02-03-2014, 01:45 PM
Hey, sorry for the late reply. I can't say with any confidence what tool frazetta used, my guess would be a small sized brush since it's easier to make a line move from thin to thick with a brush than a pen, and Frazetta cared very much about getting a lot of variety in his line weight.
I found this interview: http://fritzfrazetta.blogspot.com/2011/0...acles.html
in which he talks a little about his process and mindset. he mentioned feeling the hairs touch the paper.
I'm using a kuretake brush pen and a size 0 kolinsky sable brush. The first makes really nice, dark marks but it very difficult to control well enough to make thin lines. The kolinsky is a brush teachers recommended to me, it's apparently great because it retains its pointiness. It does turn into a rather drybrushy mark pretty quickly unless you hold it very near the tip of it. You can see my practice making lines with it on my recent sketchbook updates
Nibs are easier to control since they don't give as much variety in line width, but it seems like your goal here would be to develop dexterity so I'd recommend trying to find a nice, pretty small watercolor brush to practice with, and diluting the ink if you study a Frazetta piece where he did that.
The studies are getting better as you go along, and the personal drawings should start catching up soon! You're definitely going about this right, study and apply. One are I think you could improve at immediately is the direction of your hatching marks. Notice how in the majority of Frazetta's drawings the hatching goes in one direction with minor variations in most of the figure. He does go different directions in some areas, but he always has a good reason to.
Using this uniform hatching direction is one of the ways he prefectly directs the viewers eye where he wnats it to go, and describes the form the lines cross over, and describes what value he wants them to be be how thin and close together the lines are. It's really amazing how much you can do with a bunch of perfectly places strokes!
I'd recommend trying to study some of his drawings that have more subtle value work and hatching, like this one: http://1.bp.blogspot.com/_PB-O1yT5EYg/S-...nbrute.jpg
Keep killing it!!!! I've gotta start working hard at style emulation stuff like you, your dedication here's really inspiring
Oh, forgot to mention, try to get a nice heavy paper like a pad of Bristol for ink stuff, if you're not using something like it already.
I found this interview: http://fritzfrazetta.blogspot.com/2011/0...acles.html
in which he talks a little about his process and mindset. he mentioned feeling the hairs touch the paper.
I'm using a kuretake brush pen and a size 0 kolinsky sable brush. The first makes really nice, dark marks but it very difficult to control well enough to make thin lines. The kolinsky is a brush teachers recommended to me, it's apparently great because it retains its pointiness. It does turn into a rather drybrushy mark pretty quickly unless you hold it very near the tip of it. You can see my practice making lines with it on my recent sketchbook updates
Nibs are easier to control since they don't give as much variety in line width, but it seems like your goal here would be to develop dexterity so I'd recommend trying to find a nice, pretty small watercolor brush to practice with, and diluting the ink if you study a Frazetta piece where he did that.
The studies are getting better as you go along, and the personal drawings should start catching up soon! You're definitely going about this right, study and apply. One are I think you could improve at immediately is the direction of your hatching marks. Notice how in the majority of Frazetta's drawings the hatching goes in one direction with minor variations in most of the figure. He does go different directions in some areas, but he always has a good reason to.
Using this uniform hatching direction is one of the ways he prefectly directs the viewers eye where he wnats it to go, and describes the form the lines cross over, and describes what value he wants them to be be how thin and close together the lines are. It's really amazing how much you can do with a bunch of perfectly places strokes!
I'd recommend trying to study some of his drawings that have more subtle value work and hatching, like this one: http://1.bp.blogspot.com/_PB-O1yT5EYg/S-...nbrute.jpg
Keep killing it!!!! I've gotta start working hard at style emulation stuff like you, your dedication here's really inspiring
Oh, forgot to mention, try to get a nice heavy paper like a pad of Bristol for ink stuff, if you're not using something like it already.