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

Currently at Radio Ernstiwan:


It is about Horror Punk, starting from The Misfits, then the two samples This is Horror Punk 1&2 which tried to give a good overview of what emerged after the reunion of The Misfits end of the 90ties (without Glen Danzig of course) and after this some random pieces of the genre. To be honest, some psychobilly and othere familiar genres are within this playlist. by Horror Punk & Psychobilly

M3U - XSPF


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No. 27102
2,1 MB, 1000 × 1000
Post your artwork, discuss, give critique in this thread.

Useful books and resources (mega dump):
https://mega.nz/#F!vp5hQCbQ!oCNGOUgaVeK1pHs3qasJDQ!uwJTnKiY

Personal recommendations
Anatomy and construction:
Michael Hampton - Figure Drawing - Design and Invention
http://gen.lib.rus.ec/book/index.php?md5=8993727FB63B9349CA089098ADEC9281
Painting:
Richard Schmidt - Alla Prima; Everything I Know About Painting
http://gen.lib.rus.ec/book/index.php?md5=51C45D10C094E67A426FE83C29F9E879
Perspective:
Joseph D'Amelio - Perspective Drawing Handbook
http://gen.lib.rus.ec/book/index.php?md5=D78225B034921F940DCA7EB75FA22EFD
Technique:
Harry Borgman - The Illustrators Guide to Pen and Pencil Drawing Techniques
http://gen.lib.rus.ec/book/index.php?md5=D4D458D54535134280696E87F8928A1B
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No. 27133
128 kB, 600 × 200
55 kB, 300 × 100
Great OP pic.

>>27058
>using a slab serif font
You're right, it really does fit the propaganda poster style. I spent some time trying out a few different options(Sabelia, Dehuti, Clarendon, and Permian). When I compared each font, and took into account how well each one scaled down to 300x100, Permian was my favorite.
So here is the new Lenin is a Mushroom banner which also incorporates your suggested text changes. Thanks again for that; I should have asked Ernst for translation help sooner.
Oh, and I was able to copy/paste text from >>27061 so I didn't have to type cyrillic characters after all.
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No. 27145
Currently drawing a house wren. Will post when it’s further along
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No. 27148
140 kB, 251 × 458
>>27133
>Lenin was a [...].png

You apparently always best yourself. Looks awesome.

Also great team work with Belarus.
I hope that Ernstchanmott will include it into banner rotation within a narrow time frame.
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No. 27149
>>27133
Very nice, good job.

>took into account how well each one scaled down to 300x100
Yeah, I forgot about that. Slab serif fonts were designed mostly for newspaper headlines and posters, so they might have looked pretty bad or outright unintelligible on a smaller picture.
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No. 27198
1,2 MB, 1200 × 1200
>>27145
Looking forward to it. Although I hope my saying that doesn't feel like added pressure to finish. I personally have trouble working under expectations like that. It starts a cycle of obsessively correcting insignificant details X^DD.

>>27148
Thank you.

>great team work with Belarus.
Agreed. It's always nice to get ideas/feedback from Ernst, and this banner is definitely better because of it.
Now that it's finished, I'll post it to the thread in /meta/.

>>27149
The 300x100 scale was a real wildcard with slab serifs. While working full size at 600x200, I would adjust the text in each font and then cross my fingers as I resized them. Pic related.
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No. 27202
>>27198
Clarendon and Sabelia bold look best I think. What's up with the symbols on the flag though? Shouldn't it have either a mushrooms or hammer and sickle? I can't even tell what that is but it looks kinda like the Sophons faction symbol for Endless Space 2.
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No. 27211
56 kB, 300 × 100
56 kB, 300 × 100
33 kB, 997 × 666
8 kB, 200 × 200
>>27202
>Clarendon and Sabelia bold look best I think.
I liked Sabelia bold the best at 600x200, but when reduced I was concerned about it becoming illegible. Here it is at 300x100; is it clear enough? I'll post Clarendon, too.

>What's up with the symbols on the flag though?
To break up the reds, I took the symbol from the Mushroom Kingdom. I did a bit of warping to match the waving flags, so they might not be clear. Should I adjust them?

>it looks kinda like the Sophons faction symbol for Endless Space 2.
You're right, it does.
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No. 27214
>>27211
Yeah I think the first one looks totally fine
>Should I adjust them?
Definitely you should
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No. 27227
103 kB, 310 × 260
56 kB, 300 × 100
56 kB, 300 × 100
>>27214
>Definitely you should
Ok, this is much better. I think the key is to have one clear mushroom to give the viewer's eye a frame of reference to interpret the rest of them. The first pic is to show what I changed, the second is Sabelia Bold font, and the third is Clarendon.
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No. 27233
>>27227
Honestly it still just looks like the Sophons. Tbh mate I think what you should probably do is scrap the idea of using a Mario mushroom altogether for this one because it's already not very distinct as a mushroom on its own.
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No. 27234
>>27233
I see the mario shroom. I am actually finding it hard to see the other symbl beyond the barest similarities in rounded shape.
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No. 27247
6 kB, 300 × 100
Spending way too much time trying to do this by hand. It's especially hard on a laptop touchpad :-DDD

t. 6 billion hours in paint pro

I give up tbh. Maybe one of you guys like the idea though at least.
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No. 27248
105 kB, 300 × 100
>>27247
I did a thing :D
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No. 27252
>>27248
Damn son. Way to separate the casuals from the pros :-DDD
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No. 27254
129 kB, 940 × 460
319 kB, 760 × 992
>>27252
The font is really nice though, you have a good sense of visual design. Maybe you should get into something like stencil or lino printing

It's a pretty ebin and relaxing hobby. It's like mspaint, but IRL :-D
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No. 27255
209 kB, 485 × 757
207 kB, 310 × 525
56 kB, 300 × 100
55 kB, 300 × 100
>>27233
>scrap the idea of using a Mario mushroom altogether
In the original poster the flags were set against a lot of negative space(pic 1). With the 3x1 format that space was eliminated, and then after adding the mushroom cap I began to worry it was too red. I could be wrong, my judgment with colors often is X^D. Anyway, Here is one more attempt to improve the mushrooms. In light of >>27234 I kept the changes subtle, and only tried to sharpen areas which might be visually confusing.
Pic two is another lineup for comparison, including a version without the mushroom flags. The font is Clarendon, because that one is really growing on me.

