Gliger's Sketchbook
Doing the same as the past few dayas, but with heads now

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repeat because I lost track of perspective half way through

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the thing with correct perspective is that, technically, you should be able to easily extend any drawing starting from any single part

mr long torso mc tilted stance

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haaaaaard

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gotta pay better attention to the expressions

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trash

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juuuust gotta keep track of the different vps in the image, you can start with any box, but you have to choose new vps and parallels you visualize in your head whenever you tilt the head

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going to sleep, this was the reference pic for the last one

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Morninggggg, more of the same, those folds don't make any sense

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the folds are hard as fuck to do without good reference

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making more sense, you have to visualize the design of the piece of clothing, and limit its surface area, before you can draw the folds correctly, the biggest hardship is actually deciding on the design. Also, just gotta keep reminding myself "YOU CAN CREATE WHATEVER PARALLELS YOU WANT, JUST KEEP TRACK OF THEIR NEW VPs

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fucking haaaaaard, will have to do jaw and neck studies

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traaaash

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drawing with masks is cool

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my stuff will lose a lot of energy from the sketch to the final version until I get used to structure

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we windwaker now boys, just wanted to try a different brush

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NOTE on Rheum Palestinum

This plant is designed to make the most of every raindrop that lands on it, each one is channelled down to the roots, something I never thought about, leaf structures can also be used in this specific way, increasing surface area, forming a cone that makes the most out of whatever available rain water.

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Really cool studies you have going on Gliger. Super nice stuff. Keep it up :)

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thaaaaaank you!

Need to start tightening these up

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another

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needs tons of fixes

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Leaving this Felix Delep image here for future reference, gonna try to make some of my lines more like this

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Morning peeps,

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I've been weirdly busy today walking around all day, gonna do some leg and shoe studies now

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quick note

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I like the way michal kus renders architecture

https://www.artstation.com/michalkus

Important note

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Morningggg more

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broken fooot

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shoes hard

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some shitty shit

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trashhhh lmfaaaao

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for clothing, brightening up and softening the inside lines helps a lot, also thinking about them less graphically and more in terms of ao

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going to sleep

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USEFUL NOTE FOR PLANNING LIGHTING

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this person is amazing

https://twitter.com/outhwaitegeorge

Also, if you close your eye, touch your eyelid, and move your eye, you can feel the bulge of the cornea, keep it in mind when moving the eye in your drawings, it will affect the shape of the eyelids


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morning, I'm sick again


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shoes harddd

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long leggggss

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some trash fucking perspective

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simple sketches like this are getting easier to do while still conveying gesture and perspective

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it's good to practice structure in basic terms like this regularly

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shit

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what in the flying fuck

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fuck fuck

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this is fucking bullshiiiiiit

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peep these trash values

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idk man

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back to comps then

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wanna do skylines tomorrow

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NOTE 

From ben mauro's art life youtube vid, in your portfolio don't just show early vis dev sketches, show that you can work during the whole process of a production, this way you'll be hired for a job for years instead of just a couple weeks.

Neil Ross is insane

http://limbolo.blogspot.com/


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Hey there again, trying to keep resting areas in mind

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wanted to try doing some global illumination, no direct light, just reflected lights from the object itself + fresnel

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might take a break from this one and try doing another one with minimal lineart, mostly starting by blocking in shapes (remembering to to them in many different layers so I can change colors later)

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morrrr

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reflections

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darker shadows

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some blur, just testing stuffs

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anddddd a different crop

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and another crop still

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edgessssss

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EEEEEEDGEEEEESSSSSS

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gonna do a character portrait now, trying to remember to use hard and soft edges for shadows like mielgo did on his spiderverse portraits

notes on interior design

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sup

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working in those restin areasss

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slowly adding ao

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on the next image I do like this I'm gonna limit my values for the ao, something like 5 values or something, so it's easier to look around the image and decide which tone is right

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still on that ao thing

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squinting a lot

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Might continue tomorrow, moving on for now, gonna do a master study or something

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idk

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drawing with light

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more garbage

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last one of the night, tomorrow's light studies will have shadows in 1 layer, reflections in the next, then waiting until those are right to introduce secondary direct lights

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NOTE

remember that manubrium bump at the top of the sternum

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For showing depth in rocks, gather more planes and overlaps around the further edges of their form

From Aaron Limonick's course

BUILD CONFIDENCE IN YOUR PAINTING:

The painting has to get done, it's work, or homework, it's whatever, but it has to get done, so if you get stuck, don't keep banging your head at the hardest problem in the image, and start doing the simpler stuff, otherwise you'll just quit.


