View Full Version : Helzer's Sketches
08-06-2008, 04:08 PM
Daniel man....u know im watching...excellent stuff everyday...since day one...superb bro. U have maintained that style. Im still looking for mine..
08-06-2008, 04:46 PM
Thanks, Rabid1 :thumbsup:
NR43, first, thanks for the nice response and great question. In my mind, color is the least important. It's just bonus fluff, which often gets wildly over-used. The key is limited values and temperature.
Most of the time, I start out in gray-scale with just a few values. If your composition works in B&W, it really doesn't matter what color you decide to paint it afterwards. I say that in the context of creating a solid appealing painting and not necessary creating a realistic piece. For instance, in the above painting, the sea could be painted in purple and red. It may look alien and strange, but as a composition it still works fine.
Technically, I will do a greyscale all on one layer. Once that is complete or gone far enough to give me a guide, I will duplicate the layer, convert the brush to overlay or multiply and rough in some color - but not so much to drastically change the value study. Then, I return to normal mode and paint away.
From a traditional sense, I tend to think of the overlay and multiply modes as a form of glazing and normal mode as opaque paint. So, like a real-world painting, I alternate between these two types of applications until I get the desired look. As an example, the blue portion of the water is more transparent and rendered with glazes. The green portion, on the otherhand, is more opaque and rendered more with the normal brush tool.
I hope this answers your question. I could go on, but it might be a bit long-winded :)
Hey, I checked out your portfolio and your drawings of anatomy are top-notch! Awesome work!
Nazirull - Thanks, man, I hope to retain some of it :)
08-06-2008, 08:52 PM
08-07-2008, 03:41 AM
Great explanation, man. I'm always wondering those same sorts of things, but for some reason I rarely bring them up. Haha.
Anyway, super paintings, man. These last two are so great.
The dancing lady reminds me a lot of - again - Sargent. That one piece with the dancing lady and the guys in the background with vaporous shadows.
Thanks for taking the time to answer and checking my page!
So it's a matter of choosing the right values :)
The reason I started thinking this way was because of the limited time we get in the DSF assignments. I was silly enough to think that I'd be faster working in color right away, but now that I think of it, I do spend a lot of time correcting.
Thanks man, this really helps me to bring more structure in my learning process.
Will tackle this!
08-07-2008, 07:57 AM
Oh my gosh, fantastic work. The lights, colors, the sense of movement, the rough style. It would be unfair to tell you are very talented, better said you work on yourself hardly and here's the result. It's very motivating to see your progress. >:)
08-07-2008, 06:14 PM
staticpen - Many thanks :)
NR43 - You're welcome. For myself, if I was to start out in color, it would take me twice as long with twice the frustration, because you're juggling two problems as once. If you get the values down, glaze it, and opaque it, then part of the process becomes systematic. And, once you have a routine, it's easier to push it, in regards to speed. Thanks :)
siiilon - yeah, someone once told me, it's all about mileage :) Everyday there's something new to be learned. I appreciate you stopping by with the kind words, Thanks!
08-08-2008, 10:27 PM
Ah, you exhibit something here I was just thinking about trying. Hahaha. Speaking of the neglect of detail in shadow shapes, particularly of the standing figure. I really like that look. Reminds me of the artist for the old Playstation game Alundra. This (http://underworld.fortunecity.com/mission/145/precios.htm) isn't a very good example, but it's the best I could find. You can see some of what I mean in the face of the bad dude in the back and around the waist area of the dude in the middle. Just click "Alundra" on the right, second row.
Anyway, nice one, haha.
08-09-2008, 01:38 AM
Yeah, I really like that look too. I have a few books on Frazetta, Howard Pyle and NC Wyeth and they incorporate it quite a bit. Shadows are great for tying separate objects together which helps unify the composition. For example, Frazetta's Barbarian, the shadow legs merge abstractly into the mound of corpses and skeletons, as well as, serving to the form of the woman. It's such an appealing technique. :)
The Barbarian (http://alexcastromodels.blogs.com/photos/uncategorized/2007/08/28/frank_frazetta_thebarbarianbig.jpg)
By the way, thanks for the link!
08-11-2008, 09:09 PM
Just a 20 min sketch
08-11-2008, 09:54 PM
nice sketch very dynamic. Too bad that the left foot is missing but never mind. What I would like to ask you is how do you approach an image? I am amazed by the variaty of your images. When you start on a blank sheet do you know what you going to draw or when do you decide that. Because thats often a problem of myself. Sometimes I know more or less how a picture should look like and then normaly the picture will end up with a more or less "pleasing" result. But sometimes when I just want to make a quick sketch I feel like brainsucked... Do you have any tipps on that?
08-11-2008, 11:20 PM
When sketching this is my process:
1. I start with a small pressure-sensitive airbrush
2. I scribble in "wire-people" directly on the white background. Be loose, fast and whimsical during this stage. I not only do these when I'm creating a serious composition, but I do them just to pass idle time. It really helps you develop a sense of rhythm to your characters.
3. Make a copy of the layer, pull up hue/saturation and lighten it until it becomes nothing more than a ghost of a shape.
4. Then with the same brush, perhaps smaller, clean it up. Use line in an economic fashion. Add details where necessary. Evolve it and develop it.
That's the gist of my process. The image below took under 5 mins. It's crude, but to the point. I hope it helps. Let me know if you have any questions. :)
....just to expand on the idea, I took the right scribble a step further...and so-on and so-on (20 mins):)
08-12-2008, 03:22 AM
Great figure sketch, dan. :) A lot of movement in there, and the torso rotation looks pretty legit. Specifically, that upper pelvic/oblique line. Good call.
I really appreciate this last blue sketch, too. It's so great. Once again you've managed to make negative space interesting by using suggestion and texture. :)
If I might be so bold as to request a tutorial, would you mind covering how you use the sharpening tool in conjunction with layers to create that particular texture effect we see so often in your images?
Thanks for sharing this!
I not only do these when I'm creating a serious composition, but I do them just to pass idle time. It really helps you develop a sense of rhythm to your characters.
Imho, you could have highlighted that one ;)
08-12-2008, 05:47 PM
Thanks guys :)
So I put together a quick step-by-step tut at the request of Static. However, after reviewing it, I'm not sure if it will help much.
First, I scrbble out some form...I went with a drunk pirate. As it illustrates below the first picture, I only used an airbrush at various sizes.
Second, I added some color, mostly all warms with green as an accent. I used a combination of three brushes: airbrush, chalk, hardbrush.
Third, I played with level and hue/sat to hide details in the shadow areas, enhance mood and dramatize the light.
Fourth, I added light beams with airbrush and I used the wedge-shaped brush for other areas- I could have not used it and it wouldn't have mattered much.
Fifth, I duplicate the layer and run a postize edges filter on the image, move the layer under the original, then on the original, I begin erasing areas out that are mostly illuminated by light. The detail and textured from the bottom posterized layer lends extra detail to the focal area. Once I'm happy, I flatten the image, which I constantly do. I don't work with many layers.
Note, I don't always use the posterize edges filter, sometime I use unsharp mask, sharpen edges or I overlay a texture. Sometimes, I will try one approach and if it doesn't look good, I will try something else until I get desirable look. It's just a matter of experimenting and having fun.
I hope this helps :)
Barring the tutorial setup, the sketch was just 15 minutes.
08-12-2008, 09:15 PM
Thank you Daniel for answering my question in depth. I will give that a try for sure. The tutorial sounds interessting as well I will experiment with these technics. Thanks
08-12-2008, 11:50 PM
Aaaaaah, thanks very much dan. :) I loved how you laid out the tutorial with brush samples and everything. Looks great!
08-13-2008, 02:19 AM
very helpful!!!thanx :beer:
08-14-2008, 05:39 PM
You're welcome, guys :)
On some other thread, I was explaining the importance of distinguishing foreground, middle ground and background. Many times, after scribbling in an idea, I'll create a layer for each F, M, and B with a chosen value and 100%.
