily influenced (pretty much straight lifted) from @Chipps Pete Cambell gif which I thought was friggen awesome.
Went to a sketch group thing and was told to redesign a character whose design I hated. I thought about it for 5 minutes then was just like, "Of course."
There was something important here. It's gone now.
Now that I've broken the posting barrier, gonna try putting another one out there.
Have a campaign running and last week, my dude (Manotaur) found a fancy new pair of gloves with a pretty epic description. Decided they needed to be drawn.
I can't paint without reference anymore. And painting with reference is less exciting than just taking off with my imagination. I need to study the way light and atmosphere affects environments so I can just get my wacky ideas onto paper without stressing over the fundamentals so much.
Mangoes on
+4
TheExAmGerrymandered your districtsRegistered Userregular
edited June 2013
I recognized Leonard Nimoy almost instantly.
His expression kinda reminds me of this guy. The colors are nice. Also, dat lens flare.
TheExAm on
Battlemans: DiscoCabbage | Elite: Dangerous: Aleksandr Khabaj
Hah, well funny you say Leonard Nimoy! It was actually based on Zachary Quinto; but the only reason I stopped trying to fiddle with the likeness was that I found it to be an interesting mix of the two Spocks.
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O_o
this is on of em, Work in progress.
Without really seeing your process it's hard to say. I think a pretty okay operating procedure is to block in the basic colors as soon as you can with the values mostly where they should be, and then refine from there. I see a lot of white halos around some of the color blocks, which tells me you're laying in your colors in these kind of discrete groups. There's nothing necessarily wrong with doing that, but it can make it difficult to get a really good sense of what a color or tone should be if you're just laying it down straight onto white.
If you do a neutral tone wash (like a median gray, or a color group that mostly occurs in the study) over your sketch, it can help in a lot of ways. First, it removes the psychological barrier of having blank space, because everything has a tone or a color. Second, by setting up a tone, it's a lot easier to calibrate the rest of the colors and values relative to that. Since our perception of color and value is pretty much entirely affected by their relationship to each other, getting basic colors blocked out as quickly as possible and tweaking them from there is a lot easier than trying to paint straight onto a white canvas. Getting all of the colors into the study as early as possible, even if they're just sort of in the right ballpark, is better than spending a lot of time trying to get exactly the right color for a shadow on your first stroke.
good stuff! THANK YOU. I think i saved layers to show process. i don't know how to make a gif so ill post them in sequence.
Decided to finally give it a shot with a bit of fan art I started yesterday.
I'm not quite done yet. Still have to do a detail pass on Ellie's face and the Clicker, but I think Joel is pretty much done. Think I might make the thing they're leaning on a bit more interesting when I'm done too.
Oh yeah, and I forgot to add a brick.
The coloring style is heavily influenced (pretty much straight lifted) from @Chipps Pete Cambell gif which I thought was friggen awesome.
Any thoughts/crits welcome!
Gonna try to push myself to do a speedpaint a day =P
EDIT: One more:
Ref
the kind of girl who keeps a hatchet in her purse?
probably has an ax to grind
Uncanny Magazine!
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Well he did make her his axe girlfriend. :winky:
Have a campaign running and last week, my dude (Manotaur) found a fancy new pair of gloves with a pretty epic description. Decided they needed to be drawn.
instagram.com/stevenzapata_art
Battlemans: DiscoCabbage | Elite: Dangerous: Aleksandr Khabaj
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Be sure to like my Comic Book "Last Words" on facebook: https://www.facebook.com/#!/pages/Last-Words-The-Comic-Book/458405034287767
and Magenta the Witchgirl!: http://www.drunkduck.com/Magenta_the_Witchgirl/
The likeness is pretty awful, but oh well.
I can't paint without reference anymore. And painting with reference is less exciting than just taking off with my imagination. I need to study the way light and atmosphere affects environments so I can just get my wacky ideas onto paper without stressing over the fundamentals so much.
His expression kinda reminds me of this guy. The colors are nice. Also, dat lens flare.
Battlemans: DiscoCabbage | Elite: Dangerous: Aleksandr Khabaj
Also that lower lip is totally bothering me. hah
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