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priteeboy
Posted on: Mar 11 2012, 06:45 AM


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Holy crap, the Luminarium is 4 years old already? ohmy.gif

There's nothing like being suddenly reminded of why you do it in the first place, sometimes it can take something big like everything you mentioned there, and sometimes it can just be a nostalgic browse back on your old favourites and artistic attempts happy.gif It makes you feel like your'e new to it all other again, only without having to spend time in the "learning and making mistakes" phase again biggrin.gif
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priteeboy
Posted on: Nov 16 2011, 03:44 AM


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I've known about these for a few months and often wondered if I should do one. But then again I'm waiting until I can be more artistically active again since I don't want to leave something like that as my only submission for a month or something laugh.gif It would probably be filled with nature photo's representing the real thing, Classic traditional space artists, screenshots from fave movies and videogames (particularly animated ones, I don't often go for realism much) Basically more about the products of artists rather than focusing on artists themselves...Probably because I'm too lazy to learn many names tongue.gif
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priteeboy
Posted on: Oct 31 2011, 01:47 AM


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I'm probably late, but I would say the foreground trees need a higher contrast. The shadowed parts of dense foliage can be surprisingly dark, plus it will help establish more depth too - softer contrasts are fine for far away stuff but up close shadows need to be darker and highlights need to be brighter wink.gif

Maybe one tree that's elevated above the rest on a series of trunks and branches poking through the canopy would look nice too.
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priteeboy
Posted on: Aug 31 2011, 01:57 PM


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Currently enjoying Donkey Kong Country Returns on the Wii blush.gif
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priteeboy
Posted on: Aug 29 2011, 01:36 PM


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I flip with almost everything. It is very important when drawing any kind of human character. Mine aren't very realistic but I try to minimize "wonkiness" in them when I finally summon up the will to draw one. I think it applies to anything that's meant to be symmetrical really, it's probably as valuable when drawing animals or cars/vehicles as it is with people. I first realized how important this was by accident really before I was full-on with digital. I think in the 8th grade I was at the peak of my drawing anime obsession (looking back now they stunk! but they were still the best in my school lol) I drew on paper and when I lifted it up to show someone, light filtered through and I saw it "flipped" from the back and only then I noticed how slanty and wrong it looked the other way around dry.gif

While most important on characters - anime or realistic, it does affect scenery a lot too, in fact in scenic works it feels like looking at a totally new piece, sometimes I actually prefer it flipped and decide to finish it off that way, other times I decide it needs something to weight out the composition on one end.

Basically, flipping the image is the closest thing to seeing your artwork as someone else would. When you work on it, you get used to it, halfway through it already doesn't feel like a new piece to you anymore, you get accustomed to all features - the good and the flaws and thus don't notice as much. Flipping can give you a whole new impression of it smile.gif
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priteeboy
Posted on: Jul 28 2011, 02:03 PM


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That fifth image down is going to give me nightmares ghost.png

But wow, that's incredible. Normally I say 99% of "modern art" is utter crap that relies solely on being edgy and none on any admirable skill. But something like this gets done and it puts my faith back in the art world again. The demonic ones certainly are powerful, but I love the effect ones too like the hurricane and fuzzball.

I remember being commissioned for something like this back in 2007. The guy wanted to do an egg-shaped installment with a chicken embryo, but immersed in a nebula (kinda showing how an egg is its own little universe) It was to be done on different layers each printed on its own clear panel, I loved the idea but didn't go along with it since his pay offer was ridiculously cheap and he refused to budge it. If I knew how to do it and could afford the materials I'd probably do the same for myself with one of my space scenes cool.gif
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priteeboy
Posted on: May 27 2011, 03:56 AM


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Photoshop is the keystone for it. Don't think there's a professional matte painter in existence without it (and a knowledge of how to use it, especially blending modes and such) So We'll just assume that as a "default" for now.

Vue is becoming increasingly popular among matte painters since if you know how to use it well you can create vast expanses of forests or volumetric clouds relatively quickly. Sure you can find forests, terrains and clouds in stock photos easily, but the photo's may not have the lighting, composition and resolution you want (hard turning a forest or any landscape/sky lit from behind into one lit from the side or front etc - and many nice stock photo's are tragically low-res) And selecting/cutting around a tree in a photo can be a nightmare! in Vue you can render one with an alpha channel and just select and cut the tree out of it's background easily. However Vue's tree's still look CG-like up real close, if utmost realism is your goal then photographic trees are still the way to go up close, but in many cases Vue ones look good if you use them right smile.gif

Vue doesn't make architecture though, it's geared towards nature scenes. But if you know how to model your own buildings in a generic 3D program, you can make those, import them to Vue (you might need to do some re-texturing for non-image-mapped materials) and render them in the Vue environment. Or if you save them as a Vue Object, you can load them into Vue ecosystems and have them scattered about in an instant like you can with the trees. - a fast way at simulating the look of a city!