>>27247
Text on a curved path-by hand? Using a touchpad? 6 billion hours seems pretty fast tbh X<D.
I really like the concept.

>>27248
Awsome.
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No. 27256
169 kB, 585 × 585
>>27253
It's not my design tbh. That's why it's good :-D
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No. 27273
1,5 MB, 2480 × 3508
>>27255
I think part of the problem is I also never played Mario for the most part, so my brain is not identifying the Mario symbol. It just looks like some glyph composed of two circles and looks nothing like a mushroom to me.

I get what you're trying to do conceptually and I like the concept and referencing but
https://www.bing.com/images/search?q=mario+mushroom&FORM=HDRSC2
problem is the base material just doesn't look like a mushroom really. In this case I'd defer to others and see what ernst thinks. To me this is a case of what I know many types of artists including writers suffer where they get attached to the idea but it becomes more about their pet concept itself and the overall work suffers for it because it doesn't work with the greater whole but they become too attached to the idea.

I've probably done this myself numerous times when writing. I'm tired af and having a hard time finding the words for it right now but it's this specific thing I think writers and some painters, composers etc do, like say you happen to enjoy one note so much and just have to incorporate it into something, but it doesn't work with the overall piece and so all you end up hearing as the listener is an otherwise decent song marred with this one irritating or just bizarre off-note that keeps making you think "what the fuck was that?" In the case here I don't think it's that much of a distraction but it's noticeable enough every time I'd see it I'd be looking at this glorious thing entirely beyond my capabilities with just that one off note, like a scratch in the roof of your mouth while you're eating your meal.

I think that done right it can even become a sort of The Kramer or Mona Lisa smile, but more often than not it just becomes something that doesn't work with the composition. I think that in frame 3 pic 2, and in pic 3, that it kinda now works but I think that it's ultimately just more conceptually gratifying than visually coherent. If that makes any sense.

t. doesn't actually know what he's talking about
oh this just reminds me, so I was in pottery class long time ago and I made this, not sure how to call it like an esoteric edgelord thing. Everybody else was supposed to make a jug with a face on it in my ceramics class and I was going for some dark apocalyptic thing, and my teacher suggested putting a blue teardrop on it. That is the number one best example I can think of of a piece of art getting this one piece that doesn't actually go together at all neither conceptually really nor particularly aesthetically in any sort of coherence. But then again, too many cooks spoil the broth, if you catch my driftI'm saying if what you're doing is not a supremely satisfying scratching of the assburger urge to wrap multiple references together and have Mario mushroom people but part of what you're doing then clearly you should ignore my input entirely as I always trust the vision of the artist above all elsebut I still think it makes the composition mildly visually incoherent particularly if you're going so far as trying to find really old school revolutionary era Slavic font
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No. 27280
16 kB, 300 × 100
Rate 6 billion more hours in paint.
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No. 27305
214 kB, 720 × 1152
>>27273
>To me this is a case of what I know many types of artists including writers suffer where they get attached to the idea but it becomes more about their pet concept itself and the overall work suffers for it because it doesn't work with the greater whole but they become too attached to the idea.
I admit I've become so focused on making the mushrooms work, that I haven't spent time considering if they actually make the art piece better. I mean, their placement wasn't really the fulfillment of a concept, it was simply a coloring decision. And even that was a close judgement call. My initial post in the old drawing thread included a version without the mushrooms; I was still on the fence about them. However, once I set to work fixing the font I never really stepped back to evaluate any other aspect. Instead, my only concern was proper technical execution.
This reminds me of a project I did for an art class. After spending a week drawing chess pieces(it was 24"×48"), I had the idea to add chess notation to the background. To make it even more 'clever' I copied the notation from a famous chess match. What did the teacher say? "I wish you hadn't done that". Specifically, he said the notation "cheapened" the piece. Pic related.
Anyway, your comments have made me realize that I might be repeating that mistake. I think I managed to set the mushrooms fairly well, and they are identifiable enough, but that shouldn't be the main point. The point is, as you said, visual coherance. To that end, digital mushrooms are objectively anachronistic on a retro poster. It comes down to making a decision, of course. To that end, in order to make banners as timeless as possible, it's best if I avoid tangential meta-level references. There's actually a saying I've heard related to cartooning. In order to keep compositions immediately clear: When in doubt, Leave it out. That probably applies here, too.

>>27280
Nice take on assberger strength. What is the context of the original image?
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No. 27324
>>27305
I dont know I kind of like the chess composition like that. It truly makes it stand out as unique to me, rather than just another art class exercise in depth in object drawing and I think your teacher may have been wrong. I had an art teacher once who gave me (and frankly almost everyone else) shit about what I was doing, part of which was my abject failure to follow his instructions to such an extent I suspect he thought I was doing it on purpose to spite him rather than my complete lack of awareness, including one time when he specifically said any paper except newsprint and made a point about that but all I could remember is him explicitly saying something about newsprint, so I decided he probably was specifically saying make sure to only draw it on newsprint. He also gave us a self portrait in a mirror assignment but I only did my eye in a pocket mirror which I'm sure he took issue with but was about the only professional looking thing I ever achieved in that class and another classmate also was all "I actually like it." Hell fuck it why not I might even try and dig up a picture and post it in case anyone here cares, just because I sincerely doubt anyone is ever going to be here that'll make it identifiable as me.

But yeah regarding yours I'd have to say, your art teacher might be wrong. I'd probably have to see a real life sized version to judge better than this thumbnail
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No. 27325
41 kB, 500 × 324
>>27305
It's a fairly common picture related to a compilation album released in the 80s called Strength thru Oi!
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No. 27328
107 kB, 1000 × 846
119 kB, 1000 × 1600
I don't know why I'm exhausted after only a couple drawings. I'm having this uncomfortable feeling like I'm scraping against the limits of my intelligence.
I'm trying to understand how motorcycles work, since I'm planning on adding one to desert helmet. Lots of bits and bobs in there. The overall shape and composition is easy enough, but the things inside the frame are an incomprehensible mess to me so far. I need to do research.

