/ic/ - Artwork/Critique

I make about 5k per illustration, just saying

>>1851014
>wasn't those speedbikes a paintover you did for someone?
no, it was a livestream sketch i did from scratch. (sketch attached)
>if so, are we allowed to put paintovers in our gallery now, without giving credit?
allowed? ask your teacher/parental supervisor

>>1851016
thanks. lots of things need to be constantly moved around when you make an illustration, i overlooked a lot of artifacts that wouldn't be noticed/important like that.

i started a tumblr, i'm a whore for your follows
http://ollylawson.tumblr.com/
(and a new twitter, which is linked on there)

will steadily post all my late and new stuff in coming weeks

>>1799732
yes, of course. i've got to head off for the rest of the day now, but i'm free from in the daytime this coming week.

>>1799710
and the studio jobs pay far far lower than freelance (except contract work for movies), but it's more than enough money and the benefits make up for it easily. it's commonplace in this industry alone to wait 6-18 months to get paid for freelance, and you're expected to work more than 14 hours a day, through illness, through weekends. it's not for me.

>>1799708
s-sorry anon ;-;
i hate how all these posts are permanently archived now. goes against what we used to post on here for.

>>1799705
not really. I'm attending a friend's oil landscape workshop for the next few weekends that I'm excited about. I want to learn watercolours, and I pencil from time to time.

>>1799710
it depends on the job and the client. my last client was 420$ a day, was a small animation team. i'm trying to move back into a studio job in the next few months.

as ever, if anyone wants to break into freelance or a portfolio review, just message my fb or email me, i love to give back to drawfriends

I have the left one, and it's a really bad book.
Not worth reading, let alone scanning.

forgot to attach image!

hey, i still go on here from time to time. i don't know what to post, because that OP pic isn't good at all, but i think there is a common misconception:

during that 2009 'progress' year I clocked 1900hrs in tf2, and near that in cs/quake (ive kicked the habit since)
it wasn't about grinding hours at all. it was about realising that motivation, then meeting artists, learning and relearning and relearning how to start pictures, how to study, what makes a good picture, and what it is I want to create. there's a huge depth to learning and the process that I was fascinated by and couldn't get enough of.
I started drawing with other artists, drawing at galleries, painting digitally outside and just trying to think about how to improve all the time. i probably only drew for a couple of hours every other day. before 2009 i was programming, and hadn't drawn since anime doodles in school.

i reserve heavy hours for freelance only. too many hours of hard work in single sittings kills either your brain or your painting.
two hours painting a day is more than enough if it's a considered effort, mullins talks about this first thing in his sijun notes.

I spent snatches of hours painting this day by day, it took months but the OP painting I did in a single 20 hour or so stint on livestream, and it's muddy, unconsidered, belaboured and embarassing to look back at. i made this mistake though, and learned not to do it again.
I really recommend the book 'daily rituals' by mason currey. it might shake up any notion of hours you may have.

sadly i work to support myself fulltime now, so I've got 8 months of artwork hidden away that I can't post til the end of the year.

>>1793957
a regular laptop with an intuos is much more comfortable and efficient to paint with en plein air, or even just at a coffee shop.

i've been using the companion hybrid for a while now and have recently switched it to intuos mode, drawing on monitor with companion on my lap. there is an anti-glare filter that completely distorts your colours with a rainbow haze of noise up close, so subtle colour and edge work is impossible. I've been told to take the device apart and scrape this off the screen but it's way too expensive a gadget for that.

It's also too small to use at home as a screen tablet, my hand covers half of it when painting (frustrating) and it makes so much more sense to use an intuos with a decent screen until you have that perfect coordination (which really doesn't take long to get). its far too heavy to paint outside with, there's so many cheaper and better tablets these days for that. for line-work, the innacuracy is also too frustrating for me, i'm more accurate with an intuos.

having a tablet high up on your desk isn't the best thing for guys with frequent RSI or other arm problems, and the companion in particular has a terrible stand so you'd need to purchase another.

i know this isn't the cintiq, but just some considerations to combat the 'if you're professional and have dosh to spare, definitely buy one' posts. that goes against what all the incredible artists i admire swear by.
i have used cintiqs and much of the same problems for that nonsense pricetag. some of those cheaper non-wacom options sound much more reasonable if you just do lineart.

