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Old 11-17-2018, 03:11 PM   #1
artsnake
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some rogues

I like this rogue costume the best




Another rogue. Just a coincidence I am messing around with two characters named rogue.

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Old 11-17-2018, 03:47 PM   #2
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The Rogue Trooper looks too small, proportion wise.

Big head, small body...makes him look really young. Like a teenager (just).
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Old 11-17-2018, 09:54 PM   #3
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from what i see, you are a pretty good painter. it's not something many artists pay attention to but your characters are good actors. by that i mean i see emotion, moods, real reactions. neal adams is a great example of an artist whose characters truly emote. most artists including myself are not interested in the subtleties but going for the high emotion scene. good stuff on your webpage.
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Old 11-18-2018, 03:59 PM   #4
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Artman thank you very much for the observations.
About the acting of my characters It is something I have been realizing quite recently, this might be my purple cow. I know that sounds pretty risqué.
I did some time at the Oatley Academy. {I recommend it for digital painting, animation and comic art} One of the career hints they recommended if not insisted on was find one thing that makes you stand out. One thing you do better than almost anyone else. You have to have the core competencies and a purple cow to have something people can talk about. I have been wondering what mine was but now I know what it is thanks in part from a confirmation from you. Acting is the thing I obsess over. My whole approach to style is around the ability to let my characters act. Thanks, yours is the comment I have been looking for I now realize.
Now I just have to figure out who in the business might appreciate my purple cow.
Painting is a fairly new thing for me. I have drawn for a long time but my painting sucked. A couple of years ago I enrolled at the Oatley Academy for entertainment art. They cover drawing and writing for animation and comics, concept art and digital painting. Great school, I can't recommend it enough. And it's on line.

sevans thank you also for your observation. For your help you get more Rogue Trooper



Thanks
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Old 11-25-2018, 10:52 PM   #5
cesare2009
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some dynamic drawings there, but the weak anatomy is distracting....try paying a little more attention to the shapes of body parts...figures are a bit bubbly

but good stuff
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Old 11-25-2018, 11:54 PM   #6
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[QUOTE=artsnake;1877856]Artman thank you very much for the observations.
About the acting of my characters It is something I have been realizing quite recently, this might be my purple cow. I know that sounds pretty risqué.
I did some time at the Oatley Academy. {I recommend it for digital painting, animation and comic art} One of the career hints they recommended if not insisted on was find one thing that makes you stand out. One thing you do better than almost anyone else. You have to have the core competencies and a purple cow to have something people can talk about. I have been wondering what mine was but now I know what it is thanks in part from a confirmation from you. Acting is the thing I obsess over. My whole approach to style is around the ability to let my characters act. Thanks, yours is the comment I have been looking for I now realize.
Now I just have to figure out who in the business might appreciate my purple cow.
Painting is a fairly new thing for me. I have drawn for a long time but my painting sucked. A couple of years ago I enrolled at the Oatley Academy for entertainment art. They cover drawing and writing for animation and comics, concept art and digital painting. Great school, I can't recommend it enough. And it's on line.

sevans thank you also for your observation. For your help you get more Rogue Trooper



Thanks[/QUOTE

i'm going to add you're good at lighting a scene. now what you want to ask yourself is about linework. do you want to simplify your line or do you want more complex lines? simplifying means less room for error because the shape becomes more important. complex linework means you can make more mistakes as form becomes less important. alex toth for instance wanted to use as little line as possible in his comic work. on the other hand neal adams brought a complexity to comic book illustration that few can match. i think you should simplify and go for a cleaner which allows your lighting to shine more. as for finding a place, submit to everybody. some find fame in social media like youtube, some in webcomics, digital comics, games, ect. me, i work up comic book proposal once in a while and submit it to publishers. it's like buying a lottery ticket, you my fail but can still be fun.
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Old 12-03-2018, 02:23 AM   #7
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some more rogues.
First some inked rogue trooper. with some proportion adjustments from a couple of earlier sketches.


And here are some of the other rogue... I guess she dosn't have a last name.
the first one is all about the leg

then some just hanging out and bitching


I think this last one I got her

Artman, I try to be like Toth as much as I can but always use a little Neal Adams to cover my ass.
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Old 12-04-2018, 04:11 PM   #8
cesare2009
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you would benefit from using reference and some anatomy tools, I use a fantastic little app on my phone called Art Pose.....among other things....

I dont see a real grasp of proportion, or drapery and a there is a lack of attention to detail.

If you want to accelerate your development, you should be trying to avoid the mistakes you are making, rather than repeating them with every drawing.

Do something differently each time you draw a figure.

You have potential, I dont mean to be harsh, but I wish someone had said these things to ME 10 years ago.
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Old 12-05-2018, 12:31 AM   #9
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Quote:
Originally Posted by artsnake View Post
some more rogues.
First some inked rogue trooper. with some proportion adjustments from a couple of earlier sketches.


And here are some of the other rogue... I guess she dosn't have a last name.
the first one is all about the leg

then some just hanging out and bitching


I think this last one I got her

Artman, I try to be like Toth as much as I can but always use a little Neal Adams to cover my ass.
toth is a great example but i am going to give you some advice as a fellow neal adams fan: he is an impossible act to follow. i tried for years to draw like him and failed. however, gil kane in my opinion has some anatomy construction similar to neal and is easier to understand. you can easily spot the skeletal structure in his work. your anatomy is more reality based. your work is improving and your rogues are impressive. study your linework and decide what you want to do with it and refine, refine refine. how an artist approaches his lines is the foundation of comic book art. you have strengths, just keep adding to them.
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Old 12-08-2018, 11:03 PM   #10
artsnake
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Thanks for your comments guys. It is much appreciated.
ceasar2009 thanks for pointing out those issues. We can't always see what we are doing and is very helpful to get second eyes. Your comments will not go unheeded.
The first thing I am doing is the Frazetta cram. I have spent a lot of the last couple of days doing studies from Bridgman. It works quite well. Something about Bridgman that explain so much just by copying his sketches.
I know it is not easy to point these things out because some people don't take these sorts of observations well, so thanks again.
Artman I agree with you that trying to do the Neal Adams thing is daunting and I don't really aspire to do that. I do want a more solid foundation to my characters though. I think these days my main wanna be artist is Mobius. I love Blueberry. I think he has a great combo of detail and characterization.
I have also been getting in to Dave Gibbons. I always thought he was a little stiff but I am realizing his inking on the old Rogue Trooper is great.


I reworked this one because it was the worst.
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Old 12-09-2018, 04:47 AM   #11
artman
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Quote:
Originally Posted by artsnake View Post
Thanks for your comments guys. It is much appreciated.
ceasar2009 thanks for pointing out those issues. We can't always see what we are doing and is very helpful to get second eyes. Your comments will not go unheeded.
The first thing I am doing is the Frazetta cram. I have spent a lot of the last couple of days doing studies from Bridgman. It works quite well. Something about Bridgman that explain so much just by copying his sketches.
I know it is not easy to point these things out because some people don't take these sorts of observations well, so thanks again.
Artman I agree with you that trying to do the Neal Adams thing is daunting and I don't really aspire to do that. I do want a more solid foundation to my characters though. I think these days my main wanna be artist is Mobius. I love Blueberry. I think he has a great combo of detail and characterization.
I have also been getting in to Dave Gibbons. I always thought he was a little stiff but I am realizing his inking on the old Rogue Trooper is great.


I reworked this one because it was the worst.
Mobius is a legend and i do see some Gibbons in your work as well as Adams. Gibbons is an old school classicist who nailed two of Alan Moore's best stories. Your work is getting better which is all our goals, keep it up.
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