Anatomy is still fucking me up, trying to memorize all of the muscles and where they slot in is quite difficult and frustrating. But I think I've devised a method to deal with it. A lot of anatomy resources approach the subject in terms of lines and relationships between lines. I do not understand lines. I understand shapes and volumes. So I'm thinking maybe next time I will try to study anatomy in terms of a bunch of blobs stacked on top of each other, rather than lines wrapping around a skeleton.

I know I should probably do more finished stuff, but I feel like a good idea is wasted if it's not executed well. Which means conveying not just the idea of something, but an actual depiction of it. Be it the human body or a motorcycle. Which means I'm going to have to draw a lot of motorcycles now.

There a difference between "finishing" something, and really finishing it. That level of professional polish and detail that elevates the work to the fulfillment of its potential. The last 10% of progress that requires 90% of the effort. This level of diligence and work ethic is something I've always envied in others and wanted for myself. But so far, I only have two shitty sketches.
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No. 27336
>>27324
>I think your teacher may have been wrong
Thank you, ernst. That was an old picture, so tbh I can't even judge the full-sized version myself. Maybe the scale makes a difference, maybe it doesn't. The funny thing is, whether teachers are correct or not, their words have a lasting impact. I mean, we're still thinking about them, right?
And of course I'd be interested in seeing that drawing. If it's just an eye, there's no risk of being identified. Heck, I could post some of my old self-portraits and not be identified :D. Seriously, though, they really are bad so I won't do that. I'm much happier with the cartoon self-portrait I posted in the old drawing thread.

>>27325
Thanks. I'm not sure I've seen that one before.

>>27328
I get that exhaustion from drawing, too. Even though I'm not physically moving much, the mental energy drain is real. You've sketched a decent motorcycle even without all the detail bits. If that's the floor you're going to improve upon, then desert helmet is going to have a pretty awesome set of wheels.
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No. 27339
190 kB, 1000 × 1143
Motorcycles are pretty fun to sketch. Very interesting shapes.
The hardest part is making the wheels round :-DDDD.

>>27336
Having looked at how other artists solve similar problem, the answer seems to be obvious: they just hide the details (usually in shadow), and only imply parts of it, just enough for the inaccuracy not to stick out.

It seems pretty obvious now that you don't need to literally reinvent the motorcycle from scratch in order to draw it, but not having someone explicitly instruct you to do something correctly, you end up trying out dozens of incorrect things before arriving at the solution.
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No. 27340
1,0 MB, 2960 × 1871
>>27339
>2, 4
Man, the old school silhouette for bikes was so much cooler.
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No. 27342
>>27340
Whenever I look for reference related to automotive design, technology, computers, etc., I always add "70s" to the search.

I think it was the most aesthetic era of american design tbh. 60s are a bit too retro for me, in the 80s everything looked too boxy, 90s is when everything went really ugly and cars started looking like bars of soap.

70s cars and motorcycles, on the other hand, are pure sex. Them curves, man.
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No. 27345
>>27342
I like vintage British mechanical aesthetics more than American ones tbh. They just feel more 'right' to me. Dunno how to properly explain it.
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No. 27377
86 kB, 400 × 400
I was enjoying Radio Ernstiwan today.
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No. 27459
135 kB, 800 × 600
Quick sketch of Ork on mongolian-like armor. I actually wanted to draw a picture or set of picture with mongolian-like orks in style of world war I, where traditional mongolian helmet combines with greatcoat, metal-wooden rifles and mix of dinosaurs and rats like some proto-ice age animal who drags artilery etc. but has no any time and will to draw nowdays so I'll pertty shure I'll abadon this as usual
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No. 27460
>>27459
Also this picture don't created to offence anyone. I just love orks. And like mongol stuff. And great war.
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No. 27532
1,8 MB, 424 × 424, 0:02
>>27459
You've put a lot of thought into the concept; even if you don't finish it, thanks for sharing this sketch. All the larger ideas that I have involve simple drawings that are interconnected-like comic panels-rather than epic scenes like you described. I can do cartoons where multiple characters interact, but doing that with more complex anatomy is still difficult.

I had an idea for a 1960's style background for this >>27377, and since I was going to draw a lava lamp it seemed like that would make a nice bit of animation. Getting the motion smooth took a lot more adjustments than I anticipated. Luckily lava changes shape as it rises and falls, so that gave me a wide margin for error :~D. The finger has 3 different frames which repeat in a cycle, and the lava has 12. Btw each frame is shown twice(back-to-back). I learned doing the Johnny Bravo juggling image that 24 frames at 12.5/fps looks better than 12 frames at 7/fps.
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No. 27542
>>27532
Noice.
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No. 27550
95 kB, 458 × 436
>>27532
Great work mate, saved!
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No. 27555
>>27145
Update: haven’t done much with this drawing due to the fall semester (been pretty busy between biochem, stuff for my lab, insect collecting, etc.)

I think I need to get better at managing my time. I will finish the wren drawing eventually.
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No. 27569
418 kB, 1440 × 857
>>27532
Well, I'am bad drawer and artist. I actually always interested in creating worlds, plots, generate ideas, but I has no actual skill or actual will to finish anything so pretty much anything I have in mind I abadon and not finishing it because well.. yeas, I'll never have an opportunity to finish anything on level I have in mind

You done cool animation on this picture. And like how you done his foot, looks like "more realistic version" of ernstkrot :D
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No. 27588
>>27542
>>27550
Thank you.

>>27555
Real life® always tries to interfere with our art X^DDD.

>>27569
>like how you done his foot, looks like "more realistic version" of ernstkrot :D
Thanks. I enjoy experimenting with different ways to anthropomorpize moles. Large feet and a small rounded head seem to give me the best results. Moles also have large claws, but I learned a while ago that those don't work well on cartoons. They make the character seem too threatening, and I try to make Ernstwurf look curious, or like he's interested in something.
Nice coloring on the orc. If you keep adding lines like that you could end up finishing after all :<DDD. Don't worry about finishing something as perfect as it is in your mind. That's a long-term goal that you can only reach by doing one drawing after the other. No single drawing is good enough, but if you have the time and enjoy drawing, keep doing them. Eventually you can look back and notice a progression in skill level. At least that's been my hope experience.
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No. 28062
1006 kB, 1400 × 2300
I've been refining this drawing on and off for a few days; I think it's as done as I can make it...for now :D. Out of all the details, I think that lead bird turned out the best.
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No. 28827
1,4 MB, 1000 × 1414
Been a while.
Trying out the finneliner + marker sketching technique. Always been a fan of this sort of look. Unfortunately, I didn't plan ahead and ran out of space to put his arms :-DDD. Also my lines suck.

