Saturday, August 16, 2014
Thursday, August 07, 2014
So again, breaking the rule of starting from scratch. I find I'm doing this more as a consequence to being a board artist, where you're essentially redrawing over an older image if you're redrawing anything at all, given the time constraints. Double edged sword of learning how to draw fast, which theoretically should make one better at hitting something with a quick gesture first time through, but getting so caught up in the time constraint "must make output" mindset of a board artist that one doesn't bother with doing proper multiple studies of the same image or subject, as any pre-digital artist would've done. Which is sort of a negation of why anyone would redraw something in the first place, in'it.
(...Redrawn somewhat from the last post. May not have improved significantly, but at least the shape consistency, anatomical correctness of (admittedly cartoon) faces, and line rhythm - so far as I can tell - seem decent enough when viewed in thumbnail format, nothing too jarring, though nothing overly dynamic in the Cyril Pedrosa sense. Found also that falling back on the usual M.O. of using a light blue/violet for secondary light source - or shading other than the core shadow - helped negate some of the more awkward shape solutions when it came to color. Again, so far as I can tell.
Primary rule of redrawing, which I didn't necessarily follow here: Start from scratch. Just like most anything in life, trying to rig something workable from a bad start or weak structure isn't going to have the same sort of pay off as opposed to hitting it fresh. Pull on one thread and the rest follows: Redrawing the head usually means redrawing the neck, which means repositioning the trunk and shoulder line, which means etc. Same goes for color/tone. Beauty of Photoshop is having layers that one can reposition or free-transform so as to match with previous drawing structure; in this case, the trunk and hands/arms, which turned out ok. Redrawing from scratch though can have its own drawbacks, namely innumerable variations on the actual design that can go on ad nauseam if one is either uncomfortable or bored with the drawing, or one simply hasn't nailed down the character design... or both.)
Friday, August 01, 2014
(Bath robe not included. Don't remember if there was any cape or cowl sported.)
Had this dream several weeks ago. Was in a courtyard of some sort, a campus I'm guessing. A girl - who I didn't see at the time but knew she was there - was apparently about to draw a massive mural on the ground, so she was busy sweeping up the dust from what looked a cobblestone courtyard (the actual stone in the paving was crazy small). The wind started kicking up and kept making a mess of the ground she'd just cleaned, blowing the dirt back onto it and whatever. So with one hand I was apparently able to make the wind speed up, concentrating it into a sort of dust devil, compacted it further, and as I brought my right hand down into my left, completely obliterated it. And whoosh, all of the dirt from the ground was cleared away.
~ Image Removed Until Further Notice ~
I don't remember if it was me thinking this in the dream, or if it was someone else talking, but the basic upshot was that although you think you've done well in getting rid of the wind kicking up - as well as all of the dirt - the act of cleaning the ground before painting/drawing anything was part of her ritual; a sort of prep-mandala that served as much meditative purpose as the drawing itself.
And I've been reading Isocrates, for f*ck sakes. Don't know where any of this Korra or Kundun action came into play.
Friday, July 11, 2014
Friday, May 30, 2014
Friday, May 16, 2014
(Untoned versions, still in the works.)
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Friday, May 09, 2014
And here are some of the alternate versions/compositions of the Alien Abduction pieces from a few weeks ago:
(Cape should be indicating flow of action in the first pic. Perhaps this the very beginning of the burst from the gun and he hasn't had time to settle into the action yet.)
(One thing I ought to be doing at the very beginning, before even drawing the characters or anatomy, is just laying down a series of lines and possible shapes to figure on how the lines of action will compliment one another. As is, feels like the negative space wasn't utilized as much as it could have, as well as the background not really doing much other than reenforcing the upshot in the second piece and indicating "Here is hole in wall" and "Here is where character is in relation to other character" for both. Backgrounds are just as much a character in relation to the others.)