/int/ – No shittings during wörktime
„There is no place like home“

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No. 14407
906 kB, 1836 × 3264
Recently, Kazahstan poster had an interesting idea about thread dedicated not to random pics, but for drawing and paiting and other kind of original content. He sadly not created one, but I think this is neat idea - when you learn how to draw and paint it always awesome to have help and critique, and I think with earnstchan quality of posting we can get very good reasults in help each other mastering our skils.

On op-pic I place my night fast drawing because it only thing I have on my phone right now that replated. Please, share with us your creations and ask questions.
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No. 14470
234 kB, 1536 × 1536
I drew this.
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No. 14508
>>14470
Do you have tablet, or you doing this just like by mouse?
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No. 14510
>>14508
I have an Ipad
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No. 14570
248 kB, 898 × 1197
This picture started in a small sketchpad before I cleaned it up and added color using my tablet. Drawing right now is slow and awkward, but not impossible.
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No. 14598
>>14510
How confort to draw on one of this things? I use Wacoom Bambo tablet.

>>14570
It is self-portrait?
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No. 14600
>>14598
I have an apple pencil for it so it's fairly easy to draw on. I don't find it any harder than paper really.
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No. 14627
301 kB, 1018 × 1272
>>14598
>It is self-portrait?
Yes, it’s kind of an avatar-me. I might keep tinkering with it to make the details more accurate. The muscles should be much bigger x:D.
Here I am vacationing in Paris
>Wacoom Bambo tablet
>>14600
>apple pencil
I’m using the Galaxy Tab A, with S pen, but also have a small Wacom which I'm still getting used to.
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No. 14640
597 kB, 2000 × 3000
>>14627
Nice caricature-cartoony style. Simple, but indeed finished character.
I, in comperacing, often starting drawing something overcompicated for my skill level and often never managed to fisih it. Like I made some scetch, but don't know if I have enough skill not even to paint it or start background, but if I'll be able to finish sketch peoperly.
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No. 14682
>>14640
>drawing something overcompicated for my skill level and often never managed to fisih it.
I have a similar problem. While I can finish cartoons like the above, I struggle in more "advanced" styles. In most of the oversized stuff I usually work on, I erase so much I almost go through the paper. I almost never finish them, but draw until I'm certain the next line will make it worse. It's a tradeoff; do I want to finish something, or do I want to get better? There's no better way to learn than getting in over your head, even if that means drawing a foreshortened face wrong twenty times in a row.
It's strange talking about finishing drawings, since the picture I posted is the first thing I've actually finished in over a month. The sling really restricts everything past my wrist, which obviously slows me down. It should be coming off soon.
>I made some scetch
You have a lot of impressive details in there already. Even if you don't have enough skill to properly finish it, go as far as you can, learn and, if you have to, move on to the next one.
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No. 14778 Kontra
I failed miserably, it was even worse than last time... I won't post it here.
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No. 14824
36 kB, 367 × 489
189 kB, 700 × 700
>>14778
>I failed miserably, it was even worse than last time
>failed miserably
>failed
Not yet, Ernst. Not until you give up.

I didn't know what to draw today, so I just started sketching from my collection of photo references. I did a few others before I decided this one deserved more attention. I kind of like how the loose linework turned out.
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No. 14851
306 kB, 1536 × 1536
This one turned out better at least.
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No. 14873
9 kB, 300 × 300
>>14851
Are you making buildig of general shape before doing draw? If not, I recommend doing it and also add general line of body and pose before moving to detail, it can improve shape of your drawing.
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No. 14904
1,0 MB, 1235 × 1325
583 kB, 1123 × 1123
>>14851
That's good to hear.

>>14873
Sometimes I try to get away with skipping steps, but my anatomy always suffers when I do.

This picture turned out better than I thought it would. The coloring definitely helped cover my mistakes, and the background added some visual interest. I also did a series of in process pics while I was working, so I'll post those too.
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No. 14905
>>14904
Sadly my picture still in process so I have nothing to post.

