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Author   Topic : "The Speedpainting Thread (IV)"
soulburn
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PostPosted: Sat Mar 24, 2012 10:40 pm     Reply with quote
With very limited painting time this week, I started this one image, and after 2 hours, I was like 1% done. It turned out to be way more complex than I had originally hoped, and here I had wanted to do something quick. Frustrated and tired, I quickly whipped this gas city rough out to relax. I promise I'll get back to the other image some week when I have some decent time to devote to it.


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RayToh
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PostPosted: Sun Mar 25, 2012 1:04 am     Reply with quote
Study from "The Thing (2011)"

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svartberg
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PostPosted: Sun Mar 25, 2012 2:45 am     Reply with quote
samhell wrote:
Henry Rollins!!! Surprised


Yah !
Cheers, is a big compliment someone actually picked it up !
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Nide
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PostPosted: Sun Mar 25, 2012 6:08 am     Reply with quote
Cool
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Tomasis
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PostPosted: Sun Mar 25, 2012 6:47 am     Reply with quote
soulburn raytoh nide, nice!


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Tomasis
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PostPosted: Sun Mar 25, 2012 2:18 pm     Reply with quote
Raytoh

its interesting to read what you wrote to Lemur. Actually I was doing the same. My way to think, process down stuffs somewhat changed after being spent in school working with oil. I wont say that the working way with oil was fast and effective but it allowed to me discover other things that I otherwise I'd not find behind computer screen. I think its interesting how time perception can alter one's thinking way (doing one oil piece takes a whole day when digital could take only 30 min.). For example I never noticed about strong advantage of layering in digital field and tried to focus on simple painting like one does on traditional. Now I do on contrary, use some advantages of digital that I take from oil. Its like incorporating speedpainting in the slow workflow. Two mixes into one. Also suddenly I feel more confident picking colors for a piece. Because its crazy how piles of oils mulled with pigments can make one's understanding of colors more clear. It is the nature of things on the easel that learned me. Not references from nature outside. Just piles of oils. While digital is not. This one is totally empty and waiting for you to take control over. The digital is "constructive" you have to add everything from zero, have a totally full control over the whole process, even you can make weird illogical strokes/spots that'd never exist in traditional while oil is like to make a bread, there is the stuffs already (some ingredients), just toss with it until you think the material is ready. It doesnt not add from zero, only mix, remove and add. Something substantial. Hard make to error unlike digital.

That above are just minor examples. Foremost of all, the most important thing is an ability to control over the mental process. At hundred percent. Nothing to do with technique but age and experience that makes a difference. Oil process learned me to take things easy and certainly helped to see over the process under extended time period which was welcome. I mentioned before that it pays off to stare against the piece a while and figure out next coming strokes and it'd save a lot more time than the "constant work" that'd seem to save time under stress without break. Yeah, first to think then paint! Surely, it is easy to say than do it Smile When I did digital, I was used to "stressful" handling of things. Everything moves too fast. Like as watching modern movies with eye killing fast moving objects Smile

Re mentioning process, I see that it is about balancing going down to details while be capable overpaint them with an ease and no mercy for already long wasted time for earlier . Thats difficult, I try work to win over meticulousness that leads to excess. Sometimes I overdo, when I notice it and after a while thinking, I make several strokes, voila! it works. I tell it doesnt work every time but I try keep it in my mind. Like in Zen. Be concentrated as hell! To put simply, work fast while slow and viceversa. hehe ..dancing unconsciously on ice with very advanced choreography if it makes sense. Or I like car analogies. Drive like Arton Senna, by feeling or Alan Proust by calculating, by mind. Nothing is right or wrong as you say. It is the result that counts.

Re hundred millions in industry. Let me tell you, it is all about politics. The top people of companies dont know shit about art. It is us, artists who have take shit from above. They are interested ONLY of profits. Nothing else. Profits, profits. To be safe about returning investments, you make several versions of the same idea just to milk out thus killing creativity, urge on innovations, but prospering up thick headed producers, AD, directors who take orders from above etc. Sorry.(check Chuck Lorry who took Kutcher to replace Charlie Sheen then make a famous woman actress as Sheen's ghost in two and half men serie. Why dont have a dignity and kill the serie) If hundreds millions can be distributed properly, I bet we'd see a lot amazing tings from local grass rooted artists. Do we have need rich star actors with hundred millions as salary and make scandals that feed magazines and zombie-freaked ppl? How about paying each hundred $ for every artist. Divide that and it comes up several hundreds thousands artists. Actors are artists too.