Not sure about Bryce - to be honest I've never seen anything good come out of that wacko.gif
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priteeboy
Posted on: Apr 10 2011, 01:17 PM


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Aaahhh crap, I just noticed this on the day of the deadline sleep.gif Oh well, punishment for not logging in for a week I guess.
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priteeboy
Posted on: Mar 28 2011, 12:16 AM


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Whoa! you can just model something in 3D and it gets turned into an actual, tangible real life model? I always thought that wa slimited to really high-end futuristic companies happy.gif

Too bad I don't know what I could make for it, and if its expensive I probably couldn't afford it plus shipping, but still that's cool you just have that right there. I wonder though why it "Has" to e used regularly huh.gif
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priteeboy
Posted on: Mar 14 2011, 11:57 PM


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Forgive my late response, I admit I forgot about this topic when I thought maybe it was impossible to do tongue.gif

But thanks a lot both of you, and for that link too! I did a quick test one and followed the instructions and it seemed to create the same brush with all my set dynamics built in! Exactly what I wanted biggrin.gif
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priteeboy
Posted on: Mar 14 2011, 11:22 PM


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Looks pretty good, a classic tongue.gif

I'd say the nebula looks a bit too randomly scattered. There's just "bits" of it here and there with no real form. A larger or more singular nebula would look better than a scattering of little ones. That doesn't mean the whole nebula has to be just as bright which would make a huge distraction, one only just noticeable that flares up in some areas but is still noticeably connected throughout the scene would help the composition of details beyond the planets.

The atmospher eon the closest planet could probably be narrower too, the air-line around Earthlike planets can be surprisingly narrow. There's nothing wrong with a thick glow if a hazy, dreamy effect is wanted. But for normal space scenes it's usually done by amateurs and some people who have looked at space art long enough (like me) might connect a thick atmosphere edge with beginner style work (even I did that on my earlier planets) I think you'll find the planet actually "feels" bigger with a thinner atmosphere glow too cool.gif
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priteeboy
Posted on: Mar 3 2011, 11:58 AM


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I've known how to make custom Photoshop brushes for a few years now and that now presents one problem - I'm still using the now inferior brushes I made years ago and want to go on a brush-making spree to help increase my digital painting speed with newer, better brushes.

Though I can never seem to figure out how to save them with my own settings already set when I choose it again later, Say I want to make leaves - I'd like to just choose my leaf and have all its dynamics I set earlier intact - having subtle colour, rotation and scatter variations, having it follow the direction I paint etc. Seems each time I load it I have to check and adjust these settings again which wastes a lot of time since I may want different settings for another later.
Photoshop's default ones seem to load with dynamics set to go (like it's Scattered Maple leaves brush) I just want to have my own behave the same upon loading Untitled-2.png

I got the idea when I saw the sample clip for this video tutorial http://www.thegnomonworkshop.com/store/pro...-to-Concept-Art I was actually considering buying that video tutorial, looks like it might help me out huh.gif For now though I just want my dynamics settings to load ready with my own brushes, any links or tutorials on how to save them so they load like that would be appreciated blush.gif
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priteeboy
Posted on: Feb 14 2011, 01:08 AM


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Good thread idea. It's hard for me to say - most of my personal faves are obviously the ones that look the best - and my best looking work is always stuff that I'm comfortable drawing and thus lacks any new, daring strides in its creation (like my space scenes and Vue landscapes mostly) I don't have to think hard when I make those to get a result I'm pleased with and I've learned pretty much everything one needs to know for that stuff now, I enjoy it too much to break away from it completely and this is interesting since I wonder why so many artists dump a certain subject after they master it. I can see the obligation to try new stuff but surely they would occasionally miss drawing their favourite subjects and miss just doing something good with ease once in a while mellow.gif

I guess the one I learned the most from, and spent the most time working on was my "Platinum Wind" http://priteeboy.deviantart.com/gallery/#/d33umn8 I learned that anatomically-correct characters and decent architecture are really hard to draw and will take you weeks to do if your interests isn't directly wired to that stuff. This saddens me since I see stuff like that - only better all the time and I love it! Though to me - drawing it isn't nearly as fun as viewing it and sometimes I can't help but wonder maybe I should stick to landscapes. I'm Ok trying to draw characters once in a while. But buildings, cities and other man-made structures from any time frame feel like such a chore to draw for me, which sucks since you have no hope as a game artist if you can't be inventive with stuff like that. No games take place only in nature unsure.gif

And like you, I also learned overworking a piece won't necessarily make it your best. However I expect myself and all artists to at least keep a certain degree of detail. I hate it when artists become lazy and only make sketchy stuff sad.gif But spending weeks on one piece is impractical, especially since so many artists I watch can do better in a day. They are just naturally better I guess.
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priteeboy
Posted on: Feb 13 2011, 12:38 PM