Are you trase or just keep pic as refference?
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No. 14907
434 kB, 1000 × 1468
>>14873
Yes, but usually it's light, particularly in this case I was drawing from a reference. I had the line of the body down, a line for the hips, shoulders and waist.
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No. 14909
>>14905
>Are you trase or just keep pic as refference?
I just use the photo as a reference. I know the result isn't as accurate, but I think tracing would limit my ability to interpret anatomy and keep me from developing my own style.
Don't worry about not having something ready yet. You can post whenever you're finished.
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No. 14910
324 kB, 1366 × 768
342 kB, 1366 × 768
Note to self: figure out how the hell I not only guessed my hand dealt, but guessed the exact order of cards on the flop Jack three seven and roughly matching suit. Also how I guessed the spin would land $50,000. I can't even tell if this is intuition from playing so much I just can guess the algorithm or if it's just being in the zone so much I can do precog stuff again. Most importantly, how to apply things to practical uses like making money.
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No. 15050
213 kB, 700 × 700
Woman with an axe, version...10, probably.
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No. 15110
330 kB, 857 × 1024
1,7 MB, 1096 × 1506
I wish I was cool like Francis Bacon, playing with the human form and make schizo paintings, and make it look GOOD instead of just unfinished.

I like playing with form and color, but I never manage to construct the work into a coherent message, just aimless noodling on a theme.

Also, I am determined to finish my spoiler image submission before the end of the year, I was just busy doing pointless, thankless errands for my family members. That design work for brother's internet cafe that was demanded of me? Was never used, and he didn't ask about it again. Thanks for wasting my time, dude.

Also, I'm going to compile a list of resources for learning to draw/paint, practicing, etc. probably upload some of my books to a file hosting service, so we could start off the next thread with posting them.

I'm making these promises because expressing intentions is at least a mildly effective way of not abandoning projects (works 30% of the time :-DDDDD).

>>14824
>>15050
I like the fluidity in your drawings, very expressive and "alive". I find it's more important in figure drawing to express the fluidity of human body language than to focus on anatomical correctness. In fact, pursuit of anatomical correctness a lot of times results in stiff figures.
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No. 15112
>>15110
Honestly I actually like your art. You're good at it. As in, better than every single person on here by far.
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No. 15117
>>15112
Well, to be honest, I'm quite insecure about it.

I drank a lot of kool-aid about work ethic and that if you're ever satisfied with anything you do, you have signed a death sentence to your artistic development.

Contentment breeds complacency and all that. So far I can't figure out if such a rigorous philosophy is bullshit, or if I'm just not man enough to power through perpetual dissatisfaction like some nietzchean ubergod.

I hate happy people.

It's amazing how much more productive you can be when you do things that you like, but doing things you like has the downside of knowing that you are pursuing cheap titillation in the form of cheap kitsch illustration, rather than pursuing Meaningful Art(tm) (if only I knew what that is).

I get stuck on the first couple of steps because I start asking existential questions in the vein of "what is it that I'm actually making and what does it mean", and can't come up with an answer. Must be some OCD shit.

It was a lot easier when all of my concern and understanding of art was "I must learn basic anatomy and color theory", instead of thinking about what to actually do with these skills. I could just follow the books and do the exercises back then.

"god what a faggot" - me
t. me
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No. 15121
>>15117
Yeah well it shows. On the flip side you get that
>I hate happy people
thing. It does often seem the mentally ill or so called are much more prone to either extreme, either artistic genius or being fucking horrible at it. I cant do much art. I made I think one thing I was proud of, and several other things I liked, and most of it got thrown in the trash by maintenance because I was an alcoholic and it still feels like a hole in my soul from that.

You have talent imo which is rare. And I'm not just saying that toxic chan culture has made me a hyper critical asshole about everything. It is hard to describe too, I just see "it" when I see you post your art a lot of the time. But I too believe in the Mike Tyson effect. That being, whatever you think you're bad at and not good enough at especially if insecure is what you're most likely to overcompensate in and get really good at, whereas whatever you marked for yourself as "I'm good enough" is probably what you're shit at. Not sure what I'd be good at, but I never think I'm aggressive enough and too trusting and forgiving, and that I have an adequate spiritual insight. Reality of self appraisal is usually the opposite.
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No. 15125
>>15117
Art turns bad when people try to be Deep and Meaningful instead of just doing what they want.

I've forgotten 99% of the high literature I was forced to read in school, but there are many moments from "low-culture" SF novels that will stay with me forever. Not just because of the subtle artistry involved, but because those novels were genuinely fun to read. They had been written to be enjoyed, not to be meditated upon, and they were superior works of art for it.

If a refined and perceptive mind creates something with genuine effort and enthusiasm, some meaning will inevitably bleed into the product. I'd rather look at a drawing that came out of your simple desire to create, than something consciously created from the start to be Meaningful.

In fact, I can't actually think of a single good work of art in any medium that was the result of a conscious attempt to create Fine Art. Every time I've seen a good author try to do that instead of trying to do what they were naturally good at, the attempt fell flat.

also, if you want financial independence you can draw porn for a few hours a day while planning out your actual art. My best friend makes all of his money doing either that or sprite art for video games, and he could make enough money to support himself even in California if he had to.

