damn son, I'm digging the Mucha vibe. You really nailed the depth on the figure which makes it punch out that much more with the flat graphic overlayed. Definitely a piece to be proud of.
Thanks Jessica!
I've been working on my new site and getting some newer images up there, still haven't made the changes live. I've been waiting on feedback from a print company because I want to sell some of my artwork through my site. Hopefully it will be soon.
Here's the latest image, I really had a lot of fun with this one. I had a bitch of a time trying to get the actor's likeness. I had three different head iterations for Han Solo. I think I could have done a better likeness on Indy, doesn't quite scream Harrison Ford to me.
frell - Thanks, I rarely use them initially, they might pop in when I do some level tweaking in the end. I added the painting progression to the skyrim poster and you can see that for the entirety of the painting I never used white or black it's not until the final step that the colors get more contrasted. but even then the colors never go to full white or black.
Wow that's so awesome! Thanks for posting the breakdown too. Great colors and technique. I was jsut showing this to a friend, and we were talking about how great it would be to see a series of posters like this. Anti-milkdrinker posters, Thalmor posters, etc. Awesome work.
Kelli - I like the anti-milk drinkers, that's a funny idea.
Well I did another one on skyrim but I wanted to do it more in the vain of the dark fantasy- frazetta type.
hahaha, that last one is so neat! Love how that's staged, afaik pretty unique. Not really feeling the pose on the guy swinging the sowrd, though, doesn't look dynamic or natural for a strike at all. Enviro is gorgeous though!
Hmm, I figured since the sword would be so heavy he wouldn't need to apply so much force, instead he would just guide the blade into place gravity would take care of the rest. Only "accurate" reference I had was the Japanese two handed sword fighting. Granted they are not the same I just taught the mechanic would be.
damn that mucha skyrim piece and batman piece are awesome
they both have tones in there i would never think of using together in a piece and yet you make it work so beautifully
the last piece looks great too but i can't stop staring at that sword swinging guys deltoid for some reason. Maybe its because of the hard shadow line opposed to the softer ones on the other flesh parts.
Sorry to go into a big tangent about swordfighting in your thread, but its something i'm super nerdy about:
If the sword was really THAT heavy, there would be no way to move your body effectively behind it -- imagine trying to chop someone apart with a 50 pound barbell. You would get annihilated. For those clean, smooth, samurai style strokes it's all about the footwork and posture of the fighter behind the blade. Swordfighters move a lot like boxers -- the sword glides, and the fighter needs to be able to evade or block or riposte or circle his opponent or what have you after or during the strike, so you usually see that tight, almost sideways footwork.
An artist who captures this fairly awesomely very often is Takehiko Inoue in Vagabound, which is full of awesomely drawn and characterized swordfights. See how clumsy he makes the two fighters in white look, just by drawing them 'chasing' their swords?
Another REALLY AWESOME reference is the Dog Brothers footage -- They're a loose group of mma fighters, martial artists, and knife fighters interesting in maintaining full contact weapon based martial arts. Devolves into wrestling a lot more than a fight with a real bladed weapon would be, but is still fantastic reference for what kind of movements it takes to bring weapons to bear with force and accuracy.
So in conclusion, basically, how much your drawing deviates from 'good' form for swinging a weapon makes your fighter look extremely wild and clumsy and reckless... Which completely works, as characterization!
The line stuff is amazing.
The environment study and skeleton are awesome. I continue to love this stuff, man. Some wobbly perspective in places, though.
audi100 - you are correct, the leg initially was bent really bad. I tried fixing it but by then I had lost interest on the piece. hahaha I tried hiding some of the flaws with the depth blur.
Ok now for a change of pace, I really love typography. I am always looking at type and calligraphy books and in my studio roughly 35% of the books are on those subjects. I try and every once in awhile and dedicate a full day to nothing but that.
Today I worked on learning "Bastard Secretary." This script was developed by late 14th century. It owes its name to the marriage of mixed cursive and Textura scripts. There are two main versions, English and French (Batarde.) I prefer the English version since the letters end up having a bit more flourish then their french counterpart.
The "Neo Insular" I made from a combination of Insular Majuscule and Miniscule. This one was developed as a title script, where I wanted to have the flexibility of having multiple versions of each letter. This would ensure that each word could keep a very unique identity. I made this one around summer last year.
"Neo Foundamental" is heavily based on the "Foundation" script developed by Edward Johnston in the late 19th century.
