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Old 04-11-2005, 04:59 AM   #31
The broken heart
Libellula's Avatar
Iliana Zambrano
Join Date: Jan 2005
Posts: 12
Hi Linda! I wanna tell that you're a HUGE inspiration for many people, incluiding me of course, and I don't know how you don't consider your work as true art, maybe we can do digital paintings, but yours are in other level completelly, cause you're talented by nature. Thanx for share with us your art.

Now, questions for you :

1. When your book will be ready? I'm so anxious for to see it! I think apart for the illustrations, it will have stories, am I right?
2. As you said in other opportunities, you do your paintings in a huge canvas sizes, so, my question is, do you use huge brushes too? Cause in my paintings, doing them in a big canvas size, I need to put the brush size in 100px or more o_O and it took me ages for to finish the paintings even with that size of brush... maybe I'm too slow ¬¬
3. Again your paintings: you choose the color of the skin based on the bg or the bg is addapted to the skintones and clothes of the character?

And, that's it, I hope your hand will heal lots day by day, and lots of huges to Azrael (by the way, I still have the Azrael wallpaper on my desktop =D)
In my veins I´ve felt the mystery of corridors of time...

Old 04-11-2005, 05:00 AM   #32
novus ordo seclorum
Francis Tsai
freelance illustrator, visual development artist
San Diego, United States
Join Date: May 2003
Posts: 252

Howdy L

I've seen a lot of artists who are obviously heavily influenced by you. That's probably a good sign that you have attained a certain place with your art, when people are consciously attempting to emulate your look and feel.

It can be flattering, but I know other well known artists who have seen this happen don't always feel comfortable with it. What's your feeling on that?

Anyway, keep up the great work, you are a terrific inspiration!

Francis Tsai
TeamGT Studios

Old 04-11-2005, 05:37 AM   #33
Posts: n/a

A true goddess!! I would say IMHO that Linda produces the best artwork hands down on CGTALK, out of all the artist she builds magnificent 2d masterpieces. A true prodigy. Well done Linda ! ! I have great respect for your style, always a joy to see your next piece

and Enayla seems like a darn cool person too, responding to all the posts like she always does! respect !

This is in no way fanboyism etc! its darn right worship! keep em comin lady!
Old 04-11-2005, 05:43 AM   #34
Brainless Wonder
Desiree J. Reynolds. (heh...yeah thats a hard one)
desireejreynolds design
Yuma, Az, USA
Join Date: Feb 2005
Posts: 46
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Red face Questions about WACOM

Hi Linda!

I hope I am not to late in joining in on the questions...

My Question relates to WACOM tablets and line smoothness. All of the lines in your paintings are smooth and impecibally blended, and I realize that painting at your caliber and skill level takes years of practice and study (plus a natural apptitude towards the arts) but What I want to know is ...

Do you think the quality of the equipment that you use plays a big part in the ease of your painting? See, when I paint in photoshop with my little WACOM graphire I get..."jagged" lines. It helps when I zoom in and then paint, and It does seem to help to paint at 400 DPI...
but still, It feels like my stylus isnt properly translating the line...even with opacity and size jitter set to pen pressure.
Do I need an INTOUS to improve my line quality or is there something I am doing wrong?

What DPI do you paint at? Do you prefer Photoshop or Painter?

Thank you for your time!

Old 04-11-2005, 05:45 AM   #35
New Member
Agustin Loreto
2D-3D generalist artist
walking castle studios
Toronto, Canada
Join Date: Mar 2005
Posts: 29
Hi, linda.

I would Like to tell you that your paintings are the real vision of human dreams. You can almost walk inside those fantastic fairy worlds you create. Nowing that your work is so inspired by the fairy and fantastic ideas, I would like to propose you a way to find more increadibles universes and crazy ideas. Eduard Grieg, I think he was norwegian, He created on 19 century a simphony called Liric suite, op.54. It is an increadible description of fantastic tells including the famos Trolls. I see that it sounds extrange to create using music, but I wander what could you create using your master skills ..... I hope you like it, and if you already hear it or have use music as inspiration, please, can you post any.... Or where can I see one...

