Montag, 25. Juli 2011


so taking the quick sketchieness even one step further. Right now I am struggling a bit finding the switches to make bigger steps in my improvement. It's not that I feel stuck or anything its just that I am missing these huge steps which sometimes just occur by getting something "fundamentally" right, when it feels that something just clicked and you're able to produce better work from one moment to the other. Well maybe I am just asking for too much there hehe.

One thing, though which I believe will help me a lot sometime and of which I think that I need to do it muuch more, are these really quick studies, trying to put everything down as qucikly as possible without rendering, kinda getting a very very quick sketch wich feels correct practically in the beginning and where the only thing needed to make it a finished picture would be to put in the hours just rendering the shit outta it.

Well actually there is one thing whcih I feel I have kinda just started learning recently and of which I believe will and has already improved my personal work, whcih I will share soon big time. As I have been stalking craig Mullins old posts on the sijun forum and read loomis' creative illustration book, I feel that I am just now starting to realize the huuuuuuge importance of shapes and composition, this is actually the thing I am paying the most attention to these days and somehow I am ebginning to realize how actually unimportant the whole "rendering" part is at all. This is also kinda connected to these quick studies.
I am starting to understand that it is not about rendering stuff to death and details and stuff like that, it is WAAAAY more about making "strong" pictures on the fundamental level. I mean stuff like having "strong" shapes, "strong" values, "strong" color relationships. Strong might be some kind of silly and maybe even artsy sounding word but actually it's not in this case, it is more about knowing what you want to say in a picture in the strongest way possible, by playing things up, taking things back, knowing what to render and knowing what to leave diffuse. In the end, as I am experiencing now, this is the key to not only getting a realistically looking picture (like in a photographic sense) BUT also a pice which feels realistic, transporting realism and principles of perception in a STRONG way.
I really changed to that attitude basically from one moment to the other, feeling that it really helps me and my development.
Unfortunately this means shit for working as a concept artist, at least as I see it, since concept art is basically about who is better at rendering the shit out of everything, pleasing teh art director even if he takes your image and zooms in into like 500% in Photoshop. Its silly and it'S sad somehow but I guess this is just teh way it goes :)

So enough ranting.
This is basically it. Here is a little stilllife I set up. one is in pretty dark overcast lighting one one in this crazily intense and ugly artificial desk-lamp lighting.
These were done CRAZILY quick, like maaaybe 15 minutes each, just slamming down the pixels in actually two different approaches. Obvioulsy the second one was done with the opacity setting switched off, which is a great exercise and what I will do way more frequently in the the fullres PSD here:

The filesize for these two sketches is ridiculously high but I just didn't notice I I figured that maybe it would be nice for some being able to zoom in like crazy, even If I painted them staying zoomed out having them on the screen in about double the size of a credit card or something like that.

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