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I love the hanging clouds in Smiling Demon's Jan-3 post...I want to do that to my room now laugh.gif
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priteeboy
Posted on: Jan 11 2011, 01:02 AM


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Yeah, that Blog has answered some already, I'm actually happy to hear he didn't have to take any expensive art classes that are beyond my budget, gives me hope again in that it's possible to learn a great deal on your own tongue.gif

Also, good idea adding "And why?" to the end of my question, Phoenix wink.gif That'll make it interesting. I can imagine if he said characters it would likely be because of anatomy issues, if cities it might be perspective on buildings, especially if the stock photo's don't have a perspective that matches the rest - heh, that's what scares me out of doing either regularly laugh.gif
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priteeboy
Posted on: Jan 7 2011, 11:40 PM


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Some of those questions are a bit redundant...just saying, but there's a 99% chance he mostly uses Photoshop in regards to what programs - doesn't look like he uses 3D. And sometimes he mentions how long they take in the deviation comment when it comes to time taken tongue.gif

I guess one thing I've always wanted to know for every artist - what do they find harder to draw? nature-landscapes, city and future scenes/architecture or characters (like people, robots etc)?
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priteeboy
Posted on: Jan 7 2011, 11:34 PM


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Good thing I never really cared for Star Wars biggrin.gif But I mean, how many movies are just like that anyway? - by which I mean full of cool visual effects but lacking in decent story content? - Quite a lot, so that's why I now just let it be and say I like certain movies even if it is just for the visuals lol.
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priteeboy
Posted on: Jan 4 2011, 01:24 AM


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It in that case would be better to save for a couple of extra months (or whatever your work pays and how fast you can save it) and get the Intuous then. I guess even the Bamboo beats the mouse but has only have the amount of pressure sensitivity. My first tablet was a Wacom Intuous 3 - left a hole in my pocket but was so worth it, if you get a cheap one now, you likely in just a few months will be wishing you bought a better one sad.gif

Though tablets are really only useful if you do a lot of digital painting. Not sure how necessary they would be for vector or graphic design type stuff. And as for 3D - they're WORSE than the mouse. I never use my tablet for the 3D half of my work. 3D programs respond way too sensitively to tablets - try to rotate a 3D object or camera slightly with a wacom pen, and it goes into a rapid spin 100 times per second blink.gif

In summary, the type of art you determines how important a tablet is:

Digital painting - very important.
graphic design - so-so.
3D art - not necessary.
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priteeboy
Posted on: Dec 18 2010, 02:03 PM


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The way you get around it depends on what you need it for. For instance, a common use for it is to create soft "beams" to use as rays coming down from the sun or some other light source (usually with a perspective transform for things like "Godrays" through clouds etc) For that you could use a one-click soft round brush, stretch it out really long and narrow along one axis and duplicate it dozens of times, changing its thickness and opacity to randomise the streaky blur effect, or possibly use gradients somehow.

But for a blue that's say - the motion effect of a spaceship zipping past, well that's a bit harder for me to think of a way around it blink.gif
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priteeboy
Posted on: Dec 8 2010, 12:57 AM


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Time Zones are crazy...in a planetary sense you'd think the lines would just go straight from north to south, cutting through everything along the way, like the stripes on a beach ball. I would accept lines bending for areas that see the sun come and go sooner than the surrounding land (high altitude areas or areas recessed lower than the surrounding environment) But I guess I'm seeing it as the Earth rather than the World tongue.gif
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priteeboy
Posted on: Dec 8 2010, 12:52 AM


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Oh yeah - I've heard of that happening before - people making brushes out of images they found and giving them out as stock. I' think I've seen it done with pictures of video game characters before laugh.gif Or just as bad - when you make stock yourself and someone turns it into a different kind of stock, I would hate that just as much (hence why I clearly stated my gas giant stock pack must not be used in any renders, brushes, picture tubes etc that are intended to be given out as stock from that artist using them tongue.gif) Though there will always be some that won't listen sad.gif
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priteeboy
Posted on: Nov 28 2010, 07:44 AM


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Lol, a ton of vector art on dA is traced. I won't forget the drama that surrounded a user who vectored anime screenshots and passed them off as genuine fan-art...she was on dA for a few years and reached over a million pageviews (yeah, for traced anime screenshots!) before her eventual banning...Goes to show that dA can go soft on banning "popular artists" if it took that long. Many other vectors I see are traced from celebrities and stuff too. I admit good vector art looks cool, but it's gotta be done by honourable means.
Speaking of tracing, I gotta admit my old fan-art was too. Whenever I tried drawing one from scratch it just came out so off-model. I kept some of them in my dA gallery even after my own epiphany, but since it's fan-art, it doesn't matter as much since you can't legally sell that anyway so mine are just going to earn me a couple of extra views at the most laugh.gif So I'd say they're still one step above people who directly use game screenshots/renders in art, since I totally re-did the shading, lighting scheme from scratch, but still not as genuine as drawn-from scratch art altogether. I kinda hate seeing them now, But others still liked e'm and they help fill that category of my gallery just a bit more, so meh - might as well leave them. At least now and for a long time I have been doing it the proper way, we all learn wub.gif
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priteeboy
Posted on: Nov 28 2010, 01:03 AM