>>28062
I really like the perspective on the buildings. I'd try extending the canvas to the right to capture more of the city scape, and give a real sense of dizzying height. I think it'd add some nice tension.

>>27569
I have same settis. I get stuck when I realize that my current skill level is not enough to finish a drawing in the way I like it. I know how the finished work must look, but I can't get it there.

But I think there's value in finishing stuff even if it turns out worse than you'd like, because in order to develop the skill of getting the drawing from start to finish, you must practice finishing drawings, as redundant as it sounds. It's like mastering a video game: you don't restart the entire game the moment you make a mistake, you keep making mistakes until you finish the game. Then you finish the game again but make less mistakes, etc. If you start over every time you hit the part you're bad at, you'll end up practicing the parts you're already (relatively) good at, which is counter productive.
Now if only I followed my own advice.
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No. 28831
>>28827
Man, Space Western is one of the tightest aesthetics.
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No. 28833
>>28827
>I have same settis. I get stuck when I realize that my current skill level is not enough to finish a drawing in the way I like it. I know how the finished work must look, but I can't get it there.

I get this with 3D modeling. Been reading "Thinking, Fast and Slow" by Kahneman and what he describes about concentration and motivation (in terms of his metaphor "System 1 & 2") might actually explain this hurdle for various creative endeavours. Without inherent motivation it's a drag to start any task, but once started a flow can occur. However, when still in the learning phase, any kind of flow is often interrupted, for example when looking at the work and wondering how to continue. At this point the "continuing" is in practice the same thing as "starting a task" and you are likely to have exhausted concentration and motivation temporarily and what lies ahead is nothing that you have learned to automate (eg. System 1 task) but that requires deliberate thinking and concentration.
I've found that one thing works quite well in this scenario: Go do something physical for 15 minutes, like washing dishes or a short workout, or the laundry, then eat/drink something with sugar to give a quick rush of energy and immediately sit down and try to continue where you left of.
So far, this has worked about half the time, which is much better than my previous stat of "almost never".
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No. 28839
>>28827
>finneliner + marker sketching technique.
I like it; the look is similar to line+ink wash. That's the technique I'd really like to get better at. It combines the conscious decision making of a drawing, with the unpredictabiliy of a watercolor. I think my art would benefit from adding in that looseness.

Thanks for the input on >>28062. That one still feels unfinished, like I could do more with the idea. I was trying to pull the viewers eye towards the upper right corner, but maybe shifting that focus beyond the character and over the city could work better.

>>28833
>At this point the "continuing" is in practice the same thing as "starting a task" and you are likely to have exhausted concentration and motivation temporarily and what lies ahead is nothing that you have learned to automate (eg. System 1 task) but that requires deliberate thinking and concentration.
That is incredibly accurate. Drawing is easy until I hit an idea gap, where I don't know what line comes next. From that point on, adding each new detail involves a period of debate over this/that. The natural flow of the initial sketch is halted in its tracks. It's like starting over, with all the anxiety and indecision I feel with a blank page.
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No. 28841
1,4 MB, 2737 × 2300
>>28839
I was thinking maybe something like this, to give that "oh shit, I'm about to fall" feeling.

The converging lines of the buildings already pull the eye towards the bottom of the image, and I think this aspect can be leveraged by making those elements even stronger, to give the viewer the feeling that they're being pulled down by gravity. The "fish eye" circular motion of the horizon would give a strong rightwards motion, pulling the viewer out of the stable vertical line of the building on the left, as if they're about to fall off.

I think it would add a great deal of disorienting acrophobia, which ties in nicely with the subject of the drawing.

>>28833
Interestingly, a similar technique is recommended to deal with ADHD. Whenever your ability to concentrate wanes and you get restless and distracted, just get up, do something else, walk around, listen to a song, etc. for 5 minutes. Then when your dopamine supply is restored, get back to work.

Regarding contemplation, sometimes it seems to be helpful to just sleep on it, if you're really stuck. The brain does some mysterious subconscious calculations in the background, and the next time you get to work, you know exactly what needs to be done.
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No. 28844
6 kB, 2 files
36 kB, 794 × 1349
30 kB, 794 × 1349
>>28841
Wow, thank you; that's exactly what this drawing needed, and on top of that you've given me a great benchmark to strive for. Now I have no excuse, and can't get away with half-a**ing this thing :^D.

I made a vector ouline of the Ernstleaf logo, and will post it here in case anyone ever needs it for something. The archive has 2 .svg files: One outline with a white background, and one which is transparent.
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No. 28989
229 kB, 1000 × 1093
I was just figuring out a comfortable workflow for the pen + wash method when my stylus crapped itself again. God damn it fucking chink shit quality electronics. I guess I'll stick to regular pen and paper for now, since I wanted to improve my drawing skills anyway.
But fuck, it's probably the third one this year or something. I wonder if those new battery less stylus pens that come from newer models of tablets have better QC. I thought of maybe buying like three of the things at once, but that'd cost almost as much as a brand new tablet.

I wonder if that's their business model. Razor and blades and all that.

>>28844
Giving advice on other people's stuff is easy :-DDD. You don't have to make any decisions, just tweak other people's stuff.
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No. 28993 Kontra
330 kB, 1184 × 1572
Fuck it, I'm gonna keep drawing with a mouse.
I don't really use pressure sensitivity anyway.
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No. 28994
>>28989
Sorry to hear about the pen; I think that does make three this year. Is this the drawing it died on? It's excellent work; I like how you used thin colored lines within the broad strokes to create depth and texture. It's very loose and energetic.
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No. 28995
>>28993
I guess you answered my question while I was writing it :^DD.
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No. 29002
32 kB, 560 × 560
literally 100000 hours in mspaint
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No. 29039
>>28994
Well, I have partially myself to blame, because whenever the pen starts malfunctioning, I try to "fix" it, and end up breaking it permanently. I've broken a lot of stuff in my life by trying to tinker with it.
But to be far, when you're in the middle of drawing and your pen starts leaving faint trails, or some mechanism inside goes loose, throwing off your sense of pressure, it's really frustrating. Not sure what's worse, a pen that doesn't work at all or a pen that constantly fucks with your process.
Oh well, I have a design commission pending, maybe if it goes ok, I can order a new one. Will have to wait for another month.

I'm not going to fuck with the pen any more, though. I guess half-working is better than not working at all, at the end of the day.
>>
No. 29040
>>29002
You should use OG windows XP paint, man. New paint has anti-aliasing on the brushes, which causes artifacts when using the fill bucket.

Classic MSpaint is unironically a better drawing experience than anything else microsoft has made. Even their new windows ink workspace is gimped - no RGB color selector. They finally add out of the box pen pressure support in windows 10, make software for sketching, but fail to add the one feature that would turn it into a viable, if minimalist, option for drawing. How can you fuck up like that man.
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No. 30252
Bump
>>
No. 30366
125 kB, 640 × 873
2,1 MB, 1146 × 1563
Created some OC based on a 2014 Australian poster.
What do you think, guys?
In retrospect, I'd say it's "Much ado about nothing"
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No. 30369
>>30366
really sad attempt at boot licking
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No. 30370 Kontra
>>30366
the last point is not true tho, you can make it, when you stick to a few basic principles.
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No. 30371
>>30369
I already said that with the spoilered part.
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No. 30383
1,8 MB, 2737 × 2300
>>28841
Thanks again for the advice on this one; extending the city and adding a bit of fish-eye perspective made a huge difference. There is a much more pronounced sense of falling, which my original vertical format didn't capture. I also tweaked the colors a little bit, because I still tend to under-saturate and am trying to fix that.

>>30366
I like it. To address what >>30370 said, the last line could be changed from "you will not" to "shitposters will not", or something similar.
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No. 30406
>>30366
lol saved

I really need to get some sort of graphics design software besides mspaint.
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No. 30407
>>30406
GIMP works wonders once you delve more seriously into the toolbox it has.
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No. 30412
502 kB, 846 × 1115
4,7 MB, 2224 × 3104
122 kB, 1080 × 1080
119 kB, 1080 × 1240
Rate some of my artwork. I don't know where to go, what direction to follow.
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No. 30414
>>30412
I think you need to work on perspective a bit more. The second one for example while I do like it it's also the most clear out of all four how much you seemingly struggle with perspective and the exploration of space and distance. Like the detailing itself looks fine but you really need to work on how well you're representing a three dimensional space because they all look kind of flat. I think that the one just exposes it so much because while conceptually it is cool it also exposes this lack the most by relying the most on accurate representations of space to achieve those illusions.
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No. 30416
7,7 MB, 4000 × 3000
>>30412
Colour
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No. 30417
>>30416
Nice, is it yours?
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No. 30423
>>30417
No its in the rijksmuseum lol
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No. 30435
24 kB, 446 × 692
11 kB, 490 × 277
14 kB, 313 × 435
Everyone here is out of my league, but I'll post some drawings anyway. Hopefully the CAPTCHA will work this time.
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No. 30439
47 kB, 532 × 690
198 kB, 1280 × 568
>>30412
Deliberate, targeted practice, rather than drawing what's in front of you without a goal.
Focus on one skill, be it values, composition, anatomy, draftsmanship, color, design, etc. Start a work with the deliberate intention of studying that skill, the work itself and the subject of the work only being grounds for experimentation and exploration.
That's the "what to do next" as far as improvement goes.

Regarding the "what to do" in an existential sense, you should have some philosophical idea of what art means to you, and where you want to go with it. What you want to bring forth to the world, what you want to explore through art, what you think art should be, etc. And that's your overarching journey as an artist, the thing that will guide your development. And said goal doesn't have to be anything grandiose, you can spend a lifetime and more unraveling one simple concept to an ever exceeding level of finesse. Just find that one thing about reality or experience of being that resonates with you, and work towards required level of mastery to convey it in image.
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No. 30441
>>30412
I rate your art works breddy gud
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No. 30476
>>30435
The CAPTCHA is tricky when I'm uploading pictures. If I take too long it times out, and then when the page reloads the little 'x' to remove or add images isn't there. I just clear my cookies and then it goes back to normal.
Thanks for sharing some of your drawings; I like the earth wizard charcter. And don't worry about who is better or worse. We all have the same goal, to improve, and are here to help each other do that.
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No. 30506
>>30476
I gave up posting here because of the captcha.
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No. 31148
570 kB, 600 × 1200
I used this sketch to practice a more relaxed coloring style. I then decided that I need more practice :DD.
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No. 31161
241 kB, 875 × 423
>>31148
I always like your color and style. You ave things you can improve, but every time I seen your pic on preview I feel like it actual illustration from decent british book for kids lol. Don't know why, maybe your use of colors.

Anyway, I'am kind of working on illustration for my yt channel top.
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No. 31167
295 kB, 1200 × 787
1,4 MB, 3696 × 1844
Some digital studies.
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No. 31210
>>31161
Thank you, ernst. I think it is the colors which create that illustrated look. I used a watercolor tool for that, and turned up the "blend setting" to let the colors mix naturally on the image. So it's very loose, and looks more like a traditional medium.

>illustration
I really like how you handled the horizontal composition. The castle creates a line which pulls the eye across the entire image, ending on the character as a focal point. I struggle doing anything horizontal, and you may have noticed that almost all of my stuff is either square, or vertical.

>>31167
Nice work. Your use of light in the landscape is impressive.
t.Bad with light
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No. 32013
1,5 MB, 1000 × 2000
Another drawing colored with the watercolor tool. I'm enjoying the added color-blending variable, and the subtle randomness it produces. In a way, that feels like sketching, where you just jot down a dozen quick strokes, and without trying to control where they go, can stumble upon the best lines.
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No. 32128
71 kB, 750 × 736
37 kB, 231 × 87
Making sprites is hard

This was supposed to be a computer mouse / assassin bug creature. I wanted to design a monster since I’ve been thinking about the monster collector game genre lately. Clearly pixel art is not something one can just pick up without practice and excel at.

