Chris
Chris
Nowhere, LA
Thomas Sperl
so what i understand from your post is that you want to get good an make amazing splash art or concept art like some of the great artists you admire , but you dont want to waste time on finding out how you get there and on things you might not use.. so you just want to learn whats neccessary to get some great art pieces. The simple answer on your questions like for example with the pencil is try out for your self and get a feeling for what works best for you... In Art there is no 1 way to do smth, everybody learns different and works different.. there are probably more ways to achieve a great splash art then there are people teaching you to do so. For the Construction Question and the Reference thing.... Its no ways of time to learn the lumis method and learn constructing, becouse you will still use reference, most great artists rely on both their ability to construct and to use multiple references to achieve their vision. If you only use refernece it will get very hard for you to paint or draw smth pure from imagination.. u have to learn to understand the construction of basicly everything and how to use multiple refernces without relying on them to be 1 to 1 what you want to draw.. its a trip, a journy dont try to rush art to get to smth, try to find joy in learning different techniques and after working for a few years you start figuring out whats the best way for YOU to make epic splash arts etc.. Try to make courses from people you admire and try to do so as they say you will autimaticly pic the habits you want to do for your work process, you can learn from nearly anything. sry for my bad english not my main language.. hope this helped you a little bit
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Chris
Not really doing splash art, that was just the first thing that popped into my head for a comparison between a painting and comic art of the same subject matter. Quick isn’t what I’m looking for, I just keep getting bogged down in the tools because I can’t figure out what I’m supposed to do with them and their exact purpose. This keeps leading to wasted time repeatedly drawing circles and the exact same box over and over with no rhyme or reason behind it. I'm also not trying to skip steps in the learning process, just trying to figure out where to focus my attention and cut out the unnecessary parts. Why would I learn how to blend graphite from 2H through 8B for a perfect tonal shift if I’m just going to turn around and paint over it. Same goes for line quality if I’m the only one who is ever going to see it.
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Chris
No, seriously I mean that. Explain the basics and painting preliminary work to me like I’m stupid. I’ve included some art from League as a point of reference only. I know they’re digital but I’m confident I can get something close to the big splash art in acrylics it’s just getting there that I can’t figure out. I’m wanting to do fantasy style paintings (non-anime) like you see on MtG cards and in Warhammer and Warmachine/Hordes. Don’t get me wrong I like Frazetta’s art but not his style. First off: pencils. Everything related to using them that I’ve found online is generic typing or assumes I’m going for full graphite art for the most part. I found David Finch’s channel which lead me to other comic artists and I get why they recommend 2H and HB to achieve the results they do for the second image I just don’t want to go that route since I’m not a fan of how the final results are colored (her dress is two distinct red tones and black lined, good but probably a bit boring to do). Also, while impressive, I don’t like how comic sketches look without color (sorry, David). Other places I’ve seen recommend sketching with 2B or 4B for some reason. So my real question here is, what pencil should I use for my sketching (probably gonna draw it on sketch paper and then transfer it in some way)? Why? Further, would how I made the line or its weight actually matter if I’m gonna cover it up completely with paint like in the first image? Also, how far should I take the sketch before I start putting down paint? Once I get the lines down? Shadows blocked in? Ink. Really not sure it would be a needed supply. I know I’d need it to do something like the second image or if I was going for an ink only image. So worth it for the first image, skip it, or what? Figure. Time for some crunch. I know comic artists use “standardized” construction method like Loomis to achieve consistency since they need to repeat a character’s design. I also know that most fantasy artists lean more on references (live or still) to achieve what is likely a one off piece in a specific pose like the first pic. So where should I concentrate my efforts? Life/reference or construction? Does it really matter? I don’t want to waste time learning something like Loomis if I’ll never use it or drawing from life if I’m always constructing everything from the ground up and only referencing specific items (like a fox’s tail). Bonus: what is a “painterly” style? I’ve seen it in places and have no idea what it means. I know all this is subjective but that’s what is making it confusing, I’m very nuts and bolts like that. And yes, I do have painting experience, I’ve painted minis for years. I’m just tired of painting other people’s work. I want to be able to have an idea, commit it to paper, and eventually have it painted instead of conforming my ideas around what is available.
Chris
Not a whole lot going on here, for the life of me I couldn’t figure out what to add to the room.