The values you establish at this point will prevent you from straying with too many transgressional values. By that, I mean, unnecessary values that degrade and confuse the established planes.
Creating a solid F, M, and B will keep your visual message clear from beginning to end.
In terms of applying paint, you need only to apply the paint to the parent ground. For instance, the black area would be composed of only dark color(s) relative to the other two planes - it doesn't need to be black, nor should it. The same idea is carried through with the remaining planes as well.
In addition, I created three different variations, each evokes a different mood and creates a different situation. It all depends on the message you want conveyed.
At some point, I'll actually create a painting from this and revisit the subject. Perhaps it will make more sense then. However, if it help now...all the better :)
"Tarzan discovers Jane"
08-15-2008, 09:26 PM
Ooh, this is gorgeous! I can't wait for this to get painted. That is what you alluded to, yes?
But yeah, I definitely feel the third one. The second one too, though, hmmm. I think I would choose 3 in the end. Not only do you get a great silhouette frame, but it's the only value composition where Jane and Tarzan are different values, and the image is about Jane here. Jane pops most with 3.
Great stuff, and lovely tutorial!
08-15-2008, 11:10 PM
Thanks Static, yeah I will shoot for the second or third one, when I get around to it. :)
08-16-2008, 04:31 AM
Mm, the clish-clash of red and green. I tend to rely too heavily on those two or yellow with purple hues. What would you recommend to get color to pop in your images without using the obvious compliments as a crutch?
08-16-2008, 05:35 AM
Static, yeah, when I'm rushing through things I will do the samething because compliments are fairly easy to remember. Plus, they always pack the most punch. There are other alternatives, though. You can try analogous colors and splash in modestly some color of the opposite in areas you want to draw attention to. For example, you can have a earthy composition composed of reds, siennas, oranges and such, and then, perhaps, the character my have a cool blue scarf.
Or, for another color scheme, you can do the triad approach by imagining a triangle around the color wheel and using those colors. Just be sure one is used more throughout the painting, in a dominant fashion.
Another approach, is to use colorless or gray colors and then use a color with higher intensity....sparingly of course. I created this little guy below just to illustrate my point.
I hope this helps. There are many other ways too, I'm just naming a few that come to me at the moment.
08-16-2008, 08:24 PM
Mmm, good call, and thanks for the illustration. So there are compliment focal points, analogous, temperature, chroma, value, sharp/fuzzy... That's about where I run out of ideas off the top of my head.
I'll give these a go with my next couple speed paintings.
Wonderful sketch, by the way!
I'd like to point out a few very useful articles by James Gurney on the topic of colour choices on the wheel... He uses color wheel masks IRL...
08-16-2008, 10:22 PM
Wow, that's awesome. I've just skimmed to see if it would be of any interest, and I'm definitely interested--actually, more like, fascinated and mind-blown. Thanks a bunch, now I have something worthy of reading this weekend. :)
08-19-2008, 07:38 PM
This is an update to the little tutorial I did a page back or so.
08-19-2008, 07:55 PM
Hell yes, i was hoping you would take one of those compositions to this level. Thanks for sharing all the color tips, i'm trying to absorb as much info as possible. Loving those textures!
08-19-2008, 08:46 PM
the tarzan image is fantastic, daniel! This really rocks! Compostion, textures really cool!
The only thing that bothers me just a tiny little bit. The yellow rock seams a bit flat, and I seems as if it would not cast a shadow onto the cave beneath it. Do you know what I mean. But overall I can't say how much i like that image!
08-20-2008, 03:02 AM
Good grief... that's just so gorgeous, man. I commend you on your skills several times in a row. ;) I think you chose the best value composition of the three, and the color selection is just wonderful. It's a nice warm shadow/cool highlight vibe. The detail in the foreground tree is just out of control, too. Did you paint all of the details by hand? It seems like it's made of random scribbling underneath a few intentionally painted details + texture.
And how you got the look of those rocks, I have no idea. I can't tell if it's texture or hand painted - and that's probably the best compliment I can give!
10-12-2008, 04:14 AM
Hey, thanks a bunch for the feedback and kind words everyone. It's been awhile since I last posted. I've just been busy with life and work. Anyhow, here's a quick sketch I did for someone over at the Steam Punk modeling competition.
10-12-2008, 06:12 AM
...and he's back!!! Good to see you again!!! Nice Vader sketch!!!
I love the whole Steam Punk Star Wars idea. I'm blown away by all of the cool ideas that come from that concept.
10-12-2008, 05:54 PM
...yeah, Steam Punk is a pretty cool genre. I agree, some of the stuff on that thread is staggering. Glad to hear from you and thanks for the good word.
Here's a quickie I did for the Luke character.
10-13-2008, 07:06 AM
hey cool, good to see you back.
10-23-2008, 06:00 PM
Thanks Ted. Unfortunately, I'm back, then I'm gone, then I'm back. I've been real inconsistent as of late. As I mentioned, just been busy with work and I'm doing a lot more traditional painting as well. Thanks again, though :)
Dorthy from OZ, zombie style. (30mins)
10-23-2008, 06:40 PM
Welcome back, Dan! I've missed the activity in this thread. Is there a chance we'll be able to see any of those traditional pieces in the future?
10-25-2008, 12:05 AM
As I've said before, dan, and I'll say again, phenomenal thread, man!
I see you're still trundling along towards sketch 1000!
Always amazing stuff and none of your work ever disappoints!
10-25-2008, 04:59 AM
Staticpen - Thanks static, I will try and post some traditional stuff in the future. My big scanner went out of commission a couple of months ago and since then I had to relie on a much smaller one thats integrated into my printer. I might paint some smaller stuff down the road just so I can scan it. I don't have anything fantasy related, though, it's all figurative stuff and portraits. Anyhow, I will keep you posted. Thanks again :)
Redfrog - Thanks for the motivation...it's going to be awhile though, I've been really slacking on posting regularly. You've been busy on some stuff, though :) Take it easy, Red...your kind words are much appreciated!
10-30-2008, 04:51 PM
40 mins sketch
10-31-2008, 09:07 AM
Always with style...
10-31-2008, 09:39 PM
I haven't heard from you in awhile. I hope all is going well. Are you still pursuing a nursing degree? In any cse, thanks for the kind words. :)
25 min sketch
11-02-2008, 04:04 AM
11-02-2008, 05:23 PM
11-02-2008, 06:51 PM
Yes all ok.
No I was working in a hospital but I've got a degree in artificial intelligence :)
Beautiful horse-knight pic !
11-03-2008, 03:37 PM
Right on! Glad to see new work from you Daniel, you must be finding inspiration, and now so are we lol. I'm always amazed how you incorporate so many elements to balance each quick paint you do. Many tricks up your sleeve eh lol :D
11-08-2008, 06:26 AM
Serena - wow! congratulations....sounds like fascinating work :) And,thank you, by the way.
Rabid 1 - Sketching definitely allows you to experiment and grow in so many areas: compositoin, color and such. I'm glad you are able to get something from them. Your insight is much appreciated...thanks:)
Went out drinking after work, came home and popped this ugly little sketch out. About 25mins. worth.
Vampire babe with yellow bow in hair.
11-11-2008, 05:15 PM
11-11-2008, 07:24 PM
Very cool Daniel, i'm digging the anticipation of butterfly dinner in this last one, plus those textures are wicked....def needed a few looks. The Vamp chick is pretty freaky, might want to try a different bar next time.... or maybe clean the beer goggles lol.
11-12-2008, 02:01 PM
Ha, funny stuff, Rabid :) Thanks!
This is just a 10 min one before going to bed last night
This is an oil painting I did over the weekend, 3hrs worth.