Second pic shows examples of some pretty decent monster sprites from a recently released monster collector game, Disc Creatures. These sprites are not sophisticated but they have character.
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No. 32134
2 kB, 320 × 240
5 kB, 320 × 240
3 kB, 180 × 60
16 kB, 145 × 132
>>32128
Well, there a lot of technics to actually make pixel-art like graphics. Sometimes, for example, for NES it was done in grayscale and then it had applied pallete. Some other made drwaings or art and then compressed it for VGA/Amiga/whatever color palette and lower resolution.
As you can see, I also did some lazy attempts/experiments while testing stuff for game I have in mine imagination in tryig to mimic some early VGA CRPG games.
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No. 32135
919 kB, 2560 × 1440
>>31210
>I really like how you handled the horizontal composition. The castle creates a line which pulls the eye across the entire image, ending on the character as a focal point. I struggle doing anything horizontal, and you may have noticed that almost all of my stuff is either square, or vertical.

I didn't even thought about something, it just youtube top part shold be wide, so if anything ended be great, it just happened accidentaly

Here is what I ended with, just without channel logo to not it make some sort of ads on EC.

>>32013
Funny, for some reason I get strong 90s computer art vibe from your picture ^^
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No. 32138
495 kB, 1121 × 1600
I wish I had a tablet pen. But I gave the money from the last commission to mom for bills and stuff.

>>32013
The intense colors remind me of golden age comics. They used to be incredibly vibrant, probably due to limited color palette. Simpler times before airbrushing and gradients.

>>32135
A lot of things in art are accidental. The skill is learning to consistently stumble on those (happy) accidents.

>>32134
>Безымяеный
Dang dude, are you really making pixel art in mspaint. There are some good tools for making pixel art, I think having a palette aware editor is the most important thing.
I think most of the asethetic comes from the limited palette and not so much from the resolution.

You probably already know about this, but I'll post this famous pixel art guide here for completeness:
http://pixeljoint.com/forum/forum_posts.asp?TID=11299
What I like about it is that it touches on the philosophy of pixel art as well as techniques.
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No. 32142
>>32128
>This was supposed to be a computer mouse / assassin bug creature.
I'd say that's what it looks like. It seems you made a compromise on the head, drawing it proportionally larger to fit in facial features. If you wanted to make it more like the Disc Creature sprites, then you would have to make that head even bigger and cartoon-like(think Garfield/big expression), which might make it cuter, but it would look less like an actual assassin bug.

>>32135
Nice work, Ernst. Your finished composition is even more impressive.
On the subject of compositions, I wonder if it's common for artists to have formats they're comfortable with, and ones they can't get right. I look at some of my really early stuff, and I've always just drawn vertical. It's weird.

>I get strong 90s computer art vibe from your picture ^^
Thanks. I don't know what elements created that connection, but I definitely take it as a compliment :D.

>>32138
Handling family responsibilities is admirable.

My trick for colors has been one I picked up from you: play with that saturation slider. My first choices are never the ones I end up using, but I can't see that until I have something to compare it with. I have a lot of respect for anyone who can select colors on real life surfaces. Once you put them down, there's no going back-at least not easily.
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No. 32167
134 kB, 1280 × 720
26 kB, 320 × 200
>>32138
Well, it was more or less just a test of things, and I'll not finish last one. It is one where I tried to mimic more of master of orion-style in some parts, but it was kind of long ago.

Information you provided more in style of modern understanding of pixelart based on art from console games and their limitations, from there came this rules. On IBM PC it was more as "ah, fuck, whatever" for the most part. Obviously when you have limits of CGA, you need deal with heavy color limits. After, even in 16 colors EGA it was just dudes paiting their stuff in Paintbrush or whatever. When MCGA/VGA comes with it's giant 256 colors avalible almost all grafix everywhere become done by simple drawing/comressing, phototextures, scanned textures, 3d renders rotoscopy etc.
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No. 32171
>>32138

There are some guys who can buy for you stuff from Amazon just for 35% of the price. Text me on Telegram and I'll share the link. @fuqmylyf
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No. 32176
>>32138
Thanks for posting that pixel art guide I really like it
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No. 32186
>>32167
>>32176
Also, what pixelart programs you metioned you can recommend?
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No. 32218
68 kB, 1280 × 800
172 kB, 772 × 655
GrafX2 ix pretty old school, but it works, and is Free as in Freedom. It's meant to feel like old MS-Dos era bitmap editors.
GraphicsGale is another pretty old school one, and I think it has better animation support. It used to be paid, but is now free (gratis).
I've heard Aseprite is good, but it's paid.

Also, now that indie gamedev blew up, there's hundreds of pixel art programs floating around, even web based ones, but I don't think any of them are that good. Doing pixel art with photoshop or krita would be better than that.

In general, though, you can make pixel art in any graphics program that supports an indexed color mode, and has dithering support, but it feels kind of weird to use a giant program to make some pixel art. Krita has some pixel art focused tools.
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No. 32314
6,8 MB, 1280 × 720, 0:26
>>32218
Thank you, I'll check them when will try making something in this category.
Meanwhile, I'am testing some simple animation stuff.
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No. 32315
>>32314
Excellent work; I loved the addition of sound effects. What animation program are you using?
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No. 32318
>>32315
Thanks. Nothing more than handrawn pictures and Sony movie studio.
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No. 32416
21 kB, 441 × 442
>>32138
do you mean something like the wacom bamboo? Don't you have anything like that?

You are OP right?
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No. 32419
31 kB, 699 × 1016
>>32416
I do have a tablet (a chinese one), I just broke the pen and can't afford to buy a replacement yet. Funny thing, I have a bamboo tablet from wacom as well, its pen also broke, and it's such an old model that a replacement pen costs as much as a new old stock tablet of the same tier.

Whatever, pens are overrated anyway. There has not yet been invented a better drawing tool than MSPaint Xp and a mouse.

