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Sunday, 11 November 2012

Sketchbook: Chemicals & colors by Litbhalavi


This sketchbook handles coulours in a way that I rarely seen. Using right and vivid colours to grab the viewer and hold them in place.



Mention should be given to his ink work, which is very striking in its contrast and clarity.

There is a lot of fan art in his sketchbook but it has a very unique style to it.

The sketchbook has a loose feel to it which makes the sketchbook approachable and not intimidating yet it is not so loose it looks amateur.

What I would love to see from Chemicals & colors is more fundamental studies such as value studies and perspective drawings just to take his work to the next level. Also some paintings look a bit blurry in places so Litbhalavi may want to watch out for those areas.

This is a sketchbook that is sure to improve into something special if Litbhalavi keeps up the hard work.
To visit Chemicals & colours please goto: http://conceptart.org/forums/showthread.php?t=234063

Sketchbook: Kristoff


Title: Kristoff learnes to draw! ^_^
Link: Click Here


Don’t let the title fool you, from start to finish the quality of this sketchbook is nothing but excellent. If nothing else you should visit his sketchbook for the Bridgman/ Loomis studies. Kristoff recently earned five stars for his sketchbook and with good reason.



Even early on in his sketchbook you can see some pretty nice concepts. The girl with stitches is a very nice piece of art in its own right.
As I said in a previous sketchbook review, I love anatomy studies. I feel I always learn something from observing other peoples studies. Kristoff has a lot of anatomy drawings under her belt, which may explain why she is so good at drawing figures.



My personal favourite piece is the planes study. It is a unique way to learn how to shade a face and a technique I will be using myself at a later date. Other pieces that are note worthy is pretty much everything from page five onward as he seems to have found his niech at this point. The renders reach a near professional level at this point and if you are reading the sketchbook chronolgically the sketchbook becomes a compulsive read.




Her thumbnails on page eight are wonderfully loose yet still hold enough detail and clarity that you can easily make out what the concept is. The finished product is simply breath taking. If you ever feel like giving up on art Kristoff’s sketchbook shows you what a little hard work and effort can achieve.


Alot of people have commented on her improvement, and rightly so. Whilst I feel the early pages in her sketchbook show promise she has improved far beyond anyone’s expectations. If we compare her image of the girl with scars to one of her later images we can see a drastic change in both style and execution.



As always the images shown belong to the artist in question. You should also note that this is just a fraction of her work (I had to restrain myself from posting every image she has) so naturally you should check out her entire sketchbook. You will not be disapointed. http://conceptart.org/forums/showthread.php?t=175813&page=12

Interview with Radiant Dreamer

Radiant Dreamer has been a part of multiple video game projects but the works I recognise her from is the cover art for Blazblue. Radiant combines the manga style with traditional looking brush textures to give her work a unique feel.

I would highly recommend viewing Radiant’s full portfolio as there is such variety in there, from simple concept sketches right the way to fully rendered final pieces.



Portfolio Review
I have spent some time looking at Radiant’s Portfolio and I love every piece. Rather than stick to one single highly polished style Radiant has a mixture of styles ranging from quick sketches to highly polished pieces. Radiant’s sketches are extremely inspiring to me as the make me want to pick up my sketchpad again and start drawing.

Interview



AF: What got you interested in the manga style?

When I was a child, I was introduced to anime by my parents. I was hooked on how beautiful and different the art style was compared to North American cartoons. There was so much intricate detail. A lot of the anime took place in space, which was uncommon in North American cartoons.

AF: You have worked for over 8 years in the videogame industry. Do you have a standout project?



Actually, it’s 10 years now!  Still my favorite project was being a lead artist on Sonic Rivals. Working with the team in bringing a new facet to Sonic was incredibly rewarding and fun. I also love working with Arc System Works for covers and posters!  It brings me great joy in knowing that I’m famous, and my art is forever immortalized in print.

AF: Who are your inspirations?

I can’t say for sure… I really love the artwork of Shigenori Soejima. But people seem to say my styles resemble the old-school works of Rumiko Takahashi and Orange Road. I guess I can’t escape my roots!

AF: Have you always wanted to be in the art industry?

Ever since I was a kid, I’ve loved to draw. It took a lot of effort in order to get into the industry, and that effort can only come about through passion for art, and support from loved ones.



AF: Can you give any details on up and coming projects you are working on?

I’m currently art director at Fathom Interactive, and we’ve just launched a closed Beta for Sky Pirates of Neo Terra. It’s a game based on the comic drawn by Camilla d’Errico. In addition, I’m still working closely with Arc System Works Europe on upcoming games artwork and promotional material. I’m constantly accepting contract work as well, from video games to anime mascots, so you may see my work around! Stay on the lookout!



