''Quick side project'' of redrawing some D&D monster i mean by quick that due to the enormous amount of monster they be quick in nature.
Here the ABOLETHS
A HULKING CREATURES Malevolent and vile, aboleths bend humanoid creatures to their will.
I will also sometime simplify the description to be more personalize and quick to handle not necessary going into color every time.Since i seem to enjoy mostly the research and sketching phase and usually want to switch to something new before i reach a more rendered version of that same work.
(07-19-2020, 10:29 AM)darktiste Wrote: Since i seem to enjoy mostly the research and sketching phase and usually want to switch to something new before i reach a more rendered version of that same work.
So can we expect a rendered version of this, or not so much?
(07-19-2020, 10:29 AM)darktiste Wrote: Since i seem to enjoy mostly the research and sketching phase and usually want to switch to something new before i reach a more rendered version of that same work.
So can we expect a rendered version of this, or not so much?
Well since i want to practice making mostly concept it not the intent and i am sure i will do work that are probably going to be worth the time to render.I would definitvely like to collab with people if they feel inspired by my own interpretation or if there interest in sharing there own redesign of d&d monster.Thank for the interest.The intention is to somehow switch my love of rendering toward a bigger focus on idea generating and clear visual communication.
This conclude the 4 horse in motion series.I decided to leave the hair out this time i wasn't feeling like rendering and idk i always wanted to see how a horse look without the hair.
The recent horse looks great, beautiful movement. I would look out for the tangents going on in the back leg, it looks almost intentional how all the legs' contours touches back there. The tangent in this case causes a lot of confusion to the viewer, it grabs a lot of attention and it becomes hard to see which leg is in the front and which ones are in the back because of it.
(07-23-2020, 09:07 AM)Uiriamu Wrote: The recent horse looks great, beautiful movement. I would look out for the tangents going on in the back leg, it looks almost intentional how all the legs' contours touches back there. The tangent in this case causes a lot of confusion to the viewer, it grabs a lot of attention and it becomes hard to see which leg is in the front and which ones are in the front because of it.
Keep it up! :D
The image on the left is the actual reference but i realize that i should have use photo instead and pick the best but for simplicity sake i choose to go with someone else art sometime it end up not being such a great idea sadly.
Here it doesn't personally bother me since i understand that it wasn't my wrong doing and wasn't meant to be a shown in a situation were i would regret this kind of thing slipping in.But i am aware of the concept of tangente if it what worry you this kind of error shouldn't be showing in my own personal work in the case of study it might happen but that would be for leak of better material to study from .It funny because i actually ask my dad if he found anything strange and he mention it.
Dog volume 1 of 2.
Edit* After coming back i can see that the top plane of the pelvis isn't as similar as i previously thought compare to the reference.
Seem like i skip a few monster but anyways here the ANGEL OF BATTLE
''ANGELS OF BATTLE COMMAND ANGELS OF VALOR, but they also lead cadres of mortals in combat.''
Source Monster manuel 4th edition
I decided to not complete this one as it was entering it fith hour in the making and i didn't wanted to invested more time since each entry in my opinion shouldn't be more than 3hour maximum.The more detail of course increase the time spent.
*Note to myself reduce the file size to fit crimson dagger format.
It almost like i am going backward sometime this one was getting on my nerve specially the area of the pelvis there so much angle you need to nail or else it just come out wrong i think this one beat me this time.
There are good animal studies here but I think maybe you are studying in a very passive way, I mean you could apply these studies more by practicing animal gesture with time or take a photo and structure using what you have learned or draw only bone structure with reference and then do the rest of the imagination. so it’s always good to apply what you’re studying so you don’t fall into the copy trap.
I tend to work in phase first structure, learning the anatomy and than invention. Concerning being married to the reference i think it mostly a matter of can someone tell or not.In this case i have added the reference along the study but i could have choose to hide the reference and almost no body could have tell.Yes it limiting to be married to the reference it not a problem aslong as your not ask to draw it in a different pose it become a problem when you can't.
I am study in a fashion that is rather dull from an animation or an illustration stand point but i am focusing on what i am mostly probably be going to be ask to do as concept artist wishes is the branch i am aiming at and that would be to communicate the design in the most clear fashion so my job tend to be mostly turn around .Gesture is not gonna kill me it just add more life to my drawing but they are less important in concept art in general what is primary is being clear and making sure that i have a good range of interesting design to present.
