syntaxrigger posted:

Digging Ganesha watercolor! Looks really good. The skin choice weirds me out a bit, I thought Ganesha had blue skin? I dunno. Looks like human skin heh.

Angrymog posted:

Varies. Can be blue, but normally has pinkish/whitish skin. Vishnu and Krishna (an incarnation of Vishnu) are the famously blue gods.

Hellbeard posted:

Probably mess with it some more later:

Keetron posted:

Free to a good home: Drawing on the Right side of the brain.
I got as far in the book as I think I ever will, it is a good book and now it needs a new place to be.
Included is a viewfinder and the unused workbook.
If you take this book from me, please be a beginner looking to improve but if you really want it and lie a bit, I won't judge.
I'll ship anywhere, shipping on me, because I am sad and giving stuff away makes me happy.

Scoss posted:

dupersaurus posted:

Why can’t I find a legit good gold ink?????

Scoss posted:

A few thoughts~

I think the composition would have been helped here with a bit more contrast control to add gravity to your focal areas (the characters). Specifically, I think your background is fighting a little bit with your characters for attention.

There are three compositional tools that come to mind here; value, density, and color.

Your major palette is pretty limited (green, violet, cool gray) and is largely shared across both your characters and the environment, so we can't expect to lean on it too much for creating clarity. Working with a constrained or even monochromatic palette is totally possible, but it means that the other elements have to pick up the slack, and they are also a bit muddled.

We have similar density of detail and similar middling value ranges across almost the entire canvas. As a tool for evaluating composition I often will pull out to a thumbnail view and look at my work in grayscale, and if doing this causes large swathes of the image to run together and become unclear, then I know there's Problems. When I view your piece in this way, the skeleton's spear arm is almost totally lost and much of the interior detail from the sternum down is a little hard to pick out. Almost the whole goblin character lacks for anything to draw the eye.

I took the liberty of spending like a minute with a soft brush to push some background away and slightly lighten some foreground elements, just to demonstrate the difference in readability. This is creating not only value contrast, but it quieted down some of the busier background detail in order to let the characters come forward.

Johnny-on-the-Spot posted:

I'd be pretty interested in checking out the book (if its still available), but I'm not really a beginner. Also, I kinda doubt I'd make time for it in my schedule. Has anyone done a thread about it where you could follow along with it?

IkeTurner posted:

Which have you tried so far? I've used a few to varying results and I can look them up if you'd like.

dupersaurus posted:

Pentouch, posca, various liquidtex, and a few for printing. Pentouch is like 80% there but it has problems with doing large areas. I think the liquidtex acrylic ink might be good on paper but it's garbage on clayboard.

dupersaurus posted:

Why can’t I find a legit good gold ink?????

Angrymog posted:

How about embossing powders?

Scoss posted:

A few thoughts~

I think the composition would have been helped here with a bit more contrast control to add gravity to your focal areas (the characters). Specifically, I think your background is fighting a little bit with your characters for attention.

There are three compositional tools that come to mind here; value, density, and color.

Your major palette is pretty limited (green, violet, cool gray) and is largely shared across both your characters and the environment, so we can't expect to lean on it too much for creating clarity. Working with a constrained or even monochromatic palette is totally possible, but it means that the other elements have to pick up the slack, and they are also a bit muddled.

We have similar density of detail and similar middling value ranges across almost the entire canvas. As a tool for evaluating composition I often will pull out to a thumbnail view and look at my work in grayscale, and if doing this causes large swathes of the image to run together and become unclear, then I know there's Problems. When I view your piece in this way, the skeleton's spear arm is almost totally lost and much of the interior detail from the sternum down is a little hard to pick out. Almost the whole goblin character lacks for anything to draw the eye.

I took the liberty of spending like a minute with a soft brush to push some background away and slightly lighten some foreground elements, just to demonstrate the difference in readability. This is creating not only value contrast, but it quieted down some of the busier background detail in order to let the characters come forward.

dupersaurus posted:

Pentouch, posca, various liquidtex, and a few for printing. Pentouch is like 80% there but it has problems with doing large areas. I think the liquidtex acrylic ink might be good on paper but it's garbage on clayboard.

Franchescanado posted:

There's a really good book called Art & Fear which I keep on the shelf, next to my papers, my notebooks, my anatomy books, my references. As an artist, you're probably prone to anxiety or fear or impostor syndrome. Open up Art & Fear and read a few passages, pick up your pencil or pen and start drawing for the sake of drawing.

from the book posted:

Compared to other challenges, the ultimate shortcoming of technical problems is not that they are hard, but that they're easy.

Hellbeard posted:

Excellent critique - thank you.
How does this look, trying to improve the drawing:

quote:

"Window of St. Smashley the Younger at Sunrise."

St. Smashley the Younger is the patron saint of jammers, bank-track stadium construction crews, and angry little sisters who hate being compared to their stupid older siblings like geez mom, we can't all be perfect like Jennifer God I hate this family. The Feast of St. Smashley the Younger occurs every year on August 13 and traditionally consists of eating 3 Wienerschnitzel chili dogs in a row followed by shotgunning a PBR.

Angrymog posted:

How about embossing powders?

Sharpest Crayon posted:

This is technically watercolours, but they got reeeeeal nice coverage:


https://www.aliexpress.com/item/33057578391.html

There's several pearly colour sets in the link, but the "starry sky" set is what I have and like.

IkeTurner posted:

My best results have been with these.

For filling large areas, this ink applied with a brush:
Jacquard Pinata Rich Gold Alcohol Ink

And for detail work, these pens:
Uni Ball Signo Gel Ink Pens -Medium Point 1.0mm-gold

Also, I've had some success with applying a gold ink, letting it dry, then going over it with a clear or glittery lacquer style ink that adds shine/glisten, depending on the specific effect i was going for.

Keetron posted:

Reading this now, thank you so much for the suggestion.

Angrymog posted:

Also, I need a hair dryer.

lofi posted:

They're handy, but be aware that some things will dry a little differently when you use one. Hard to describe, but you get a feeling for when you should let it dry naturally pretty intuitively in my experience.

lofi posted:

Nice, love the composition.

lofi posted:

You did pics after all!

Keetron posted:

So then that book was mentioning that appreciation is super important which made me think of instagram likes and so on. And there it was, the religion I am apparently praying to.