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morning, some weird ass reference


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fresneling

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gotta do mielgo and leyendecker studies later

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visualizing the sphere helps with highlights, he looks like bronze though

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as I get more comfortable I'll start worrying more about the 1-2-3 value read

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correct-feeling bouncelights have more to do with the value structure than with any modeling or gradients within those shadow shapes, exception made of larger planes

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lmao wtf

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good reflections are gradient towards emitter + good value structure in relation to parallel planes, don't worry about keeping a strong terminator

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Trying to regularly test these studies from imagination

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edges are shiiiite

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the 1-2-3 value read is essential

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gotta do hair studies tomorrow as well, I now the basics, it's just about finding a way to handle it all

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NOTE ON REFLECTIONS

When showing light from an object reflecting back into a plane of the face, focus less on creating/maintaining a recognisable terminator and aim more for showing a gradient that gains strength as the plane approaches the object.

THE "ALMOST-EDGE REFLECTION", it's the fresnel effect, but not quite at the edge, because maybe there's a strong lightsource or light object on the ceiling, but right behind our object there's a dark wall, or a person, or a curtain, therefore, at the very edge, you could be seeing almost like a dark outline, with a higlight running along the inside, this is super cool and gonna be very useful for cartooning and creating graphic but still naturalistic lighting.

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LIST OF THINGS TO KEEP IN MIND WHEN LIGHTING (because there's too many and I keep forgetting)

Direct
AO
CORE SHADOWS(my biggest weakness when it comes to showing form)
Diffused/ambient
Reflections (2 or 3 bounces)
Hot spots
Fresnel
Speculars
Translucency/SSS
Cast Shadows
Blending round edges
1-2-3 Value read

OK, IF ANYBODY (LIKE ME) STRUGGLES FINDING THE EXACT DIRECTION OF A PLANE SO YOU CAN MATCH IT WITH A MAT SPHERE:

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I find ellipses and cillinders are more descriptive and easier to place freehand than squares (only 1 axis to worry about instead of 2), they are just more intuitive.

And yeah, for dinging the planes for cillinder-esque shapes just draw a circumference line around the mat sphere and mat it to the cillinder you are trying to render, good for necks, arms etc.

Also, haven't followed any of the paid proko courses, will in the future, but I thought this simplification from the promotional vid was cool so leaving it here

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ANOTHER GREAT WAY TO TRIANGULATE A PLANE IS

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TO AND A GROUND PLANE TO THE DRAWING + THE MAT SPHERE AND THEN DOING A MENTAL DIAGRAM TO CALCULATE THE APROXIMATE ANGLE, DIVIDING THE SPHERE INTO 4 QUARTERS MAKES IT EASY TO FIND WHICH ONE THE PLANE BELONGS TO JUST BASED ON BASIC DIRECTION, AND THEN YOU CAN GET AS SPECIFIC AS YOU NEED.

Tomorrow I have  to spend some more hours color picking from mat spheres, good mat spheres with reflected light, ambient and fresnel; that will teach me how to group planes and values much better than any number of hours of sketching.


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Just wanted to say whats up, there's nothing I can really say about your work other than it looks good. 
Was any of this stuff boring for you to draw? If so what do you do to stay focused?
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Thanks, and nope, none of it was boring

Low poly portraits are always good practice

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gradients towards reflective object gradients towards reflective object gradients towards reflective object gradients towards reflective object gradients towards reflective object gradients towards reflective object gradients towards reflective object 

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not gonna lie, inventing these forms is fun as fuck

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hot spots, gradients toward the light etc.

