Some stress relief doodles, a bit of client work (that I can show) and a personal illustration WIP.
Studies coming soon.
This is client work! I have more characters but I can't show them yet. I'm feeling like when I'm done this will be portfolio worthy, and net me even more character work. (My personal favorite)
This is a WIP. Needs like 15 more hours. Referencing a painting by Sargent.
It's so comforting to look over and have it right there to let me know how to build form, push color nuance, and layer my edges/values.
Hey! Just searched through your sketchbook and so far it looks so amazing! You have improved a lot and I just LOVED your environments. What is the best tip about environment and texture simplification you have ever had? I'm asking this to many artists because I find that very challenging. I really like the way you apply your textures... Keep it up.
(11-19-2016, 05:15 AM)Piloreta Wrote: Hey! Just searched through your sketchbook and so far it looks so amazing! You have improved a lot and I just LOVED your environments. What is the best tip about environment and texture simplification you have ever had? I'm asking this to many artists because I find that very challenging. I really like the way you apply your textures... Keep it up.
Thanks! It's been a hell of a journey, haha. Still pushing to get to new levels.
Environments and texture simplification? Hmm...
To me, environments are especially easy to apply fundamentals to. I think of them in terms of basic shapes that I paint on top of. "popping the planes" is another way to put it.
When I'm popping those planes, I try to make my brushwork describe the forms. Sometimes It's with custom brushes, but a lot of it is intuitive.
I've done quite a few photo studies of environments, I think that really helped to give me a workable foundation.
The biggest thing for me is to consider the larges masses first, though. Then I just fill in the information (texture) that those big shapes contain.
I'll document my process more succinctly next time I paint an enviro! haha. Hopefully I can answer the question better then.
------------------------------------------------------------------
Lastly...here's a study from today! Referenced William M. Paxton.
Posting these before I head over to Archreux's for more studies and such.
Some gestures to practice construction and bend my brain for new poses. A little wonky in areas, but not terrible. Looked at Krenz to learn how to construct better, but didn't steal the poses.
Then I ref'd some John J. Park for a robot sketch. I feel I'm in my element with this kind of stuff-- though the design is weak, the process is potent.
Going to have some traditional things soon.
Gotta get back to that WIP too. Making it a point to finish what I start.
(11-19-2016, 05:15 AM)Piloreta Wrote: Hey! Just searched through your sketchbook and so far it looks so amazing! You have improved a lot and I just LOVED your environments. What is the best tip about environment and texture simplification you have ever had? I'm asking this to many artists because I find that very challenging. I really like the way you apply your textures... Keep it up.
Thanks! It's been a hell of a journey, haha. Still pushing to get to new levels.
Environments and texture simplification? Hmm...
To me, environments are especially easy to apply fundamentals to. I think of them in terms of basic shapes that I paint on top of. "popping the planes" is another way to put it.
When I'm popping those planes, I try to make my brushwork describe the forms. Sometimes It's with custom brushes, but a lot of it is intuitive.
I've done quite a few photo studies of environments, I think that really helped to give me a workable foundation.
The biggest thing for me is to consider the larges masses first, though. Then I just fill in the information (texture) that those big shapes contain.
I'll document my process more succinctly next time I paint an enviro! haha. Hopefully I can answer the question better then.
Hey man, thanks for answering, that was super helpful!!! I'll be taking a close look at your future stuff, I really like to see how people progress so much with time.
Some 2016 highlights from my sketchbooks and the latest update on the Emerald Enchantress. I'm not a fan of it anymore-- just not enough planning and impact. It's not terrible, but I don't find it exciting. Also, the style doesn't please me, haha.
I wonder if another 2-3 hours would be worth it? Probably not...haha
Oh, and more robot study stuff. Reference was a screencap from the most recent Star Wars movie (which I still haven't seen lol.)
Great stuff welcome back.Lil comment i find that the way they hold there weapon suggest you need to pratice more hand holding stuff.It as if the yellow guy was holding a really big handle.I also find that it hard to understand in what there standing you don't know if there rematerializing or simply standing in some kind of smoky darkness.I play with certain zone of contrast to push the focus toward the middle and created zone of dark to give more depth to the image but also to bring out the texture.I don't think it necessary to have that sword behind the dude back it doesn't had much to the overall.
Didn't bother to paint over the hand i think you get my point.
