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Post by TomParrish on Dec 1, 2008 5:31:35 GMT -5
Okay, so I realise that this is a pretty vague title to a vast topic, but my thought was this: If anyohe's come up with a cool way of doing something different, perhaps they could share how they acheived various different effects? I used a drybrush effect on the strap to emulate the greyscale grad that Philip Tan had used in the pencils, and then a sponge effect on the background along with flicked ink and a bit more drybrushing to try and get the 'burned paper' effect. The rest was brush work (aside from the hatching -> Hunt 102)
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Post by julienhb on Dec 1, 2008 8:03:18 GMT -5
Nice work on the belt... I really like the effect. You can see it's been used by many years of fighting If I may... This is just my opinion and it's not a professional look at your work... I think the hatching may be too regular in the background. It could have been more like small tiny triangles to have a better grade from black to white. But once again, just my opinion.
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Post by TomParrish on Dec 1, 2008 10:05:06 GMT -5
I think I'd agree there too Julian - The hatching work isn't something I've done much of and I think in places it looks a bit uniform as well. Perhaps as you say they could have done with being a bit more tapered to suggest the grad, as opposed to the excessive cross hatching.
Cheers for your input bud!
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Post by jimmyt on Dec 1, 2008 20:37:38 GMT -5
I agree the thick to thin should be tapered more on the lines coming out of the black and the lines that parallel the black should be closer together as they get close to the black.
All those lines are there to emulate shading that pencils do. A lot of artists just make straight lines for the inker to know where they want them and it is the inkers job to form them.
That way we see a nice gradient. Very nice job overall though on Philips pencils.
And I know you can do it because you did it on the chest and face nicely.
Philip does those lines often, and Walden Wong is a master at that over him, in my view.
Tricky Stuff.
Post More. Jimmy T
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Post by TomParrish on Dec 2, 2008 4:33:45 GMT -5
Wow thanks Jimmy! I'll get some more work up soon in the artist alley :-D
I do mostly brush work, so do you have any advice as to how to handle the tapered straight rendering like that on the background? Would crow quill be better for something along those lines? (find I haven't got quite as much control with them)
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Post by jimmyt on Dec 2, 2008 9:06:18 GMT -5
Your like me, I use Brush as well and a lot of the guys I know use quillas well, it is all in how you want to do it.
I go from thin to thick with brush, by laying the brush into the black. A # 3 for thick and #2 for thin lines. With quill I do the opposite, I pull out of the black. But some people do the opposite.
A suggestion from Robin Riggs, made a couple of years back, was to take a strathmore pad and fill every page with these lines. Use brush and quill. It is the best way to get your hand to do these handily.
You will be doing it in no time from the look of your work.
Jimmy
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Post by TomParrish on Dec 2, 2008 9:33:27 GMT -5
Thanks man, I think I know what I'm gonna spend the next couple of nights doing now!
The other problem I think I had more with it (and more often in general interpreting pencils...especially bluelines!) was indecision as to how to proceed with certain types of textures - which ultimately leads to a half in/half out type approach, which doesn't quite work. (hope that made sense?)
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