Finally, I would like to ask you a question, It coul be basic, but by browsing in the internet I have not find a very specific answer.

How do you calibrate your monitor in order to obtain the best relationship between shadows and lights?

Thank you for give us this opportunity to ask you questions and talk to you.
Old 04-11-2005, 05:57 AM   #36
3D Fanatic
RealCapri's Avatar
Ivan S.H. Phang
Freelance 3D Artist
Malaysia, Singapore
Join Date: May 2004
Posts: 291
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Hi Linda, I dun really have any favourite artist until I saw your works here & then ur web site.. I simply love your paintings, they are beyond words. And thanks for sharing with us your knowledge & imagination.
CG & VFX ShowReel thread:

Life is but a dream...
Old 04-11-2005, 06:42 AM   #37
misiek1125's Avatar
Michal Dziekan
Illustrator and character designer
Warsaw, Poland
Join Date: Mar 2005
Posts: 106
Hi Linda!
I felt in love with your artwork when I saw it first time on, and you just become my favorite artist at all, I like very much works of other digital 'pro's' but among them your the most shining star for me, my inspiration and guide
I'll observe your amazing work ...and will try to be like you
Keep up the great work and never stop.
Thank you!
Old 04-11-2005, 07:49 AM   #38
Dream Illusionist
notting tosee
Join Date: Mar 2005
Posts: 245
Hello, Linda!
Just like all of these beautiful people, I've been inspired and thrilled by your paintings so much! I remember the first time I saw you painting - I think it was Nightly Forests - I was left staring in awe for a few good, long minutes, and then I rushed off to check out the rest of your work. That painting is still one of my favorite paintings by you, and I have a pretty print hanging on my wall.

Most of the questions I wanted to ask have already been answered, so I won't bother re-posting them. I have one (rather strange) question for you. I've been following your Master & Servant painting progress (and am very excited about it ) and you mentioned you've been referencing from a mask you made. I know you like making masks, and seen a few that you made (on devART, mostly), so I wanted to ask you: how do you make them? What materials do you use? When I was a child, I just loved making masks (out of paper and cardboard, though :P) and I'd like to make one again, I'm just not sure what materials to use =/
Any general mask-making tips would be greatly appreciated!

Thank you for having so much patience for us hungry-for-Linda's-advices people You're the best! *hug*

~ Donna

(edited for typos.. >_<;

Last edited by nobodee : 04-11-2005 at 07:53 AM.
Old 04-11-2005, 08:44 AM   #39
inky2's Avatar
Dana Daukshta
freelance 2d artist
Riga, Latvia
Join Date: Nov 2004
Posts: 463


Good morning,Linda! When I look at some your works,I have an ideas about traditional painting in old style... with thin lacquer glazing , with superb caught lighting.Do you have a wishes to transfer your ideas on a canvas, to take in hands a brush, oil paints or acryle?I see your creative force in works-,,eyreequel,,euthanasia ,,Cunae,, and thith boy on the stone.They deep, in them there is something NOTexplaning,real.This is inspiration....I wish you today inspired day.Respect.

Old 04-11-2005, 08:58 AM   #40
Reflection Designer
Aalborg, Denmark
Join Date: Jan 2003
Posts: 449
Thanks for being such a great inspiration to us all... also wanted to thank you for taking the time to answer everybodys questions, they are a good read.
Keep on inspiriing us to do greater work
Reflection Design
Old 04-11-2005, 09:28 AM   #41
Posts: n/a
You're not real. You can't be.
Old 04-11-2005, 10:01 AM   #42
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Andrew Dobell
Spiral Direct
Fetcham, United Kingdom
Join Date: Nov 2004
Posts: 234
Hi Linda

Hope your enjoying this Q&A


1) Tell us about Furiae, id love to hear more about it, the world, the characters and how you came to have this magical world develop in your mind.