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time to test some of this knowledge, let's paint a character a bit

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these weren't serious studies at all, just did them to post here and remind myself to do this type of thing more often, but properly, and not just accurate forms, also just random rendering practice with "human-esque" forms, experimenting with different plane divisions for parts of the body that I struggle with

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1st STEP, SUPER QUICK BLOCKING, just 2 lights + ground and overall reflection from direct light, no ao, no boosting core shadows no fresnel.

note in caps just for myself

THERE'S A HUGE MENTAL LIBRARY ASPECT TO RENDERING, THE ABILITY TO LOOK AT SOMETHING AS "INCOMPLETE" AND NOT JUST "WRONG" IS ONE THAT HAS TO BE DEVELOPED, IT REQUIRES CONFIDENCE AND EXPERIENCE, BUILDING FORMS UP TAKES A VERY STRONG MEMORY OF THE DIFFERENT STEPS IN PAINTING, IN MANY DIFFERENT STYLES, UNDER MANY DIFFERENT LIGHTING SCENARIOS. I HAVE TO PRACTICE THIS INITIAL 2-3 MINUTE BLOCKING IN STAGE AS MUCH AS I CAN FOR NOW.

SOMETHING I LEARNED WHEN I DID LIGHT STUDIES WITH THE BIG HARD ROUND BRUSH, AND LOOKING AT MULLINS, IS THAT, IT'S THE CONTROLED INTENTION THAT DEFINES IF A MARK IS SUCCESFUL, IT DOESN'T MATTER IF YOU SKETCH WITH A HARD BRUSH, OR A SOFT BRUSH, OR A DICK BRUSH, ONCE YOU'VE REWIRED YOUR BRAIN TO UNDERSTAND WHAT THOSE PATTERNS CAN SAY, -TO YOU-, IT'S ALL ABOUT WHICH INFORMATION YOU ARE PUTTING DOWN, it's like shorthand, you can refine things later as you want.

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I think I maybe should do batches of these ^ with other artist's lineart

building uppp

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building uppp

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going to sleeeeeep, notes for tomorrow, the reflections on the clothing get a lot more scattered and there's stronger fresnel effect.

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NOTE

Noticed the rim of light from the zucchini, gotta keep this in mind when drawing translucent mats, that light isn't completely blocked, some of it gets back to you through the material when you are looking from behind or at an angle, usually it's seen in the edges but it depends on the density distribution of the object, some candy are thinner or less dense in the middle and that's where you see the heavier light.

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note from maciej's tut

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shitty cameras, chromatic aberration ON THE EDGES


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Morningggg, still working on this, I think I'll light some manga pages later, or comic inks if I can find them

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I've done a few, not gonna post all of them; doing these has made me realise how much I need to do regular wireframe studies :/
Also, still shit at hair as usual

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simplifying my process, only 1 layer per lightsource, quick block-in with airbrush, carving the shadows with  the pencil brush and then softening with airbrush wheen needed

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time to test this stuff with a new character:

ok so, soft round brush block in then erasing with mask, with 1 layer per lightsource seems to be the way to go, gotta remember to not be afraid to work rounded forms with the chalk brush and not always default to soft round brush for them from the beginning

Still not changing materials too much, keeping most of it monotone, I really want to start paying more atention to materials tbh

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basic block-in pretending the figure is a sphere, draw cast shadows, remember the quarter shadow thing, and in less than 30 seconds you got a good direct light sketch

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no soft round brush now, just hard erasing with pencil brush, then softening the round planes and darkening the secondary values(planes) at 50% opacity/pressure

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female head structure design studies tomorow I guess

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Morningggggggg, things are making more sense and are becoming more manageable, used the airbrush for softening things today, it gives me less control and understanding, but is much faster, I'll stick to harder brushes when studying, and maybe use the airbrush for speed when working

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I need hair studies asaaaaap

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gonna design a character with proper hari and see how far I can go

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going with the one on the right

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finding the pose

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I'm basically speed drawing so I can find fundamental areas to keep studying later so there's probably tons of things that are off

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That was fast, so fast I forgot to give him pants so his crotch is just jelly.
It can hardly be considered a design, I was thinking a lot of guilty gear, it's good to know I can get ideas down this quickly, I guess soon I'll have to start working on my visual library and reference folders so I can start doing serious designs 

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scratching his own penis; I like how the scalp stripe kind of looks like a small jewel crown

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time to do fullbody lighting studies

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value structures are cool, but they mostly just take visual library so you can look at the bigger picture and check your plane families; how you treat the terminators, how you blend/smooth them is what does the biggest job at showing form