And if you do try to break into that business, tell people you live in California or somewhere else expensive, cause they pay people from sovok-land a lot less
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No. 15127 Kontra
>>15125
Continuing on another note, I think the best attitude to take towards yourself and your work is a self-aware egotism. You need to feel genuinely good when you create something good, while still being aware of all the mistakes, and of the fact that you can and should do better. You need to be satisfied by "good-enough" attempts on the path to perfection.

Pure self-assholery only works for people who have a limitless well of energy and confidence. That confidence comes from an insanely inflated ego, from borderline pathological narcissism, and not from any individual work that they create, which is why they are able be so hard on themselves over specific pieces of work. You're taking an attitude towards yourself that only works for "happy" people, and as long as you keep that attitude you're sabotaging yourself.

I'm not a happy person, and I'm aware of many mistakes in the story I posted in the last Today Thread. However, I feel good about what I created, and that motivates me to create more of it, and post more of it online. Hopefully at some point enough to be published.

Speaking of which, is it alright to turn this thread into something about art in general, rather than just drawing or painting? I'd like to post stuff I've written and get feedback on it, but the only other place I could do it is the Today Thread. I don't think anyone else here writes creatively, and it'd be rather narcissistic to make a thread just for myself.
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No. 15131
356 kB, 800 × 960
1,1 MB, 709 × 851
1,1 MB, 709 × 851
>>15110
>I like the fluidity in your drawings, very expressive and "alive".
Thank you. I can slaveishly reproduce anatomy, but those drawings can't equal the energy created in a few well placed gesture lines.
>>15117
I've never had to think about meaning in art, only what I wanted the end product to look like and how I could get there. I suppose I'm still learning, but also that's one advantage of cartoonist/illusrator level art. Since it's end serves a commercial purpose it doesn't need justification beyond that.

I stumbled across this painting and decided to do some editting.
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No. 15139
3,4 MB, 2000 × 3000
>>14640
Hell, what I'am the lazy bastard. Don't have time to properly sit for couple of hourse and just finish this already
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No. 15155
>>15127
>I'd like to post stuff I've written and get feedback on it
While writing may not fit the thread title, it certainly falls within the help and critique subsection of the OP. If you're looking for feedback on creative projects and such this is probably the best spot.

>>15139
Thanks for the update on this one.
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No. 15156
>>15125
I have considered drawing porn, but that'd be an even bigger betrayal of my principles than drawing cringy fantasy and sci fi art that I so like :-DDDD.

But that's the point, right, being overly idealistic is completely infantile, and at some point you have to grow up and do things out of pragmatic necessity, even in art. As a kazakh philosopher once said, "Even if you have to wash a donkey's ass, make a living" :-DDDD.

In fact, I have noticed that when I do things out of necessity (drawing a commission for example), the result turns out... adequate (well, at least finished), because there was a clear cut goal in front of me. When I do stuff for myself, I get lost on the way and drop the project because I have no clear idea of what I want it to be.

So yeah, I guess I have some growing up to do in that regard, chasing butterflies is no way to live.

>>15127
I am afraid of turning into one of those people on deviantart or whatever, who are happy in their mediocrity. I see all these people who enjoy drawing, have found a rut/niche that they are comfortable in, and stay there, because they feel good and people like it. It disgusts me to imagine myself turning out that way.

On another hand, being happy in one's mediocrity seems like a tempting alternative to being miserable in one's mediocrity, which is where I am now :-DDDDD.
_

Regarding posting your writing, I actually think this thread could be redefined neatly into a hobby/craft thread to fill a bigger niche. I bet there's a lot of stuff ernsts would like to share, but don't have a proper context. Like photography, writings, hell even gardening and origami.

So go ahead, it'll be interesting.
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No. 15165
>>15156
>I am afraid of turning into one of those people on deviantart or whatever, who are happy in their mediocrity
I think the main problem is their underlying mediocrity. They don't have great ambitions or high standards, and so inevitably their talent rots.

You don't sound like that kind of person, but you can only find out if you try. Draw for commission, draw what is fun for you. And feel good about yourself, develop an ego, acknowledge your talent, because that will give you the motivation to work and to improve yourself. You've already got the self-awareness in spades, and you don't have anything to fear so long as you make a conscious effort to retain it.

>but that'd be an even bigger betrayal of my principles than drawing cringy fantasy and sci fi art that I so like
The most important thing you can do is to stop looking at fantasy and SF as cringy and meaningless. It sounds like you like the idea of making high art, but that you don't actually like doing it. That's probably a sign that you shouldn't try to make high art.

