Thursday, October 23, 2014
Saturday, October 18, 2014
(Am finding whenever I do color pieces, any sort of dreams I have afterwards are way more involved and detailed, almost to the point of exhaustion whenever I wake up. Was it Picasso or Van Gogh that was said to have suffered from epilepsy, which in turn is speculated to have contributed to their unusual color palettes and shape choices. If that's an accurate portrayal, I can see the merit in the concept. And how disturbingly prescient Zamyatin was in We.)
("...uninhibiting enough me..." No occifer, I'm not drunk.)
(Hopefully for the last time.)
Redid this drawing from the previous post after about a week of looking at it. Just wasn't happy with the line/shape rhythm going on with the hair in the main drawing - line on the right side of her head was too similar an angle with the outer shoulder line on that side, as well as the strand of hair in front of her face being a bit forced rather than naturally flowing. Also, continuing the line from the hair to the left side of the page somewhat helped. Whenever in doubt, draw completely through and finish the line or shape no matter how far out it reaches, even if that outside part of the drawing's never going to show up. This is something board artists learn when laying down perspective grids... that is, before Sketchup and fbx files provided the backgrounds.
Nothing stunts the shape, line rhythm, and general flow of a drawing more than trying to draw within the bounds of the page, comic panel, or storyboard template, rather than feeling free to break outside of it.
Tuesday, October 14, 2014
(Just to benchmark my own progress; newer illustration based on the older sketches below. Characters in background seem to be running circular laps around the main character. Maybe she's just caught one of them to ask what in the hell they're doing.)
To quote Max von Sydow's portrayal of Dr. Kynes - and in the same resigned voice, "The process of removal continues"...
Saturday, October 11, 2014
(Started Oct/Nov. 2011; finished Oct 2014. Efficiency par excellence.)
I've mentioned before about sitting on a sketch or illustration for a few weeks or months to spot all the mistakes. So how about a few years. Which seems to be what it takes for me to gauge not only any potential progress, but to correct whatever bad drawing habits, shape choices, facial geometry issues I tend to fall into. It's one of the reasons why I'm grateful I've kept most of my mistakes from, shall we say, being immortalized.
(Another from the same batch, roughly same time period.)
Thursday, August 21, 2014
Besides trying to get better at laying down tone, have also been playing around with contrasts in lighting and atmosphere. Consider Catch Me If You Can as the template - or as I call it, cake frosting cinematography: