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Garagarape sketchbook


Garagarape
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I know Tony, I also work in egg tempera. LOL. It doesn't require so much patience as you may think. But can't be compared with oil colors, it's not that fast. In the end results are sometimes much superior. As time goes by, it becomes brighter and lovelier, oil colors become darker, unfortunately. With the exception on mixing them with color based mediums. Not as layers, I mean, but directly into the pigmment. Oil and Water mixed? What kind of magic is this? Yes, it is easy and possible. Emulsions (an agent is required)

Most of Andrew Wyeth's work is done by watercolors though. Drybrush watercolor, sometimes.

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  • 2 weeks later...
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I'll soon be back on the dragon after a few weeks in France.

It is not done yet, but here is a picture that Michalis and Tony Nemo encouraged me

to finish. No originality in the designs, but I like it.

I used to stare at this kind of D&D figurine boxes in toy shops when I was a kid.

Couldn't afford it at that time + my parents were scared by table talk games

(some people could commit suicide when their character died...)

thugs.jpg

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To avoid hurting people sensibility I decided to stop modeling monsters.

Here is my last work.

It is called:

"Ed Harris faced Silver surfer on his way to France".

Wow, I wonder if I'll survive 3 weeks without touching a PC.

But a bit of detox may be good.

Back to Brittany until January the 5th.

Garaga.JPG

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To avoid hurting people sensibility I decided to stop modeling monsters.

That would be a bad thing todo especially as u trully have the feeling for those things besides i must say that from all sculpting apps 3dcoat is the one that gives the best organic feeling (at least for me)

anyways great work and lookin forward to some more

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I've always enjoyed your sculpts, humor & encouragement on this board. I -hope- you've said that tongue-in-cheek, and will continue to sculpt what you are passionate about. It was just a discussion after all. We all have our likes/dislikes. :)

Greg

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I'm all for the 'monsters' of course but one thing operating here is 'beauty' is more difficult to achieve, as it lacks the many convolutions, distortions and general weirdness of the monstrous. Naturally, beauty can become formulaic in the hands of a practiced artist and the monstrous can vary with the individual but variations in the traditions of beauty not withstanding, they do share some features that are universally appreciated such as symmetrical features and bodily proportions. As Mao Tse Tung was wont to say, "Let a hundred flowers bloom, let a hundred schools of thought contend." I would, however eschew the "Off with their heads!" policy that formed the end of that episode.

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For some reason I prefer the unfinished version, posted yesterday.

Let me purt it this way.

The more lights (white) and shadows (dark-black) we add, the less color we have.

More perspective, more volume, less color.

If we try to think as it was a relief and not a full sculpted thing, easier to show the colors.

So, Egyptians, color only, some outlines look like the shadows are there, just a bit. (see egyptian reliefs)

Leonardo Da Vinci, chiaroscuro, shadows and lights only, almost no color at all.

Vermeer, color and tones, perfectly balanced.

Impressionists, closer to egyptians.

So, I tried to present a scale between color and tone.

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You are right Michalis.

I'd like to Vermeer style it more... but I don't know how.

May be I put to much details on it. I also lowered the hue to get

a more dirty pirate (not a brand new pirate just released from the factory

but one with old dirty clothes).

But I know you are damn right. May be less lines, more color accents

in few areas. I hope I'll improve this while drawing more.

I'm not sure of what to correct first though. I know I often draw lines first

and that it is not the right way to get an oil painting look...

Any advice is very very welcomed. Ouch... weird English...

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Think as it's a relief.

So, the left hand/pistol can be fully shaded as it is in front. Fully sculpted. The rest being in the back, starts losing shadows, (they become more lines than areas) and color starts bleeding.

Just a moment. Another example. What a Global Illumination, physically correct renderer really does, except of colorizing the scene? It eats shadows, adding light and color bleeding.

Indeed, you have to carve deeper, under physically correct lighting.

Your paintings are very good. This is why I mentioned all these. After all, DaVinci to Egypt, chiaroscuro to colors, all this spectrum is full of masterpieces.

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Oh! I saw what you meant. I'll have a try tomorrow morning.

This " front stuff shaded like a sculpt - rear stuff colored like egypt drawings " way would

work perfectly for a scenery, landscape paint.

But it surely can give deepness to the character which looks flat right now.

Hope I'll manage to change it (understanding doesn't mean to be able to do it).

Thanks!

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Michalis. I tried, but it is not too different from the previous version...

It's may be necessary to contrast more lighting in the front area. May try later

when other characters are done.

Anyway, thanks a lot for the advices!

I think a progress in 2d is also a progress in 3d.

corsaires.jpg

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  • 4 weeks later...
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Thanks! I've changed the lighting and the wings;

just a copy paste of a bat wing pic + a normalize color map on wing area

to quickly get another feel. No sculpt for this part.

Still need to fix the claws (nails?) that look like plaster

and add a sub-surface aspect on the thin wings, then it will be posing time...

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