Genre and fantasy and SF don't degrade the artistic quality of a work, nor do they even fundamentally reduce the ability of a work to say something about the real world or the human experience. You won't win the approval of the guardians of high culture... but who cares? They're few and irrelevant, and not particularly smart or worthy of your regard. There's no more depth of thought going on in the heads of people reviewing the latest Jonathan Franzen book than there is going on in the heads of people reviewing the latest capeshit movies. There's more thought going on in communities of artists that tend not to have hang-ups over precise subject matter, or even in dedicated SF communities.

As an artist, you generally want to A. make a living, and B. make work that satisfies not just yourself, but other people whose opinions you value. The second is more important. But whose opinions matter to you? The masses? No, clearly not. The kind of people who write for publications like the NY Review of Books? Why should they matter more? Their IQ might be a little higher, but they've all crawled up their own asses fawning over unreadable books with page-long metaphors, or similarly trite pieces of visual art.

It sounds like if you just accept SF and fantasy are not in conflict with meaningful art, you'll do a lot better. Perhaps as a test, try combining the aesthetics that you like with the higher meaning that you want to convey.

>So go ahead, it'll be interesting.
>>15155
>If you're looking for feedback on creative projects and such this is probably the best spot.
Alright, to start I'll repost what I linked in the last Today Thread, and I've got another piece that I'm going to upload very soon.
https://www.wattpad.com/663881838-changes-the-seed-eaters
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No. 15388
115 kB, 560 × 560
A tree frog.
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No. 15400
>>15165
>https://www.wattpad.com/663881838-changes-the-seed-eaters

That was an enthralling read, I enjoyed it very much and without distraction.

At the beginning there were points where I was slightly taken out of the story due to prose/style - some of the words / expressions felt very modern-english, which reduced my immersion somewhat. But after a while I stopped noticing.
I thought that maybe a writing style, using descriptions and associations that a person from that period in history would use, rather than modern words would let the reader get into the character's head more. Sort of a way of inferential world-building, where the reader can piece together context through the thoughts of a very different different person, rather than being directly told about it in-writing. Though, I'm not sure if that would work for what you are going for. It might just end up unintentionally portraying the characters as dumb, as is a frequent stereotype associated with pre-historic humans.

All in all, it was a great read. Are you planning on continuing it? The ending seemed rather conclusive, as far as that particular character is concerned. Although, if the story was meant to be less of a character study of a prehistoric man, but rather a "story from prehistory", it can be continued through other characters from the setting. Set up a stage, so to say, and explore it through the eyes of different people involved.

I think it's a great concept that has a lot of interesting stories to mine for, the set up of the conflict allows for a lot of things to explore and be written about human society. How genders, age, life outlook / philosophy, etc. are affected by the society one lives already mentioned in the story could be "zoomed in" to tell even more interesting stories.

Just my thoughts, I'd enjoy reading more of this.
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No. 15418
>>15400
Thanks for reading and feedback.

>some of the words / expressions felt very modern-english
Can you point them out? In general, I prefer natural modern English in all settings, as people in the past didn't sound to themselves like they were in the past - they just sounded normal. But I have noticed some modern vocabulary creeping in that doesn't have a place, simply because the concepts weren't around back then. For example, units of time. I still need to think of an alternative to using hours.

>Are you planning on continuing it? The ending seemed rather conclusive, as far as that particular character is concerned.
The intent is to cover what I think are the most important developments in history, and humanize the changes associated with them. This story was about the replacement of hunter-gatherers by farmers, and I feel like I've dealt with that well enough for now (at some point in the future I may expand this one story into a proper novel, and touch on more things as you suggest). I've got at least a dozen more story ideas for later points in history, and I'm working on two at the moment:

  1. The rise of Indo-Europeans, or more broadly, the rise of hierarchical patrilineal chiefdoms in the Bronze Age. Even more broadly, it's about the rise of highly stratified human society in general. This actually takes place in exactly the same location, so you get to see the descendants of the farmers deal with the experience of conquest themselves. But this is the only connection to Krow's story.
  2. The rise of cities and large states. It's be about a barbarian slave from a remote part of the Balkans navigating life in a major Roman city.
Then I'll probably tackle the rise of religions of salvation, and the causes underlying the decline of large-scale societies. Later on I'll deal with things like mass printing, liberalism, industrialization, and the internet.
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No. 15451
436 kB, 720 × 1200
Ah fuck it, I'm just gonna call a bunch of people today and try to get a job.

Like, what do I have to lose, huh. And once I have stable income, I'll have a chance at personal development.

