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Sol-Caninus — Here's Mud in Your Eye
Published: 2010-10-05 23:38:22 +0000 UTC; Views: 432; Favourites: 2; Downloads: 1
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Oh! Amoebos!Obviously, practice is not going as planned. (It rarely does. Chiaroscuro! Hehe!)
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Comments: 17
Thanks! (One of my favorites - one of the few times throwing more black made it better, instead of worse.)
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This is nice! The high contrast is something I am a huge fan of. Loveit. The line quality is nice here, it looks like you had lots of fun with loose squigglies and sharp crisp edges. I have to scan this paper for you that our teacher gave us on sumi-e and line quality, she did a demo on it the other day. IT WAS INCREDIBLE. I thought, "I bet Sundog'd like this!"
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So, it's 16 October. Where's the sumi-e paper? I'm beginning to think you're just an ST (i.e sumi-e tease).
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LOL sorry, not down in Richmond atm xD
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Well, then, enjoy, wherever you are - and scan that paper when you get back! (hehe) I'm on tenderhooks waiting to see what you've got.
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Thank you.
Gimme! Gimme! Sumi-e!
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Well it's no "Mask of Madness" but it's all I got tonight!
Thanks a lot!
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Haha, your welcome. Its very spooky and your inking is tight!
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Tight! That's a first and I'm quoting you! Thanks!
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Any solid blacks that I generate NEVER come out solid on a scan. I'm not sure whether that's due to imperceptible flaws in my inking, or bad scanners. Oh well. I do like the strong shadow that really makes details behind the arm pop out.
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Thanks for sharing that bit of info. I would have obsessed on it.
And thanks for the kind words. I planned to keep the panel open with the forms defined by line and very careful rendering. But once I picked up the big brush, it was a fait accompli. Still, the two methods seem to come together all right. There's a lot of black and loose brush, here, and yet it stops short of mud. I guess the secret to showing the details is drawing them in in the first place(haha)!
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I don't know how many times I skip drawing the details and leave their generation to the inking stage. A big mistake, I know, but a bad habit I have.
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Well here we have something in common. But I don't think it's a mistake, necessarily. There is a kind of artist who does this very well. They pencil very loosely, just for placement, then get in there with the ink and lay in texture without any pencil guides. Of course, it works for them because they built a sturdy foundation to accommodate it.
The way I'm practicing now is the antithesis of this method. I'm picking up from the King of Hatching, as you called him. It's not a way I like or that comes naturally. I put that aside in order to benefit from it to whatever degree I can - to build that sturdy foundation.
It's hard to actually relate to you here, since you don't post pencils and work digitally almost exclussively. Almost? Have I ever seen your traditional pen and ink? I don't think I have.
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No, I don't post pen and ink. All my lines are real ink, based on real pencils, so the line work's traditional, but true pen and ink images, where I rely on the ink to give volume and true form, well ... no, there isn't much in my gallery. An admitted weakness.
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This I didn't realize. So your digital work is a hybrid.
But no pencils, sketches or rough work, then, just finishes.
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