>but waaaaay less pressure levels (SP1&2 = 1024, New Generation Wacoms = 2048, N-Trig = 256 or something crazy low.)
if you're just using photoshop, you should know it's not picking up more than 10-20 levels per stroke and averages those. just make a brush with size to pressure and see for yourself.
when we realised the int4 and 5's needed constant nib purchases and had cable problems, people who didn't paint often defended their more expensive purchases over the int3 with the '2048 levels of sensitivity' - it's just marketing.

>>1771257
It's true, it's all a show, my cv is a lie and i'm working nights recovering golf balls at the driving range to pay the bills.

Give up now, there's no industry anymore, its just spitpaints, gumroad and noah bradley left.

>>1768855
Holy shit.

Anyway, to paint small boys, girls, or young woman for that matter, you should probably use less contrast. Their features are usually 'softer' in terms of feel, and doesn't feature much sharp and hard defined shapes. These groups of people I mentioned earlier, you don't need to try to show your face anatomy skills since it will ruin it completely, unless you've done an exceptional amount of studies on the human face, like Norman Rockwell. Use less contrast, and don't try too much to define their features. To play it safe, make it more on the flat side.

For children, it's important to notice that they have under developed skulls, still growing, so the head will be slightly smaller, with larger eyes (skull grows, eyes don't, so that's why they appear bigger on kids or babies). Use that knowledge. Since they have not yet reached puberty, boys don't have hard and chiseled faces. You should probably aim for something like this >>1768881

Well, unless it's a style thing, then it should be consistent across the board for all your other drawings. But it does not read as 12 year old boy for me on first look.

>>1767248
Here's a schedule

7.00AM : Wake up, take a shit
7.15AM : Browse 4chan, play vidya
2.00AM : Go to sleep.

Don't forget to copy b/w photo of a nude chick in between that, and flood the draw thread with it.

>>1745576
You're reading to much into it. It's not beating myself up, it's realistic. When I started I picture myself climbing a ladder to where I wanted to be.
I soon thought I had reached the third or forth rung but I kept realising how much more potential we have and how little skill I had developed.
For me, this is a hugely positive, personal and motivational scale. I mean it let me improve fast in the beginning and keeps me improving, i hope the proof is in the pudding.

This scale is hugely important to me and constantly in mind. If I rated myself 8/10 I would not be iimproving, that seems 'good enough'

I got all your emails, will reply soon!

>>1745052
There's a permanent one but I probably won't be able to go on this week, maybe Friday, I don't have the address here but I'd you email me I'll get back to you

>>1745050
>fear thong

>>1745020
I'm on my phone now so no trip, but I studied from still lives and other artists. That gave me skills in what I can do now but obviously the lack of imagination and good figures in my work shows I should have practiced more of those from my head. Just keep self critical, modeling the routines of more successful guys, and you'll be able to look back and reassess your direction every several months. I think studies are far less important than original attempts and failures first these days, that's my opinion.

!Getting too good at any one thing will increase that fear of failure in something new! - that's why artists plateau. So keep reinventing yourself near the start and think long and hard about the creation/fear thong.
A little rambly and tangential but there's so much to be said when you spend all this time and thought on this stuff. You can always email me if you wanna chat on a hangout

>>1744552
>Age 23
>Sex m
>Country uk
>Profession illustrator
>Formal education in arts? (y/n) n
>On a scale of 1-10, rate yourself. (If you rate yourself 8 or above, post a sample pic) 2.5
1 is a beginner to me, mullins is a 5, sargent a 7, 10 is the impossible goal and 9 is where i'm heading (8/10 conmana? come on!)
>On a scale of 1-10, how dedicated are you at art. 8
>How many hours a week on average do you practice drawing? on jobs, 80 hours a week. time off: other hobbies but at least a chunk of every day
>How many hours a week on average do you study drawing? same thing
>Do you critique people above your skill level? n
>Do you traditional? (y/n) y
>Do you digital? (y/n) y
>Do you graffiti? (y/n) n
>Do you music? (y/n) y, piano before art
>Do you write? (y/n) y, very important to me
>Do you drawfag on other boards? n