AF: You have a youtube channel. Which is your favourite video you have created?

I would have to say my absolute favorite video is Loligoth Girl. She was the pivotal moment in time that I re-invented my art style, and she is also my most popular video on youtube. Originally, I had felt stuck in a rut, and my art style wasn’t going where I wanted to improve, so I spent some time analyzing what was appealing about anime, and came up with Loligoth Girl.

AF: What is your average work process?

The process can take anywhere from 6hrs to 17hrs to create a piece, all depending on the style that I want to go for. I usually start with a base sketch, and I keep modifying the sketch until I am happy with it before I start line work, and finally color. Sometimes, I even modify the work in the middle of the coloring process! It’s not advisable to do that, but sometimes I don’t see a flaw in my drawing until the color is applied.



AF:Some of your pieces have a fantastic texture to them. How did this style come about?

It’s my own signature style. I noticed that a lot of anime artists drift towards mainstream, with solid lines, and clean color. It looks absolutely amazing at times. But I wanted to do something different. So I took my traditional skills and knowledge and merged it with anime
to bring a more “organic” look to my illustrations. I believe that everyone should have their own style. Everyone does within them, but it takes time to discover it and bring it out.

AF: How do you spend your free time?

I wish I had free time! But when I do, I enjoy a good game of Soul Calibur, or go snowboarding. I also spend way too much time on facebook. It’s fun to help my fans and critique their artwork!
Are you much of a gamer? If so what types of games do you enjoy?

My favorite games are RPGs. But in recent years, I’ve had little time to dedicate to RPGs, so I play a lot of action and adventure games like Uncharted or Soul Calibur. Sometimes, I’ll have time for an RPG like Persona or Mass Effect.

AF: Where do you get your inspiration?

In everyday life. Sometimes, I see something that looks interesting, and it inspires me to draw! Very often, it would be something from a magazine, or seeing someone walking along the street, or something interesting that I see on the internet.

AF: Tell us something about you that people would not know.

Some of my online fans don’t know if I’m a guy or a girl in real life! I guess that will remain a mystery to them!

AF: How did the name radiant dreamer come about?

Radiant means emitted heat or light. It comes from one source and shines out, spreading itself further. Radiant means the spreading and sharing of ideas, originating from somewhere.

Dreamer means a person who has dreams or goals. It can come from one person, or many people.

When put together, you have RadiantDreamer – a source of light, inspiration, and dreams. The more people share the same dreams, the brighter the source, the further out it spreads. RadiantDreamer isn’t just about me, but as a whole – much larger than just myself. I may be the vehicle for it, but it’s most certainly more than that.



AF: Is there anything you wish to plug?

If you want to learn to draw, and become a professional artist, be sure to follow me on facebook (http://facebook.com/radiantdreamer) and youtube (http://youtube.com/vihena) to learn what it takes, and of course, visit my site! I will teach you how to draw!

Be sure to check out Radiant’s Deviantart account here http://vihena.deviantart.com/
Radiant Dreamer’s Youtube channel http://youtube.com/vihena
Find Radiant on Facebook http://www.facebook.com/RadiantDreamer
Twitter https://twitter.com/radiant_dreamer
Also be sure to bookmark Radiant’s personal website http://radiantdreamer.net/

Interview with Jon Hodgson




Jon has worked on some of the biggest projects a fantasy artist could wish for. His clients range from the “BBC:” right the way to “Wizards of the coasts”. His work has a light airy feel that is pulled off effortlessly. Despite having the airy feel his work is textured fantastically.

His subject matter is always based on fantasy which is married perfectly to his almost watercolour like style. His images feel loose but looking at them closely not a single line is out of place. Everything in his works just blends together. Nothing is offensive to the eye or feels out of place.



AF: What got you into fantasy art?

JH: As a kid I was fascinated by the books I found around the house. The Tolkien Bestiary, an illustrated copy of The Hobbit, lots of art books. My family are a creative bunch, so it was bound to rub off. I very quickly got into Fighting Fantasy/Choose your own Adventure books as a kid, and the wonderful illustrations by the likes of Russ Nicholson sealed my fate.

AF: Who are your inspirations?

JH: It’s a tremendously long list. Paul Bonner is a big one of late, in that he successfully blends fantasy and mythic themes, and I love the more mythic, real-world-legend side of fantasy. Angus McBride has been a life long inspiration. I love how be blends a clear love of painting, looser areas and laser sharp focus. I find his style of painting absolutely wonderful. There are a couple of names who when I was a younger man showed me the way through their work, and showed that what I wanted to do was possible – Simon Bisley, Justin Sweet both showed me you could really “paint” and be an illustrator.

AF:How long did it take you to get to a professional level?