11-23-2008, 01:24 AM
It has been awhile, again. Just been busy at work. They've laid off 300+ workers and began a restructuring effort throughout the company. Luckily, I'm part of the later. Anyhow, what time I have, I would like to get involved in the Steampunk competition. The prizes are amazing which makes it pretty hard to ignore. So, I will be focused on that for a little bit, amongst other things. With that said, here's a 35 min sketch.
Hey that would be cool... would love to see what you'd paint for the Steampunk Challenge
11-25-2008, 02:07 AM
Hey thanks NR43 :)
11-26-2008, 03:10 AM
Lol that heart shaped button actually made me laugh
That bearded man oil painting is really beautiful btw!
I always appreciate your traditional work. While your digital speedies are also beautiful, your traditional paintings have something special that I can't find in the digital ones. Hard to explain really, but they look more natural to me.
11-27-2008, 12:20 AM
Thanks NR43, since you mentioned traditional stuff, I decided to do one tonight. :)
Acrylic on some sort of multi-media paper, 90 mins (the cross: digital afterthought)
11-27-2008, 06:30 AM
wow, dig the cardinal daniel. i'm going to dig out some paint now i think :)
11-27-2008, 02:10 PM
Definitely do that, Jpedro. :) I'm curious, if there's enough interested, if it would merit its own thread?
Here's an oil I did last week:
Here's a digital piece I did a few months ago for a PS seminar I attended in Vegas:
Here's just a rough of a personal piece I'm working on: Some sort of demon sorceror zapping a little fairy or something. It has a long ways to go, but I thought it might be of interest.
11-27-2008, 06:01 PM
daniel, having a thread for traditional pieces is a really good idea i think. i guess you probably meant for your own work, which would merit one for sure and i WOULD watch that.
i am even wondering if having sth. similar to the speedpainting threads where several people can post their stuff would be cool for acrylics, or oils...stuff done in traditional painting techniques.
anyways, really dig the demons right hand and thanks for the inspiration :thumbsup:
There's a lot of traditional work posted in the Personal Anatomy & Sketchbook Threads Subforum (http://forums.cgsociety.org/forumdisplay.php?f=200), which is part of the Artistic Anatomy and Figurative Art Forum
While these are mostly about figurative art, it's also allowed to add other stuff there...
11-28-2008, 02:14 AM
NR43 - Thanks, I'll have to check that thread out. This site is pretty big and there's a lot I don't know about.
jpedro - I was thinking more of a community thread for everyone. Just sharing ideas in relation to traditional media and techniques...maybe a weekly theme or topic.
11-28-2008, 07:24 AM
thanks NR43, i second what daniel said, so many unexplored subsections...
daniel, that's more or less what i meant too when i compared it to the speedpainting thread. it would be great i think, specially the sharing aspect of it.
11-28-2008, 11:22 PM
Jan, sure lets start one and see what happens. I'm away for the holidays now but will return tomorrow. I'm guessing I'll knock something out Sunday, start a separate thread and see if it entices anyone to join in. However, if you want to start one before then, go for it. Either way, we'll get the ball rolling :) Sounds cool?
that sounds great! I would like to contribute, too. Are any traditional media, ok? And, erm, any level of expertise...:D?
11-29-2008, 06:10 PM
awesome daniel, i'll wait for your thread and then post something in there i did today. with regards to Mu's question, i would say all traditional media is cool as long as it includes "proper" paint somehow :) ...what do you think?
okay, scuse the sort of hijack of your thread for this, but at the same time thanks for initiating and the cool idea!
11-30-2008, 05:41 PM
The thread is active now...and it's open media, Mu :)
Acrylic, 2.5 hours
11-30-2008, 09:36 PM
30 mins, digital.
12-03-2008, 05:49 PM
Abstract color study, 35 mins.
12-07-2008, 01:09 AM
Ah, Daniel, it's nice to be able to catch up on things in here. :) I particularly enjoy the sketches of the woman in red/woman in yellow on the previous page. I feel like the shaping of the poses is really well presented, and I dig the yellow and white background broken up into section of the mecha-lady. It's a bit of an abstract flair, which I really like in tandem with portraiture.
Keep it up, man. :)
12-07-2008, 04:25 PM
Hey, Static, thanks a lot :) That kind of stuff is always fun to do, although I told myself, I would start doing more environments - I feel it's my weakest area. By the way, I just checked the update on your thread and the Henry Yan piece is sweet! I actually have his book on my Amazon wishlist amongst dozens of other art books that I've been meaning to buy. So, how is it? I'm guessing it's pretty good if you're busting out work like that :)
12-07-2008, 10:21 PM
Ah, gorgeous! I just want to shoot that eyeball with a nice bow and arrow, haha. Zelda status. :p But really, I dig the silhouette framing and how details get lost in the distance. Well done, mate.
Thanks man. :D Certainly, studying Yan's book has helped me heaps. A lot of art books will tell you what to do (render a circle by blending the values) where Henry explains things on a deeper level, giving photo examples of techniques. He'll go a step further and not only tell you to blend, but how to blend. Needless to say at this point, I highly recommend the book. :)
12-07-2008, 10:46 PM
Thanks for the good word and I'll push that book to the top of my list. I actually checked out his website and he has some really sweet paintings as well.:thumbsup:
A couple hrs.
12-08-2008, 10:57 PM
Hmm, I like this, but I'm confused by the value selection. I dig the patchwork ground and the milky blue background, but the ship seems a bit like a cutout here. Like a marker drawing in the middle of a watercolor. You've got near-black in several spots of the ship, but the ground underneath is just bits darker than the rest of the ground, you know what I mean?
:thumbsup: for composition and the idea, though. :)
12-09-2008, 11:16 PM
Yeah, you're right, the shadow needs to be more stark since it's in the middle of the day with sharper edges. And the darks around the ship needs some bounced light. I remember that next time when I do a similar study :)
20 min cartoony hippie sketch
12-10-2008, 03:37 AM
Pencil on brown paper.
12-10-2008, 06:57 PM
This reminds me of uuh... what's his name. He does great sketches across pages of a moleskine notebook. Mattias O Adolffson. This guy. (http://www.mattiasadolfsson.se/index.html)
So yeah, fun stuff. :) Nice to see some natural medium coming in again. I really enjoyed your acrylic portraits back in the day.
12-12-2008, 01:41 AM
He has some great work, I've got him book marked. Thanks, Static :)
I had a studio class last week where I did a bunch of quick studies of the model. After I scanned this particular one, I noticed small blobs of paint sticking to the scanner glass. So, I decided to wait until they are completely dry before posting.
oil on canvass
12-12-2008, 04:33 PM
30 mins. Digital
12-13-2008, 05:10 PM
Angry Drunk at Company Christmas Party
12-14-2008, 11:27 PM
I saw the Monkey King with my wife last night, so I decided to do a little piece about it.
Somewhere around 4 hrs./ Acrylic on water paper
12-15-2008, 01:14 AM
Daniel...wut a body of work....relentless.
U know im watching ya....dont stop bro
12-30-2008, 12:43 AM
Happy New Year, mate. ;D
I just smiled, shaking my head at the drunken dude image. Way to use those compositional skills, man. Your usage of the arms to make an ellipses is really effective. :D
12-31-2008, 12:12 AM
Thanks, Static, and a Happy New Year to you too....and you too Nazirull :)
01-01-2009, 04:09 PM
great thread and wonderful work!
01-17-2009, 11:14 PM
Thanks, Kravenous :)
It has been awhile but here are some traditional studies and a quick digital piece.
01-19-2009, 03:22 PM
Here's an illustration I started as a freelance project for a particular author. Unfortunately, I ditched the job because the amount of requested changes just buried any chance of profibility for me.
01-19-2009, 06:34 PM
wow, the traditional work looks cool. shame a bout the project, but sometimes it just get to a point i guess...
keep knockiing them out!
DaniŽl, do you have Corel Painter?
I think you would really love the oil brushes and palette knifes etc... because those can give your digital pieces that extra punch that is so present in your traditional work.