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NOTE

https://www.youtube.com/watch?v=exdL2H9PzJA

THIS TOOL IS NUTS

https://x6ud.github.io/#/


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Morning

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trying to get a better hang of secondary values

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drapery is hard to simplify geometrically, graphically? it's fine, but geometrically? fffff, wonder if I should to studies from karla ortiz or other character artists

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getting the hang of it

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the tighter your drawing is the easier it is to steamroll through the subtler forms, also, box for chest and box for hips is gold for getting the weight balance right

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FINALLY, getting comfortable enough to start drawing "over" shapes, meaning, making strokes longer than they need to be, to get a good gradient, knowing I'll erase part of it later to get a good edge. Gonna start getting way more descriptive shapes from now on.

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some trash, just emptying my brain, thinking of monster hunter and french animation

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Emptying my brainnnnn

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emptying as much as I can before I start studying tomorrow

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clothing tension and hang make more sense now

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cool idea for practicing concept art from trent kaniuga, grab a screenshot of a house in a village from a game you like (mario, zelda, whatever) and do different versions of that house as if you were a concept artist designing assets for that game; I wanna try to push myself and also mimic the rendering style of the game hmmm



NOTE

Keep in mind how much light drapery usually lets through, it makes the shadows brighter and richer in color, how close the clothing is to the body and how the light is hitting them might brighten up that part quite a bit

I didn't know these were called "callouts"

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Also, these are "vignettes" or "asset vignettes"

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great vid

https://www.youtube.com/watch?v=fkmAKoAML_w
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Just stoppin in to say you're doin great. Your lines are becoming loose and appear to be placed down with confidence. Looks like you're able to maneuver much more freely with your art because of all this intense study.

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Thank you dennis :)

Emptying my brain some more, wanna keep doing this and get all vagueness out of my head until I can do proper, focused, visual library building. Gotta focus a bit on how things hang, wrap, stretch, and hold things together. That'll make changing the shapes afterwards much easier, and the newer forms much easier to remember.

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sneaker sabatons

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getting more comfortable, getting more specific

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it's kind of annoying how much good design often relies on very small differences in distances.
Nothing is clear here, distances don't have a strong hierarchy.
I think part of the reason why it's easy to fuck up the clarity when doing final lines is because in the sketch, you are balancing things out intentionally, confidently placing one object one place or another to balance out the rest of the image, but when you do final lines it's easy to think it's just "clarifying" by making lines tighter, when in reality it's the whole "illustration" of the concept that has to become tighter, or in some cases, just kept as tight but in a more presentable style.

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fixing sizes, distances etc.

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I like the hat having that shape of a skull with the goggles and cap

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moving on

gotta work on my big-medium-small as well

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so, this will be offensive to people, but I really need to start the habit of doing this for myself, paintover crits, not necessarily tying to improve someone's design, but instead just to elaborate on what my brain is wanting to see, so it's about developing a better vocabulary and not improving other people's stuff, since I often will end up going in a completely different direction, in this case for example, the repeated primitives and blocky geometry go with the subject, but my brain was trying to see other stuff. Image by https://www.instagram.com/stevesketchesart/

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some studies where I solely focus on mass

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mass mass masss masss

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mass mass masssss

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much easier with a second window open for the full body view

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stiffy boy

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watching alex senechal's tut on design, get it

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good tip from the tut as well, to lineovers finding individual principles and elements of a design.
Gradients, evenness, 70/30 etc. etc.
Gotta add framing as another design principle

The big challenge isn't seeing the evenness, it's doing a paint over that fixes it, creating hierarchy.
You can also think of the relationship between function and aesthetic as a push and pull, 70% function, 30% aesthetic, or 80% aesthetic 20% function; try to break down other people's designs like this.

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gotta buy this

https://archive.org/details/Jack_Hamm_Dr...es/page/n7

good vid

https://www.youtube.com/watch?v=AkYnoaSB5xw

https://www.youtube.com/watch?v=qUEIBiJb...ox&index=2

story not fashion story not fashion story not fashion story not fashion


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I think i haven´t replied before on your Sketchbook. Awesome dedication dude.
Love your sketches, they remind me a lot of the sketches of Borja Montoro.
Your historical designs make a very interesting merge between cartoony and belonging to a specific time, like Uderzo with Asterix.
Those surface light/shadow studies are coming out quite well.
Cheers!

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