"Post your Art" Thread

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Chris.
 
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millais said:
an illustration I was playing around with for the longest time and finally decided to sit down to finish recently
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This is great work! The tight clusters of colored shapes contrast with the simpler faces & imply great technological complexity that the characters take for granted (because they live in it, if that makes sense). I really love those costumes. Those pants and its shapes/colors are eye candy to me.
The little touches like the photographs and monitor readouts link me to good stuff like Ridley Scott & you've put a soft edge on machinery without minimizing their visual weight.
This is like a nice panel in a good issue of Heavy Metal from the 90's.
 
Recon said:
This is great work! The tight clusters of colored shapes contrast with the simpler faces & imply great technological complexity that the characters take for granted (because they live in it, if that makes sense). I really love those costumes. Those pants and its shapes/colors are eye candy to me.
The little touches like the photographs and monitor readouts link me to good stuff like Ridley Scott & you've put a soft edge on machinery without minimizing their visual weight.
This is like a nice panel in a good issue of Heavy Metal from the 90's.
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Thanks! That's exactly the visual effect and aesthetic that I was trying to produce. It's not a very original visual style at all, but I thought I would try my hand at it.

And you exactly pinpoint the visual inspiration. A lot of inspiration from Ridley Scott's Alien and from the art of Jean Giraud/Moebius (who did concept art for Alien and drew a lot of the classic 1970s-1980s Franco-Belgian sci-fi comics that was the seminal influence for the Heavy Metal magazine)

The clothing fashion is the result of some rather lengthy iterative design on my part, though suffice to say it also heavily influenced by the aforementioned aesthetic style of the 1970s-1980s sci-fi comics. The bulky pants are actually the defining characteristic of the fashion style, inspired by a mix of modern day cosmonaut suits and the fancy breeches of the 17th century.

Giraud/Moebius and some of the other great Franco-Belgian sci-fi illustrators frequently did this neat thing where they use immense tracts of negative space to great effect in highlighting the visually dense, line-heavy parts of the scene, but I kind of made a muddle of it and the line density is not effectively concentrated like how the experts do it. But yeah, i tried to use it to make the faces and figures stand out from the visually complex interior of the scene, and then again to make the sparse background exterior stand out from the interior.
 
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millais said:
Thanks! That's exactly the visual effect and aesthetic that I was trying to produce. It's not a very original visual style at all, but I thought I would try my hand at it.

And you exactly pinpoint the visual inspiration. A lot of inspiration from Ridley Scott's Alien and from the art of Jean Giraud/Moebius (who did concept art for Alien and drew a lot of the classic 1970s-1980s Franco-Belgian sci-fi comics that was the seminal influence for the Heavy Metal magazine)

The clothing fashion is the result of some rather lengthy iterative design on my part, though suffice to say it also heavily influenced by the aforementioned aesthetic style of the 1970s-1980s sci-fi comics. The bulky pants are actually the defining characteristic of the fashion style, inspired by a mix of modern day cosmonaut suits and the fancy breeches of the 17th century.

Giraud/Moebius and some of the other great Franco-Belgian sci-fi illustrators frequently did this neat thing where they use immense tracts of negative space to great effect in highlighting the visually dense, line-heavy parts of the scene, but I kind of made a muddle of it and the line density is not effectively concentrated like how the experts do it. But yeah, i tried to use it to make the faces and figures stand out from the visually complex interior of the scene, and then again to make the sparse background exterior stand out from the interior.
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Giraud, that's the guy!
There's a lot of interesting fashion that you might want to look at, seeing as how those pants are central. Are you into weird designers & stuff at all? I'm a techwear/weird clothing nut and there are some real world pieces out there that remind me of things that could exist in the same universe as the awesome set of pants you drew.
dsc09533-min.jpg

I know it's not the exact same thing but there's inspo to be had in the logic of the pocket layouts and in concepts like curved-leg pants that simply hang differently on the body. A lot of the astronaut/alien style you've got going there has already been made into stuff one can mine for details.

If you ever want to sperg about this stuff or run something by me, shoot me a message, I think you can see I love picking this stuff apart.

EDIT - are you still gonna add to that drawing?
 
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Recon said:
Giraud, that's the guy!
There's a lot of interesting fashion that you might want to look at, seeing as how those pants are central. Are you into weird designers & stuff at all? I'm a techwear/weird clothing nut and there are some real world pieces out there that remind me of things that could exist in the same universe as the awesome set of pants you drew.
dsc09533-min.jpg

I know it's not the exact same thing but there's inspo to be had in the logic of the pocket layouts and in concepts like curved-leg pants that simply hang differently on the body. A lot of the astronaut/alien style you've got going there has already been made into stuff one can mine for details.

If you ever want to sperg about this stuff or run something by me, shoot me a message, I think you can see I love picking this stuff apart.

