Claeaus posted:

I'm assuming you meant to quote my post and not an egg's since (while it is awesome) it doesn't have any campfire or santas

Thanks! I bought these weird smooth canvas papers which hardly soaks up the paint at all which is really annoying. The sky looks streaky mostly because I gave up on the whole thing.

Zoben posted:

Thanks all

Another part, it turns into a more surreal look on either side. Trying to do a somewhat less trite/cliche version of an ouroboros for this album cover, but it's hard to come up with new poo poo. I lessened my stance on avoiding skulls, at least for this one, since they're fun to draw and automatically get more attention

sigma 6 posted:

I may need to try this to get a wider variety of fragments.

Crossposted from the Draw Every Day thread:

Not really a daily drawing as more practice with the laser burner.
Design by Eli Quinn



One more by Mr. Quinn. This one was a bitch because the settings for cardboard as so much more sensitive than wood. 1 % can make the difference between engraving vs. cutting. Must have made at least 8 trying to get settings right.

Trabant posted:

A bit of thread necromancy, but I'm about to take a class in laser cutting/burning and these posts popped into my head, so I have a question about this one for either sigma 6 or Zoben:

Since you guys collaborated on this, was Zoben's original drawing provided as a bitmap or vector? Or better said: if it was a bitmap, how was it converted to a vector file? I'll be using LightBurn and its vector trace function seems way easier than futzing around in Inkscape (which worked even if it's a bit of a pain), but thought I'd check whether there's a third option I missed.

I'll be using the laser to cut some acrylic for an unrelated project, but I do have some of my own prints I would love to eventually scan/vectorize/burn.

sigma 6 posted:

It was a bitmap. I can easily trace it to vector but I kept it bitmap for the tiger. The other I think I traced in lightburn. Yes - it rocks and yes it is easier to use than most others. Definitely better than inkscape IMO but inkscape is free. Yeah - the second was traced and then I used a very low line interval to get an almost solid fill. Took forever. Vectors can take a surprisingly long time to burn depending on settings so I usually default to raster depending on the project. If it is very high contrast or line work based then vector is great. Otherwise use jarvis dithering for realism or maybe grayscale but I have never gotten good results out of grayscale dithering. You need a low wattage to get best results. Like 40 watts or something. Regardless, slow and low is best for engraving. Too slow and you may burn your material however.

Trabant posted:

A bit of thread necromancy, but I'm about to take a class in laser cutting/burning and these posts popped into my head, so I have a question about this one for either sigma 6 or Zoben:

Since you guys collaborated on this, was Zoben's original drawing provided as a bitmap or vector? Or better said: if it was a bitmap, how was it converted to a vector file? I'll be using LightBurn and its vector trace function seems way easier than futzing around in Inkscape (which worked even if it's a bit of a pain), but thought I'd check whether there's a third option I missed.

I'll be using the laser to cut some acrylic for an unrelated project, but I do have some of my own prints I would love to eventually scan/vectorize/burn.

Trabant posted:

Thanks! That's encouraging to know, since my own process is very much analog right up to the point if/when I scan the final linocut print.

Zoben posted:

Right on. My process is essentially similar to comic book art production, the ink part is old-school (I know artists still do traditional and some do digital inks) and the coloring is digital (although I use an old-rear end Intuos 3 and I still use Photoshop CS3 since I don't need any of that new horseshit). Nothing but respect for bad-rear end digital painters, but I like a bit of that connection to the tactility of the medium. And the reason I don't color with watercolor or something is that I can't make up my mind on color schemes unless I try like a million different things. Also I'm not like Bill Sienkiewicz -level where his sense of color is loving godlike.

That's one of the only bummers when it comes to selling my art, the final piece exists in digital form, so people ask me about "buying originals" and I say that the only originals are black-and-white. Most people at art or craft shows don't understand that concept. It's kind of a strange thing, navigating the commerce aspect, because I have hundreds of prints which cost $10 - $60 at most and I figure that I'd be selling a lot, but people say that they "really want originals" and I'm like well, the pen work took me like a month so I'd only sell it for like $1000, which they're not interested in. Moral of the story: 90 percent of art customers are shitheads

dupersaurus posted:

The holiday market circuit was good to me this year



Time to learn engraving

dupersaurus posted:

The holiday market circuit was good to me this year



Time to learn engraving

dupersaurus posted:

The holiday market circuit was good to me this year



Time to learn engraving

sigma 6 posted:

What the flying gently caress is that?? I just use a laser.

Zoben posted:

This fuckin' thing is done

Zoben posted:

This fuckin' thing is done

Claeaus posted:

Claeaus posted:

Really? Man, thanks a lot! It's made with acrylics.

It feels like I leveled up a bit with this painting. I wanted to paint some random debris and was not sure how to do it and then I just thought "gently caress it" and splashed some colors and highlights down and it just started looking like random debris