Great. All the characters are acting and I'm sure are doing characteristic things. Because I'm sure you nailed them. I'm going to copy that way you have lines in fabric describing rolls and folds in clothing.
Fantastic caricatures as usual. Upon pulling up the TAG page, all I need to see is the distinctive flash of colors of the Marty palette and I know that another great drawing has been posted.
Fantastic work, as always, sir. Copic markers? Did you see that we have our table assignment for ECCC? Looks like a good spot to me... I think we'll get pretty good traffic there of people who actually want to be looking for stuff in Artist Alley.
Aw, thanks dudes. Elz, I try with the acting but I didn't know any of these people and of course it's hard to make oo many assumptions about character with just a few reference pix to go by...but that's exactly what I tried to invest the scene with--some "acting."
Tom, izzit true about the idiosyncrasy of some people's palettes or what?
It IS funny how people tend to gravitate toward certain color groupings...some people who I feel the same way about: Rick, Jeff Jonas--and yes, Ellis! With you (Tom) it seems less strictly about the colors chosen than the lightness of touch...you've got two looks--the hand-applied watercolor and the flood-fill/multiply (THE GREATEST PHO-SHO TRICK EVER TAUGHT TO ME, BTW--I THANK YOU!), but with yr work it's not the idiosyncratic combinations that jump out at me as much--maybe that's the result of your more solid professional art training?? Seems like it gives you more range.
Rick, yes, I saw the map--sorry if I haven't replied yet to yr email--I thought I did? Maybe it's still in the draft folder (these things take time with me....).
The main trick I use (over and over)is overlaying the whole picture with a sepia-ochre tone like Arthur Rackham used to do (with real paint of course).
His underlying colors were delicate (talk about light touch)and the final result is always kind of somber but hauntingly beautiful.
I use Multiply for shadows, Overlay for highlights. Sometimes I'll do a multiply layer over everything and then erase a section that I want lit. Or just use a solid color Multiply layer to unify the color of the whole image. I've also been experimenting a bit with Difference and gradients... there's some interesting colors that happen that way that I wouldn't have picked myself.
And Tommy, "hauntingly beautiful" is the perfect description for yr work!
p.s. and Tommy, I hope that my semi-nonsensical comment didn't leave you feeling like I viewed yr color work as less appealing/less accomplished than those of us with more predictable/habitual palettes--I think it's a sign of yr classiness!!
8 comments:
Great. All the characters are acting and I'm sure are doing characteristic things. Because I'm sure you nailed them. I'm going to copy that way you have lines in fabric describing rolls and folds in clothing.
Fantastic caricatures as usual. Upon pulling up the TAG page, all I need to see is the distinctive flash of colors of the Marty palette and I know that another great drawing has been posted.
Fantastic work, as always, sir. Copic markers?
Did you see that we have our table assignment for ECCC? Looks like a good spot to me... I think we'll get pretty good traffic there of people who actually want to be looking for stuff in Artist Alley.
Aw, thanks dudes. Elz, I try with the acting but I didn't know any of these people and of course it's hard to make oo many assumptions about character with just a few reference pix to go by...but that's exactly what I tried to invest the scene with--some "acting."
Tom, izzit true about the idiosyncrasy of some people's palettes or what?
It IS funny how people tend to gravitate toward certain color groupings...some people who I feel the same way about: Rick, Jeff Jonas--and yes, Ellis! With you (Tom) it seems less strictly about the colors chosen than the lightness of touch...you've got two looks--the hand-applied watercolor and the flood-fill/multiply (THE GREATEST PHO-SHO TRICK EVER TAUGHT TO ME, BTW--I THANK YOU!), but with yr work it's not the idiosyncratic combinations that jump out at me as much--maybe that's the result of your more solid professional art training?? Seems like it gives you more range.
Rick, yes, I saw the map--sorry if I haven't replied yet to yr email--I thought I did? Maybe it's still in the draft folder (these things take time with me....).
The main trick I use (over and over)is overlaying the whole picture with a sepia-ochre tone like Arthur Rackham used to do (with real paint of course).
His underlying colors were delicate (talk about light touch)and the final result is always kind of somber but hauntingly beautiful.
I use Multiply for shadows, Overlay for highlights. Sometimes I'll do a multiply layer over everything and then erase a section that I want lit. Or just use a solid color Multiply layer to unify the color of the whole image. I've also been experimenting a bit with Difference and gradients... there's some interesting colors that happen that way that I wouldn't have picked myself.
Xlnt advice Rick and Tom.
And Tommy, "hauntingly beautiful" is the perfect description for yr work!
p.s. and Tommy, I hope that my semi-nonsensical comment didn't leave you feeling like I viewed yr color work as less appealing/less accomplished than those of us with more predictable/habitual palettes--I think it's a sign of yr classiness!!
Nope, I did not interpret the comment that way. Did I say sepia-ochre? I meant burnt sienna/yellow ochre.
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