Decided to draw my character for the RPG session, even though judging by the rules, dice rolls during character creation are rather unpredictable and might end up in a completely different character than what the player intends.
It was a fun exercise either way.
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No. 32495 Kontra
Just ordered a new pen :-D
It will arrive in ans month :-(
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No. 32590
70 kB, 1160 × 771
Not my work but thought it was funny

Don’t know the artist
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No. 32591 Kontra
>>32590
Still waiting for my demonic female using my vulnerability in order to strike a relationship. Also: Is the last sketch a pun on the reason why people get together in the first place, or is it the whole sequence trying to bring that across.
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No. 33819
245 kB, 585 × 910
Not sure if I want to leave this as a loose sketch, or more fully develop the details and composition. Sometimes it's hard to separate what I should spend time on, and what I just need to get down on paper before moving on. Well, either way I'm done working on it for today.
I also know ancient Egypt didn't have "One true God", but the joke doesn't work without that line.
Inb4 the joke doesn't work even with that line.
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No. 34537
38 kB, 650 × 811
20,1 MB, 2000 × 2624
13,7 MB, 2000 × 2607
As I mentioned in the today thread, I was tasked to "paraphrase" an image for art class.
Originally I wanted to do "Odysseus and the Sirens", but my original concept was too much work for too little gain, so I opted for the "apple painting" as I originally looked it up on google, because I thought it fit the "You are not immune to propaganda" image that has Garfield on it well, which was on my mind the whole day.

Basically I went for the lowest handing fruit in the art world: A vaporwave collage with slightly subtle vibes of Anti-Americanism. The biggest challenge was getting rid of the apple's leaves.
I'm really happy with the second one. The "noise" adds to it.

Now, the problem is that I'm not at all well versed in what means what when it comes to paintings, so I'm a bit scared that while I understand what my edit is trying to convey, others might not find it easy to decipher. Basically as if I knew how to write, but knew not what the words I'm writing meant.

What do you think, guys?
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No. 34541
756 kB, 1000 × 1304
>>34537
Well, I can't say anything about the message / concept, since I don't get the reference, but why not go full batshit crazy on colors? Fucked up , gaudy colors is the primary aesthetic of vaporware / contemporary dystopia after all.
it automatically makes everything cool, mysterious and underground, like the image just came out of the darknet and lost some bits along the way!!111
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No. 34543
>>34541
Well, that's because sadly I don't know how to achieve that in GIMP.
And I guess it also has to be comprehensible to a somewhat Christian-conservative artist who's going to grade it.
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No. 34544
>>34543
Well, the question is whether you want to really express something, or if you want to play to your audience and just get done with the assignment.
If your teacher is the kind of christian conservative I'm imagining, you can't go wrong with removing all pretense of subtlety and going full ham on current political topics. Something painfully obvious and pandering like putting the figure behind a chain link fence and replacing the apple with a grenade or something (tbh I'm chuckling to myself imagining this). Or the opposite message, depending on his political views.
I think the most enjoyable part of pandering to an audience is making them swallow and approve something deliberately idiotic that you made to make fun of them.

If you want to actually be serious with this, though, I don't think I can help you, it's one thing to give technical advice, and another to put words in someone else's mouth, so to say. Good luck on the assignment, though.
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No. 34545
I think I'm going to take Brick's advice from earlier and look into stenciling. It seems similar in aesthetic to slaps (which I like) but without the cost in time and money to get slaps printed.

Will update when I do one (if I don't get bored and go do something else instead).
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No. 34546
>>34544
Well, thanks for your help anyway.
It's kind of demoralising that you made it infinitely better with just a few clicks, but to think I haven't attended art class in 2-3 years, I'm happy with the results.

I'm not really sure if I even wanted to truly say anything. I guess I went for the low hanging fruit ironically, because irony is easy. I don't know what I'm on about.
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No. 34550
>>34546
You can't find the answer until you first find the question you're trying to answer.
When you're not quite sure what to do, the best approach is to do many low-effort things, until you randomly stumble upon an idea that warrants further work. Thinking that you first have to have an idea in order to create something is a misconception. In fact, you first have to do some work in order to come across an idea.
Just play around and make random throwaway stuff with no commitment, and you will slowly develop a sense of what you can do.

I think that's how all learning and problem solving fundamentally starts: doing random things and seeing the results. In order to have a structured, goal driven approach to learning, one would have to already have knowledge of the topic they're trying to learn, which is paradoxical. And this process of not knowing what to do, doing random things and then "coming across" the solution starts up again with every new piece of art you begin.
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No. 34589
>>34546
>I'm not really sure if I even wanted to truly say anything. I guess I went for the low hanging fruit ironically, because irony is easy.
You may have been going for irony, but without changing a thing you can still find deeper layers to dissect. You started with "The Son of Man", but instead of a saviour we find text warning us not to believe Him. Then you replaced the apple, which is a symbol of Man's Fall from Grace, with a pop culture icon. An obvious critique of consumerism, and the toll it takes on our collective humanity. Add in the World Trade Center, obscured by visual noise, and you have a serious message about historical events, and how they're distorted to increase American influence.
Seriously, you wanted a subtle anti-American vibe, and all the pieces are there. So long as you can explain why you made each decision, then no one can tell you that you're wrong. Obviously you shouldn't confuse creating honest art with bullshitting your audience but, in a pinch, BS can go pretty far.
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No. 34853
122 kB, 680 × 382
I made an edit of Blade Runner 2049 with Putin and my mug looking at him, but I don't want to post my face on an anonymous imageboards so I'm gonna show only the Putin edit
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No. 34854
41 kB, 800 × 582
>>34537
It comes across as rather trite, but you shouldn't feel bad, because the assignment invites trite attempts at irony.

>Now, the problem is that I'm not at all well versed in what means what when it comes to paintings, so I'm a bit scared that while I understand what my edit is trying to convey, others might not find it easy to decipher. Basically as if I knew how to write, but knew not what the words I'm writing meant.
And this is the problem. How do they expect you to meaningfully engage with a painting if you don't know anything about the art of painting? Perhaps they intend to have you all learn about the basics of visual art as a result of analyzing your amateurish attempts at it, which is a perfectly valid pedagogical strategy. But if that's what they're going for, you can't be expected to make anything great.