All fundamental are essential but the amount necessary for each branch tend to vary for each individual and the demand of that branch of work.Of course if i was only doing this as an hobby i would be more open to branch out but i think it important since i want to become a professional that i stay with what i believe is best to turn my journey into a carreer sadly making mistake in my decision process can happen that why i am open to debate to as how much gesture is important in concept art in particular i would argue that structure is probably more important than gesture but to much structure can make something look stiff i can give you that.
Gesture, structure, anatomy are certainly necessary foundations for a concept artist and for all other areas such as illustration, comics, animation and so on. If you stop to see the portfolios of the great artists of the industry you will see that they trained these fundamentals a lot, in the interviews they speak a lot about the importance of the fundamentals and of drawing in real life.
The conceptual artist uses all of these fundamentals to communicate an idea and the gesture and one of them, his characters cannot always be static, without body language he has no identity, his anatomy cannot be the same for all characters, because the physical type it gives you an idea of what kind of character he is, you must be able to represent the character in various angles and your line has to demonstrate the idea of three-dimensionality so that all the fundamentals of conceptual art work.
In my humble opinion you have a wrong idea of what conceptual art is, but I can't say what you should or shouldn't do, take all that I wrote just as advice. And listen a lot to what the professionals have to say and the that they did to get where they arrived.
Yes your right i failed to remember this important aspect of visual communication.Let try to take in consideration that i am outside the industry and i am also still seeking to find people who have experience in the industry who could guide me but you made a good point i will try to remind myself that it not necessarly all about clear design but also giving life to something on a 2d surface it simply going to miss it ''life'' if gesture is leaking behind.I will go back to watch some video on this topic in particular to broaden my opinion on the matter thank.
*Edit just read and i think it hit the nail in term of how i should see it ''The worst way to do gesture is to not do it at all.''.Here a few concept i took out from my read and research on the topic the weight of object affecting the pose,the way the body balance the weight,contra-posto instead of straight to get rid of stiffness.
I really enjoy how your broke down the animals into basic shapes and forms, should definitely help give you a solid grasp on their construction. Looking forward to seeing what you develop further with your studies, very promising work so far! Love the medieval style angel as well, some really strong design there!
I think this is a good direction for you. I can't say too much about it, because I don't really see your process for how you're copying the images. But they are generally very proportionally accurate, which is the most important thing. But again, I don't know exactly how you are going about it, which could change how well it's training your eye, because it's mostly just finished inking.
Copying is not a bad thing, it's a good thing to do. I could be misreading your goals, though. I know I recommended before kind of going back to fundamentals, and it seems that you are, so I'm glad to see that.
I think the angel is pretty cool. Nice proportions. I don't know how I feel about it being mirrored, though. It 's perfectly symmetrical.
(07-29-2020, 05:08 AM)JosephCow Wrote: I think this is a good direction for you. I can't say too much about it, because I don't really see your process for how you're copying the images. But they are generally very proportionally accurate, which is the most important thing. But again, I don't know exactly how you are going about it, which could change how well it's training your eye, because it's mostly just finished inking.
Copying is not a bad thing, it's a good thing to do. I could be misreading your goals, though. I know I recommended before kind of going back to fundamentals, and it seems that you are, so I'm glad to see that.
I think the angel is pretty cool. Nice proportions. I don't know how I feel about it being mirrored, though. It 's perfectly symmetrical.
The symmetricality was intentional as in my opinion it convey order wish is exactly what i want for this angel but it was more an drawing for fun without necessarly to much intention but to respect the description.There alot of talk about the symmetry in my work .I will try to keep in mind to add more asymmetry where i can in my work in the future.
I am always trying to stay aware of the fundamental i know where are my weak point i believe and i think there certainly a gap that would need to be fill to get to the next level in my work specially refering to color,perspective and gesture.Those area are for me either in there concept that are to abstract or to unforgiving in term of precision that why i think it a good thing that i am doing coincidentally alot of accruracy drawing right now it will help me in perspective to estimate angle on a smaller scale at first.For gesture i would say the biggest problem is freeing myself of all the rigidity that doing alot of structure feel you secure in and go more toward something that is organic heavy
and try to not be bothered by the result wish is something that is frustrating i need to become better at channeling my frustration i think it certainly due to noticing the gap between those area of the fundamental and the rest that create that frustration.A mix of frustration and impatience i would say.
The proportion and volume studies of the animals are looking very good.
This would probably be a golden opportunity to study perspective as well and really apply the knowledge. Try to see if you can place it in a perspective grid and maybe draw if from several different angles.
Cat gesture with 1 repeating twice using two different different brush.I was not really satified with the rigidity of the first two and i still need to tweak that brush i use for the 4 other.