If you don't have it yet, you may want to consider buying Painter XI (which will be out soon).
Something else, how do you digitalize your traditional paintings?
How do you photograph them?
01-20-2009, 06:38 PM
Thanks, Jpedro. Yeah, I've gotten burned-out on those kind of jobs a long time ago. Unless, I'm desperate, I don't mind dropping them and moving on.
NR43 - It's strange that you mentioned that because I just got it. The last couple digital sketches have been a fusion between PS and Painter. I've mostly been tinkering with the digital water brushes and some of the smudge tools. I plan to dabble more with the oil paint, though.
Concerning the traditional stuff, I just scan it when it's completely dry. Some pieces are small and fit fine into the scanner. The bigger pieces I will scan in a couple of sections and composite them in PS.
I hope this answers your question :) Thanks!
Thank you sir.
Looking forward to see when you'll be getting to like Painter :)
01-21-2009, 06:19 PM
Ah, I don't have time to be specific, but these latest posts are so great! I dig, sir.
Have a good one!
01-21-2009, 07:16 PM
David and Goliath piece is fantastic! Love it!
Sensational work Daniel.
01-21-2009, 08:59 PM
NR43 - Yes, I hope to improve my "Painter" skills. There are things I diffently like in the app but I'm really partial to the standard hard brush and airbrush in PS - those are my workhorse brushes :)
Hey Redfrog and Static thanks for dropping by :)
01-22-2009, 04:00 AM
Quick characture done with acrylic and illustration board. Digital afterthoughts with some hair strands and a hard edge on the shoulder.
01-23-2009, 05:43 PM
Lovely colors, mate. :D It looks like you had some fun with the smudge brush, too, which is always welcome. Lead on, sir!
01-24-2009, 05:02 PM
Yep, I smudged some....thanks Static :)
01-26-2009, 09:09 AM
hi, sweet thread! one of those that make others want to work harder :)
02-08-2009, 07:33 PM
Thanks for the kind words, Alenah :)
45 min. sketch
02-09-2009, 04:52 PM
Looks pretty Frazetta-esque. But that could just be because that dude has such a corner on that genre... you can't see anyone with a helmet and sword and not at least KIND of think about Frazetta. Hahaha. But great job, Dan. I also really like the last one you posted on the previous page. Blue and yellow + drapery really gets me.
02-10-2009, 03:20 AM
Hey Static, yeah he's one of the most popular artists of that genre. I'm also a really big fan of his. I have five of his books and his dvd. He's such an amazing talent. I remember my mom bought me my first book of his when I was ten or twelve years old. Each page was to be marvelled at. Anyhow, thanks for the good word, man :)
Riders On The Storm
02-12-2009, 02:42 AM
I spent a couple of hours polishing up the above image.
02-13-2009, 02:59 AM
Ah yeah dude, that skull looks heaps better with the from-underneath perspective you put on it. The picture really is about the skull for me, and I think the fervor you put in your brush strokes worked out great. Nice piece. :)
02-18-2009, 04:02 AM
Thanks Static :) I intended to polish it a little more this weekend, but when I opened the file my jaw dropped: I typically do these at high-rez and when I want a jpeg for the web I drop the file down to 72 ppi. I don't save the actual file at this size, I revert it back to 300 ppi....except for this particular time. Like an idiot, I accidentally saved the working file at low-rez. So, that one is dust....
02-18-2009, 05:28 PM
Ah, bummer! That's too bad, man. I've had my share of image-losing woes... I lost a hard drive full of my old oekaki sketch paintings from 2000-2005. Lots... of paintings...
But this latest one is super rad! Haha. I really like the aesthetic you've got going on with the texture and transparencies and brush variety. Really nice.
02-19-2009, 01:27 AM
Sorry to hear about your oekaki sketch paintings. That's a lot!
Thanks about the comment on the last piece, it came together fast because it's sort of deceptively abstract.
The company I work for got me a Cintiq today, this is something I jotted down to give it a test. There's some big pluses to it, but there are some minuses as well. In regards to sketching and drawing it's awesome. You can move your whole arm when applying a stroke which helps with curves and such. On the otherhand, when I actually start to paint and polish, it feels awkard and cumbersome. My workflow is hampered too. Thankfully, they got the computer rigged with two video cards so I can alternate between the tablet and the Cintiq when desired. Anyhow, this is my little rough...30mins.
02-19-2009, 01:27 AM
Stunning as always, Daniel!
Question: When you go about an illustration piece how do you go about selcting you color palette? Do you already have the colors in you head, do you use ref? I'm curious as I love the palette you use in your pieces.
02-19-2009, 04:13 AM
Thanks Redfrog :)
How I pick a color palette?
I have a handful of techniques that I alternate to and fro. I may use one because I'm in a rush and I may use another because I have a preconceived idea in mind and I may use another for an entirely different reason.
At some point I intend to illustrate each method, step-by-step, on my blog. Until then, I'll just write it out for you. Hopefully, I can convey it well enough :)
Just a note, I generally compose my work in grayscale first then paint afterwards.
Method 1 - I will add a color gradient adjustment layer to my grayscale artwork. The gradient should have opposing values. One dark and one light. Sometimes I will choose an analogous color scheme such as red and orange. Sometimes it may be complimentary such a purple and yellow. Afterwards, I will flatten the adjustment layer out of existence, and build the painting by sampling colors from the applied gradient. The painting won't be daring color-wise, but it will be sound, solid and harmonious.
Method 2 - I use this approach when my work is not grayscale but simply a sketchy line drawing resting on a layer above a white background. The four-armed red chick (above) is a perfect example of this approach. Anyhow, I will turn the white background into a solid color, such as a yellow. I may add subtle value variations to this yellow background, as well. Then, I will pick any other color but yellow and paint on top of it with different opacites or just a pressure sensitive pen. When you do this, yellow will act as the anchor color to all the other ones because it will be mixed in to varying degrees with the newly added colors.
Method 3 - use a colorwheel. I have a color wheel that I scanned and keep as a psd file. With the file, I can create a compliment palette, triad, analagous, duel compliment, cool or hot, whatever. I actually have an example of a triad painting on my blog you can check out.
Method 4 - I have a brush that looks like a fuzzy rectangle. The spacing is set apart some, as well as the angle and scattering. I also have hue jitter enable 10%, saturation 0, brightness 10%, purity 20%, foreground/background 0. Next, I change the brush to color mode and paint over the grayscale. Make sure the brush is fairly big, no little mouse turds. After a few splatters of color, switch to overlay or multiply or both and add a few more splatters for variation. All the colors at this point should not adhere to any form. Basically what you have before you is your palette. Sample colors directly from here, give them order, build them up, etc.
That's about it. I hope it makes sense. Have fun :)
Wow DaniŽl, the last few of your posts leave me with a zillion solutions to experiment on :)
I'm bookmarking post 1106 ^^
I owe you a HUGE THANKS and what more for posting this valuable information Sir!
I didn't know you have a blog so I'm adding that one to my list as well while I'm at it.
No time to read it now but I will soon. (one can never learn enough)
The sense of scale in the last piece makes it really hilarious.
I think you could make it a bit more interesting if you could push the little guy's expression towards a more "what you lookin at" or "are you talking to me buddy?" expression.
LOL pretty funny anyhow
02-19-2009, 05:39 PM
No problem, I'm happy you can get something from it :) I want to put more stuff like this on my blog. I'll update it this weekend with one of the above steps with pictures.
I agree with the expression you recommended but ran out of time. I wanted something to practice on my new Cintiq. As I mentioned above, I was a little frustrated with the painting aspect of things. This morning, though, I did another practice doodle before actual work and I'm definitely getting more use to the thing. This one below was 25mins.
02-19-2009, 07:15 PM
Really awesome of you to go into detail for us, man. I don't have time to read it all and comment properly, but I am saving it to take home and read carefully.
