Thursday, June 17, 2010

Digital Illustration class- FINAL

My Final Project: (my website and blog update)

http://www.jerbl.com/monisawa/

Since I already had plans to update my current web-page, I utilized this class as motivation. As I started on trying to make changes, i got frustrated and ended up replacing my entire site. I don't think a single shred of my old one is left (even the images.) It seems that whenever I update I start all over. I left my old web-page up if anyone is curious: http://www.jerbl.com/monisawa/old-monisawa/

My focus on the new website design was absolute simplicity and being seamless. I also made sure to organize it in such a fashion where future updates and changes are easy (in order to avoid my massive overhauls.)

As a bonus I found myself modifying several images that I made over the past year or so for the gallery and other webpage elements. Utilizing what I learned in this class and last semester, I was able to really spruce/fix them up.

In a portfolio it should house your best work. I have heard that I need to have 100% confidence with every picture, if not they do not belong. If this was true i would never assemble a portfolio, so I use what I have. In order to avoid putting every 'good' picture I've ever made in the gallery, I really focused on getting the cream of the crop in. Even with that in mind, i think that 2 or 3 of my illustration might get removed. Any recommendations/Thoughts?

As part of my final I also revamped my blog design. I really had no clue how terrible of a set-up it was! haha. I even absent minded-ly took a screen-shot of it for this post because I liked the changes so much...

Please make any suggestions about my website and blog.

Class Reflective::

-What I learned in this class:
  • Giving critiques and analyzing peer illustrations helped me develop my own. (By seeing what worked and didn't work, and then explaining in words why.) I really appreciated anyone who commented on my pictures, they helped me understand my art better. Also thanks everyone for letting me critique/comment on yours! ^_^
  • Finding illustrations I liked and asking myself why, helped my work develop.
  • how to more effectively control the overall value, color and texture of an illustration digitally. (such as masks, color balance, hue/saturation, etc.)
  • more about brushes than I ever thought possible (brush-directional, texturized painting, etc)
  • Learning isn't necessarily in a classroom. The internet is a great resource for both tutorial and artist emulation.
  • I spent most of my life just DOING art, now I am spending it trying to understand WHY, and how to present it BETTER.
  • Doing master-studies builds a deeper appreciate and respect for the artist and their work. They just come alive.
  • Writing out my own artistic process helps me better understand myself and how to prepare for future illustrations.

-How will I continue to incorperate the new processes I learned/discoverd in this class?
  • Artist emulation is very useful and I plan to continue using it. From now on I will try to emulate some new element (style, process, technique...etc) in all my future illustrations.
  • I will also continue to use, and practice using, what I learned in this class. I will also refer back to our blog entries as needed.


-How do I plan on marketing myself better?
  • Once I get my website and portfolio stapled down (more professional) I will join more organizations and portfolio groups.
  • My website/blog philosophy: my webpage will be strictly a professional portfolio. updates will only be new illustrations I feel worthy to make it on. My blog will be a semi-formal place where I can blab/get advice from others/and enjoy myself. I plan on keeping all my posts relative to art. I did make sure to keep it simple so that when possible clients/agents visit it will be easy to navigate.

Friday, June 11, 2010

Digital Illustration Class- Artist copy #5 (final) Brandon Dorman

My version first, Brandon's second. (make sure to click on them, I left them intentionally high quality).



This being my last study for this class I decided to do something different, by just focusing on the study. I will say that I did at least 7 prep paintings before I got to this one. Some were of portions of the painting and others were me experimenting with the technique (I included one of my own at the bottom).

Artist: Brandon Dorman
Medium:Photoshop
Year: 20xx (not sure)
Source: http://www.brandondorman.com/ (although I got the actual high res pic from here.)
Title: Red Sparrow


