Rex On The Trail, Brian Prince (2D)

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  10 October 2004
Rex On The Trail, Brian Prince (2D)



Title: Rex On The Trail
Name: Brian Prince
Country: United States
Software: (Other)

This piece, while finished, is admittedly a bit loose. If it gets rejected on those grounds, I'll totally understand.

Anyhow, this is something I did on a whim last night, and I'm fairly happy with how it turned out. The main thing I was after was to give an impression of dappled forest light, and a dusty, dry atmosphere.

Done in Corel Photopaint 10, though I'm not really doing anything that couldn't be done in Photoshop.
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Brian "balistic" Prince
"tessellaters gonna tessellate"
digital art / hi-tech soul music
 
  10 October 2004
Oh, it's nice, it's really nice...

Good work on the light and the leaves - real nice texture there.
The Rex is fine, but look almost a little plump.. maybe he needs to go on a diet
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  10 October 2004
brilliant!!! love the loose style, considering the time and purpose it's very very well done dude..

congrats!
 
  10 October 2004
Thumbs up

Great lighting, nice and loose.
 
  10 October 2004
Well balistic, you ht the dappled sunlight business spot on. Very very well done. I find that the Rexs head looks a bit odd but the impression of bulk in the forest is well achieved. I am truly impressed by the work you have done on the moss on the tree lying on the ground in the foreground. Excellent.

Good work.
 
  10 October 2004
Thank you!
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Brian "balistic" Prince
"tessellaters gonna tessellate"
digital art / hi-tech soul music
 
  10 October 2004
Looks good. The shadows of the sun light coming throught the trees looks really cool, along with the T-Rex. The only think that looks a little strange is the head of the Rex, but other than that it looks good.
 
  10 October 2004
OMG!! You gotta try this!!!

I was looking at your painting at my school computer earlier today and i thought it was insanely amazing: it gave a great erie mood and had terrific lighting. You mentioned in your description that it was a rough sketch and i had no idea what you were talking about, it was so perfect!

Then, i came home and used my computer (the screen i have here is much better than the ones at school). And i looked at your piece again and saw a COMPLETE change. I saw the "rough" you were talking about and the artwork didn't have the same effect on me.

Try darkening the ENTIRE picture. What i saw was a silhoutte of the T-rex and where the sun is coming down on him is where i could see the true color of his scales...the rest of him was barely visible but you could still see a little itty bitty bit of the detail...and his eye looked completely shadowed.

It was an intense feeling that i dont usually get from paintings. See if you can make it happen


Great job by the way! i absolutely love the lighting and composition
 
  10 October 2004
Megzin: You've hit on one of the most frustrating problems of digital art. There is such a huge variance in consumer display devices that brights and darks become very difficult to work in, because you never know how they're going to look for someone else. If I don't have my monitor set bright enough, I don't know what's going on in my shadows, but if I set it too bright, the image is going to seem washed-out for anyone viewing it with a less aggressive setting.

Unfortunately, I don't see much of a solution to the problem, short of standardizing on some sort of automatic white-point calibration system for display adapters, in conjunction with a HDRI web-ready image format.

Thanks for the feedback though. For someone who works so much with shadows, it's definitely an ogre I wrestle with.
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Brian "balistic" Prince
"tessellaters gonna tessellate"
digital art / hi-tech soul music
 
  01 January 2005
Hey balistic,

One thing that might help you in getting accurate colors is working on a Mac. I know that we are all use to working on PC's, but for true colors (print) there's no other way to go. Now this still doesn't solve the problem of how the rest of the world will view your paintings on the net, but it will insure that the color you are seeing on your screen is the color that will be printed. I don't know how much print you actually do, but it's nice to know that if you ever have a gallery or do work for print, you won't have too much of a problem with the translation of color. What you see is what you get...I don't like working with Macs myself...but man are the colors beautiful. There's nothing like a Mac monitor. That's why all the graphics folk work with them.

...and to all those PC peeps out there that can really appreciate a good digital painting, I highly recommend watching them on a Mac monitor. You'll be amazed at the difference. TRUE COLORS! It's like watching a Rembrandt in a book versus in a museum.
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Jose Saenz
Illustrator/Designer
Miami, Fl
Port: http://mojodesign.blog.com
Weekly Sketch Blog: http://moremojo.blogspot.com
 
  01 January 2005
Yo Jose.

I've found that when I get lightjet prints done they almost always match my monitor exactly. Because there's no pigment involved (it's a photographic process), the image never leaves RGB color space. The conversion to CMYK is what kills most images that were painted in RGB. Lightjet avoids that by never leaving RGB.

I don't like the surface quality of a lightjet as much as I like a nice velvety pigment-based print, but the colors and values seem to be more true to the digital file.
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Brian "balistic" Prince
"tessellaters gonna tessellate"
digital art / hi-tech soul music
 
  01 January 2006
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