[QUOTE=DOG-GY;49619383]Haven't posted here in a long time but anyways... It's kind of all over the place and fights with itself.
Without any context it's hard to speak too much but I don't understand why there would be such a haphazard construction of these walkways when they bothered to put detail to the handrails. You've got brutalist, modern industrial, decorative, and stone elements, but none of these things are really brought together in a way that makes them seem cohesive.
Your inaccessible platform near the "window" would have gaps that a leg would easily fall through. Dunno what that is though. Grime or plant accumulation on the sloped surface where water doesn't physically make sense. And if it's able to accumulate on such an impossible place, why is it barely seen anywhere else? Why is there no pond scum in the water?
The sets of stairs are on a slope that would be comfortable enough to climb directly up. The way they're laid out would uselessly delay a person from being able to walk through this space. If you really wanted them to have rest places, then arrange the stairs so people wouldn't waste time crossing platforms, climbing stairs, repeat, repeat, repeat. And where are the handrails on this entire area? It's even more dangerous of a space than the catwalks.
The stone area is such a contrast that it looks like an aqueduct just had a building thrown around it. The "window" area looks like it's got a screen porch style mesh over it that would be like 3-4 foot wide panels, but over such a large space and being completely unchanging it throws off the sense of scale entirely in a really bad way. And as a final note, I don't know what the point of the colors is but I don't think they do anything good for this scene. It looks like someone painted colors over so they could settle on tileable assets to model the space with.
For some good stuff: I think the attention to detail for the flow of the water around the rails and concrete is very nice, as are the quality of the handrails. They are visually pleasing on their own and it would be cool to see that level of work pushed across a whole piece.[/QUOTE]
Hey, that was all really useful. And there's a lot of stuff for me to think about in there. :)
Just to give a bit of context, this is a concept for part of my final project for university. I'm making 2 environments that are fully playable and this is a part of one of them. Looking back I can see all the areas where I've really fucked up the perspective. Fortunately this concept was really just to help get a sense of the space, try to understand a bit more about what I want it to be. So its good them I'm making these mistakes now. For the architecture, I'm looking for something both quite raw and stripped back but also quite naturalistic (?) So that's why I've gone for the brickwork and concrete but also why I'm trying to mix in art nouveau with the railings. Also the environments I'm designing are based around visualising emotion and a journey through a mind. So at this point in the level, I want the player to feel really exposed, which is why the architecture will be quite perilous, much more so than it is in this concept. Here as well, the player has already passed multipul 'layers' of this personality or mind (represented in multipul ways in the environment) so I want the everything around them to feel hectic and unsafe.
Honestly theres a lot to talk about, but if you want to know more about it pm me or something, I'd love to tell you and get some advice. On the mobile atm, so typing isn't too fun.
But yeh, if you have any suggestions for the architecture based on what I just wrote it would be great to here about it.
As for the colours, I dunno, I like them, but at the same time they were kind of unconsidered and rushed. I just really liked the idea of a framed shot of the silouete of the character against the backdrop of the pink window. And as for the unreachable platform, I messed up there.
Lots of problems with this one, so I apriciate such thorough feedback.
I dunno guys, it's kinda growing on me. If you overlook the shitty parts of this tablet, it's pretty great.
[t]http://i.imgur.com/BIycc0u.jpg[/t]
muh face.
[QUOTE=dnqboy;49621802][url=http://postimage.org/][img]http://s10.postimg.org/7i6okekeh/skeleton_king.png[/img][/url][/QUOTE]
if you're not going to put anything interesting on the floor, move the camera up a bit so we can have the king guy centered and see a bit of the ceiling
anyway here's some quick comps for class. top and bottom rows are separate ideas
[img]http://i.imgur.com/F9ci9V8.jpg[/img]
After a very long hiatus I finally picked back up where I left off on a large scene, here's one of the foreground characters nearly finished
[IMG]http://i.cubeupload.com/5WAgWy.png[/IMG]
[img]http://i.imgur.com/4tYSqpW.gif[/img]
Had a break from animating stuff for awhile because my job kept calling me in. Decided to start from scratch with my new computer. [del]This is suppose to be 24 frames but I recorded at 33 by mistake.[/del] Now featuring proper frame rate!
[editline]28th January 2016[/editline]
I'm trying to practice more realistic drawing too but I don't know where to look for tutorials/help. Any suggestions?