Grats on the new tools, by the way. :)
02-20-2009, 12:57 AM
Thanks Static and you're welcome :)
02-20-2009, 08:05 PM
hey daniel, great stuff as usual, and patience with the Cintiq, it took me a bit if getting used to as well, i love it now.
guess the main advantage, painting or drawing directly on screen brings back the only disadvantage as well, namely that you sometimes block the view, which never happens with a common tablet. but i found that the touch and its preciceness were superb from the getgo. and once the getting used to stage was through, i was and still am very happy.
keep rockin man :)
02-21-2009, 09:41 PM
jpedro, you're absolutely right: my hands get in the way when selecting brushes, file menus and such. It's much easier to watch the little arrow select stuff. With that said, I'm adapting and liking the Cintiq more and more each passing day. In fact, yesterday at work was a very productive day for me. I got things done that I didn't think I would finish until Monday or Tuesday of next week. And, it's all due to the Cintiq. I guess change is good :)
This piece is part of a "quick color palette" tutorial that's posted on my blog. About 3.5 hrs.
02-22-2009, 07:02 AM
Very elegan palette, however I know you as someone that is used to try... maybe to write this tutorial you locked a little bit your soul ;)
02-22-2009, 07:55 PM
Well the tutorial is just one way to work, but it's not the only way. If someone can benefit from it, I'm happy...perhaps, the good deed will even save my soul ;)
A 20 minute sketch along with a 90min painting.
Land of the Lost
02-23-2009, 03:06 AM
A Flash Gordon concept
02-23-2009, 08:28 AM
Really great works, I've been watching your thread with enthusiasm. Flash Gordon has really great composition. Keep doing, it's so motivating for us >:)
02-23-2009, 02:26 PM
Hey Daniel great updates man you've been kicking some serious arse of late. I especially like your concept for Land of the Lost, very cool composition with the Dino coming in and out of the canvas like that. I do feel like your values may be over-darkened in the colored version though? Could be my monitor, but the extreme shadow areas just look like black spots of color...just seems like you'd be able to see a bit more form there...similar to the sketch? Anyway i'm always intrigued by your dynamic approach to any work, and always inspiring!
02-23-2009, 05:30 PM
siiilon - Thanks for the good word :thumbsup:
Rabid1 - Thanks! And yeah, it maybe a tad too dark. Everyone's monitor is slightly different and it's hard to compensate for all those variables. In any case, I will move the brightness on my monitor just a few tads. Hopefully, I'll reach a pleasing middleground :)
02-24-2009, 02:05 PM
This is a value study of a model I did for my class last night. It was a 40 minute demo. She had a beautiful pensive expression about her and an endearing little pout. On another note, I took a picture of a huge canvass I purchased at Aarron Brothers. It was part of a sale: buy one, get the second one for a mere penny -- unbelievable. So, now, I have two of these whoppers. Last weekend, I decided to use one to do portrait studies. The plan is to eventually fill the whole thing, but it'll take a little time. :)
02-25-2009, 04:56 PM
After another 25 mins.
02-26-2009, 09:21 PM
You beast! You post faster than I can get online to check threads. :p
Great work, man. Those are some really solid concepts, and I'm really interested in seeing you fill up that canvas with portraits. :D
03-01-2009, 12:06 AM
Thanks, Static...hopefully I can add a couple more faces this weekend :)
60 min worth of concepts for Robinson Crusoe.
03-02-2009, 07:14 AM
I love your studies over canvas : I think they got a lot of personality!
A question : how have you obtained this beautiful paper-effect on the last pics?
03-02-2009, 07:11 PM
Ah, wide format composition... always a fan. Great mood here, Dan. All of the negative space and grain really help convey loneliness and solitude.
03-02-2009, 08:53 PM
Hi Serena and thanks! I only had time to add another face to the canvas this weekend because I got pulled to another painting. When I got it completely filled I will post it :)
By the way, I did a quick tutorial about the "paper-effect" on my blog. http://www.helzersketch.blogspot.com/
Hey Static, I like those panoramic formats too. They give you plenty of room to increase the scale of the enviroment. Thanks for the good word!
A few character sketches
03-03-2009, 07:48 AM
Man, THANK YOU so much!
You tut is incredible cause you used a SO SIMPLE trick that I think in these things you are a genious. Obviously you know I'll apply your technique if you allow me ^__^
I love the way you describe faces but the last pic seems a little bit " a collage"
See you !
03-04-2009, 08:20 PM
great mood in the crusoe shots daniel :thumbsup:
03-09-2009, 03:00 AM
Serena - You're most welcome...and, yes, please use it if the need arises. :) Yeah, that character collage are some rejects that I did at work, I just thought I'd post them since they'll never be used.
Jpedro - Thanks, I appreciate it :)
03-09-2009, 08:19 PM
Violet and yellow? Yes please. I used to use this for skin a lot back in the day... really bright, mild, pastel-ish yellow skin tones and purple shadows. My favorite color combination. Good diagonal lines, too, mate. The jewelry really works for me. :D
03-12-2009, 05:36 AM
Thanks Static....you know, I think that may be my favorite color combination too. I have a tendency to gravitate towards them. It becomes predictable after awhile, but I like the mystical vibe of the purples and violets. And, the grays produced from them are really beautiful.
03-13-2009, 01:56 AM
Yeah! I love symmetry and profiles. Put the two together and I'm sold. It's loose, dirty and splendid, Dan. ;)
03-15-2009, 05:31 AM
Hey thanks, Static :) Speaking of symmetry, have you checked out that little program called Alchemy? I've played with it a little and it seems you can create some really cool stuff, especially in regards to symmetrical designs. There's also a cool demonstration video with Andrew Jones. If you haven't seen it, here's the link http://al.chemy.org/
03-15-2009, 06:44 AM
Wow dude, Alchemy looks super interesting. Just the thing I've been looking for, too, being a good way to create random silhouettes for sparking concept characters or enviros. Just finished the download, actually. Looking forward to trying it. :) Thanks man.
Workhorse is fun and dynamic, by the way. ;D Gotta learn to use those tottering horizon lines to good use like this...
I downloaded Alchemy as well now... had heard so many great things about it already.
Will give it a try later this week
Lol I guess that horse had enough
03-15-2009, 05:27 PM
Thanks guys :) Yeah, I just downloaded it for my home computer. I had downloaded it at work and played around with it a couple of weeks ago. I neglected to take any of the experiments into PS and elaborate of them, though.
However, this morning, I decided to make a painting from one. It's far different from the image generated in Alchemy but I think that's part of the idea behind it: to see abstract shapes and develop them into something representational. The piece below I took into PS and just started having fun and, as a result, created a scary vampire dude.
03-15-2009, 08:59 PM
Nice! Way to put the program to good use. I played around a little bit earlier today, but I still haven't figured out how to make solid shapes yet. All I'm getting are lines. I'll see if I can get something out of it later tonight.
03-15-2009, 09:57 PM
Thanks Static. If you want shapes instead of lines, hover over the top portion of the canvas to activate the menu items, then click on Style at the far left. Clicking on the Style button just alternates between line and fill. Enjoy!
03-18-2009, 05:46 PM
Great work as always!
I love "Tree Man" - such mood! :thumbsup:
03-25-2009, 01:06 AM
Thanks, Gord....long time no hear :)
"Red Raven" -- An hour
03-25-2009, 03:19 AM
Very nice water color vibe, man. Do you use airbrush for those colorful misty bits? It looks too tangible to be an airbrush.. maybe it's your impeccable technique! ;D
03-27-2009, 12:44 AM
Thanks Static, I do use airbrush quite a bit. Maybe this weekend I will do a short tutorial and post it on my blog. Thanks again :thumbsup:
03-27-2009, 05:15 AM
That sounds pretty good. Always in the mood to hear what you have to say about PS.