You know, personal development would probably be a lot easier if I could afford shit like painting supplies (shit's expensive yo). Or buy a damn stylus for my drawing tablet. OR get my old HDD fixed so I can recover my sketches and projects.

Here I go, today's the day.

Also, honestly I only picked up digital art because it's cheaper, I don't actually enjoy drawing on the computer, it doesn't give the same feeling. If I could afford art supplies, I'd paint with oils exclusively tbh.
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No. 15452 Kontra
>>15451
Huh, meant to post in today thread but I guess it works.
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No. 15463
>>15418
>For example, units of time. I still need to think of an alternative to using hours.
Use the positions of sun and moon, also maybe the sounds or appearance of certain animals.
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No. 15567
61 kB, 300 × 449
197 kB, 700 × 700
I developed this >>15388 a little further, tightening up the lines while trying to keep the loose sketch impression. The lower leg gave me the most trouble; it had the easiest lines, but relied more heavily on coloring which is where I tend to struggle. Picture 1 is the photo I was using as a reference.
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No. 15856
532 kB, 976 × 1432
64 kB, 651 × 469
Since I don't have a graphics tablet any more, I'm trying out drawing with pencils and a black marker on paper then scanning and coloring the image.

Not having a digital eraser is pretty tough, maybe I should take a break from digital and try to get good at traditional. I think photoshop taught me some pretty bad habits. Like doodling nonsense and then fixing it with an eraser, which is not possible on paper.

Here's a skeleton jelly. I have a couple other doodles I need to clean up and color. This is actually kinda fun.

>>15567
I think you might have lost a little bit of tension in the pose. The original frog looks alert and poised to jump, while yours is kinda laid back.
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No. 16309
625 kB, 900 × 900
>>15856
>I think you might have lost a little bit of tension in the pose.
I tried to get more energy into this version by pulling in the body, flattenening the head, and shortening the front arm. I was changing as much as I could around the edges without my having to entirely repaint the body and face. The result is still too rigid compared to the model, but it's a little better I hope.
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No. 16601
189 kB, 1500 × 819
2,0 MB, 1800 × 982
My edit of Nighthawks by Edward Hopper is finally finished, or at least close enough to finished that I can post this version. I was initially going to include only Ernstwurf in this one, but since the original painting was framed in such a wide shot he turned out really small. My solution to this problem was to add a countryball to more definitively show the diner as Ernstchan. I know I could have also tried painting the woman as Erna, but I wasn't confident in my ability to match Hopper's human figures and wanted to avoid a jarring style clash.
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No. 16605
>>16601
Good Ernst Wurf, bad perspective on the text at the top. Draw some guides in an overlay to help you with the font.
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No. 16627
2,0 MB, 1800 × 982
>>16605
>Good Ernst Wurf
Thank you.
>bad perspective on the text at the top
Here is Version 2. On the first one I used a font with minor warping. While that gave me clean letters, it also led to some perspective problems. I thought I had fixed that by aligning the E with the sign frame but, since the vertical lines weren't parallel, it wasn't a perfect solution. On this version I tried hand lettering with a guide based on the letters in the original painting.
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No. 16651
>>16627
Much better. The EC logo is too washed out. Have you tried painting it on a different layer and then applying it to the background with frequency separation?

Here is somewhat detailed explanation of how it works: https://fstoppers.com/post-production/ultimate-guide-frequency-separation-technique-8699
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No. 16683
2,0 MB, 1800 × 982
>>16651
>Much better
Thanks. I should have known a font wouldn't fit the painting, but I have no confidence in my hand lettering skills. I should find more opportunities to practice.
>The EC logo is too washed out
I think that was the result of my overuse of blur, smudge, and erasing tools trying to create a weathered look. I managed to fade the colors, but lost the clear edges. In this latest version the logos are repainted hopefully better and a little larger. I also brightened the sign by 25% to better match the coloring of the original.

>frequency separation
I usually blend everything smooth, and then try to get texture by adding subsequent layers. It looks like there is a better way. Thanks for the tip.
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No. 16693
21 kB, 361 × 192
>>16683
I liked this one.
Are you the Ernst that did the Calvin and Hobbs banner last year?
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No. 16703
>>16693
>I liked this one.
Thanks for the feedback. There was a pretty big change in the sign between v2 an v3 and I'm always a little afraid that I've made the drawing worse. It's nice to get honest opinions either way. I keep copies of old layers just in case I have to do a lot of undoing.
>Are you the Ernst that did the Calvin and Hobbs banner last year?
Yes. I drew that one and another Ernst helped me with the Ernstchan lettering.