I would certainly be interested in a Mac Universal Binary version.
Charles Bandla
Rochester, NY
lame lemec's drawings!
Here's a drawing that I did during my research into drawing hair and clothing and acting. It's also one of the rare times I've drawn something that was purposely posed up close -- and just getting the drawing started was rather rough.
I developed a few new digital inking and cleanup techniques while doing this, and came up with a very simple digital zipatone application workflow.
Basically, I'm wanting to get to work on a comic book soon, but there's still a lot of tools and techniques I have yet to master, along with rules of composition and acting, and a LOT of historical research to make this victorian world I want to create more convincing. Gaah... it's probably going to be a few weeks more of mucking about before I can actually start to work on some pages...
I developed a few new digital inking and cleanup techniques while doing this, and came up with a very simple digital zipatone application workflow.
Basically, I'm wanting to get to work on a comic book soon, but there's still a lot of tools and techniques I have yet to master, along with rules of composition and acting, and a LOT of historical research to make this victorian world I want to create more convincing. Gaah... it's probably going to be a few weeks more of mucking about before I can actually start to work on some pages...
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- victorian_01.jpg (150.11 KiB) Viewed 43342 times
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- victorian_01_detail.png (222.3 KiB) Viewed 38664 times
(Win7x64, TVP Pro 11 32-bit)
great stuff, Lemec!
the complex clothes, specially the old-fashioned, historic ones are far from easy to render,
... need a good practice and lot of work, beside the required pre-documentation;
it reminds me a nice tut on deviantart site,
you could add a part 3 "special embroidery" in your spare time,
though I imagine you have better to do to spend your spare time, haven't you?
the complex clothes, specially the old-fashioned, historic ones are far from easy to render,
... need a good practice and lot of work, beside the required pre-documentation;
it reminds me a nice tut on deviantart site,
you could add a part 3 "special embroidery" in your spare time,
though I imagine you have better to do to spend your spare time, haven't you?
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cartoonM!ke
- Posts: 40
- Joined: 12 Oct 2006, 20:30
- Location: sunny Walnut Creek, CA USA
- Contact:
Wonderful artwork, Lemec!
Mark me as another person who would pay for a MacTel version of your plugins.
The victorian piece knocked my socks off! I just love the hands, esp. the one holding the glasses. Just wonderful posing. And you did that picture in TVP?
Not to ursurp this thread, but as far as doing comics goes, have you heard of a program called Manga Studio? I've been using it since the top of this year and it's, imho, a great program to create black and white comics. It comes with thousands of tones that can be applied very easily. You can create a story file that can hold up to 99 pages and you can shuffle the pages around. You can also make panels and letter with this program.
You can check it out at Manga Studio. There's a link where you can download a free trial.
I was doing some research in victorian styles and for clothing/costuming two books I have that helped me out was
"Victorian Fashions and costumes from Harper's Bazar= 1867-1898"
ISBN 0-486-22990-4
This book has lots of good full figure drawings that's usually very detailed and many pages with props (fans, shoes, etc)
Another ref that I found to be useful is "Costume 1066-1990s" by John Peacock. ISBN 0-500-27791-5. There's several pages of Victorian clothing, for males and females. The harper's book is mostly female fashion, so this one gives good info on what guys wore. And in the Costume book, there's callouts for how the clothing is layered and what it's made of (lace, ribbon, etc).
The drawing you have here is a great example of the balance between details and simplification that comics have. Thanks for posting it and I'm definitely watching this thread for more of your art.
Mark me as another person who would pay for a MacTel version of your plugins.
The victorian piece knocked my socks off! I just love the hands, esp. the one holding the glasses. Just wonderful posing. And you did that picture in TVP?
Not to ursurp this thread, but as far as doing comics goes, have you heard of a program called Manga Studio? I've been using it since the top of this year and it's, imho, a great program to create black and white comics. It comes with thousands of tones that can be applied very easily. You can create a story file that can hold up to 99 pages and you can shuffle the pages around. You can also make panels and letter with this program.
You can check it out at Manga Studio. There's a link where you can download a free trial.
I was doing some research in victorian styles and for clothing/costuming two books I have that helped me out was
"Victorian Fashions and costumes from Harper's Bazar= 1867-1898"
ISBN 0-486-22990-4
This book has lots of good full figure drawings that's usually very detailed and many pages with props (fans, shoes, etc)
Another ref that I found to be useful is "Costume 1066-1990s" by John Peacock. ISBN 0-500-27791-5. There's several pages of Victorian clothing, for males and females. The harper's book is mostly female fashion, so this one gives good info on what guys wore. And in the Costume book, there's callouts for how the clothing is layered and what it's made of (lace, ribbon, etc).
The drawing you have here is a great example of the balance between details and simplification that comics have. Thanks for posting it and I'm definitely watching this thread for more of your art.
I don't want it all --
Where would I put it?
Where would I put it?
Fanany > > I've found that the patterns embroidered on elaborate Victorian costumes often followed a 'motif' -- in this case, I used floral or plant elements in my design and various alternating patterns on the borders. I like drawing these things on manually instead of using a floodfill pattern because I get a greater degree of control as to how the texture wraps around.