1.Final sketch(step 1) 2.Shape flats(step 2) 3.Value (step 3)
4.
Colors(step 5-8) 5.Final Sync (step 9).
Process:
  1. Sketches. Utilizing the grid system built into Photoshop , I loosely mapped out the picture. Once I got the basics established I turned them off. I did 2-3 more sketches after that.
  2. Shape Layers. Breaking the picture into layers (3 to be exact), I block in each main section(such as the boy, the background, and the fire/smoke). Turned the lines off, while utilizing the generic brush, and eraser (spacing turned on 1%) I reestablish the shapes looking specifically right now at the contours. I made sure to leave some space for painterly parts (such as the hair), although I did erase/cut-in more later. After that I break the shapes down even further utilizing greyscale colors, while keeping like colors together (such as the skin.) this makes it easy to magic wand select it later.
  3. Value Layer. Next I selected all pixels on a given layer (such as the characters), make a new layer and begin to define value with the generic brush set on opacity pressure. Do this for each layer. I started zoomed out and general, then worked my way closer in until I eventually was at 100%/actual pixel size. (notice I did not do this for the bg...which I rather regretted later)
  4. Reestablish shape layers. Copy merge the value and shape together, and paste as a new layer. Next select all the pixels in this new layer, make a new layer and reestablished my value flats (since in my value process I corrected some of my proportions/boundaries.) Did this for my fire/smoke layer and Character layer.)
  5. Light Colors. Then I selected a color/section on one of the new value flat layers, went to the Hue/Saturation menu hit -c0lorize and adjusted this layer to the brightest bright of that color. Did that for all the colors on that layer, and the rest (including the Background).
  6. Dark colors. As I was doing step 5 I would utilized the selected portions of the page to also Hue/saturation-colorize my copy merged value layer. I would adjust it to the darkest dark of it's specific color (making sure that the brightest part of it would not be brighter than the colors on bright color layer.) (I did several tests of the coloring process before I worked on this picture...and it helped on my own pictures to drag the light and dark layers out from each other to compare as I adjust the colors)
  7. Mask Painting. Making sure the light color layer was above my colorized value/shape layer, I put a mask on it, filled the mask with pitch black, and then utilizing my brush (I call Llama. Discussed here.) I paint. I learned that instead of utilizing opacity options for this painting step, it was better to utilize different levels of greyscale. (this part was fun and 'nondestructive' as Mr. Babcock would call it.) I made sure to save pure white till the very end, or at least wisely use it.
  8. Further colors. Next I select all pixels in either layer, make a new layer and utilizing a brush I call "Babcock (one of the ones he taught/made for us) I add all the extra colors...and fix any that need it. I even decided to make a separate layer set on multiply for different color/painting effects (at least for the BG).
  9. Final Sync. Next I copy-merge and paste each group of layers individually (so they are still separate) and utilizing my Llama brush I tighten/sync everything together. In this step I also included the rogue brush strokes, and tiny unique colors. It is in this step that I also cut into the drawing with the eraser(if needed). After a bit of working on this step I decided to set my Llama brush on opacity pen pressure (in addition to the flow pen pressure) and got much better results..easy cover and color control. (as a side note I found myself constantly changing the brush size with the option button on my pen to create the painterly/diverse effect).
  10. That's about it.

The learned technique:
  • Whether intentional to the artist or not I have discovered a new method of painting. Utilizing masks and greyscale, I can easily establish form and a painterly style. having my Llama brush set on "airbrush" and constantly changing brush sizes also helps.
  • Compositionally he fit ALOT in his painting. By studying this I better understand how to do that. (also notice that he did not use proper perspective...manipulated his own, but yet it still looks amazing.)

Further notes:

  • Color-Comps: So there you have it. i think that this coloring method is very useful when creating pictures from ones imagination, or very little reference. Of course if I was doing an original I would also do color-comps before coloring(which are 3-5 color reference tests/explorations). As a usual disclaimer, I did not use the eye dropper on his painting at all...I utilized the color technique described above, and the basic RGB palette.
  • Brandon's Process? I feel that this process is somewhat close to Brandon Dorman's. Based on his Blog he generally has 3 different stages :sketches, greyscale paintings, and color paintings. So I personally feel that he utilizes his greyscale paintings as a base for color and then paints (as described above). I did email him and requested a higher quality image (preferably the original .psd) but he replied and said he was too busy right now.
  • Crammed Spaces: I really have no clue how he fits so much in a tiny space. I've noticed that good writers and artists have the ability to cut out all the useless crap and cram condensed ideas/concepts into one story/picture. This is something I am working on. (It can be frustrating trying to figure how close you want the character...and if it IS close, it cuts into the background, or even the possibility of adding any other characters...etc. Oh well, that will come with practice and time.)
  • Layer tango: I have had a hard time separating my painting into layers. I often will paint on the ones I am not supposed to because my random impulses to work on a different section. Doing this master-study helped me to see how to better organize my layers.



This was one of the last test paintings I did before I actually began work on the final masterstudy. It didn't plan it this way, but my wife came in while I was working on it and pointed out, "oh you're painting yourself?" haha! I had no clue.

Friday, June 04, 2010

Digital Illustration Class- Original 3





Wow...so I told myself that I wasn't going to do any complicated pictures for this class (since everything is fast pace and focused on learning), but I suddenly felt driven to do a portfolio piece. So...please give me feedback ~(preferably anything that might be wrong, or bothers you. Be direct please, I won't be offended.)