Great texture detail on the armor here, by the way. Is this photo texture on an overlay layer?
03-27-2009, 02:44 PM
Hey Static :) above was an experiment, more or less, to create a more painterly brush. I think I will do a tut on that too. In short, though, I picked one of PS's bristle brushes (not sure if that's the true name but it looks like a bunch of randon sized dots) and then on a separate layer, I selected layer styles and 'inside beveled' it. I had some distinct settings but just fool around until you find something you like. Afterwards, I started painting with 30% flow. It really resembles a 3d brushstroke and the more you paint over one area it becomes more textured.
03-28-2009, 03:54 AM
haha Daniel - looks like you've been jumping back and forth between past and future a lot, westerns and scifi - think you might arrive at some happy medium in the present?
things have been getting more paintery here - cool to see some alchemy too!
03-28-2009, 06:08 PM
Hey Embryotic, probably not, I like a lot of different genres and tend to get bored with just one afterawhile. :)
Thanks for the good word and, yeah, Alchemy is very cool. I wish it had an 'undo' but I understand why it's not included. They want to focus on the always-commit-happy-accident approach.
Static, I posted a couple tuts if interested.
03-29-2009, 03:04 AM
Oooh, samurai. That's a theme I'll never turn down more of...
Tutorials? Where did you post them?
03-29-2009, 03:32 AM
I'm posting them on my site.
03-29-2009, 10:38 PM
a couple of hours
03-30-2009, 03:40 AM
Ah! So that's how you do all of that bevel stuff... I read a tutorial about that emboss stuff once in a magazine but I couldn't get it to work. Thanks very much for the demo, man.
And this latest one looks like concept work for a Metroid game or something. Really digging that vibe. But if I may say something uninvited? The figure in the foreground is crucial for scale, but it took me a good 10 seconds to notice him. Wouldn't the light from the elevator machine illuminate his silhouette with an outline of blue? Both he and the machinery he's standing in front of are the same value, so at a glance I completely miss him.
But again, the mood of the gig is really fine, and I love the details in the walls and all of the little contraptions everywhere. Reminds me of the crazy universe-control-room from The Third Policeman.
03-30-2009, 04:23 AM
Yeah, good point! I've added a few light-blue-ish accents here and there to make him stand out a bit more. Thanks, Static :)
03-30-2009, 09:37 PM
Theeeere you go. :) Looks wonderful.
04-05-2009, 04:39 AM
04-05-2009, 04:35 PM
100% yes. You've got such a good eye for framing and composition, man. This is definitely one of your stronger paintings as far as telling stories. I really dig all the tangible paint stuff, too. Like the depth and complexity of each color and value, not just the texture. Swell job indeed! One of my favorites.
04-06-2009, 03:56 AM
Those are areas that I'm really trying to improve in. Thanks for the good word, Static, I appreciate it :)
quickie, just 30 mins.
04-06-2009, 05:35 AM
Haha, it seems it's just you and me around here lately... Probably because of finals... ? Either way, I dig the new one. I appreciate that you do crazy stuff instead of trendy "concept" art all of the time. Painting just enviros or people with swords and what have you in a commercial fashion. I think it's good to explore the abstract and impressionistic, to use stock words.
04-08-2009, 01:02 AM
Yeah, not much action around here. Part of me wishes the sketchbook thread wasn't buried so deep. It's very hidden. All well...:)
I need to do more experimental and progressive stuff just to see how accidents can evolve into something special. With that said, I've done something total cliche today.
04-08-2009, 08:49 AM
hey Daniel, the last few posts are really awesome, the Temple Illustration is wonderful!
gonna check your site now ;)
Part of me wishes the sketchbook thread wasn't buried so deep. It's very hidden.
Although it's a bit better at the anatomy sketchbooks forum, it's why I would have liked seeing both sketchbook forums merge together in one big sketchbook forum... not hidden, but well visible...
Anyway, you can be sure that there are people that not always post a reply, but see every update ;)
04-08-2009, 04:37 PM
Hey, Thanks Jpedro. My site is semi-redundant of this thread. There are some pieces on it that are not on here. Ideally, I would like to enter new pieces on the site different from this thread, but my time is limited for right now. I do have some tutorials and a bit more wordy descriptions for my posted work. Hopefully it will keep evolving. Thanks again for the good word :)
NR43 - I agree. It would be nice just to have a thread on the main page of the forums. Kind of like conceptart.org. In it, there could be anatomy sketch books, personal sketch books, DSG sketchbooks, etc. I suppose it would be a lot more dynamic for everyone. Anyhow, we'll see, thanks for dropping by...hear from you later :)
04-09-2009, 03:40 AM
Nice! I always enjoy your flowy compositions. They really lead the eye around effectively. Now if I could just find that ring...
05-04-2009, 02:47 PM
Daniel- congrats on all your latest weekly sketches man...and the SOTW! That skeleton painter one is outstanding.... all digital right? Your DSF contributions always bring a fresh perspective and wonderful style.
05-04-2009, 05:07 PM
Rabid1 - Thanks :) I completely forgot about those because I haven't done any cgsociety stuff in awhile. I've been busy at work with a project and, also, doing several personal pieces for my portfolio. Nevertheless, I need to get back to casual sketching...eventually. In regards to the skeleton painter, it's all digital: a lot of beveled brushes and different color modes. Thanks again, Rabid!
staticpen - I'm doing some polished work for my portfolio and that piece is one I decided to build upon. I actually completed it last night. It looks very different, but the idea is the same. At some point, I'll post it, but I have a goal to do five or six polished illustrations for my portfolio before I do anyhting else. I have two down and another two started. Thanks, as always, for the great feedback!
05-04-2009, 07:08 PM
Ah, portfolio pieces! I've been thinking about those recently... I'm too busy right now with dominance war IV and a couple other projects, but I'll be happy to draw inspiration from the work you post whenever you get around to it. Can't wait to see the stuff.
05-22-2009, 10:56 PM
...still working on some portfolio stuff, but I did this sketch today, 40mins.
05-27-2009, 09:11 PM
ijust came to see your sketch bookafter a long time.and i have noticed the big variety of work that yo have done daneil.camparimg to your old stuff,the new work of you ar amazing
05-29-2009, 02:30 PM
ghassemfarhany, thanks a bunch for stopping by :) Starting a thread definitely motivates oneself to keep practicing and hopefully become better. Thanks again for the kind words.
I have about six portfolio pieces I'm working on at the same time. They are all at different stages of development. I finished this one the other day, just thought I'd post it. It was actually based from one of Roberto's daily sketch themes titled "Neptune's Daughter". I think the name still applies here.
06-07-2009, 04:33 PM
Here's another piece that I recently finished. It's based off the rough sketch at the top of the page
06-08-2009, 03:25 PM
Awesome updates Daniel! Its cool to see you focusing on portfolio quality work- it really shows off all your tools! Your compositions (esp Neptune's Daughter) blow my mind...you really push the envelope and continually strive for different perspectives. Keep it up buddy!
06-08-2009, 07:12 PM
Rabid, thanks, I appreciate it. I've got four more pieces I'm either starting or in the midst of refining. I'll probably post another in a few days. Thanks again :)
Here's a concept I put together before heading out to lunch today. About 40 mins of work.
06-10-2009, 02:12 PM
Here's another one I wrapped-up last night.
06-20-2009, 07:56 PM
very very strong pieces in last few posts DAniel. particularly colors and composition are striking me. well done.
love neptunes daughter, but my fave is the dragon king. however if you could clarify a little how the wing on the left hand side is connected to the neck of the dragon, i think it would gain. there is something in that area that does not quite work yet in my opinion. i know, one should not look closely there, so it's good to have this area recede a bit, but i think i'd try and bring the neck forward so that it's spacially in front of the wing, that way you'd have another level of debth. the dragon-jaw helmet being the most forward(love that bit), then the neck sickle like shape going up into the skellie-lord and the third plane the circular wings, and lastly BG. jeez, what a ramble....sorry. i hope you know what i mean though :) love the image either way!
all the best!