EDIT - are you still gonna add to that drawing?
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The look of them is very utilitarian and even dieselpunk-esque. The pockets could be used for everything from technician's tools to spare magazines for a pistoleers firearm.
 
millais said:
an illustration I was playing around with for the longest time and finally decided to sit down to finish recently
View attachment 730854
Click to expand...
While it might not be the best technically, I always appreciate a high level of detail! My advice is almost all the lineart in it is the same weight which can make it a bit confusing to the viewer. Try making the lines of objects closer to the viewer thicker and the ones further away thinner to show better depth in a subtle way. Keep it up, great work in the color choices.
 
TotallyNotAwez said:
While it might not be the best technically, I always appreciate a high level of detail! My advice is almost all the lineart in it is the same weight which can make it a bit confusing to the viewer. Try making the lines of objects closer to the viewer thicker and the ones further away thinner to show better depth in a subtle way. Keep it up, great work in the color choices.
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yes, typically i will vary the line thickness and transparency to indicate distance, but in this one it became too much of a mess in many of the dense areas and I ultimately decided to finish it imperfectly rather than sink any more time into it
 
TotallyNotAwez said:
While it might not be the best technically, I always appreciate a high level of detail! My advice is almost all the lineart in it is the same weight which can make it a bit confusing to the viewer. Try making the lines of objects closer to the viewer thicker and the ones further away thinner to show better depth in a subtle way. Keep it up, great work in the color choices.
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Nah, that ain't it. There's virtually no value range and no contrast.

@millais add more value range, use the value range to create focus. Right now there's no focus and people's eyes just wander one way and then off the canvas. Once the eyes leave the canvas for 99% of viewers the experience is over. Contrast = interest to the human mind. The more contrast something has the more interesting the work is. There are many ways to create contrast, and a full value range is a nice way. With no contrast, everything is equally as interesting and that is by definition "too busy". You put in so much effort and it'd be a damn shame for someone to look over this.

Giving it a quick paint over, I added a value range.
735292


also dude, it's probably time to study faces again. Its been a few years and your faces still all look like Voldemort. If it's on purpose, sorry, but it is not a good look.


I have some stuff to share:
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benis study

735317

refraction study

735321

reflection study

735322
735315
 
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John Furrman said:
Nah, that ain't it. There's virtually no value range and no contrast.

@millais add more value range, use the value range to create focus. Right now there's no focus and people's eyes just wander one way and then off the canvas. Once the eyes leave the canvas for 99% of viewers the experience is over. Contrast = interest to the human mind. The more contrast something has the more interesting the work is. There are many ways to create contrast, and a full value range is a nice way. With no contrast, everything is equally as interesting and that is by definition "too busy". You put in so much effort and it'd be a damn shame for someone to look over this.

Giving it a quick paint over, I added a value range.
View attachment 735292

also dude, it's probably time to study faces again. Its been a few years and your faces still all look like Voldemort. If it's on purpose, sorry, but it is not a good look.
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yes, i must admit that I spend hardly any effort to correct or study the fundamentals. Everything from proportion, to perspective, to composition, to contrast and color is just guess work on my end. I don't really check reference, I don't do the redline thing, I don't check grayscale value. These days I just view the digital painting as a kind of advanced coloring book, to de-stress or relax. I don't really make studies and not too prolific with the stuff so much, just a digital painting every few months. The only thing I'm actively set myself to improve in the past year is how to draw equestrian figure/scene in realistic style, which is involving making some abbreviated studies and looking up the horse anatomy.
 
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millais said:
yes, i must admit that I spend hardly any effort to correct or study the fundamentals. Everything from proportion, to perspective, to composition, to contrast and color is just guess work on my end. I don't really check reference, I don't do the redline thing, I don't check grayscale value. These days I just view the digital painting as a kind of advanced coloring book, to de-stress or relax. I don't really make studies and not too prolific with the stuff so much, just a digital painting every few months. The only thing I'm actively set myself to improve in the past year is how to draw equestrian figure/scene in realistic style, which is involving making some abbreviated studies and looking up the horse anatomy.
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All the more impressive. It would be really cool to see what you could get up to with a bit of studying.
 
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John Furrman said:
All the more impressive. It would be really cool to see what you could get up to with a bit of studying.
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Some day, I definitely would like to buy a drawing tablet, read some drawing books, and upgrade to Adobe illustrator or photoshop and really make a strong effort at mastering the digital painting craft.

But my leisure time and interest is split in so many directions right now that it's not really something I can sit down and intensely focus on. Many weeks, I'm only spending a few minutes each day to work on any digital painting, and recently my attention has been split even further as I have been picking up some elementary practice with real watercolors-and-ink landscape drawing.
 
Trilby said:
Not bad for a first start!
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if Hitler could do passable watercolor landscape, then i figured it must be easy enough to pick up. And sure enough, it's pretty hard to screw up so far. I understand it does have a pretty high skill ceiling for what you can do with the different advanced techniques and materials/tools, though. I just start learning how to do the most elementary technique for now, like mixing color and different effect of wet vs dry brush/paper.
 
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