2) You seem to be in love the with Romantic and Dark side of Mythology, so, if you could be either a Vampire or a Drow(Dark Elf), which would you choose?

3)My Favorite painting of yours is "Ladies of London", you mentioned this was for a RPG, is that game still going? What happened to the lovely ladies portrayed in your image?

4)Which is your Favorite Burton Film?

Looking forward to these answers, give Azreal a stroke for me!
Old 04-11-2005, 10:37 AM   #43
Boom, baby!
Enayla's Avatar
CGSociety Member
Linda Bergkvist
Join Date: Jul 2003
Posts: 2,017

I'm going to type myself to an early death, I just know it.

MWarsame -- Well, I've been painting digitally for soon eight years. But I'd like to think I'm still learning - lots and lots, every single day. As for brushes and secret tricks, hm, not so much. Tell you what... these are the brushes I'm using for my current picture. Take a look and see if you find anything good there - a warning though, they're in terrible disarray (unnamed for added confusion)

InAction -- Thankee :] I do stuff like that on occasion, for the most part back here at home. I'm always a little uncomfortable in front of a crowd (which I'm sure the people who saw me speak at SIGGRAPH would agree with), so when I can avoid it, I'll not do it. I'll be doing something like that a little later this year at some local conference, I'll see if I can get you in :]

Ameer Magdy -- Well, firstly, thank you kindly :} As for your question regarding the backgrounds... the same thing goes, very much, there as with the people in my painting. I sometimes need reference, and sometimes not. I always start sketching the backgrounds out in colours (look at my Master and Servant picture, it's pretty typical of my process), and if I find that something isn't working out right - the trees look horrid or the angles just won't flow - then I'll look a reference up. I find it's best to always lay out the colours before looking at a reference, to make sure I'll only reference the shapes and not the colours (means you'll not misuse the reference). The backgrounds are much more difficult for me than the subjects - I've been painting people for a lot longer and I've got the people-painting techniques pretty much down pat. With backgrounds, I'm VERY much still learning.

I teach classes at the local university, but they're extremely basic. I've promised someone I'd tutor his daughter for an hour or so, but I've not managed to get around to it yet. For the most part, I am very content to teach through the internet, at my own pace, whenever I feel like sharing something. Teaching in itself, when it comes to art, is a little intimidating. There's so much I still need to learn!

Bonedaddy - 'Bonedaddy', as in Jack Skellington? Thank you... and now to the questions -
1) I hate painting feet because I hate feet. I find them intolerably unattractive, heheh. Anything that I don't like looking at, in fact, is very difficult for me to paint (meaning - I paint eyes and lips well, especially lips, because I'm obsessed with them... but I paint feet and legs rather poorly because I don't find them nearly as fascinating).
2) O my, this is a difficult question. I think my very first 'wow' was back when I first started out, and realised I painted much nicer colours if I didn't start with a black or white backdrop. Because of this, I try to tell everyone not to paint on white, black or transparent backgrounds but instead always pick a colour. It makes such a shockingly major difference. Secondly, the colour picker in photoshop is your best friend - it's a small thing, but it helped me so much when I first found it, and I use it compulsively. Thirdly... skin tones. I used to make that mistake of shading pink skin with pink and adding white highlights. I sometimes used dodge or multiply or burn to get my colours 'right' and the end result was always plastic, or clay-like. I know now that even if the skin is blue it calls for shadows and highlights of different colours to be believable. This is a lesson I've been continuing to work on this past year - which has been what I'd like to call 'skin tone' year where I've been trying to teach myself about all manners of different skin variations. I honestly can't think of any other revelations at the moment, I hope those will do.
3) Unexplored topics... hm... well, I'm thinking about delving a little more into stylisation. I'd like to really bring my comic book self out into the open - see how far I can mix realistic with stylisation before it just looks weird (my avatar, for instance: majorly weird, but I still love it). I also have a feeling I'll be jumping into horror themes again once the book is finished. I've had a mind for bloody and grisly things at the moment.
4) DSG is Daily Sketch Group - it's a part of CGtalk, where people post iddy sketches in topic threads. Wonderful thing, I tell you.

