Taylor's Sketchbook of Patterns and Progress.
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.


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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.
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(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.
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Lastly...here's a study from today! Referenced William M. Paxton. 

Learned a lot I can take back to my WIP.


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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.

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(11-19-2016, 05:40 AM)Einver Wrote:
(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.
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Piloreta:

For sure! I'm glad it was at least a bit helpful.

I have a whole youtube channel (that I don't update much when I have freelance) that covers a lot of how I paint.  you can check it out here: https://www.youtube.com/channel/UCvUBxhlasjthnmh-qxfKGdA

Updates:

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.)








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Haha, it's been a while - nearly 3 years. Whoa.

Here's some things! I haven't really done a lot of polished work over the years - more concept stuff.


Attached Files Image(s)




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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.


Attached Files Image(s)



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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:


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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.

My Sketchbook
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That some sick progresses, nice one !

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.
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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.

My Sketchbook
The journey of an artist truly begin when he can learn from is own error.
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