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Tuesday
Jun082010

2-fer

I promised color. Macro-portrait of this fly-looking prick.


I liked the facial structure of a creature drawing I did a little while ago, so this is a close-up study of that face.

This is an updated post. This image is "corrected," based on William B. Hand's feedback.

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Reader Comments (4)

As always, Great textures and spindly brambly tendrils! I'm diggin the sense of depth in the lower third of the pic, and like this rhubarbian feeling of the upper material.

...The strong symmetry of the crown does seem to be fighting the somewhat oblique perspective of the face, though, and dropping the head right in the middle of the upper portion of the pic gives it a weird centralizing effect that doesn't mesh with the asymmetrical and lyrical dynamism of the root system.

Maybe one way of bringing the whole image into harmony might be to have continued a comparable branching complex as the lower left into the upper right, creating an overall sortuv reverse "S" shape that would effectively frame the entity... it'd almost be like some strange King in a creepy deck of playing cards. :) Except, I guess then it'd have to have another face upside down... So, maybe it wouldn't really work for that, but I still think it could pull the upper and lower portions of the image together?

June 8, 2010 | Unregistered CommenterWilliam B. Hand

As always, excellent to hear from you, and your feedback here is so damn good! Yeah, I tend to goof up the relationship of perspective, especially in regards to things situated on an obliquely-aligned head. I see what you mean, and I'm going to correct it and updated it here. I also love the idea of curing the composition by way of your suggestion. I'll stare at it and see if I can bring it like you describe it. :)

Hope you're well, William. I hope I get to meet you some day.

[edit]Man, William... I flipped the scan of this horizontally in Photoshop and really saw how nutty my perspective really was. I really need to do the mirror thing much more often. In addition, I rotated the image on itself 180 degrees, did a multiply so I could see them interact. I used it as reference (after fixing the crown and other poor bits of perspective) for drawing in those branches top right as you suggested... it's looking tons better! Thanks man. I'll scan and upload once it's final.[/edit]

June 11, 2010 | Registered CommenterMike May

When faced with such a moment of realization about an inconsistency in something core like perspective -- although it can initially be a drag to discover, it can also lead to bold revisualizations of an area...

Now, It's important to value your love of flawed works, and avoid running roughshod over images whose value may be felt, though not understood, and it can be a tenuous thing to recognize. Sometimes we argue ourselves into dismissing things that we actually love, because learning how to express ourselves can be a messy business, fraught with conflict, and sincerity is not always forcefully articulate in its own defense. It's good to be willing to create -- and to enjoy -- pieces that we recognize as wonky. So, it's good to consider how one FEELS about a piece before messing about attempting to "fix" it, since that can always end badly and destroying something we love in the name of technical correctness can bruise the soul.

The other side of the coin is that realizing some profound error in a picture we've slaved over can Truly ruin our enjoyment of it, and that opens the door to audacious experimentation the likes of which we would never otherwise try -- Some of my best works have arisen out of the bold fury that arises when I have been presented with the painful reality of my grievous errors. When one works hard on a piece, only to be presented at the end with unexpectedly grave dissatisfaction -- due to technical error, or some grotesque, insidiously boring quality -- The freedom that can come from that pained recognition is uniquely sweet. If it is already ruined to your eyes, but you have put so much effort into it, there is no further wrong that you can do -- but, there is a history of commitment that begs us to honor it. With no possibility of further ruin, fear disappears, and strengthened by an honor borne of sweat, we are gifted with a moment of unshackled creativity.

The old saying "Necessity is the mother of invention", you see... Our desperation for something of interest and of quality... this is where we find our necessity. I am Always on the alert for unexpected error or boredom within my works, as I have learned that these need not be the cruel moments that convince us of our crapitude -- rather they are the very saplings from whence the fruits of genius may sprout. And if they don't, then oh well -- Win some, Lose some, and maybe I'll be better next time. :)

I sometimes worry about voicing my thoughts on someone's piece, because my thoughts are not always fully thunk, or may not be expressed just so, or simply may not be tossed out there with a timing that is appropriate to a particular artist for that moment. What I've recently discovered though, is that others' advice voiced to me years ago -- that I was maybe initially unable to fully digest -- is coming back to me... Bits and pieces that should have been lost in the chaos of my disjointed memory have returned, unbidden, fluttering about like little helper birds. So... What the hell, mightaswell put some personal observations out there from time to time, and maybe they'll become someone else's fluttering birds -- present or future.

I am really digging the further treatment you added to the top pic, by the way -- Your introduction of colour and playing with focus and lighting source are really thoughtful and add whole new realms of interest. The highlights on the brow successfully redefine all the other areas of light and dark, and really do a splendid job - especially combined with the varying focus -- of popping those forms forward. You were smartly conservative about it, when it can be so easy to enthusiastically run such a thing into the ground. Also, I should say that I like your inclusion of some soft uncluttered expanses that play off, and help define, the more detailed and crustily textured moments. That was true in the previous incarnation, of course, but I didn't mention it. I really feel like you managed to retain all the charm of the earlier version, while bringing further charms to it.

Good job, mate!

June 12, 2010 | Unregistered CommenterWilliam B. Hand

The colors really bring it to life Mike! And now the bottom picture has a more ethereal feel to it along with the added depth. A lot of great posts from you lately keeping this place going strong.

June 13, 2010 | Registered CommenterDavid Melvin

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