Oh pay no attention to the paragraph texts their full of typos and nonsense, I just needed to create big block of texts to see how the letters would look together.:poly136:
I promise to keep the art game related next time!:\
Is it weird to save typography in my porn folder? This is really great stuff. Shows true persistence and patience with traditional calligraphy. *Thumbs Up*
Where do I begin!? So much great art in here. Your 2d Character's are phenomenal, some of the best ive seen. I also really appreciate the breakdowns on them, it helps me understand easier. Your 3d scenes are just to good for words man! Keep up the great work!
While I really enjoy your full blown full color paintings... it's the crispy black and white character studies that I keep getting drawn back to. Those are engaging, and you make the execution seem so effortless.
Replies
And here's today's digital image:
Here's a colored version of one of the sketches.
I've been working on my new site and getting some newer images up there, still haven't made the changes live. I've been waiting on feedback from a print company because I want to sell some of my artwork through my site. Hopefully it will be soon.
Here's the latest image, I really had a lot of fun with this one. I had a bitch of a time trying to get the actor's likeness. I had three different head iterations for Han Solo. I think I could have done a better likeness on Indy, doesn't quite scream Harrison Ford to me.
I'm loving that portrait of John Noble.
i gotta throw in my vote for a finish of your amazing Heavy repaint sometime too
Great stuff, so inspired
frell - Thanks, I rarely use them initially, they might pop in when I do some level tweaking in the end. I added the painting progression to the skyrim poster and you can see that for the entirety of the painting I never used white or black it's not until the final step that the colors get more contrasted. but even then the colors never go to full white or black.
Well I did another one on skyrim but I wanted to do it more in the vain of the dark fantasy- frazetta type.
they both have tones in there i would never think of using together in a piece and yet you make it work so beautifully
the last piece looks great too but i can't stop staring at that sword swinging guys deltoid for some reason. Maybe its because of the hard shadow line opposed to the softer ones on the other flesh parts.
anyway very inspirational work as usuall
If the sword was really THAT heavy, there would be no way to move your body effectively behind it -- imagine trying to chop someone apart with a 50 pound barbell. You would get annihilated. For those clean, smooth, samurai style strokes it's all about the footwork and posture of the fighter behind the blade. Swordfighters move a lot like boxers -- the sword glides, and the fighter needs to be able to evade or block or riposte or circle his opponent or what have you after or during the strike, so you usually see that tight, almost sideways footwork.
An artist who captures this fairly awesomely very often is Takehiko Inoue in Vagabound, which is full of awesomely drawn and characterized swordfights. See how clumsy he makes the two fighters in white look, just by drawing them 'chasing' their swords?
Another REALLY AWESOME reference is the Dog Brothers footage -- They're a loose group of mma fighters, martial artists, and knife fighters interesting in maintaining full contact weapon based martial arts. Devolves into wrestling a lot more than a fight with a real bladed weapon would be, but is still fantastic reference for what kind of movements it takes to bring weapons to bear with force and accuracy.
So in conclusion, basically, how much your drawing deviates from 'good' form for swinging a weapon makes your fighter look extremely wild and clumsy and reckless... Which completely works, as characterization!
Joseph Silverman - I really appreciate the post and the reference included. I will definitely keep this in mind.
Been trying to do more environment studies
On the last piece, maybe its just me but her right thigh seems a bit to undefined(straight).
The environment study and skeleton are awesome. I continue to love this stuff, man. Some wobbly perspective in places, though.
audi100 - you are correct, the leg initially was bent really bad. I tried fixing it but by then I had lost interest on the piece. hahaha I tried hiding some of the flaws with the depth blur.
Ok now for a change of pace, I really love typography. I am always looking at type and calligraphy books and in my studio roughly 35% of the books are on those subjects. I try and every once in awhile and dedicate a full day to nothing but that.
Today I worked on learning "Bastard Secretary." This script was developed by late 14th century. It owes its name to the marriage of mixed cursive and Textura scripts. There are two main versions, English and French (Batarde.) I prefer the English version since the letters end up having a bit more flourish then their french counterpart.
The "Neo Insular" I made from a combination of Insular Majuscule and Miniscule. This one was developed as a title script, where I wanted to have the flexibility of having multiple versions of each letter. This would ensure that each word could keep a very unique identity. I made this one around summer last year.
"Neo Foundamental" is heavily based on the "Foundation" script developed by Edward Johnston in the late 19th century.
Oh pay no attention to the paragraph texts their full of typos and nonsense, I just needed to create big block of texts to see how the letters would look together.:poly136:
I promise to keep the art game related next time!:\
Here's the finished Art Order entry and I decided to do another batman since I wasn't happy with the previous attempt, still wip.