HOME | DD
Bjerg β Moonshine Chase - Color
Published: 2005-01-18 07:27:45 +0000 UTC; Views: 4446; Favourites: 47; Downloads: 215
Redirect to original
Description
Felt up to colouring my old Featured pic [link] (obviously this will replace it, ha ha). Just my pencil scan and hoary old Photoshop 6 (time for a new computer!).It always amused me that with this picture I managed to acheive something that might be called 'vehicular contrapposto'.
For best effect, play a Bluegrass tune like 'Rocky Top' by the Osborne Brothers or 'Dooley' by Bill Monroe.
Related content
Comments: 33
What makes this picture even more awesome for me, is that NASCAR came from the moonshine business! When the cars were really suped up for speed and were used to get away from the police. (It still is in use in our area!!!) *wink, wink, now yell "DOWN WITH THE POPO!!"*
--
It shouldn't be called "common sense" it should be called "UN-common sense" due to it's rarity.
π: 0 β©: 0
Awesome old jimmy martin has some great bluegrass tunes too
π: 0 β©: 0
Compliments are no less nice for being short and to the point, so thanks kindly.
π: 0 β©: 1
ha ha
you're very welcome!
π: 0 β©: 0
J'essaye, j'essaye. Le concept etait assez fort qu'il a survivi mon dΓ©ficit d'abilitΓ©, et Γ§a suffit.
π: 0 β©: 1
Survivi ? XD
En tout cas, encore bravo !^^
π: 0 β©: 1
Euh, survΓ©cu? Ah ben, merci en tout cas
π: 0 β©: 1
this is so cool, it reminds of the beverlyhillbillies. There is so much energy in it and for whatever reason it makes me feel like im back in Arkansas!
π: 0 β©: 1
Hehe. I can't look at it without hearing banjo music playing in my head.
π: 0 β©: 0
I'm thinking "Foggy Mountain Breakdown" as a companion tune to this. I definately like how you give the impression that the getaway vehicle seems to be just barely holding together, even as they are pushing it to the limits. I feel like I'm waiting for it to disintegrate into a cloud of rust and moonshine if they hit a bump too hard...
π: 0 β©: 1
Exactly!
And Foggy Mountain Breakdown is precisely the kind of tune that fits.
:banjo:
π: 0 β©: 0
dude that is awesome, love it. God, I wish I had photoshop, or something digital.
π: 0 β©: 1
Well, I'm sure it's not too hard to find a copy. If you're having, uh... *trouble* finding a copy online, just start sniffing around a local art school or online art forum and I'm sure some generous soul will be able to give you a CD or link.
π: 0 β©: 1
Beautiful work, Matt!
Since my first visit, I've had the opppurtunity to go back through your gallery, and I love your sense of motion that takes place in a lot of your images.
You really have a knack for "cartooning," but they are so much more than that.
You mentioned in your journal that you think your color needs work. Well, from a guy who does primarily monochrome, I think it looks great. The detail that you include with the color really lmeshes with your unique style and fits the work very well. If the color was too tight, your linework would loose a lot of that "freshness" that is so appealing.
Great subject matter in this one, too! Makes me wanna shout "YeeeeeeeeeeeeeHawwwwwwwwwwwww!! Damn them reveenooers!!!"
π: 0 β©: 1
YEAH THERE'S NOTHING WRONG WITH HOMEBREW! >
The line thing is a conflict I've been having in the past year or two, I tried to lose more linework (as is seen in a couple of pics) but the art lost too much (for now, perhaps with more essays at painting, I can try again). I love the fresh raw marks of the lines and for most works right now, I try to preserve those lines while integrating them into a coloured whole. The tough part is avoiding 'colouring-book syndrome', which (I think) I've only been partially successful in doing.
When I say my colour needs work, It's that I really need to work on all forms of natural and artificial lighting and the complex ways in which colours appear under these forms of light. Always feel like I have to reinvent the wheel there.
π: 0 β©: 1
That was one of the huge problems that i encountered whenever I started to paint with oils. Using charcoal made a mess, and the linework was soon destroyed by the medium. Graphite muddied up the pigment, and made a mess, also.
A friend of mine turned me on to using carbon, which is how I transfer the drawing onto the canvas. When hit with the medium, it locks the carbon down onto the canvas, providing a "map" which stays with me until I am far enough along to keep the shape into the intermediate stage.
Are you using Photoshop for your coloration?