Yo, thanks Darktiste! I'll be sure to get a better idea of how to iron out those value, drawing, and composition issues in the future - that piece is my longest recorded one - 20 hours, but I have a sketch I want to take to the 25 hour mark.
It's important to bring out textural details and have a stronger focal point when it comes to the value pattern. I like the edits you made for that piece and they really convey your points. Thanks for taking the time.
I'm really excited to be back though. Here's some traditional drawings from Inktober 2017:
Hi i think a fast and easy way to draw straight line is to create a mask if you work in digital and to erase back the excess. But i think your last piece was with a felt tip pen but in digital that my 2 cent for you.
I would recommend a ball point pen for line they don't create ink deposit normally at the end of the line.
I don't have much to critics but I'll try to be constructive : For the girl and the giant standing behind her, you might want to darken the value on the foreground to separate the plane. Marc simonetti does that very well, I think he could be a good ref.
Just to improve everyone vocabulary it call atmospheric perspective.Basicly color become desaturated and more white as they go back in the distance if i am correct.
Gona spill some thoughts along with some studies n' WIPs:
I've spent a lot of time in other realms all throughout 2017-Now
studying Music, Engineering, geometry, etc...Ultimately I'm coming back to art-- I can't afford to experiment too much more since I'm 29 already. Jesus, time has gone by fast.
Looking back at this SB, I remember how excited I was to "get into the industry" and work hard, but all I ended up doing was plateauing and not committing to one path. Depression did not help, lmao.
It's the sad reality I hope to impart-- specialize. If you're making a go at art-- there's little room for much else until you're making a really good living at it.
I'm basically starting back at the bottom of the freelance barrel - $200 - $500 per job.
But you know what? I'm grateful. Because I took the time to learn all the things I did, I feel like I got them all out of my system and can focus solely on art now.
Music has enriched my life deeply, as has geometry, business studies, and everything I ended up doing other than studies/networking.
But now it's time to come home. Yeah?
Here's some of my recent works - just getting back into the swing of things, really. I've been studying lightly in the mornings from the Bargue drawing course, but I haven't gone past about an hour per day--I should probably spend more like 2-3.
Letting the construction slip on some of 'em. Gotta be more strict in that regard.
Little bonus: the current WIP: redesigning the Wizard of Oz.
About 10-12 hours so far? Still needs a lot of work, particularly the BG and the lighting scenario affecting the characters. Tons of edges to touch up as well.
Hopefully I'll stay consistent this time, haha. My work has slid backwards quite a bit overall due to pursuing other interests. The craft will desert you if you're not vitalizing it on the daily.
No more excuses though. C&C welcomed if you'd be so kind.
I think what the last piece is missing is a sense of harmony i think it as to do with how different every character are i don't have anything on top of my head to suggest but i want to bring attention to this anways. Also your composition doesn't create a loop around the whole thing it make the eye escape to the right of the composition due in part to where all the character are looking at.
For the Oz piece, while I like the designs of the characters, I feel like more personality should come through a bit more in their gestures. Like for example, the cowardly lion should look, well, cowardly. Have him maybe like nervously looking behind him or something like that. Love the design for the Tin man though.
Just wanted to say welcome back to CD and art in general :). It's great to see you working on a personal project; they are always so much fun and extremely motivating. Keep up the good work. Looking forward to seeing more from you.
(12-09-2019, 10:01 AM)chubby_cat Wrote: Just wanted to say welcome back to CD and art in general :). It's great to see you working on a personal project; they are always so much fun and extremely motivating. Keep up the good work. Looking forward to seeing more from you.
Thanks a bunch! It's rad to have my heart in it again.
Personal projects are the best. I've kicked around a few for the past couple years. I haven't successfully monetized any, but they've gotten me freelance work. Still, I know I'll be able to wrap them up into a cohesive product/package some day with enough diligence.
Saw you're working on your own via Artstation, so I'll have to look at it more in depth later :).
Last update for the day on the Oz piece-- tried to imbue some more character in all but the Tin dude.
Tomorrow it's back to client work! I may go from juggling one gig to 4 this week, so studies are going to be a must.
There a better sense of unity here but everything feel paste in place because there little to no perspective cue. Overlapping isn't enough to create depth.I feel like the girl should be looking at the tin man instead of the lion because it create a loop back into the lion instead of going toward the tin man and i feel like the lion is disconnected from the rest i think you should move is head toward the other but at the same time i like to see more of is face so i am conflicted on this.