[QUOTE=salmonmarine;49623772]if you're not going to put anything interesting on the floor, move the camera up a bit so we can have the king guy centered and see a bit of the ceiling
anyway here's some quick comps for class. top and bottom rows are separate ideas
[img]http://i.imgur.com/F9ci9V8.jpg[/img][/QUOTE]
Top reminds me of 3D Worms
Random question: How did you guys come up with your signatures? I usually just scribble my initials which looks like shit.
[QUOTE=ToastedBread;49625307]Random question: How did you guys come up with your signatures? I usually just scribble my initials which looks like shit.[/QUOTE]
I just normally write my surname and everybody thinks it's a super legit signature, but really my handwriting just sucks that bad.
[img]http://i.imgur.com/eHUc4Ms.gif[/img]
first inclass assignment from my digital painting class
Do you guys work in palettes? I usually just use a HSV square and pick whatever I think is the right colour.
i used to have a collection of common colours i'd keep going back to but since moving computers i lost my lil swatchpad so i just said fuck it and now i pick all my colours by eye
[t]http://40.media.tumblr.com/8dda37218a365113d6a65fe1c1332338/tumblr_o1ov72xsTy1r3e2fho1_1280.png[/t]
some gift art for a friend
i remember reading somewhere that with lineweight, thicker is closer and vice versa. i was trying that out here
i sure wish i could draw but i have no graphic tablet and drawing on paper is even worse than digital in terms of looking good
i guess im a lost case but hey at least i can pose models in a nice way and put some light and photoshop filters on them right
[T]http://orig14.deviantart.net/42d0/f/2016/028/c/e/the_butcher__2__by_erkor-d9pml42.png[/T]
It's actually a lot easier to make a good drawing on paper, and most people in this thread will tell you that it's the best way to learn how to draw.
But honestly the worst way to never learn anything is to just make excuses for yourself and be afraid to suck at it for long enough to realize that you can learn to draw and start seeing real progress.
Learning to draw traditionally before moving into a digital medium is typically the route to go. Digital programs or tablets won't give you skill that you're not building up for yourself. It's only as strong as your knowledge of traditional drawing techniques.
[QUOTE=Pascall;49631550]Learning to draw traditionally before moving into a digital medium is typically the route to go. Digital programs or tablets won't give you skill that you're not building up for yourself. It's only as strong as your knowledge of traditional drawing techniques.[/QUOTE]
this couldn't be further from the truth; there are plenty of ways to approach digital art even without traditional drawing skill. Traditional drawing skill also won't help you with the plethora of digital techniques; only having a trained eye will do that for you.
It's dependent on what you're doing. Digital mediums are typically accessible for things like graphic design, architectural design, etc. for people who don't have traditional mediums down.
But trying to do realistic anatomy on humans, animals, plant matter, or environments will typically require at least SOME traditional skill. No one's saying you can't jump right into digital mediums, but drawing with a tablet won't make you better at drawing the human figure any more than a pen and paper would. That's essentially what I meant.
[QUOTE=Pascall;49633917]It's dependent on what you're doing. Digital mediums are typically accessible for things like graphic design, architectural design, etc. for people who don't have traditional mediums down.
But trying to do realistic anatomy on humans, animals, plant matter, or environments will typically require at least SOME traditional skill. No one's saying you can't jump right into digital mediums, but drawing with a tablet won't make you better at drawing the human figure any more than a pen and paper would. That's essentially what I meant.[/QUOTE]
Plus, carrying a sketchbook and a handful of drawing supplies is cheaper and easier than lugging around a laptop and tablet. They key to becoming a good draftsman is to get as much practice as possible.
Another study trying to get used to using oils in artrage properly
[img]http://img13.deviantart.net/b6b6/i/2016/029/2/e/iceland_barn_study_by_jallenthenovice-d9ps8wp.png[/img]
Don't think I've posted this yet, but here's a concept I did for the game STRAFE and the finished model (not by me)
[IMG]https://pbs.twimg.com/media/CQLXHBEU8AAw9Ov.png[/IMG]
[IMG]https://pbs.twimg.com/media/CIcwcyrUEAAnZEe.png:large[/IMG]
I'm getting that anxious itch I get when I am close to finishing something to just post it, but I find I almost never finish if I do post it before it is done. But man the excitement always kills me when something nice is coming together.
[QUOTE=MakoSkyDub;49563447]two hour study is what he said. He didn't say it was a photostudy.