CoreyArtE -- Hi Corey :] How do I go about choosing the colours? That's a very difficult question, and I don't know quite how to explain it. You know how most people get their ideas in concepts or shapes? Like, "I want to paint a wizard"? Well, when I get an idea, it'll go, "Oh my! Purple and blue, with touches of rose, and look - his eyes are all smouldering yellow to touch the other colours off, and yeah... he's a lonely man with a broken heart and his hate is great... the light will be cool on his face but warm on his hands because he's a man of action, and --" The simple way to answer it is - colours come first. I think in colours. If I bring a name to the front of my mind (of my friends or family), I'm thinking of a colour along with them. My good friend Ulrika who poses for so many of my paintings, she's gold yellow and summer blue and quiet green. Mikaela, who is another friend, she's blue and lilac and purple and bright, vivid wonderful red. Johan is an earthy, gentle brown with touches of green and bronze-gold and shades of ivory white. See? Colours aren't ever a problem for me.

So, man, that wasn't exactly what you were asking about, but... if I paint a picture, all the colours are laid out, and I'll be watching it and try to figure out the colours of the shadows on the skin or the shadows on the ground. Part of it will be artistic license - I'll pick something that looks good - and part of it will simply be what I think would be natural. It's always a mix of me ignoring every rule of the world, and me trying to paint something that doesn't look entirely messed up. That make any sense?

As for photorealism... I'm starting to feel I've approached it with too much ardour. Be careful not to be carried away in making it look 'real', it seems to get me into a lot of trouble. I don't 'know' how to use any colours for things, I'm still trying to learn - and I learn by studying things. I have a little exercise I do now and again, where I just take a lot of random photos and then study them and try to understand the colour relations. I'm a terrible photographer, but all you need is a digital camera and some patience. Don't try to copy the pictures, just the colours, and just to grasp how they relate.

Sir Patroclo -- Hey hey :] 1) Oh yeah, a lot of my paintings get out of hand. There are really only two things I can do at that point. Well, make that three. The first is to keep at it and try to get past the problem. I have to admit that this never works - if there's a problem that's big enough and I really feel stuck, I'll lose the feeling for the picture and in losing that, it all goes to hell. The second thing I might do, is to just give up. I scrap more paintings than I'd like to admit, more ideas than I can really afford to. Such a lot of times I get ideas that I 'think' will be lovely and it ends up looking like crap. The trick is to know when to call it a day and not waste time on a hopeless subject. On the other hand, the third option is to put the painting aside and leave it for another day. I think this is the best way to go. If a painting still has SOMETHING that might be worth to salvage, leap away from it, leave it be, let it rest until you can figure it out. It's a pity to throw nice ideas out the window.
2) Oh, my beloved characters. Some of them leap out at me in the middle of a movie. My friends have become used to (and respond with giggles or rolled eyes) to me calling out while we're watching something "DUDE! I have this idea for a picture! There's this guy, he was born under the shadow of a tree and the spirit of the earth --", and they'll say, "yeah yeah, can we please watch the movie?". At other times, I'll be sketching: perhaps just a simple portrait, or doodles, or anything, and a character will come sneaking up on me. I think every character I create is a vivid mix of me, and of their own stories. Even in the really bad ones, there's something I'd defend because I recognise it (which is rather scary, since some of them are really twisted, but none of them have become wicked for the simple sake of being wicked.) Does that answer the question? :]

