Anatomy

Anatomy is something that should be learned as early as possible among color-theory, composition and other basics. Better later than never. Trying to memorise the muscle charts and bones and then apply it creatively into character design. Someone implied that in some earlier works the tentacle elements and Giger influences get a bit repetitive, so time for some more original approach.

Confrontation

Edit: took a better photo in day light.

Oil on canvas, 94x60cm. Started in mid September during an oil painting course, the subject was "figure (either one self or someone else) in a landscape". I wanted to portray some confrontation of sorts to give it a bit drama, so the bear was added as it felt interesting.


Here is the preliminary sketch for composition and gesture design. Found a reference for the bear and took some photos of myself for the figure. I wanted to leave the nature of the confrontation within mystery, so the figure does not seem scared, as most would be when seeing a bear, only slightly surprised. Admittedly a bit illogical, but at least the teacher thought it was better to leave space for interpretations. There is not a deeper message in this, I thought about some symbolic meaning but it just did not feel genuine. Some class mates thought this was a commentary on the relationship between nature and men, or the recent bear incidents reported in newspapers - totally not intended but I'm okay with that.

There was no charcoal sketch, just underpainting and the figures were rendered with layer painting technigue. Originally this was meant to be rather photorealistic but the rough, sketchy dry brushing style seemed fit this subject better.

Charcoal on litoposter. To get better at fine art skills, depicting movement and anatomy, it is important to study and memorise bones and proportions. Referenced from Jenö Barcsay's Anatomy for Artists.

Luzern house

I spent a few days in Luzern where my sister studies design management and had time to capture this curious house into my watercolor sketchbook.

Sea captain, formulaic sketch

Profile

Practicing alla prima portrait oil painting on gessoed board, 22x27cm. Painted straight without sketching.

More pocket drawings

To get better at concept art, one should study nature and try to memorise the structures and textures and then let them influence one's imagination-based drawings, according an Imagine FX magazine writer. By the way, I do not want to support guns or violence, but if I ever manage to enroll into a gaming company, I got to know how to draw them.

Notes

Ink and graphite studies of photos and live (the car)... trying to improve skills in realism.

Sketchbook pages

Drawing straight with ink instead of sketching with graphite first forces one to think harder on how to get the proportions right when drawing buildings. I was encouraged to draw more of these kinds of small pictures since I can obviously put more effort into them than larger works. The second one was drawn on spot btw.

A bit peculiar design here?

Drawings

That would be Coppola the director in the first one.

Another marker study

Marker study of a still image from some Ingmar Bergman movie.

Marker study

A study of a black and white photograph with markers. Can you identify the model?

Color sketch

Wondering

'skine spreads

Selected pocket sketchbook drawings made during work day breaks, train travels and pretty much anywhere outside home.

Practice

An art teacher at junior high used to remind that one should draw self-portraits often because it is a great way to practice and also a measure of one's progression as an artist.

Sketching again

Been busy writing comic and animation scripts and seeking suitable style and characters.

Style experiment

Experimenting with vector selection tool in psd.

Proposal graphic

Certain people told me they would like to see more of my kind-hearted design-esque illustrations instead of the more -- peculiar personal works (shouldn't call anything "personal works" I've been adviced, designer produces "pitches" and "proposals" when not doing commissioned works). Asking feedback for my sketchbook doodles, this one immediately got one saying "finish that one, I like it!"

Characters

The Vesuvius Consequence

Oil on canvas. 90x70 cm. Was displayed at my oil painting group's exhibition "Sydämen asialla" at Järvenpää talo, Järnätti sali on March 23-31, 2010.




The theme was "smiling statue" with sand paste technique. After some research I studied a few statues and decided I wanted something with a bit chiaroscuro contrast and probably a Mediterranean feel. I used burnt sienna for underpainting, sand pasted the statues and then tinged the darker tones. Below are some thumbnails and sketches. The painting itself became guite expressive as the instructor commented.

I was at the opening today (23.3.10). The painting seemed to interest people of my age particularly. Cool.

Portrait sketch

January sketching

Selected sketches and practice works from January. Comments would be appreciated.