I really enjoyed the other tutorial because of the way everything was broken down into a set of basic elements that could be easily reapplied in varying configurations. Ah, if only I was earning a steady income I would have time to write none tutorials. I still have to buy a good A/D convertor so I can make video tutorials as writing tutorials gets tiresome, and doesn't get my points across as effectively.
cartoonM!ke>> Man, many of the people who express an interest in my tools are apple users -- the only problem is that I have no Macintosh computer to compile plugins on, much less a Mac C compiler. At present, I an using Microsoft's Visual C++ Studio Express which is distributed for free on their website. It seems my only hope would lie in finding a cross-compiler (one that allows a PC to compile for OSX) -- then I would still need a Mac to test it out on. Well, hopefully the plugins will work Ok on a dual-boot Mactel (running Windows).
Thanks for the heads-upon Manga Studio. Chances are, though, that many of the functions they've advertised are things that I can already accomplish with TVP. 3000 tones and patterns is a lot for my tiny brain to handle, and I actually enjoy the act of manually creating my own word balloons and handwriting fonts into place.
Maybe I'm just a dinosaur, but I find that the hardest work that goes into comics is surprisingly not the drawing or effects or patterns or other "grunt-work". It's the creative process that presents the greatest amount of mental exercise, and the act of drawing - the whole act of rendering out my ideas from clothing and backgrounds and people and vehicles and texturing and lighting... I find the grunt-work to be a soothing break from the conceptual stage with its never-ending onslaught of decisions.
So I guess what I'm saying is that I don't want to hasten the stage that I enjoy the most because it'll throw me back to the difficult decision-making stage of deciding just what to draw next.
Thanks also to suggesting those two reference books. I'll be sure to order them if I can find them online.
*Edit* I was able to get both books for less than $30.00 together at Amazon.ca , so that was lucky...
I really enjoyed the other tutorial because of the way everything was broken down into a set of basic elements that could be easily reapplied in varying configurations. Ah, if only I was earning a steady income I would have time to write none tutorials. I still have to buy a good A/D convertor so I can make video tutorials as writing tutorials gets tiresome, and doesn't get my points across as effectively.
cartoonM!ke>> Man, many of the people who express an interest in my tools are apple users -- the only problem is that I have no Macintosh computer to compile plugins on, much less a Mac C compiler. At present, I an using Microsoft's Visual C++ Studio Express which is distributed for free on their website. It seems my only hope would lie in finding a cross-compiler (one that allows a PC to compile for OSX) -- then I would still need a Mac to test it out on. Well, hopefully the plugins will work Ok on a dual-boot Mactel (running Windows).
Thanks for the heads-upon Manga Studio. Chances are, though, that many of the functions they've advertised are things that I can already accomplish with TVP. 3000 tones and patterns is a lot for my tiny brain to handle, and I actually enjoy the act of manually creating my own word balloons and handwriting fonts into place.
Maybe I'm just a dinosaur, but I find that the hardest work that goes into comics is surprisingly not the drawing or effects or patterns or other "grunt-work". It's the creative process that presents the greatest amount of mental exercise, and the act of drawing - the whole act of rendering out my ideas from clothing and backgrounds and people and vehicles and texturing and lighting... I find the grunt-work to be a soothing break from the conceptual stage with its never-ending onslaught of decisions.
So I guess what I'm saying is that I don't want to hasten the stage that I enjoy the most because it'll throw me back to the difficult decision-making stage of deciding just what to draw next.
Thanks also to suggesting those two reference books. I'll be sure to order them if I can find them online.
*Edit* I was able to get both books for less than $30.00 together at Amazon.ca , so that was lucky...
(Win7x64, TVP Pro 11 32-bit)
I'm working on getting a decent portfolio together to help me enter the magazine industry for printed illustrations. Things like advertisements and editorial illustrations, etc.
So, I figure the best thing to do is work on some "dummy" advertisements and maybe make some political cartoons based on a few current events and use those.
Anyways, here's the first dummy ad. I can pencil and ink even when I'm half-dead for lack of sleep, but I can't colour in this state... zzz...
So, I figure the best thing to do is work on some "dummy" advertisements and maybe make some political cartoons based on a few current events and use those.
Anyways, here's the first dummy ad. I can pencil and ink even when I'm half-dead for lack of sleep, but I can't colour in this state... zzz...
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(Win7x64, TVP Pro 11 32-bit)
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malcooning
- Posts: 2114
- Joined: 29 Mar 2006, 12:43
- Location: Tel Aviv
- Contact:
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cartoonM!ke
- Posts: 40
- Joined: 12 Oct 2006, 20:30
- Location: sunny Walnut Creek, CA USA
- Contact:
Really like the evolution of this picture. The way that you use line and tones really give a good sense of depth to this picture. On the Drawing Board, I watched the movie of you drawing the wings. Very interesting.
Looking forward to a color version of this pix. Great work!
Looking forward to a color version of this pix. Great work!