I liked Minecraft game, it didnt required something grand. Just an idea. Mirror Edge game I liked because I dont have use violence until the end. A welcome course. I wont take shit of stuffs that are primarily aimed for US market which'd like have only violence, horror, "hero-shit" as entertainment. Hopefully mobile market help up diversifying market for larger part of people worldwide (culturally). Recently I played Tintin HD (fun, nothing very advanced, Im fan of adventure games) Re budget of movies, a german scifi that Matthew linked, showed that it can work without large budget. I like also japanese anime/manga scene because they/small studios can create anything whatever they like without having to do with conglomerates. Strong advantage of animated drawing medium regarding budget cost. I hope you understand where Im pointing. I dont complain about it, just how it is. It has nothing to do with science. in 15th century Renaissance science had big role, I assume it applies for movie/game industry nowadays. Lets assume if we are excellent scientists, we can do create anything. But without creativity, one cannot go far. Without innovation, all copy each other. Van Gogh never been "scientist" as some classicts like Ingres but he blows out them regarding "impression, idea" like you said above. Well said about having own technique that helps to show your vision, ideas. Soon in future we can produce anything of atoms (3d printers) then it puts more importance on creativity than engineering like today. Sure it is still a few hundred years away. Dont you think it is more interesting with storytelling, sharing of our life experience, wisdom. Or enough with special effects that produce beautiful fires, sparkles, fireworks?

sorry for erratic writing, people Smile many thoughts popped up.




Lemur

to link both process you have to understand "edge-ness" or lack of that (im sure it is better word for it) or I rather to try explain more clearly. If you waste a lot time on doing boring detailed illustrations then you dont need to do that again since you know more where is to put simplified shapes. Sorry there is no other way around except making billions mistakes, I think. Welcome to the hell, i've been there and is still there Smile



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Lemur
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PostPosted: Sun Mar 25, 2012 6:14 pm     Reply with quote
matthew- cool slant to the comp!

Tomasis- thats wild! alot has to do with edge, volume and edge. I've been obsessed with curves vs. straights lately cause of a still life i've been working on. need to bring that into imagination more more more. I think a good thing to realize is that a skilled artist who knows the subject knows to show some edges that wouldn't show (symbolize), and hide some edges that would (simplify). Life experience is a must for all this and right now i'm working on doing equal amounts of imagination/life in a day.

I've been thinking about experimentation some, that i'll just try one thing to implement and usually drop it after it works. But maybe starting several pictures with the same principle going on is best, cause you see where it works and where it doesn't as they develop in tandem. With these two of course i'm using the receding pattern on the floor to show space. These things can be gimmicky or work well, but who knows when until you use it abit?

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qinmenfei12
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PostPosted: Mon Mar 26, 2012 12:36 am     Reply with quote

Khan Mad
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Borilius
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PostPosted: Mon Mar 26, 2012 9:32 am     Reply with quote
Another iPad doodle:

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whom
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Joined: 28 Feb 2012
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PostPosted: Mon Mar 26, 2012 10:27 am     Reply with quote
Lemur, thanks. Smile Orange piece is awesome btw. Shocked

Tomasis, nice ones, especially the cast shadow in the one above. Interesting use of colors. Smile

qinmenfei, wow, awesome those latest two.

Hmm need better scale, well scrap that; everything needs to be better lol. Embarassed




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Lemur
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PostPosted: Tue Mar 27, 2012 8:00 am     Reply with quote
thanks doode!

some of them plain airs...lesson learned: i suck at wc! seems some subjects are just suited for it, i need some opaque stuff too it seems. It does simplify different, all massy, i want to paint twigs and i get big puddley masses!




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samhell
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PostPosted: Tue Mar 27, 2012 11:30 am     Reply with quote


@soulburn: Love the atmosphere of the gas city!
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Bierberg
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PostPosted: Tue Mar 27, 2012 2:02 pm     Reply with quote
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selphoo
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PostPosted: Wed Mar 28, 2012 5:12 am     Reply with quote
Cool



And not a copy, but a "strong" inspiration, taken from jeffsimpsonkh:

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RayToh
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PostPosted: Wed Mar 28, 2012 10:45 am     Reply with quote
One for today. Experiment. Smile

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Lakka
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PostPosted: Wed Mar 28, 2012 1:38 pm     Reply with quote
Works well RayToh!

sauna concept



link appeared dead

playing with a mouse trying to waste some time




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Rinthe
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Joined: 13 Jul 2008
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PostPosted: Wed Mar 28, 2012 10:17 pm     Reply with quote
It's been awhile sijun! You guys all rock! I haven't touched my tablet for quite awhile now, been doing oils mostly. Sold my intuos4 and looking to get a intuos5 to get back to digital painting. So i'll be posting more!

