Some fairly consistent feedback I've had when people look at my work is that the line work and sketch stuff is great, but when it's let down by my digital painting. I agree, and it's time for that to change. Taking some wise advice I'll be ABANDONING my beloved line work for the next 30 days and doing little studies like this alongside my main body of work, hopefully day 30 will look much better than day 1!
Jorogumo - from Japanese folklore, a demon spider whore... I had fun working on this, will maybe push it a little further, but I've been working on it all day now, so I'm going to take a break from it and look at it with fresh eyes tomorrow. If anyone has any tips then CC would be much appreciated...
I'm so happy to found this sketchbook thread right now! Your concepts are gorgeous, in particular the dunkleosteus comes out great. I'm fall in love with the final illustration. How long did you need for the whole project? Well, I'm uncomfortable with Environment too. Tried some speedpaints (basic composition in black & white) with a classmate and failed every time haha
I'm so happy to found this sketchbook thread right now! Your concepts are gorgeous, in particular the dunkleosteus comes out great. I'm fall in love with the final illustration. How long did you need for the whole project? Well, I'm uncomfortable with Environment too. Tried some speedpaints (basic composition in black & white) with a classmate and failed every time haha
Thanks! It means a lot to know that people actually look through this, sometimes I feel like I'm just shouting in the dark lol
The dunkleosteus was part of a university assignment that I had two weeks for, but I was also doing a diver, and an ink grenade in that timeline... and there was a pretty sharp learning curve with learning ZBrush. Would be a lot faster if I were to do it again.
Thanks! It means a lot to know that people actually look through this, sometimes I feel like I'm just shouting in the dark lol
Haha same here! Started my blog few weeks ago and I hope to fill lot of stuff continuously. You did great portrait studies, I’m impressed. Although the face in 19/30 looks little bit wonky (I hope it’s ok to give you feedback). I love your castle concepts. Is this a new project or a study? I want to see more
Thanks! It means a lot to know that people actually look through this, sometimes I feel like I'm just shouting in the dark lol
Haha same here! Started my blog few weeks ago and I hope to fill lot of stuff continuously. You did great portrait studies, I’m impressed. Although the face in 19/30 looks little bit wonky (I hope it’s ok to give you feedback). I love your castle concepts. Is this a new project or a study? I want to see more
Thanks! 19 was done after a few beers and I panicked and realised I hadn't done my daily sketch so I busted it out. CC always welcome on this thread!
"There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there." Day 413: Painting 29/30, Frame study from American Psycho
DID YOU KNOW - Your printer works on ink farmed from the Friesian Squid, a rare cephalopod/bovine hybrid, bred to keep up with consumer demand. Ever wondered why ink was so expensive?
Alrighty gang, so a quick tutorial that of a technique I used earlier today which I found super helpful... fast 2D texturing in photoshop.
Takes a little while to set up, but once it's done you get fast iterations. I'll re-write this in more detail on my development blog, but I feel most of the people reading it on here will be of a high enough skill level to see what I'm doing...
Make yourself a seamless texture - don't have it as a square tile though, or you get ugly seams pretty easily...
You want a shape that has overlaps on all sides, like so. Convert this to a smart object and duplicate it, warping it to match the form of your underlying image.
This isn't perfect, but you get the idea. A quick paintover will patch this up a little more. The underlying form was then duplicated, brought in front, dropped saturation down to 0 and applied as 'soft light' blending mode on top of this layer to further define form.
Now, upon editing of the original smart object layer, we can generate iterative results in seconds. Yay! THE POSSIBILITIES ARE ENDLESS
Finally happy with the design on this one - head sculpt by @almighty_girgetting everything together is nice. Some breakouts and turnarounds of each of these individual elements to do next
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2/30
3/30
8/30:
Jorogumo - from Japanese folklore, a demon spider whore... I had fun working on this, will maybe push it a little further, but I've been working on it all day now, so I'm going to take a break from it and look at it with fresh eyes tomorrow. If anyone has any tips then CC would be much appreciated...
14/30
Well, I'm uncomfortable with Environment too. Tried some speedpaints (basic composition in black & white) with a classmate and failed every time haha
The dunkleosteus was part of a university assignment that I had two weeks for, but I was also doing a diver, and an ink grenade in that timeline... and there was a pretty sharp learning curve with learning ZBrush. Would be a lot faster if I were to do it again.
The castle is for a university project yes!
26/30
Takes a little while to set up, but once it's done you get fast iterations. I'll re-write this in more detail on my development blog, but I feel most of the people reading it on here will be of a high enough skill level to see what I'm doing...
Make yourself a seamless texture - don't have it as a square tile though, or you get ugly seams pretty easily...
You want a shape that has overlaps on all sides, like so. Convert this to a smart object and duplicate it, warping it to match the form of your underlying image.
This isn't perfect, but you get the idea. A quick paintover will patch this up a little more. The underlying form was then duplicated, brought in front, dropped saturation down to 0 and applied as 'soft light' blending mode on top of this layer to further define form.
Now, upon editing of the original smart object layer, we can generate iterative results in seconds. Yay!
THE POSSIBILITIES ARE ENDLESS