And if that's not what they're going for, the teacher has no idea what they're doing, and you should just try to have as much fun with this project as possible, per Kazakhstan's suggestion. I suggest shopping in that flying dildo that activists flew into Gary Kasparov's face. It would work really well with the two towers.
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No. 34855
608 kB, 1367 × 1438
198 kB, 1200 × 1700
Decided to inaugurate my new tablet pen with a portrait of Igor (+ lazy airbrush coloring). No particular reason other than that I had a funny picture of his face-apped face saved in my "portrait practice" folder.
There's only a slight resemblance and I'm almost hesitant to post this because I keep noticing things I could improve, but I have decided to adopt a tactic of doing many simpler studies rather than polishing a turd endlessly, as it seems more conducive to learning. And also because as embarrassing it is to admit, posting stuff on EC gives me a dopamine hit that is an important motivating factor.

>>34854
Tbh I did think that the assignment was pretty dumb and basically has nothing to do with learning art (I'd categorize it as "commentary" or "journalism"), but I didn't want to be rude. Despite my romantic views on Art with a big A, I do think that institutions of learning are better off teaching artistic technique than an artistic voice. Because a voice is something you develop from your own life experiences and contemplation, rather than through academic study.
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No. 34856
>>34854
Well, I had no hopes of rising above being trite by any means.
I handed it in yesterday, and it was already graded. (It was awarded the best possible grade.)

Though what you are saying is interesting. Indeed I skipped 2/3 of the classes, and yet we're only just starting to talk about baroque art.
I know my classmates were actually taught how to use perspective and such, but otherwise, we haven't seem to have covered the actual language of paintings and art history besides "look triangle composition".
So I guess it really was just an invitation to make some pseudo-deep trite. Trite. That's the word I was looking for exactly.

This is what happens when half of the class is spent on trying to make a point about morality or showing kids a video that "really makes you think" (=Boomer facebook shit)
I don't hate the guy that teaches our class, but it's pretty clear that he's more concerned with his own views and his own art career.
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No. 34858
>>34856
There's learning something and then there's learning ABOUT something. The latter is almost in all cases useless. Example, learning philosophy by reading philosophy, vs learning about philosophy by watching youtube videos about philosophers. Learning art by making art vs learning about art by listening to lectures about art. Learning programming by making programs vs learning about programming by watching tutorials and talks online.
It's an insidious trap because it gives a very realistic feeling that you're actually learning and understanding something, but in reality you're just filling your head with useless trivia that doesn't mean anything to you due to lack of necessary practical experience to contextualize those ideas. You can make comparative models in your head, how this concept relates to that concept, how it can be used, advantages or drawbacks, etc., but without a fundamental understanding of the subject through experience, it's all empty knowledge, since you're putting together sentences without knowing any words, so to say.

A good art class starts like this:
Here's a list of necessary materials, here's how to prepare your canvas and tools. Here's a still life. Sit down, start working. The teacher intervenes from time to time to tell you what you're doing wrong and how to fix it.
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No. 34913
537 kB, 1000 × 1000
>>34855
Portaits. I see you're jumping right back into the hard stuff :D. Good bone structure, if you just soften up the edges to add a few years/pounds you'd nail the likeness.
I know what you mean about finishing, and moving on to the next subject. I had the idea to set an arbitrary, but rigid, schedule, and post results no matter how bad they were. Something like Inktober, with a set goal/finish point. I lacked the confidence to do it, though. I guess you guys were the real winners there, since you dodged a lot of bad drawings :^D.

I really think this style suits my natural tendencies. Just need to figure out a decent way to handle buildings; vectors are too rigid, and hand-drawn lines are too inconsistant. These are drawn with vectors and a perspective guide, which I then traced over freehand. So, sort of splitting the baby down the middle. I've done that a few times now. Just need more practice, I suppose.
I'd also like to do something like this on a large sheet of heavy-weight paper. I don't know why, but large scale drawings have always facinated me. I did try that other "Selfie" one on paper, but had to bail when I messed it up(and finished it as a digital drawing).
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No. 34915
234 kB, 659 × 1024
294 kB, 980 × 744
>>34913
I've been ashamed of my poor portrait skills for a while, so I've decided to confront the issue head-on (lol) and do nothing but portraits for a while. It will look mediocre and disappointing for a while, and there's always the temptation to slip back into my comfort zone of playing with color, but you gotta systematically attack your weaknesses if you want to get anywhere. Also, there's a bit of a portrait industry in Almaty, which might be a decent source of income. But you have to be able to capture a subject's likeness in a flattering way to get in on that. The latter especially being a problem, since there's too much of a temptation to focus on interesting quirks of the facial anatomy, which gives more interesting results, but might offend the client :-DDDD.

I think cityscapes match really well with the sense of dynamism and motion you like to portray in your drawings. Extreme perspectives on rigid objects let you seamlessly integrate scenery and composition. I've always liked Todd McFarlane's Spiderman stuff, because of how nicely the overhead view frames the figure, with perspective lines guiding you straight to the center of attention.
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No. 35215
I used the grid method to sketch this >>34913 onto a sheet of 22"x22" paper. I just did the general outline, and still have to work in the details. We'll see how it goes ¯\(ツ)/¯.

>>34915
So there are potential dollars at the end of this road :DD. Nice.
You know one thing that always struck me when applying for jobs, is the question of why anyone would hire one guy over another. What can any specific candidate offer to stand out? Usually not much. But in art, every portfolio is different. Every artist has a chance to separate himself from the field in a tangible way. Even in portraiture-where the goal is a likeness-there is still a lot of room to incorporate style and individual flair.
When confronted with an interesting facial quirk, I guess you just have to find the line where portraits become caricatures, and then not cross it :D.

>McFarlane
Excellent taste.
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No. 35269
528 kB, 2480 × 2621
Another study.
This time, a painting. Doing several studies of the same material seems like a good way to have more well rounded practice. Pencil line work vs ink vs painting are significantly different approaches with different ways to convey form, and lighting, and doing different studies of the same material might teach you not only how to do those better individually, but how the different approaches relate to each other as well, how differently or similarly they convey the same idea, etc.

Again lost some of the likeness along the way (especially the fat), and the face seems a bit "floaty" (always a problem in painting vs drawing), but again I will resist the temptation to polish a turd, and move on. Also, I'm pretty much mentally exhausted by now, so I'll probably make it even worse.

Colors are also a bit uninteresting, and the whole thing is a bit too "clean", but that's what you get when trying to closely match a reference image.