06-21-2009, 06:24 PM
Hi Jpedro, thanks for dropping by. About the left wing, yeah I totally understand what you're saying. The problem I ran into was: do I stick with the tight composition and have a stronger painting or do I make a more accurate representation of the wing by tweaking it and moving it around? For me, the wing serves as a great use for an "O" shaped composition, but anatomically it doesn't work that well with the restraints of an "O", hence let the wing fall into the mysteries of shadow and the viewer's imagination. Now, if it was my focal point, then I would gone about it entirely different.
Most importantly, though, I'm sick and tired of working on it :P
In any case, I'm glad you like it. And, thanks for your comments :)
Here's some traditional work I've done recently.
Plein Air Study at Virginia City, Reno NV
Another Plein Air Study at Virginia City, Reno NV
A portrait study for a class I teach
Just some faces on a large canvas.
07-08-2009, 08:27 PM
quick sketch 20mins.
07-10-2009, 12:45 AM
07-10-2009, 01:55 AM
Very little i can say here actually....only enjoy ur pieces. :)
Cgrats for the SOTW!!
07-29-2009, 02:00 AM
Thanks Nazirull, much appreciated. I'm going to make an earnest attempt to get back to daily sketching. I've really become a lazy bum about it. Hopefully, today is a fresh start.
Broken Blade - 20 mins.
Here's an illustration I worked on...I have no idea the time spent.
Some other fun stuff....
07-30-2009, 01:10 AM
here's one for today...
07-30-2009, 04:01 AM
It's been a while since I've been here, dude! Lovely compositions and color selection, as always.
I should be around a little more often now. I just moved. See you around!
07-30-2009, 05:11 PM
really enjoy the plein air works, and also the little alien series.
the mindflayer vs drow is cool! you've done so much better than me....;) like the composition, which is actually really good in all of your last lot you posted!
07-31-2009, 12:57 AM
Thanks Static, where are you moving to? I read on your thread that your getting a job or maybe it was freelance?...either case, great news!
Hey Jpedro, thanks for the good word. Yeah, I definitely want to do more plein air work and hopefully improve. I really like your last "Broken Blade" entry. Very cool.
This started as pure abstract, then I saw a palm tree appear and it just continued to evolve.
07-31-2009, 03:20 AM
Lovely! Great, wide frames are my favorite. Good value breakdown, too.
Yeah, I've just moved to Portland, OR. I'm still looking for regular work, but I've presented my portfolio to Rio Grande Games in hopes that I could illustrate some of their playing cards. I'm waiting to hear back.
Aside from that, someone wrote me on CGHub and said they wanted to collaborate, but I don't know the details yet.
But yeah, it's interesting to have art-related stuff on the stove, so to speak... I've never had an art job before. Here's to starting the experience!
08-01-2009, 12:03 AM
I hear Portland is a beautiful city, the wife and I want to drive through there someday. Oregon is general is a cool state, great weather for the arts :) Best of luck on your new adventures!
Another tropical landscape....over an hour.
08-01-2009, 05:27 PM
Yeah, it's a cool place. It's been in the 100s for the last few days, though... not even one drop of rain for over a month now. Hahaha.
But anyway, there's a lot of action going on in that rock face. The water looks especially cool, too... I've always admired artists who can make cool-looking water.
08-01-2009, 07:36 PM
Wow, the 100s? We went to Ashland a couple years ago in the dead of summer and it was perfectly cool there. I'd imagine that kind of heat in Portland is a bit strange.
Thanks for the comment :)
08-01-2009, 09:04 PM
Looks good, I could picture some of those in a museum.
08-02-2009, 02:52 AM
08-02-2009, 03:06 AM
Hi Daniel - your stuff is really getting amazing! Thanks for posting the portfolio stuff they really are showcasing technique; composition and colour beautifully. On top of all that Im pretty in awe of how you've also been exercising your 'imagination muscle' to make such interesting stuff! I love the shot and light in your 'broken blade' piece - beautiful ;)
08-06-2009, 05:19 PM
Thanks embryotic :) I would like to post some more portfolio pieces but I haven't much time lately to work on them. I have a bunch started, just need to move forward. I wanted too this weekend, but I have family things to attend to and I need to drive to Cali to do that. Eventually, I'll get around to it. Until then, here's another quick sketch. Thanks, as always, for the good word :)
08-06-2009, 07:45 PM
Oh my gosh, I love this your last post. Alhough I like all your updates. You're doing very well dude, keep doing :)
08-07-2009, 04:36 AM
Thanks siiilon :)
Noaah, I just saw your comment, sorry for the delayed response. In any case, thanks for the great comment! :)
08-07-2009, 09:42 AM
You beast! That's very pretty for 20 minutes.
heh I agree with Jason,
awesome to see one of your pieces on the front page btw (DSF plug) :D
08-10-2009, 05:02 PM
Thanks guys :)
12 min sketch before I start my real job.
Heh talk about dedication :)
Actually, sketching right after getting up is really great.
The brain is still in sort of a "dreaming phase" which causes us to not think too much about technique and this often results in a nice loose sketch like yours.
I like drawing that early as well
08-11-2009, 08:18 AM
awesome, specially the one in post 1186 caught my eye. love the gesture of the girl in the BG! very good image.
08-11-2009, 02:36 PM
NR43- That's some interesting insight and it does feel that way to a degree: you're mind is blank and doesn't hold all the little stresses and worries that accumulate throughout the day. It makes it easier to get into the flow of things. However in the morning I'm very groggy :) Thanks for the good feedback!
jpedro - Thanks! That's my fav figure in that piece too. I don't know if it's the backlighting or the way the hip is jutted out. It wasn't intentional, I scribbled in some masses and saw that interesting angle and built upon it. Thanks again, Jpedro:)
10 mins before work
08-14-2009, 04:58 PM
08-16-2009, 10:32 PM
Here's a couple of pieces I've been working on. Top image is acrylic and the bottom is digital.
The first one is the perfect piece to soudn the beginning of my 2 weeks holidays :D
08-18-2009, 04:33 AM
Cool...have a great trip wherever that tropical paradise might be :)
08-18-2009, 06:01 PM
Hmm tried to quote you but it kept asking me if I was polite? what?
Anyway 576.jpg, I like it. wedding?
08-25-2009, 01:21 AM
Hey thanks Matt, much appreciated :)
08-25-2009, 12:46 PM
Checked out a lot of your sketchbook, your images are lovely, full of intruiging compositions and color schemes, particularly love your latest big brother piece.
Be keeping an eye on this thread.
Keep it up!!!
08-26-2009, 04:45 AM
Thanks Outlaw, I'm glad you started a sketch thread too, great stuff :)
08-28-2009, 02:54 PM
Englishmen in NY
09-01-2009, 04:51 AM
09-04-2009, 01:33 AM
an hours worth.
09-06-2009, 04:53 PM
A couple of illustrations just completed of a revamped Owlbear. It's more bear than owl.
09-07-2009, 01:44 AM
second owlbear shot is great daniel. good luck with it!
09-07-2009, 03:30 PM
Hey, thanks Jpedro :) I prefer the second one too. I spent a little more time planning and painting it.
A morning sketch...over an hour.
09-07-2009, 03:58 PM
Oh my gosh, beatifull updates. I love the autumn feel of the previous ones and the last one has so nicely ballanced colors. I don't know if you intent the robot to seems giant. When I look at structures below I see the scale, but otherwise I can't feel it's hugeness. Anyway, the result is strinking, I love it :)
09-08-2009, 06:28 AM
woooo nicly textured painted art....nice composition .. :thumbsup:
09-08-2009, 11:36 AM
Love sketch584 man!
