...I'm falling behind with my studies! shit, gotta crank it out!
I really want to get a lot better at panel layouts for comics simultaneously, so I'm going to add that into the mix. Doing movie stills is interesting in contrast to comics since a lot of the compositional transitions deal with movement and scene transitions, which you don't have with single illustrations. Also, with comics you have to consider the entire page's transitions in an initial visual-read of that composition. -its cool too to think about what format you're making the composition for, i.e. digital web page transitions, book/magazine page turning format, smartphone scroll-downs, et cetera. without further adieu...
I love your figure studies--so solid! And then the character with the ginormous nose in the midst of all the serious studies made me laugh.
The thumbnails are really nice--are those practicing from movies/shows, or out of your head?
“If you're not prepared to be wrong, you'll never come up with anything original.”
Thanks Tygerson! The bottom right set is mine outta invention, the others are watching the sequencing and comps for movies. (Dark Knight, Assassin's Creed Revelations trailer, Fight Club)
The movie studies are beautiful, I love the bottom left one.
@Gliger - thanks man! I'd like to do some more asap!
Trying to turn the pelvis in my head to fix some of my connectivity issues. Because I'm drawing the contours of the figure and shapes of muscles without understanding the underlying structure fully in form first, I've had so many nonsensical drawings and noodly-figures. I'm hoping these are those first few awkward steps before I start running...
You have some real nicely thought out studies in here! Great job breaking down the muscle groups. Keep up the great work. (This just reminds me I need to study more! D:)
@TylerDonnelly - Hells yeah! Lets both study and kick ass! XD
sorry gang for dropping out a bit, the last couple weeks have been insane, but glad to be back into the thick of it!
...there's always something, right? B\
I need to get a lot better at my timed still-lives. They really leave a lot to be desired. Working on trying to visualize form and draw constructionally which is still a bit of a challenge for me. I don't want to spend too much time, so I think it might be a good idea to clarify what I'm working on. initially I was focusing on trying to make the perspective match, but instead of outlining a grid I freehanded it which led to disaster since I still have issues acculturately laying lines where I want them to go with the stylus. I then switched to trying to get the colors right, simultaneous to my candle melting and changing the light. (I'll be using a constant light source for future studies) I feel like I also have trouble establishing the rate of change in value and color across a forms accurately. I think that's broken down into doing the values materials studies to consider the relative values for each object. Overtly trying to combine a lot of these leads to more time management in balance.
-Good to see where I need work! ^__^
wanna bust out more traditional and sketch book updates.
I being able to see the marks I'm making directly (unlike the tablet) really helps development. Plus, it would be good to balance out how much time I spend on the computer drawing and doing studies. SO! I'm gonna try starting a new habit where I stay an hour after each shift at work drawing people at the coffee shop/bar I work at. -I already see a million old, bad-habits sneaking into my pencil drawings...
Trying a new subtractive work-flow for the Demosthenes bust. I liked the idea, but the idea when it came time to add values instead of taking them away I discovered marks I had made thinking I was on a different layer. -A frequent problem I tend to have with this particular tablet, which is why I almost always painting on the same layer. ;\ Trying to get in the swing of using clipping masks into my own workflow and better layer management.
real quick self-portrait. ;P
...back in the swing again! Met some pretty badass life goals...so that's cool. I want to start incorporating animals and object into my gestures so I can properly practice form drawing, shape training, and spatial relationships...not just memorizing the kata/rhythms of the figure.
, on Flickr[/img]
I'm reviving the :Daily Study thread:
for anyone interested! I'm currently polishing my lighting scenarios and form. feel free to get involved/message me for critiques, comments and general harassment!
I've noticed a lot of cultures around these sort of groups; some positive, some not as great, but I'd love to create a constructive culture within a group that encourages inquisitive minds and growth alongside peers (sharing of ideas). :D
In other news I got a new tablet that will help me to be a little more independent of my room as a work space and get out in the world. :B Also, met a benchmark physical goal of running 10 mi nonstop. Shooting for 15 initially, now I'm thinking a marathon would be sick (26 mi). I'd like to get my blue belt in bjj this year, though a little ambitious... ;P
pretty raw; lots of exploratory marks. It might be good for me to write out a concept beforehand. I want to start doing more illustration/concpetart work so I can build a portfolio or something...
Hey man, thanks for commenting in my sketchbook. You're stuff is awesome, so clean and slick, really nice to look at! even the gesture pages feel nicely designed : )
You've probably seen them before but here are some generators for helping to come up with a story, to start you off on a concept piece:
Wow dude, really nice stuff recently. I agree with Jyonny. Your page layouts have a nice design to them.
I would look at your edges really closely and when to go soft adn when to go hard. A good example of this would be to look at the ASIS of the last figure drawing you did. Those should be some soft edges but because you made them hard they look like they are sitting on top of the body instead of part of it. This is actually a pretty common problem after doing serious anatomy study. Remember that the skin acts like a balloon or condom over the muscles, so hard edges are very hard to find on the interior of the body except where 1 form meets another. e.g. Arm pit, leg, etc.
Even the breast, unless they are buxom lasses, I find that, depending on the view angle (underneath) a slightly softer edge for where the bottom meets the rib cage helps a lot.
Keep up the good work though :)
@ Jyonny Thanks! I felt like a while back a lot of my stuff wasn't clear and concise enough, so that's great to here
@ Jaik Thanks dood! Really prolific advice, I'll be sure to keep an eye out! Guess I'll just have to do more to work it out! ;D
one CA chow
one product of sketch night here in town.
perspective doesn't match, what I get for talking while drawing ;\
Lay in 2-3 perspective lines before you start drawing, just super light, and you can then talk away :) Was going to say the guys head looks a bit small in that armor.. but then I looked closer... *backs away slowly*
Keep on pushing man! I'm rooting for ya!