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Old 01-17-2016, 07:50 AM   #481
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More progress on the Athena character.

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Old 01-23-2016, 05:59 AM   #482
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Weekend and i can finally say goodbye to drawing this piece. I know its not finished but i had enough. Seems like i've been making no progress and the time spend on it just makes me feel disappointed. I could have easily done it in less time.

I think it was all the lines and how messy it was that caused the problems. I think next time i'm going to put the bare minimum of lines and only at them during the painting process to refine edges etc.

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Old 01-24-2016, 07:15 AM   #483
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More weekend practice. Just a quick landscape drawing of some sort of huge cavern with enough light to support growing plants.

Hindsight i should have blurred the background a bit to bring the focal point slightly more forward. Maybe might have extended the canvas on the right to develop the edges a bit.

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Old 01-24-2016, 07:23 AM   #484
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Hey John. Nice work on the Spear girl! that has to be the most solid image i've seen you do!

I've been having a lot of thoughts on the nature of improvement latley, which i think might help you with your improvement. This was a post i left on another forum but i think it is directly applicable to you.

"One common misconception people have is that there is a difference between active drawing and drawing on autopilot. We ALWAYS have things we are doing on autopilot, this is normal and necessary. If you are practicing perspective your lines are on autopilot, and if you are practicing line-work your perspective is on autopilot. Instead what we need to do is intentionally train our brains to do the correct thing when on autopilot, and your issue is you have not done this. Just because you are aware of vanishing points does not mean your intuition knows how to use them, instead you need to sit down and intentionally train for at least 2 weeks for any particular skill, which is about on average it takes to form a habit, which as far as i can tell are not significantly different from intuition in the neo-cortical sense as far as i can tell. "

So what that is saying is that in order to improve, you need to break apart what you are doing and tackle every small element one at a time.

If you want to get better at drawing form. Work on drawing boxes until they are perfect, and when that becomes easy to draw a perfect box start constructing things about them. It is more important to draw simple things amazingly well than to draw complex things to an ok state.
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Old 02-06-2016, 04:04 PM   #485
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Apologies for last week. I was spending more time studying and practice drawing lips. i ran out of inspiration and couldn't think of anything to draw properly.

I've been doing thumbnail sketches to improve composition and draw some interesting landscapes or backgrounds. i came across a tut which seemed quick and easy to try. The basic gist? using only circles, squares and circles, build a landscape.

Below are the fruits of my labour thus far.




I'm starting to see a pattern here. either i'm drawing mountains, caves, underground areas or wreckages.

I'm off work for a week and i really need to draw something.
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Old 02-11-2016, 03:59 AM   #486
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I'm on Annual leave at the moment so it seemed like a good time to sink my teeth into another pic and try a few photoshop tricks to see what happens.

With no other ideas, i decided to go back to one of my old pics and redo it. I decided to opt for the one that i felt was a major turning point in my drawing skills. If you haven't guessed its swordgal from the exercise yard. With improvements. I won't go into much details for now, that's going to be in the next post for anyone interested.


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Old 02-11-2016, 05:13 AM   #487
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Right step by step guide:




1. Rough sketch of pose

2. improved lines just to clean things up and make adjustments.

- Proportions were a bit off and i just made quick changes accordingly.


3. The basic concept is fleshed out.

This was done with pen preassure off completely and all in grey scale. I was pretty surprised at how quickly i got the idea fleshed out. Might do all my work this way. Sod doing line art at this stage

4. Extra detailing for clothes and first stab at face and hair.

Luckily with the original on hand, i was able to concentrate on doing everything properly and adding additional things and such. A lot of work to do. But i managed to get to this stage within 2 days.

5.Final image lines and redo.
This is when we go through some major changes:

-Figure is moved up a bit so we can draw the foot properly...

-...speaking of feet, i redesigned the boots i felt shiny black leather Cavalry boots didn't work.

-Work on clothing folds. A quick study and discovered the power of triangles! Sort of.

- Work on the face. The angle of the face was messing everything up. I opted to be less ambitious. I was blank on how to improve it and i came across someones artwork for cell shading style that fit in with my pose as well. Spent sometime studying it and copying the artists style. The results worked wonderfully for me.

-More work spent cleaning up the lines and tweaking areas and doing the overpainting.

6. Coloring and more tweaks

I had plans to do sketch lifting and perform some cell shading but it didn't work. In the end i just had to create color layers and constantly add them over the top. Any areas i felt that needed tweaks or cleaning were done accordingly. Color adjusts were made as well.

7. The finishing touches

*Deep Breath* This bit was quite complex filled with pain and i spent a huge amount of wednesday trying to fix.

- i add a background. Stupidly, i stamped the whole thing and the white background with it. Quickly cooked up a grey background as a mask.

- add some colors and blending them together. Add smoke using cloud brush.

- Threw in a second layer with soft light layer on the blue bits.

- Redid the hair to be more consistent and look less of a mess. Also give it more color rather than some sort grey look. Even at this point i was still tweaking the image with multiple overpainting and shading layers.

-More color adjustments. and threw in an extra layer for brightness and contrast.

