Wassy

Holy cracker pants.... *in awe*

What's wrong with a little Bris!

I was waiting for that!

Anyone besides me find it adorable that you reged on Valentine's Day?

Well, if you all thought Wicked Luv was cute....

Tabby

All characters for this group piece have now been inked. And now its on to the coloring... my favorite part!

That's what I was getting at when I said referencing others has its merits. My brain was hurting trying to think of ways to improve your artwork if you didn't try out techniques you see around you.

I know I've said the line to myself many times of "Man, I love [insert artist name here]'s work. I wonder how they get the colors to come out that way? I'd like to learn how and try it out with some of my work and see how I can blend it with what I do." I'd say that's referencing another artist.

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The problem with copying other artists is that you not only learn their admirable techniques, but you also absorb their abysmal flaws.

In my early days, I tried to learn how to draw from anime sources because it was quick and promised instant gratification. I learned how to draw simple characters quickly in all manner of poses and expressions... but to this day, I have problems with drawing eyes too large. I have to consciously scale the eyes properly rather than being able to do it intuitively.

Furthermore, if you emulate another artist, you can only be as good as that person and never better.

If you produce works that are reminiscent of another artist, you're not offering anything new. To be noticed as an artist, you need to find your own voice and produce unique works. You may not impress yourself with your first few pieces, but you'll quickly find your own style.

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We might be on different pages with this but... I can't grasp how a person is going to reach out to learn if they feel they shouldn't try to emulate any techniques they see in the art world. Also, when first being taught a medium... isn't one emulating their teacher?

I'm not really talking about drawing from life, here. I'm talking more like.... I love the hazy glow some watercolorists are able to achieve. So I'd like to learn the ways that's actually achieved. If I didn't want to try to emulate the way that's pulled off and try it for myself, I'm not going to learn many new things.

It just... seems counterintuitive. Which is why I think we're talking about different things. With how I took what people are saying about never referencing anyone's work, its coming off to me like people are almost saying its worthless to study the masters at all. Did everyone else really get through art school with zero art history or studying anyone else's techniques?

There is a place for artwork referencing, though. Its more in technique. If you're learning a certain medium, it IS helpful to look up the top artists who work in that medium, and learn about what they do.

Ever walk around a museum and see students re-creating master works?

If you see things you like, research how its done, and try it for yourself.

Thanks very much, all. I think I'll actually do the inking on the final character tonight, so I can delve into the colors this weekend. I have to break to work on some school arts stuff.... or at least I should.... if I were being responsible...

Also...

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*needs monies, think I have another character that Wassy's style would fit well.*



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Sounds good to me!

I enjoy the word "Skinvitational". It has an excellent ring to it.

*yanks thread back up*

I had a crazy couple weeks with moving into a new place, and then a fan going in my laptop again (the right fan died a couple months ago, and the week before last, the left fan followed suit). But I'm back into my arts!

Posting up a detail here from my in-progress group piece because I particularly liked her.

Wicked Luv

One more character after this needs inking, and then its onto the colors! Soon!

I think this thread has some small bit of merit in that it seems like the only thing that can get at least a few people some results... tragic as that is.

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That's the problem and why I figured I'd post here. I've sent numerous emails to him since I paid in full and not one has been replied too.

I don't think sending him another 1, 10 or 100 is going to matter at this point.

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I'm really torn on this. Once again we have someone complaining about lack of contact... and once again I'm expecting to see some majorly massive MMOART hits posted within a short time.

Gill seems to have canny timing that way.

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That does seem to be the way it goes so... if past experience is any teacher, I think he's doing totally the right thing by posting here. Seems to be the only way people are getting results!

I'm gonna go Alex this month!

I don't sell prints of previously commissioned work, either. Its actually in part of my terms of commissioning. For the same reasons... it seems skeevy.

But thanks for clearing up the prints of licensed big-name characters. I never really got how that flew with copyrights and stuff and thinking that the big publishers wouldn't want to lose a dime!

Who's stalking who?! You also told him that I'm working on my 45th commission????

I'd like to see you prove you don't have more cameras than I do!

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Now try this....enable Prints and see what happens! (I want a set! )

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As soon as it's legal. I don't want to jeopardize my chances of working for DC by selling prints before I even work with them. But once I'm in the door, I'll be all over it.

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I've actually been wondering about this! I do see artists that are/have worked for DC or Marvel or etc. that sell work of licensed characters as commissions or whatever. That's legit after you actually work for them?

My biggest advice (and this is coming from someone currently working on her roughly 45th commissioned piece) is to START SMALL and build up.

Start off with doing small, inexpensive pieces to start to get the hang of things. Work up slowly and don't overload yourself.

And my second piece of advice is to always always err on the side of communicating TOO much with your clients rather than too little.

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You can always check out Artist guides like this too. I love how BAS does these. So much that i had to ask for one myself.

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As an artist, I approve of these character sheets. Very much.

Minutes turns to a day in the recession!

Janet! Dr. Scott! Janet! Brad! Rocky! ...!

It's astounding, time is fleeting
Madness takes its toll
But listen closely, not for very much longer
I've got to keep control

I remember doing the TIme Warp
Drinking those moments when
The blackness would hit me and the void would be calling
Let's do the time warp again...
Let's do the time warp again!

It's just a jump to the left
And then a step to the right
With your hands on your hips
You bring your knees in tight
But it's the pelvic thrust that really drives you insane,
Let's do the Time Warp again!

It's so dreamy, oh fantasy free me
So you can't see me, no not at all
In another dimension, with voyeuristic intention
Well-secluded, I see all
With a bit of a mind flip
You're there in the time slip
And nothing can ever be the same
You're spaced out on sensation, like you're under sedation
Let's do the Time Warp again!

Well I was walking down the street just a-having a think
When a snake of a guy gave me an evil wink
He shook me up, he took me by surprise
He had a pickup truck and the devil's eyes.
He stared at me and I felt a change
Time meant nothing, never would again
Let's do the Time Warp again!


Rocky Horror is one of my favorite movies of all time.

This was a good way to remind me to put you on my dA watch ^.^

You shouldn't have a fuzzing problem while shrinking. This is a well-known and OLD trick of making art for print. Working big and then shrinking TIGHTENS work. Blowing up fuzzes.

Also, use the SAVE FOR WEB option. You'll get a smaller file than straight saving as a .jpg plus will be able to preview how it looks. You can tweak to the exact setting you want for exactly how large of a file you want.

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..its layered up 3ds objects overlayed on 2d image with texture mapping and lighting.. pretty much what you can do with photoshops " import 3d to new layer" option.. but with more control and better tools..

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My point is, using it doesn't help you to learn to draw. It's not drawing or painting, it's filtering. Layering with little to no brushwork. An effect. Effects are great for emphasis of tiny details, the glint off a gun, the spark of star, the textured rust on metal... However if the effect dominates more than 60% of your image, which here it does... all you see is the effect, not the art, or the skill.

In Doug Schuler's case, 3D models are used for composition and blocking in... but the textures, the expressions, the color, the nuances are all his expertise with photoshop "paint". His effect use is minimal or so well integrated you don't notice them over the figure... or on the figures themselves.

Suichiro is a genius among men...



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Thisity This (including the Suichiro remark ^.^)

I can't help but get the impression that you're skipping a LOT of steps and hopping around without really LEARNING. Effects are crutches. Embrace making mistakes in the beginning and learn from them.

It will improve your work by volumes to color more in traditional media for a while before going into complex digital work (especially when trying out a new style).

What are you using to color it?

And FYI, this may be skirting the line of NSFW.