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Interesting responses, kinda what I expected tongue.gif

Thor: Lol, it's safe to say tag and signature-banner makers are at the top of the using-found-images chain. I see those on dA quite a lot. I think people just do them to try and get pageviews since the only cool work they can make is by manipulating found images (often game characters or celebrities)
Vue has a trial version these days (where was it when I first wanted it back in Vue 6 angry.gif) Good thing I loved it since I paid for it outright before trying. Money well spent biggrin.gif But yeah, the trial version is very limited. You can't make your own plants, clouds, functions/fractals for materials etc. Your'e pretty much limited to what the program provides you with...not very artistic if you create a whole scene with presets. I would prefer to buy the real thing, but I understand those who want to do a "try before you buy" via torrents...even if that try is a few years lol.

Somni: I'm sure we all wouldn't use found images now, but like you said - there was those "starting days" where we just used Googled images for digital art. Good thing none of us produced anything sell-able during those days.
I was late to find out what torrenting was too. A classmate in my Digital Media course told me about it I think in 2007. Back then I tried torrenting the currently new Vue 6 at the time. Couldn't figure out how to make it work, so I just bought the proper one laugh.gif I downloaded some music too. But my brother already had most of the music I liked on CD's, so I didn't go crazy there. I wouldn't mind some Gnomon DVD's though. But they're kinda costly sad.gif

Like you, I'm a "used to do it, kept what I stole, but no more" kind of guy. Some might say "If you truly have turned around then you should delete the stolen ones" But my conscience is nagging me THAT much lol. Only C4D is "stolen" in regards to software I have, and I use that very little so it's still not worth me buying anyway. And I have maybe a dozen downloaded songs too. I buy new songs the proper way via iTunes now and have for a couple of years now. But I'm not deleting the downloaded ones either tongue.gif
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priteeboy
Posted on: Nov 27 2010, 01:41 PM


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Lol, those are my sentiments too. If this guy really insists I should get Vue 9, I think I'll jut fork out the cash for it. I do have enough now - but I'm not making regular-enough money off my art to make the purchase worthwhile. I think in the years I've been doing digital art, I've probably only recently made up for the cost of programs/upgrades/tablet etc via commissions. So maybe if I make a few hundred more I'll consider buying it, I do "feel" much better with the real one, but I don't bother looking down on those with cracked versions, especially if they're just hobbyists supersmile.gif
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priteeboy
Posted on: Nov 27 2010, 05:39 AM


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This could be a controversial topic, so no dobbings of flamings OK? evilplanner.png

But I wondered, has anyone ever did something taboo or maybe even illegal in order to produce their art? Ever used a found photo from Google whom you didn't know belonged to in an artwork, even if it was just a small, not-recognizable part of a larger image (maybe you needed a single person from a crowd, maybe you needed a cloud or flock of birds from a sky etc) I can imagine many would have done that at least once, especially during beginner days where we still didn't know much about the ethics of digital art. Ever sold prints of it if so? I admit a few my older works (2006 and 2007) have some Google-image elements in them. I'm pretty sure none are available as prints though mellow.gif

And what about programs? This is what made me think about this topic actually. Someone today was telling me I should upgrade from Vue 7 to Vue 9, I said I couldn't afford that, they said to just download a torrent dry.gif I try to avoid Torrents if I can, but I must admit my copy of Cinema4D is...a friend a few years ago gave me a copy of his which I think was Torrented. This doesn't bother me as much since it's my least-used program (at least my Photoshop and Vue are genuine blush.gif) So this brings me to my next question - where do you guys stand on artists using torrents? Are you opposed to it and feel if one is making at least some money off their art, that they should at least pay for the tools the used to make that money? Do you think it's fine since the big companies make enough millions a year and that an artists potential shouldn't be limited by what they can afford? Is it to you - a victimless and forgivable crime, like taking five dollars from the Queen's wallet or a handful of grapes from the grocery store Untitled-2.png

I thought it would be an interesting point of discussion. In a way it's a bit sad how some artists will never reach their full creative potential because they can't afford the best supplies, I only got Photoshop since someone I know had the official box-set and installed/registered it on my laptop for me. If it weren't for them, I'd still be using 11 year old Paint Shop Pro 6 probably.
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