Lemur: i've been watching your paintings, love that car you did last page. I think you just need to get used to wc. it is really strange. Funny I've also recently started messing with watercolors.

whom: always liked your stuff. didn't you have a different user name?


http://ericpaints.it/work/2012/03/the-house-on-the-hill/


http://ericpaints.it/work/2012/03/peach-tree/


http://ericpaints.it/work/2012/03/italian-cypress-over-the-hills/[/url]

if you go onto my site, you can push "L" to see the larger version.
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RayToh
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PostPosted: Thu Mar 29, 2012 8:36 am     Reply with quote
Lakka> Thanks man. I love the first piece alot.
Rinthe> Great studies. Smile

One for today. Not exactly a speedy.

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whom
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PostPosted: Thu Mar 29, 2012 10:56 am     Reply with quote
Rinthe, yea I used to have many different nicks since my original one some ten years back, lemur gives a hint above. Better not say my first nick out loud though lmao.... I think you mean my old "Quintus Dias" though right?
Thanks btw. Yeea I remember your stuff too, you had a real interesting style if I remember correctly. Awesome watercolors there. Smile

Samhell, cool must say I like those characters with wings, have been experimenting with something like that myself recently.

Raytoh, nice stuff.

Bierberg, your zig zag direction works perfectly.



Hmm something, well I blame early mornings and late evenings. Twisted Evil








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CrazyBrush
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PostPosted: Thu Mar 29, 2012 12:19 pm     Reply with quote

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Rinthe
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PostPosted: Thu Mar 29, 2012 12:29 pm     Reply with quote
Whom: thanks and yes thats the one!

sorry nothing new, but here's an old one i never posted here i believe


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Tomasis
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PostPosted: Fri Mar 30, 2012 7:12 am     Reply with quote
Lemur,
thanks! I think how you move strokes is interesting (i discovered that on oil painting because you can separate two areas even alike, like one horizontal, other vertical strokes) otherwise its about composition re straight, round. To show or not, it is also comp. It is about time to use ref for me also .. due long time (8 years ) refusal but now I feel I reached the point that ref only add more in my images.


whom,
thanks. Your last is awesome. You feel its difficult because ur doing such amazing compositions Wink Keep up, dude!


lakka, lemur, rinthe and other,

I'd love if you post analog ones in the analog thread. I want get this thread sticky Razz

great, everybody!


girley me? a curse after doing 1000 sp. how about 1000 girl portraits with cute jaws? Very Happy


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Sup_Ben
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PostPosted: Fri Mar 30, 2012 8:47 am     Reply with quote

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Lemur
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PostPosted: Fri Mar 30, 2012 7:58 pm     Reply with quote
rinthe- thanks! great seeing you again! yeah, i figure the wc is all about milage, nice works!

tomasis- aha yeah! the analoge thread will be posted in!


a couple, the mech is just a speedy and the pirate one was redone many many times, baaah i'll just post it



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whom
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PostPosted: Sat Mar 31, 2012 12:37 pm     Reply with quote
Tomasis, thanks man. Smile

Lemur, awesome, real neat.


An alternate version to a piece I made a couple of days ago...





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Rinthe
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PostPosted: Sat Mar 31, 2012 12:38 pm     Reply with quote
last night's mess


http://ericpaints.it/work/2012/03/david-the-pope/
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doghouse
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PostPosted: Sun Apr 01, 2012 6:56 am     Reply with quote
Took about one hour in painter 11
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mattyuk
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PostPosted: Sun Apr 01, 2012 10:41 am     Reply with quote
Ive missed posting on here, Ive been watching the updates though!

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doghouse
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PostPosted: Sun Apr 01, 2012 11:45 am     Reply with quote
A few more from the past, all under 2 hours.









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Bierberg
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PostPosted: Sun Apr 01, 2012 3:07 pm     Reply with quote
I need to practise economy.. im rendering all over the place and taking too long getting what im aiming for.

paintover on sketchup model

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