So.. haven't been able to paint for a long time, but now it's better. Here are two studies from 2012
fredag 17 juni 2011
tisdag 14 juni 2011
torsdag 5 maj 2011
Here's the finished version of creature.of.the.week 211 - Red-Hot, Speckled Rock-muncher! work in progress shots can be seen in the previous post.
"A peculiar creature, the muncher. It roams the desert in search for rocks and rare minerals which it then munches on! Sometimes nicknamed "the infernal furnace" this creature leads a much more peaceful life than you could imagine."
onsdag 4 maj 2011
wips of Creature of the Week 211 over at ConceptArt.org - red-hot, speckled rock-muncher.
I've started to really think of my process and when I should enter next step. I know being completely strict when it comes to process can kill the intuitive part of painting, but having guidelines is something I really need to learn.
This is what I scribbled down, and I'll try to hammer it in by doing a small piece every day;
(depending on how sure I am of the concept already, these are optional. If I feel doing thumbs is a waste of time and all I want to do is lay down the final lines, then I do it!!)
b) choose thumb, explore design
c) choose design, lay down final sketch
2. single colour
As it sounds, laying down one flat colour underneath the linework. No real value changes besides what the sketch offers.
3. Dark values
Going over the piece with a multiply layer. Blocking in the shadows. Usually this is where I start to mess things up because I know too little about light and shadow so I'm limited with the flaws I already have when working from mind. Gotta study that more
a) decide upon a light-source
b) go with that lightsource
4. Lighter value - again keep light-source in mind!
Either going over the piece with a soft light, overlay or normal layer. Depending on which kind of "mistakes" you're looking for, all of them are a good choice. It's not yet time for hues in the process so I limit the impact of color from softlight and overlay.
At this point the sketch should be solid, with values that read well enough for you to interpret the piece as having depth and form.
ohh, rendering, the most fun and most boring part of the piece many artists say that if you don't have a solid piece when you reach this level you're screwed.. no matter how much you polish and render it out with textures a flawed foundation will still bring it down. I think I'll have to agree.. too many times I've worked something for a couple of hours only to have to re-work something fundamental and go over it again.
The render level is also divided into guidelines, I haven't really thought up those yet but this is what I got so far -
a sketch is messy, this is where you render out the shapes of the piece and bind it all together without going ninjastyle on the rendering and texturing and detailing
once you have established nice shapes and there are no loose ends, start going over the piece with texture brushes - good layer settings to use when texturing are multiply, overlay and softlight (I love soft light!)
This can be combined with the texture level, using a textured brush for example. Again, I think soft light is the best layer setting for adding hue variations to a piece, experiment with the grayer tones of a colour and see how how softlight carefully brings out that colour.
d) Refine value (b?)
With a newly established mess of textures and hues it's time to make it look painted and not just like something you overlayed the piece. This is done by working the values, adding bouncelight into the shadows and working in the colours from other lightsources you established at the hue step.
I'm not quite sure of where to put refine value yet as it is one of the most important steps for a well rendered piece. Maybe it should come after the "shapes" part of the process, anyhow - I have only been using this for 2 days so can't say I know what I'm talking about yet in theory it all sounds good!
as for the COW piece, I used this process on it but lost track at some point, which is good, because now I know where I lost track! so now I know where to be extra careful in a piece, not moving on to other steps too quickly. I think this can save me hours of unnecessary "clean-up" work.