I don't want it all --
Where would I put it?
Where would I put it?
malcooning >> Thanks for taking the time to provide feedback. As far as composition goes, I wanted to maintain a dark region between the girl and the border (both use lighter tones) because they lie on different planes. I've run into situations similar to this one:
I use light and dark tones or patterns to separate objects on different planes. See, in the case of the dark foreground character, I had to add a white outline to separate him from the dark background, and with the white background character, I had to lift him off the mid-ground white plane, in order to push him back in space, and add a small line of tombstones behind him so he didn't appear to be floating.
So, in the case of the tea-sipping angel, I wanted to avoid having her in direct contact with the light border edge as it would connect her with a foreground element and defeat my attempts at depth placement. 'Tis a compromise between pictorial and depth priorities...
Yojimbo>> I work entirely from home, creating plugins whenever I don't feel like drawing, and drawing whenever I don't feel like creating plugins. Clients have been somewhat scarce from a conceptual art standpoint (most times you have to relocate or work on-site full-time), but there's no shortage of magazine publications with artwork of questionable quality in them.
It's certainly a lot harder working freelance, but I understand that if I were to work full-time, the studio owns all rights to your work. On the other hand, commissioned artwork for a magazine is usually only requires copyright permissions for a single article -- and the larger the image (full page versus quarter-page), the greater the royalty costs. So, with this in mind, I hope to cover current events with my artwork and provide them to as many magazines as possible, or charge a premium for exclusive publishing rights.
cartoonM!ke >> Thanks! I've been procrastinating as to how I'm going to colour this. I worry that going with high-key colours is going to flatten everything out, but with my luck, another artist has probably already solved the problem during the Renaissance.
I use light and dark tones or patterns to separate objects on different planes. See, in the case of the dark foreground character, I had to add a white outline to separate him from the dark background, and with the white background character, I had to lift him off the mid-ground white plane, in order to push him back in space, and add a small line of tombstones behind him so he didn't appear to be floating.
So, in the case of the tea-sipping angel, I wanted to avoid having her in direct contact with the light border edge as it would connect her with a foreground element and defeat my attempts at depth placement. 'Tis a compromise between pictorial and depth priorities...
Yojimbo>> I work entirely from home, creating plugins whenever I don't feel like drawing, and drawing whenever I don't feel like creating plugins. Clients have been somewhat scarce from a conceptual art standpoint (most times you have to relocate or work on-site full-time), but there's no shortage of magazine publications with artwork of questionable quality in them.
It's certainly a lot harder working freelance, but I understand that if I were to work full-time, the studio owns all rights to your work. On the other hand, commissioned artwork for a magazine is usually only requires copyright permissions for a single article -- and the larger the image (full page versus quarter-page), the greater the royalty costs. So, with this in mind, I hope to cover current events with my artwork and provide them to as many magazines as possible, or charge a premium for exclusive publishing rights.
cartoonM!ke >> Thanks! I've been procrastinating as to how I'm going to colour this. I worry that going with high-key colours is going to flatten everything out, but with my luck, another artist has probably already solved the problem during the Renaissance.
(Win7x64, TVP Pro 11 32-bit)
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malcooning
- Posts: 2114
- Joined: 29 Mar 2006, 12:43
- Location: Tel Aviv
- Contact:
lemec, I see what you're saying, but the two pictures don't represent the same deal. The one with the shooting is Black and white, blocky, and bold. the one of the girl is more tonal, gentler and uses outline. Each of the features I just mentioned is alone enough to relive you from the problem you were trying to solve/avoid. the tones can make her stand proud from the areas of single tone, the contour can define her easily even if she's painted dark on dark, the sensual lines can describe slightly and thinly, as in oppose to your choice of thick, bold color areas in the other picture. Just the fact that the girl there have face details testifies for a different kind of game.lemec wrote:I use light and dark tones or patterns to separate objects on different planes. See, in the case of the dark foreground character, I had to add a white outline to separate him from the dark background, and with the white background character, I had to lift him off the mid-ground white plane, in order to push him back in space, and add a small line of tombstones behind him so he didn't appear to be floating.
So, in the case of the tea-sipping angel, I wanted to avoid having her in direct contact with the light border edge as it would connect her with a foreground element and defeat my attempts at depth placement. 'Tis a compromise between pictorial and depth priorities...
DAO new theme
hi Lemec,
I 've noticed a big change in your Digital Art Oasis site,
but who is this "Alexis2"?
and why we can't post/reply anymore ...
I 've noticed a big change in your Digital Art Oasis site,
but who is this "Alexis2"?
and why we can't post/reply anymore ...
Template->make_filename(): Error - file posting_attach_body.tpl does not exist
This is a work-in-progress TVPaint stroke recording of a sketch, part of a series of doodles:
http://www.deviantart.com/deviation/46959979/
1-hour sketch, time-lapsed into a 1-minute-and-33-second animation
Total moves: 2800
http://www.youtube.com/watch?v=kJtpxNIK0KE
(Win7x64, TVP Pro 11 32-bit)