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Steve Lenze
Along with what @Martha Muniz said, also try to maintain the expression on the face. Acting, or emoting feelings is what gives our drawings life. Pay special attention to the shape of the eyes and the angle of the eyebrows.
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Chris
Didn't notice the head tilt difference till you pointed it out. I'd partially chock that up to drawing everything slightly crooked for some reason. Thanks for that line info, didn't know where those were. I'm assuming that both of those alignments are at roughly the half way points, right?
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Martha Muniz
Hey, cool! Master studies are a great way to learn from other artists, develop your own technical skills, and gain familiarity with a medium. A helpful approach is also to keep in mind a specific quality you admire in an artist to use a focus for your study, like their line quality, shading, stylization, etc. or even something like their approach to armor or hair. I think something that stands out to me for this artist is the angular shape design they use for stylization throughout the piece-- even just in the face alone, you can see sharp angles echoing throughout the design of her features especially as her jaw comes to almost a point, which I think you could reinforce. The use of line weight is also aptly used to reinforce the shadows falling on her face, such as around her eyes, under her nose, and her top lip, which I think is worth trying out with a tapered pencil edge to achieve that heavier weight. I do think your rendering came out quite clean and controlled, and starting to develop a good range of line weight, it's just a matter of pushing it a bit further as you gain more familiarity with your tools.
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Chris
For some reason I keep wanting to smooth out the sharp angles for organic shapes, it's a short coming stemming from trying to draw parts of my initial sketch (like the bottom of the jaw line) in one continuous line. I'm working on that by shorter line segments. The line weights are still all over the place because I'm still trying to figure out how to lay it in properly without changing pen/pencil sizes. The rendering is sort of easy, I've painted minis for years it's just figuring out how to apply it to a 2D form. And yeah, I'm a huge fan of her style and character design.
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Chris
added a new topic
Elf Copy
2mo
I did kind of a copy of an elf head. The original was done by Izzy “Talin” Collier. I did bounce a bit between mechanical and clutch pencils but I’m not sure which I like better. What are your thoughts?
Chris
Started pretty rough and I think I got a bit better as I went, not sure though.
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Chris
I hate hippos, they just look like blobs to me. Fortunately Boo at the Zoo left me with a few options. While I did manage to keep most on the page they’re all still way too big.
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Chris
Took me way too long to find a master to study. Decided to do Izzy “Talin” Collier since I’m already a fan of her work, just in a 3D form. Go with what you know and I know minis. Still got a long way to go so I’ll most likely keep doing these for the next couple weeks in addition to this course.
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Chris
Gonna need a boat load more practice. How much construction is too much? I get the impression this is supposed to be done mostly without it but I’m not 100% sure on that. Any pointers?
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Chris
Before and after the demo for the snail. Having it go back to the first project of the course helped a bit but proportion is an issue.
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Chris
I guess it’s close. No idea. The boots just aren’t coming out in the slightest, not that I did any better here.
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Chris
The best I got for the boots.
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Chris
No clue if I’m even in the ballpark.
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Stan Prokopenko
In the lesson notes of Project - Get Your Tools and Start Playing I have a big list of drawing materials for my basics course. For the softer graphite, I personally really like the woodless monoliths.. Here's two links to the same think in case one isn't available. https://amzn.to/3GFH8lD https://amzn.to/3CjEPSo
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Chris
Holy Unexpected Response, Batman! I’ll give those a look since I’ve changed it around a bit and swapped the use of 0.5s for regular pencils. Those mechs will travel in my cramped work truck until they die.
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Chris
added a new topic
The 6B Option
4mo
Does anyone have a good recommendation for a 6B option? I have clutch and 0.5 mechanicals in 2H, HB, 2B, and 4B and was looking to get something truly dark. I’m thinking a General’s Layout or 9xxb would work here but I’m not sure how they’d fair in my soft pencil pouch if I try to draw on the go though.
Chris
I’m Chris and I’m a mini painter getting into 2D. Why? Good bit of burnout and a need to make a change. I’m tired of painting other people’s work and I can’t free hand to save my life. Plus you can’t really take a mini to paint everywhere. So here I am at literal square one looking to learn. I hope my occasional moments of negativity towards art doesn’t bother anyone too much, frustration and too much time to think will do that.
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