CgMonkey -- 1) O, now that's a scary question. I never was much for fame and I haven't got a clue of how I got where I am today. I still remember uploading that first picture to Epilogue and thinking they'd turn me down because my images were awful. I honestly try not to think about it - I don't feel any different now than I did then... every image I submit scares the heck out of me, and every reply makes me all bubbly (or, alternatively, very teary-eyed and miserable). I know a lot of people get a distance to people and what's going on once they're well known enough, but I don't seem able to. I still take all the comments very much to heart. The 'bad' thing about being sort of well known, then, would be that with the people who appreciate what I do, there are people who will absolutely HATE it. I didn't use to have that before I became semi-well-known.
2) Never feel inadequate. There are tons of people out there who are so much better than I am and who can paint things I'll never paint - I'd break my own heart if I sat around feeling lesser or poorer for it. Having said that, I'm embarrassed to say that I learned a lot of what I learned through trial and error. I was very prolific when I was younger. I went to the university and had a really easy time at it, so I'd churn out a painting a day under a long period of time. Considering that you learn new things with every painting you do, this was very helpful for me, and that first year I learned more, I think, than all the other years put together. Try doing lots and lots and lots of rather quick paintings - do at least one every day over a period of thirty days and see if you're not learning an insane amount :]
3) Well, I wouldn't be completely opposed to it. I'm a little intimidated with speaking in front of an audience, but I could do it if you really want me to :]

gordonm -- Thank you very kindly <3 I don't have a lot of my early work with me. The pre-computer ones are all wrapped up tight in the basement under a hoard of litter... and since I always become hateful of my paintings about six months after I've made them... imagine what I've done to computer files that are five, or six years old? But for you, I went and dug up some of my veeeery first digital paintings. Be warned, they ARE really horrid. *yucks*

- I remember using a reference for this pose - from some hottie I'd seen a photo of. But the most memorable bit about this is that this is one of those characters that I 'got back to'. His name is Eyreequel, and I've got a much more recent, changed painting of him that could be seen in Exposé 1.

Eh, don't even ask me about this one, no idea what I was thinking.

I've had a thing for painting statues. I've been considering 're-doing' this one.

Heheh, I remember thinking that the dress and hair were SO pretty.

The veeery early beginnings of some sort of comic style, I don't know. I just saw this one and realised that her face looks a little like my stylised face (as seen in avatar).

Anyway, are you happy now? I'm publicly humiliated

As for my passion being nurtured... my parents, my friends, my brother... all the people I love and will always love have always been there for me. I am always saddened when I read about people not getting any support from home, because I've always received so much love and help and cheers from my folks. I can't think of any particular instance, but whenever there's been opportunity, they've been there by my side, cheering me on. I fear my heart will burst with love sometimes.

My first memory is of someone, I presume my mother, giving me a bath in the sink at my grandmother's place. I have no idea of how old I was, but I remember loving it. Loving the attention I got - loving how cool the metal of the sink was where the water didn't touch. I had little chubby hands and I was trying to grasp at the tap. I can't really say what my happiest memory is. There are so many. One springs to mind very keenly, though, and that's the day I found my Azrael. Dragged along by a friend to a shelter, and the guy there opened this little cage on the floor and out bounced a black, furry, exuberant little thing that practically slammed into the wall because he was in such a hurry to make a spectacle of himself. He's been my best buddy ever since. Love at first sight exists very much with friends and animals as well as the other kind.

Okay, I'm taking a little break before getting back to the rest of the replies... my hand is starting to hurt. I've not forgotten anyone, it's just SO much to respond to.

I can resist everything but temptation.


Painting eyes
Painting hair
Old 04-11-2005, 10:54 AM   #44
Lord of the posts
AnimZiggy's Avatar
Ismini Sigala
United Kingdom
Join Date: Jul 2003
Posts: 772
Hallå Linda,

Have you attended an art school?

To animate? or to matte paint?

Old 04-11-2005, 10:54 AM   #45
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Panu Uomala
Helsinki, Finland
Join Date: Apr 2004
Posts: 6,552
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u ever eaten flowers ?

or is this painting only related questionaire ?

could you consider eating flowers while painting ?
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