>>1706718
1. you can delete old images and many do, I certainly did. You won't be anybody so nobody will have saved them.
or
2. you keep them in the knowledge that a years time people will look back and congratulate you on your well-earned improvement. It's easy to be scared of the first page of a sketchbook, real or online, until you consider the day you'll be looking back and laughing at how bad you were compared to two dozen pages in.
You could even make a new anonymous name with the plan of deleting the account eventually, not like anyone will know who you are. But you will probably want to do the first two options when you reach that point.

>>1706705
in addendum, the best way people can help you is by showing you how they improved, by showing you resources of ways to improve. I did extensive research into how other digital artists studied, into how traditional schools taught - the french, the spanish school, from enveloping to the reilly method I delved into every old and new book and most of it was irrelevant, but what did help me really helped me put me on the right path. This is not the right path for everyone, so you must research yourself. I realised I wanted to do illustrations that required lots of experience outside with plein air, so I saved up, bought a tablet and just did it, every day.

If you go to an atelier or undertake an apprenticeship you better be expecting to come out of it with work like your master, and that is for some people but not for me. Working without one you can learn about their methods, do your own bargue studies and life drawing, and then drop the parts you feel are not helping you achieve your own goals.
ofc i'm still learning, this is all very personal to me, but this worked for me to get me to a point where i can at least work fulltime, and hopefully there is something you guys can glean from this early morning ramble. just get on permanoobs already.

there's no drama between us, I don't even know the guy but I love what he's doing here.

This site is excellent and gives me a lot of nostalgia for the old CA.org.

When CA started I was a beginner but posting alongside pros made me bust my ass off for those comments.
I barely got any helpful critique comments between my beginning and the end of CA, and that is a misconception i'm seeing here.
Having things pointed out that are wrong is not a great way to improve. You improve by being able to see those things yourself and fixing them. If you keep making the mistake of tiny heads someone may post something, but you would certainly be improving faster if you figured out how to spot that error yourself, because now you've just been told what to do, and are not any readier to make the next correction.
I've saved the redlines people gave me here over the years, and they were never what I envisioned - they made it more like that artist would draw it, and I disagree with them now.
I'm not saying critique is a terrible thing, but if you think it is vital you should sit back and consider if a teachers role is more in guiding the student with motivation than trying to show him how wrong he is.

So yes there may be very little critique, and there may only be posts of admiration in the better sketchbooks - and this is a great thing.
I saw those better sketchbooks getting praise from my empty thread, and I worked my -ass- off every single day to make my pictures to that standard to get comments, and what people here are calling empty useless comments were exactly the thing that motivated me.

People learn differently, and that's cool, but if you think the comment system is somehow broken then consider my experience with this. This really worked for me and the forum as it is looks just like CA did back then.
I joined CA.org in 2004, but I started my thread in 2010 - guess when I started actually finding motivation to work hard. Don't be afraid to start your thread today.

>>1688099
just having no grip yeah.
the weights/powerball thing is just if RSI crops up from too many hours as well.

to the guys talking about CTS and wrist issues.

>Algenpfleger. He had a similar schedule as you and is now fucked with CTS.
it was tendonitis, which is more akin to RSI. But these are allayed by simply gripping the pen as lightly as you can - in the words of jeff watts (i think it was?) like a passing breeze could knock it from your grip. I used to suffer from severe RSI, was on CTS medication, and this little practice completely saved my wrists. Many beginners grip their pen too hard, and how does that affect your drawing? The only difference is you're constantly tensing those muscles for no reason.

Lifting some not overly heavy weights about once in a while keeps the muscles and CNS in check to stave off any RSI, cheaper and laster-longing than a powerball I find.