The topic for this weeks Illustration Friday was Slither. (Yah, I know it was a stretch. :P haha) Honestly this scene reminds me alot of me when I was younger. I used to tear electronics, mechanisms, etc apart constructively to see what made them work, or how they fit together. (Though I usually couldn't put them back together again...haha)

Process:
  1. Came up with an idea.
  2. I made thumbnails. (lots of them)
  3. Did several studies I call 'framing' or breakdown the composition utilizing lines of connecting relationships.
  4. Did a rough full size sketch. (utilizing the framing from step 3)
  5. Did another full size sketch (Slightly breaking away from the framing to be more balanced now that I put the characters in.)
  6. Trace the sketch from step 5 on new piece of paper, then finalize sketch.
  7. Trace sketch from step 6 onto tracing paper (as with any sketch step, I made changes as I went)
  8. scan in trace from step 7, print off 4-5 copies (for future value and color studies)
  9. With the print off, I did a value exploration with a 2B pencil.
  10. Trace tracing paper sketch onto Watercolor paper with pencil (lightly.)
  11. I inked the linework with ink and nib.
  12. Scaned the linework in at high resolution.
  13. Then I did more tests with the gristly oil technique on watercolor scrap paper.
  14. Tape the inked drawing to a board and begin to paint with burnt umber* (utilizing the value study.)
  15. I finished the painting, actually only utilizing burnt umber. I ended up not using white. Then letting the painting dry, I scanned it in.
  16. placed the previously scanned lines, and finished painting in the same file, and line them up together.
  17. Duplicated and desaturated the painting, and since I did such a good job with my painting I did not need to fix value.
  18. Made a new layer, and painted my color flats on it.
  19. Duplicated the desaturated painting...and began to select colors on my color flat layer, then clicking on my duplicated layer I called "shoot in the dark" adjusted the Hue/saturation and then the Colorbalance. (I called in shot in the dark because I did not do any color comps...so I made the color scheme up as I went...not always a good idea)
  20. Made several additive layers set on Hard light, to add dynamic colors, or to tone down the gristly texture.
  21. Duplicated my desaturated layer again, put it above everything, Colorized it and utilized it to sync my picture together.
  22. the end.
*OK...usually when you do value studies, you do it in black and white. Well apparently my previous art teachers were so effective to convince me of the evils of black (for oils) that I tried to find one in supplies, and realized that I do not have it. 0_O haha. Honestly though I kinda preferred it in burnt umber, it had warmth and life.

What did you think of my blog process this time? Clean, cut period. If anyone wants clarifications I will reply.

The gristly painting has got to be the best I've done...which is ironic because after I finished painting my masterstudy, earlier this week, I vowed I would never try this with oils again (course I also said that after using Photoshop for the first time).

Technique: Baically I've learned that the texture like is caused by seperating the pigment from itself, which creates the gristly afffect. For this painting I used a stiffer brush, and got incredibly predictable results (unlike my masterstudy). For the inking I utitlized a differnt nib, which gave me more control, and seemed to work better on the watercolor paper.

Random thought: For years I thought detailed intracate artwork was spontaneous, and easy. I also thought that most artists did exactly what they envisioned in their head. I guess as an artist we are trying to bridge our imagination with real life, but at least for me what ends up being my best work were the ones that evolved away from my original idea and initial imagination picture (that blasted stepping into the dark/faith concept...geez.)

(!) Special thanks to Maho Garner for translating the article about Masamune Shirow for me!!!

Tuesday, June 01, 2010

Digital Illustration Class- Artist copy #4-part 2

My version compared to the original:


Artist: Masamune Shirow
Year: 1988
Source: Appleseed Databook (or anywhere on the internet).
Day 2 process:
  1. Well after completing the sketch and inking it (as described in my previous post) I prepare it for a typical watercolor-isk painting by taping it to a board. Pulling out my oil paints I begin from the back character and move forward. The effect I want from the oil paint is achieved by mixing the colors beforehand thickly, dab the paint-brush in and then with light tap it in the water, blast the paint down on the page. It also works to just put a thick dab of paint on the page and then dip the brush in water and go over it.
  2. Well...my painting process didn't exactly work the way I wanted so I scanned it in after I got paint everywhere that needed (not caring so much about the colors at this point.) Thankfully I had also scanned my lines in yesterday at highquality so I put that in my same file, and line them up.
  3. I duplicated the color painting, set it on desaturated.
  4. make 2 new layers. One set on overlay (for the lighting parts) and the other set on Multiply (for the darkening.) Even with the blend settings on I was careful to apply the paint conservatively due to concerns of causing the painted texture to go away. I am just trying to get the value reestablished at this point.. Eventually I merge them with the desaturated layer, and cut out the background utilizing the wand and lasso (Note: I am not deleting the background, rather keeping it for later texture purposes)
  5. Work on the background to establish the mood. Turn the texture background(I cut out earlier) on a blending mode which fits. I found that in order to stimulate a real looking airbrush, I turned off the size-pressure option and turned the opacity onto pressure, then I clicked on the noise option.
  6. Next I made a new layer for my color flats. I basically block in large sections of color. Next I duplicated the desaturated layer, select one of the block of colorswith the wand, click on the desaturated layer, go to Hue/saturation menu, hit the colorize option and then adjust the color to where I need. Then after I got the general colors settled in I go over the top of them on new layers with the random colors, and also adjusting the existing colors more.
  7. Made a new layer over the linework and colors, add the accent whites and other needed colors/effects.
  8. Put a mask on the lines and deaden them ups a little to make them look as if they were painted.
I'm sure that more occurred, but this is all I can remember right now. I am going to put this one on the server tonight, and anyone is welcome to look at it to see more of what I did (or didn't do...haha)


