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DavidFarrell — Barbarian
#barbarian #male
Published: 2015-05-08 05:50:40 +0000 UTC; Views: 384; Favourites: 3; Downloads: 0
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Description
Painted in photoshop.Model was Barbarian Warrior - 27 by Marcus Ranum ( mjranum-stock.deviantart.com / www.ranum.com ).
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Comments: 3
Nice! Did you do this a la Matt Kohr? He did a demo using this reference.
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Thanks! I don't know who Matt Kohr is (or didn't till now!). Looked him up, what a treasure trove! In particular that warning about having speed painting as a target/goal is such great advice. I couldn't find the demo you mention though I'll have another hunt tomorrow. I love seeing how other people tackle subjects, always a great learning opportunity.
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Haha. Sure, any time.
What I know about Photoshop and digital art I owe largely to studying Kohr's demos. Truly, his site is a treasure trove for anyone seeking to go digital. He's also a good painter. Even though his demos are limited to 5 mins, they cover a lot of ground, so it's difficult to locate specific demos going only by titles. I can't recall if the demo in question had to do with painting, masking, or whatever, so there's no way I can find it for you, otherwise I would.
With Kohr I just went through his Library from beginning to end, then I did it again, and again. When it all was sticking and starting to gel, I wiped the slate clean and started over, but this time with the know how I needed to decide for myself just what approach to take - i.e. the proportion of tech to art. I don't want to make tech an end in itself. I do it for art. Art has to come first.
With speed painting I think Kohr would agree that it's not about rushing or doing things fast - it's just about doing them deliberately, efficiently. You attack in a organized manner, step by step, always moving forward. When the buzzer sounds, you're done. it's not about speed, just efficiency - efficiency in both the analysis and the application. I learned that doing figure drawing with timed intervals. Whittle it down to ten seconds, then afterward you wonder why it used to take so long. Of course, long poses have a purpose - one simply has to be sure he's making use of it and not simply frittering away the time.
In drawing the classic formula is gesture>volume>detail (i.e. contour) . In painting I don't have words yet to formulate the progression, but I have a feel for what it is. In time I'll be able to articulate it, verbally.
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