09-09-2009, 01:19 AM
Siiilon - Yeah, I could've added some more scale to it...maybe today's sketch accomplishes that better. Thanks for the feedback :)
naresh & FRENZIEDmind, thanks for the good word and dropping by :thumbsup:
09-09-2009, 06:30 AM
Damn, the control of the contrash all over this image is simply amazing. And yes, the scale in here is much better visible. Love the background. :)
Love the scifi pieces DaniŽl!
Thanks for sharing!
09-09-2009, 11:51 AM
Keep um coming Dan, you latest pieces are amazing, loving the owlbear and mech pieces, gorgeous color use, keep it up!
09-10-2009, 01:25 AM
Thanks guys, I appreciate the kind words. :)
09-11-2009, 01:22 AM
Heading home from work, thought I'd do a quickie before I go.
09-14-2009, 10:33 PM
09-16-2009, 03:13 AM
another sketch for today.
09-22-2009, 04:36 AM
09-22-2009, 11:50 PM
hmmm...another giant, this time some sort of ancient bot.
quickie, 10 mins.
Heh I like the backpacked one meeting those natives :)
There seems to be some sort of pattern in your compositions with these giant series. Is this intentional? If not, why not try to drastically change it in your next one? What about some more extreme angles? Giants are very grateful creatures to be drawn at a low point of view...
09-23-2009, 05:10 AM
NR43, Totally. When I posted the last one, I glanced at the previous ones and thought the same thing. I will start changing the camera angle a bit more now. Great catch and insight, thanks! :)
Awesome! can't wait to see what you'll come up with :D
09-24-2009, 12:56 AM
I wanted to do three or four today with different angles, but I've ran out of time. I got one done though. The angle isn't as extreme as I set out, I'll push it a little further on the next one.
09-24-2009, 04:56 AM
Another before bed.
I think the scale difference really increases the drama when using such angles!
That sunbathing girl better move her precious ass asap LOL.
09-25-2009, 05:31 AM
Thanks NR43 :)
09-25-2009, 07:45 AM
This last one is awesome dude! To increase the sense of depth you may locate those seagulls around the focal point - robot's arm (you know some close(bigger) some farther). These are compositionally good, but too flat. It seems like a bit lazy finnishing touch, you know, that's pitty because this pic is gorgeous (and could be more).
09-25-2009, 08:55 AM
wow man. 1227 and the last one are awesome. very good compositions and like the expression on the robot in the last pic :) well done!
09-25-2009, 02:25 PM
Thanks guys much appreciated. :)
Siiilon, there could be much more depth, but for the quick sketch I generally have 30-40 minutes to spare at night. Sometimes even less with my current workload at my real job. Regardless, I try to make an effort to do something, because I've discovered, I owe a lot of my creative growth to this thread. Even though I do artwork for a living, sometimes in a corporate atmosphere there's not much room to experiment, things get schedulized, compartmentalized and such. I often bring what I've learned from this thread to my projects at work. You know, I don't know where I'm actually going with this discourse....it's early, forgive me, I'm rambling. Anyhow, the seagull idea is cool and the depth could be explored more, just ran out of time. If I revisit it, I might place a couple of sail boats in the distance, some layered clouds and maybe a couple of palm trees in the foreground to push the depth. With that said, thanks for the great insight! :)
A little traditional painting I did a couple days ago.
09-25-2009, 09:02 PM
sketch during lunch.
"Monkeys with Guns"
09-27-2009, 02:11 AM
Spent an hour experimenting and creating some new brushes. On my experiment sheet, I began seeing some forms and decided to flesh them out for a posting.
09-30-2009, 12:15 AM
Hey Daniel, just came by to see the latest stuff...and get my fix lol. You must be in a robot phase right now lol... i love it though. That traditional redhead painting looks fantastic! I feel like i've seen her face before...on some old print or something?
You've been kicking ass and taking names! So inspiring.
09-30-2009, 05:29 AM
Hey Rabid, good to hear from you, yeah there's been a run of robots lately. I will probably do some more when I get back from San Diego (leaving tomorrow for a week). Thanks for stopping by and sharing the good word. And, yes, that painting is based off an old Jane Russel photo I found on the net. I think she co-stared in a movie with Marlyn Monroe once. Not sure what it was though. Anyhow, I will hear from you later. Take it easy :thumbsup:
09-30-2009, 06:42 AM
I share the Rabid's opinion on the readhead, fantastic. And the brushwork on the last one is really pleasing, especially arround the skulls above the lower belt, my eyes rested there contentedly. Great job :)
10-04-2009, 11:33 AM
wow daniel I love your traditinal red head! Very nice expression. The robots are very good as well. I'm still amazed how you manage to bring so much details into it while keeping your stuff lose and dynamic.
By the way some time ago you started with some tips for your visiters but I haven't seen any of them lately would be cool if you could continiue that.
I immediately fell in love with the rough brushwork on the redhead painting!!
10-13-2009, 11:17 PM
siiilon - Thanks. Like I mentioned earlier, that piece sort of evolved from a blank sheet I used to test new brushes. That belt is from a skull brush I created. I decided to create a whole separate brush file called "embellishments" which contains skulls, gems, trinkets, necklace like patterns and such. It's still a work in progress :)
TedNindo - Thanks, much appreciated. I picked up a bunch of old Walter Foster art books from a garage sale. Out of the bunch, one was "Portraits". His palette was fairly limited, just burnt umber, raw umber, raw sienna, burnt sienna and white. So, I decided to use it for the above Jane Russel piece. It was fun.
I actually have some oil gesture portraits I've been working on and will scan and post them in the near future. They're still drying. This new round of portraits I'm doing is more in the flare of Nicoli Fetchin's style....albeit far-far inferior, but I'm learning as I go :)
Mu - Glad you like it! I'm really fond of that type of style. Thanks, Mu :)
10-14-2009, 10:32 AM
I've been meaning to tell you that I love the lighting and atmosphere of posts #1218 & #1220 (sketches sketch589 & sketch591 respectively). Awesome glazing effects on sketch591.
10-14-2009, 04:56 PM
Thanks, Frenziedmind :) I think I used a lot of softlight and overlaying on those pieces.
TedNindo - Yeah, I will try and resume the "Tips" segment again. Actually I totally forgot about it. But if someone gets something from them, yeah definitely. I'll start thinking of stuff that might be beneficial. :)
10-20-2009, 12:30 AM
10-20-2009, 05:37 AM
Hi Daniel, the last piece is great. But let me leave few comments if you dont mind :
The crowd of people are totally lost, that's probably the problem with composition, 'cause the foreground people are more bound to the flying vehicles. Wider canvas, just a bit to the left could solve more things at once. And as for the swarm of flying vehicles, well, if you don't treat the foreshortening there more carefully the result will look more like flying mud after the explosion rather that futuristic traffic :) I would maybe choose the idea of virtual highways, thats a great opportunity to lead the eye better in the composition, would tremendously increase the sense of depth (cause you can bend that highway) and the readability of their meaning would be unquestionable). I hope it's ok with my comments, 'cause I know very little comparing yourself and know aswell that you make these at nights when you're really short of time and energy. Anyway, I hope we can communicate this way and share our vision, CU buddy!
10-20-2009, 02:16 PM
Hi Siiilon, I like your comments especially the idea using a virtual highway in there to enhance the perspective. In regards to the crowds and spaceships, I would have to differ with you, solely because this is meant to be a quick and crude sketch. Just an idea or impression that could be developed or abandoned. I usually set myself a time limit, when that time is expired, I stop regardless of incompletion. It's just an excercise in speed and concept building.
However, if I decide to take this further and turn it into a polished piece, I would definitely consider all your points in an effort to make it a stronger piece. :)
10-26-2009, 11:13 PM
An hour sketch
10-30-2009, 04:27 PM
Love the grave digger, feels like a slipknot video. :)
11-01-2009, 09:11 PM
Thanks Godz. Glad you like it :)
Here's some oil studies I've done recently.
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