Problems:

  • Like many Japanese artists I noticed that Masamune is very economical with his brush strokes...I am not that good, nor am I familiar with oil washes, so I did the painting did not turn out as I hoped. For my original illustration that I am doing I think I will do as Mr. Babcock suggested, and as I have done with my 100% digital paintings, namely do just a value study traditional, and then scan it in and color it on the computer.
What I wanted to learn:
  • My problem is I want to learn as much as I can about all artists , and their methods I focus on. When I selected pictures for this class I focused on a broad range of styles, and my favorite pictures from them. So I wanted to learn the style first and foremost.
  • I really like the way he uses his line-work. It is very controlled and amazing.
  • I liked the rustic gristly painted look his illustrations have, especially the machinery.
What's strange (ive been noticing as I do mastercopies) is that you build a deeper appreciation and love for the artist and thier work...and the artwork just comes alive! Wow. One more to go...but until then on to my original illustration. 0_O

Digital Illustration Class- Artist copy #4-part 1

My version:

The Artist's original


Masamune Shirow Day 1:
My original intent was to just focus on the linework, but fueled with excitment upon getting an article of his translated by a great friend, I decided to do the whole thing (though I will not be doing the background since I do not have an airbrush). I am doing this 100% traditional as you will soon see....


Artist: Masamune Shirow
Year: 1988
Source: Anywhere and everywhere all over the internet (like alot of Masamune's work...though his work tends to be questionable in content.)



Process:
  1. Prepare: As you can see above, even though I am copying a picture I created thumbnails. I did that and exploratory sketches to better understand the composition and what to expect or prepare for. I discovered what was best was to break the characters down into general shapes, and then to start adding more and more detail. Considering this picture has ALOT of intricate details, I had to be careful since I could easily get lost looking at a tree, and get frustrated as the rest of the forest might not fit in the picture.
  2. The sketch: Next I start the sketch at the final size. TO save time I drew a light grid on my page and drew corresponding dots on the border of the printed master. From there I start general and light. As I increase in detail I also increase how hard I press the pencil against the paper. To start off i section the page off with angle-connecting lines, it was neat to see because some of them even connected at the several strategic points most likely set by the original artist. Eventually I try to get a few lines that are 95% absolutely correct so I can try to base other lines off of them and with that I start blocking the characters in utilizing general shapes. continue to sketch, sketch sketch.
  3. The sketch part 2: My original plan was to do all the sketching on one piece of paper, but because there was so many details and my paper was already pretty saturated with color, I ran a quick outline of blue, then utilizing my light-table traced it onto a new piece of paper. After that I did the rest of my sketches on it. I outlined the colored pencil with a 4B pencil.
  4. The inked lines: Next i take my completed sketch, tape it to the back side of a sheet of Arches hot-pressed watercolor paper, trace the lines on the watercolor paper with a 4H pencil utilizing the light from my light-table. Finally I go back to my desk and begin to ink utilizing a pen and nib. (I am at a disadvantage with nibs, since I have not used them much, but I supposed this is one of the things I wanted to learn from this artist.) Once done erase the lines.

Problems:
  • Either Masamune used a higher weight of paper, or a different one alltogether, because the ink did not exactly flow onto the paper as it did in the picture. It turned out fine, but I think the paper he used was a bit more slick.
  • When I was inking the lines I found myself stuttering the lines, and I discovered that this was due to me trying to be too careful by following his picture (which because almost every line is intragal I basically had to do it). So because I wasn't responding to the medium correctly the ink didn't get applied correctly. Once I got to the more broad sweeping lines on the girl in the front, it got easier to stroke it instinctively, not just reacting to his picture.
Tomorrow I am going to color it. i already did a color test run and thought he utilized acrylic washes, but it turned out too passive. Remembering something I read that he used to use oil as well as acrylic, I broke out my waterbased oils, did a test run with them and found instant satisfaction. Wish me luck. O_o