Even ignoring that obvious point, it's not about just the one piece (also I said this above, "in this and in all of your pieces I can remember")
In Jallen's overall progress as an artist this may be the most relevant thing he'll hear, because he doesn't seem to have touched this aspect yet. He aspires to do really moody pieces from what he has told us but he only produces dead neutral scenes. So I stand by my crit entirely. The hostility is just how you read my text, nothing hostile in there, just honest. I like Jallen lol I wouldn't try to poke him in the eye
oh and if you're doing a photostudy you should probably (not definitely but probably) choose something that has some feeling in it that makes you like the image and thus want to make a copy of it. aka you're finding the meaning in the subject. If you look at how artist practice and improve their skills it's not usually duplicating photographs at random it's stuff they actually like lol[/QUOTE]
I get what you're saying but I feel like most scenes don't need a focal point or message for me to find them pleasant, moody, or moving to look at. I mean I'm not at the level where I can produce something that really draws in the viewer so that they get that "wow" from seeing something basic like that but it's something I want to work towards. An example is Tibor Nagy, I don't feel like the pictures he paints are of particularly moving scenes with any kind of message or focal point, they are just beautiful for his mastery of every aspect of the reconstruction of the scene in oil paint (if anybody here hasn't seen Tibor Nagy's stuff, it's absolutely fantastic - see his landscapes and city scapes: [url]http://nagytibor.com/[/url]). I do like the photos I'm studying. It's something I'm going to have to keep working towards and eventually I think I'll get to the point where a picture of a scene will speak for itself. If it's boring now, it's because I'm not there yet.
That said, I occasionally do something from imagination where I have something going on like
[url]http://jallenbah.tumblr.com/image/131497696027[/url]
[url]http://jallenbah.tumblr.com/image/120725013382[/url]
[url]http://jallenbah.tumblr.com/image/120355096782[/url]
They're a few months ago now, I should do some more like that.
Jallen keep in mind that most of the art work created by that man DOES have a focal point, it is just a much more muted one because he is trying to imply the busy hustle of the modern world. The reason things such as focal points are encouraged is not to give the art MEANING, but DIRECTION. Even with focal points you can have a simple artistic piece, and it is one of the many things that artist has mastered to create those pieces you see.
A focal point can literally be anything as long as it draws the eye... a flashing break light that contrasts with the muted colors of a city, a dark patch of shadow in a generally bright scene or a glimpse of something shiny in the dark. These are very basic focal points and you can go much more subtle and deep.
Brush work for example is a great tool for a focal point, as stroking the paint into uniform directions can create a "flow" to certain things on the canvas. Every piece of an artwork is connected and SHOULD take thought, even the most simple pieces or what is the worth in looking at it? The reason you get lost in that man's paintings is because he is creating depth from something that LOOKS simple, and there is a grace and thoughtfulness put into that unlike any other.
So the point I am trying to make is that if you're trying to become on the same level as that man by removing factors of an artwork such as focal points or crippling yourself by saying you "are not at that point" yet will not help you improve into a well rounded artist. You have to actually try, because even if you get overwhelmed and bomb a piece, you are at least applying those concepts actively and learning how to use them. Obviously if you are practicing something specific such as form or perspective you can create things focused on those, but always take the time to try and combine all the individual skills into a single piece, as that is what you are ultimately trying to achieve.
all of the stuff on that website i saw had at least one focal point
I know that his work has a focal point constructed by various factors, what I meant was that there isn't any single subject or message that I get the impression Mako feels is missing. I know that there is direction in Tibor Nagy's work.
[quote]oh and if you're doing a photostudy you should probably (not definitely but probably) choose something that has some feeling in it that makes you like the image and thus want to make a copy of it. aka you're finding the meaning in the subject. If you look at how artist practice and improve their skills it's not usually duplicating photographs at random it's stuff they actually like lol[/quote]
This is the quote that Mako made that I was directly addressing.
For me personally, there is no lack of interest in any of the landscape photos I have been studying so there is no reason that a painting of them could not turn out very nicely. I was directly addressing Mako's comment when I was making comments on the message of the picture and referencing Tibor Nagy's work, which is of fairly neutral scenes with no obvious message - but fantastic and mood filled regardless.
This was the point of my previous post.
I am trying to produce good studies, taking into consideration all of the concepts I know are required, and I'm not getting overwhelmed and bombing or crippling myself. The point of this post is to clarify the point of my last post, and to clarify that the shortfalls of my paintings are not for lack of trying or consideration. Pushing a focal point is something I need to improve on and it's something I'm working on.
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