-Added a color gradient layer at 10% opacity

- Added a noise layer at around 10-13%, added a layer mask and painted it black to remove it from areas i didn't want it. namely the shadows or skin to make it look less grainy.

-Added some chromatic abortion. Barely noticeable but its there around the edges.
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Old 02-11-2016, 05:14 AM   #488
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Oh and as a final bonus, here's he comparison of the old one.

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Old 02-20-2016, 05:16 AM   #489
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weekend work. I was working on something last week and what started off as a quick doodle became something more complete. Being a quick sketch i didn't really concentrate on anatomical correctness and just went with the flow.

Spent sometime finishing the image. I had hoped to make it more complete by having some sort of tentacles coming out from the back of the robot, but i couldn't come up with anything interesting and omitted it out.

Spent most of today just doing the last few bits and practice adding the finishing touches to the picture.

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Old 02-28-2016, 07:42 AM   #490
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More weekend work. Back to practicing landscapes again. Was looking at some vids and trying a few things to see what sticks.

The mountains look alright, still haven't found a technique to paint grass and trees effectively yet.

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Old 03-06-2016, 06:37 AM   #491
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weekend practice. More landscapes and mountains. its a bit unfinished, but i'm not feeling up to drawing the horse and knight as i haven't studied horses.


I'm on A/l so hopefully another drawing in the week. Assuming i don't get lazy.

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Old 03-06-2016, 09:49 AM   #492
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I like the texture work on the mountains. If you cleaned up the edges it could look really convincing.

Less convinced by the grass brush though, I think a more clumped approach painting the entire field as a texture is probably a better starting approach than trying to paint the individual strands.

Still, great work, especially with the values.
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Old 03-06-2016, 11:10 AM   #493
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Quote:
Originally Posted by djizomdjinn
I like the texture work on the mountains. If you cleaned up the edges it could look really convincing.

Less convinced by the grass brush though, I think a more clumped approach painting the entire field as a texture is probably a better starting approach than trying to paint the individual strands.

Still, great work, especially with the values.
Hi Djizomdjinn! Funny you should mention the texture on the mountains. the 2 mountains in the back was relatively easily with a normal round brush and the right color. The main one, that was more a happy accident, i had some mountain textures but i was having technical difficulties at the time when the brush kept rotating. i had plans to correct it this morning but realised it looked alright and kept with it.
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Old 03-06-2016, 10:54 PM   #494
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The last one is neat-o! You don't make mistakes with such paintings, just happy accidents xD
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Old 03-07-2016, 09:32 AM   #495
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Very nice. I'm gonna second Djinn's advice and say that, for the water, it should be reflecting the sky. Where it's closer to the camera, we should be able to see the bottom of the creek, but the farther away from us, the less of the bottom we should see, and we should be seeing more of the sky. Look up Fresnel effect on water for examples.
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Old 03-09-2016, 02:27 AM   #496
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More practice for A/l. i decided to do some ref work to perhaps learn something from it.

I went to the library and looked around and found thomas cole's work to be pretty interesting so i used that instead. the picture below i referenced from Sunny Morning on the hudson river (1827). Admittedly, i made a half arsed attempt at the main focal point as i was getting tired and impatient.

didn't really learn much when doing this, i was experimenting with brushes and trying to find anything that would work. usually when i look at other peoples work, i always look at techniques, the subtle nuggets of information.

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Old 03-09-2016, 05:55 AM   #497
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Pretty stuff, I love the yellow-blue color comp of the morning sun, but ...

-the mountains appear equal in height. Make the inner one smaller, or the outer one larger to counter the symmetry that tries to creep into the picture.

-Strongly recommend you also offset the groundy protrusion/rock in the foreground since it's pretty much in the middle of the picture. Preferably to the left, keep that twig pointing towards the middle of the picture.

- The river in the background seems to bright for my liking, but it my be just me.

- There's a nasty triangle appearing to the left of the left mountain, between it and the edge of the screen. Easiest solution is to cover it w/ the mountain.

- The ribbons in the sky, above the right mountain, are pretty annoying. I'd remove them whatsoever.
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Old 03-10-2016, 04:05 PM   #498
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Your landscape works are gorgeous! Keep up the good work!
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Old 03-13-2016, 07:00 AM   #499
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More landscape practice. I had plans to do more landscapes over the week but the 2 pics i did were incomplete and weren't really worth uploading. I spent the rest of the week struggling to come up with techniques to render landscape details.

i did acquire some new brushes but i spent the few days renaming them from generic names. i knew i had a decent set of tools, i just needed to know how to use them. i did come across etrian Odyssey's artwork for the emerald forest and i felt that i could take a general stab at it to see if i can learn anything from it.

I made a few rookie mistakes, like the trees are a bit too straight and composition was lost and color is all over the place.

One thing i had hoped to implement was gaps in the foliage. From the original it looked like just a load of random dots. Couldn't quite recreate it so i omitted it.

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Old 03-15-2016, 10:34 PM   #500
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Unless we're looking at the trees from a right angle from the ground, you could probably get away with representing the gaps in the foliage as stretched out ovals, or random shapes, following the perspective.
I think this is your best work, so far. You've come a long way, man, and your landscapes keep getting better and better.
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