Your work would really look well in watercolor, also. Here, the problem could be solved with using something a little more opaque, such as gouche (okay, so I can't spell!) for the highlights. For simpler work, I use a combination of watercolor, water-dyes, and gouche. Then I'll come back and "pop" the highlights even further with color pencil.
I know exactly what you mean about the "color book syndrome." Whenever I first started doing black and white prints, the work didn't have a lot of texture because I did wanted to do comics, so people would ask me, "Can I color this." My reply would always be, "Sure. You buy it, you can do anything you want with it." Of course, it always seemed a little silly to me for someone to pay $10 for a limited edition print that they were going to color on, but hey, stranger things have happen!
I enjoy working with color, but I really like the ink!!
π: 0 β©: 2
Yeah, waterclour is something whose effects I really like for fleshing out line work (Isabelle Rabarot's work is a great example of this). I'm in a bit of limbo, because while I still want to do a few comics, I'm concentrating on more illustrative peices right now, both to build up my skills and make some money. That's a neat tip on the carbon though, good idea.
Yes, I'm using Photoshop, as I do enjoy the things that computerized colour and paint have to offer. My main problem with that right now is that my computer is too old to run anything but Photoshop 6 even though I have copies of Photoshop CS and Painter 8 (Really want to try painter). Older programs are woefully lacking in texture for paints and have that unnaturally smooth 'Painted in Photoshop' appearance that I can't say I'm much of a fan of. That and working off of older colour swatch sets takes you farther away from the muddy earthy colours I actually prefer. I try to steer myself back towards natural tints and tones but always fall off the wagon with all kinds of unmitigated colours that only seem to 'fill in areas' rather than serve as painted colour. The newer programs have much better colours and brushes though, so I'd really like to try my hand at that.
Working in traditional media can be lots of fun, but the siren song of a: no setup time or cleanup time, b: materials cost of zero, and c: magical editing tools for my chronically "OOPS, OH SHI-" work methodology is all too alluring.
π: 0 β©: 0
Yeah, waterclour is something whose effects I really like for fleshing out line work (Isabelle Rabarot's work is a great example of this). I'm in a bit of limbo, because while I still want to do a few comics, I'm concentrating on more illustrative peices right now, both to build up my skills and make some money. That's a neat tip on the carbon though, good idea.
Yes, I'm using Photoshop, as I do enjoy the things that computerized colour and paint have to offer. My main problem with that right now is that my computer is too old to run anything but Photoshop 6 even though I have copies of Photoshop CS and Painter 8 (Really want to try painter). Older programs are woefully lacking in texture for paints and have that unnaturally smooth 'Painted in Photoshop' appearance that I can't say I'm much of a fan of. That and working off of older colour swatch sets takes you farther away from the muddy earthy colours I actually prefer. I try to steer myself back towards natural tints and tones but always fall off the wagon with all kinds of unmitigated colours that only seem to 'fill in areas' rather than serve as painted colour. The newer programs have much better colours and brushes though, so I'd really like to try my hand at that.
Working in traditional media can be lots of fun, but the siren song of a: no setup time or cleanup time, b: materials cost of zero, and c: magical editing tools for my chronically "OOPS, OH SHI-" work methodology is all too alluring.
π: 0 β©: 0
I have no critique to offer, because its very well done. I like the style and the colors you used. You have a nice style with giving imgages with so much action and life. Very awsome.
π: 0 β©: 0
Thanks man.
Welcome to DevArt, such as it is.
π: 0 β©: 0
...I never commented or faved this? cripes. stupid me. I thought I had.
I really, really love the coloring here, especially on the car, how you can tell it's blue, but all rusty and stuff as well. Everything has that ..we'll call it "well used" quality. And I love the expression on the driver, all jammed down on the wheel, it makes me grin every time I look at it.
"Vehicular contrapposto!" Of course! Anyway, noice work!
π: 0 β©: 1
Oh yeah, I had loads of fun doing this.
Of course now after the fact I can see all kinds of errors, but hey... We all know how THAT goes.
π: 0 β©: 0
This is hilarious. I really like it. The jalopy came out superbly. Is it missing a headlight? I love the small details you threw in as well, like the corn-cob pipe. This is amazingly colored. The movement in it is great, too. That's hard to do! The driver's look of utter determination is awesome. I wish I could see what was following the crew. I would think one of those cartoony police paddy-wagons brimming with old fashioned police officers and their clubs. Great job!
π: 0 β©: 1
If you look carefully, you might just find the pursuers in question...
Your idea was off only a little (although yours is much funnier).
π: 0 β©: 1
I didn't notice! That's great! Just another thing to love about this.
π: 0 β©: 0