JH:That a tough question. I did the whole art school thing for 4 years, then worked as a props maker for a few years. I guess from deciding to really take my painting seriously in terms of it becoming a career and going full time took maybe 3 years? It’s hard to pin it down precisely because professional is such a vague term. Many people are paid for making art that looks awful. Many “amateurs” produce simply marvelous work which they have no desire to sell.

AF: What is your ideal project?

JH: I am extremely lucky in that I’ve been working on it for close to 3 years. It’s called The One Ring, and it’s a Middle-Earth roleplaying game. It’s an absolute joy to be involved in, and the whole thing has really pushed me in so many ways.

AF: If you could colab with any artist (living or dead) who would it be?

JH: Hmm. I recently painted a cover over a pencil sketch by John Howe. I think I’ll struggle to top that. John is like a mandarin of fantasy art. He’s hugely knowledgible, and a true renaissance man. I’d like to be like that when I grow up. I suppose I should make some moves on that growing up thing as I approach 40…



AF: You specialised in abstract painting, what changed?

JH: Hmm. In some senses nothing – when I get the occasional chance I still paint abstracts for myself. Without getting too deep into it, I had a few gallery shows and didn’t warm to that world at all. I prefer what I regard as the honesty I see in illustration. If your work is good enough you will get work and get paid. Simple as that. The criteria are a lot more open and transparent. There are a bunch of skills required in the gallery art world which i have no interest in pursuing. I love the pop art aspects of fantasy illustration, and I am love the relationship the fans have with the work. It’s very direct.
How do you typically tackle a project?
This has changed for me somewhat in the last couple of years. Typically a brief will come in via email, I have a think about it, make some thumbnail sketches to see what works, take one of those forward into a tighter sketch, send it to the client and hopefully then paint it.

In recent times since more of my time is taken up by art direction, and producing a lot of work for the company I art direct for (Cubicle 7) the communication with the “client” is a lot more direct – the client role is now taken up by colleagues, and that’s a very satisfying change. There’s less of that slightly adversarial relationship that can creep into freelance work – I work more as a team member now, and I love that. I also have a lot more freedom to put what I think is important in artwork for games into practice, rather than solely doing what I’m told, and I’m loving that. I think I had reached a point in my career where I needed a more responsible role where I could be heard as well as listen.

AF: What are your current long time goals?

JH: To retire to lounge on a pile of money? Seriously I want to push forward with the quality we’re bringing to projects at the company I work for (Cubicle 7). We have more and more big projects coming up and I want to make those sing with amazing art. I’m consistently humbled by the dedication and talent of the guys who work for me, and I’m constantly trying to figure out way to facilitate and support them. That’s really important.

For myself I would love, if it were possible, to work on more Middle-Earth material. It is so deep that it is immensely satisfying to work on, and can carry so much variety in tone and texture. To keep bringing the Early Medieval flavour to Middle Earth if I am allowed to do so.

AF: What one creation are you most proud of?

JH: Oh crumbs, that’s a hard one. Like so many illustrators I look at my work and largely see it’s flaws before anything else. I’m always looking to the next project. In fact to answer this I will actually have to go and look at my dA gallery to find something I’m happy with. Ok I’m going to be awkward and pick two if I may be so bold? First is an image called “Mountains Boy” which was a purely personal piece. I was genuinely happy with that one, and I feel it’s the closest I’ve come to what I would call a work of art. It’s highly ambiguous, and I love that. Some viewers see a guy leaping off rocks into a landscape with joyful abandon, some see a suicide. And I didn’t distinguish as I was painting it, and that ambiguity was very much the heart of the subject.

The other piece is the painting I made for The One Ring of Smaug. I had just an afternoon to do it, which felt totally insane for such an important subject, and it was weird to have this lucid moment during painting it at high speed where I thought to myself “here you are, painting Smaug for an actual Middle-Earth publication. Er wow.” I hope to never lose that feeling of gratitude and wonder. I thought I did an ok job with that one. I knew it had to be fairly simple due to the time constraints, and that meant it had to be one hammer blow rather than a delicate series, if that analogy makes any sense? I think it works, just about.

AF: You worked on commissions for Wychwood brewery. What is the most bizarre project you have ever been given?

JH: I would say the series of drawings for sex education for kids with autism. It was a very strange one, but did actually feel very important. Sometimes a brief comes in, especially with the educational stuff i work on, and you learn something. I don’t spend a lot of time wondering how people who are differently abled cope with the world of sex. I mean it’s scary enough for those of us who have been blessed with a more straight forward brain and body set up, right? So it was nice to help.



AF: What advice would you give to aspiring illustrators?

JH: Number one, above everything else: Make sure you love the actual work of drawing, painting and image making to order. This is often expressed by showing off how many hours you’ve worked or whatever, which to my mind is nonsense. You can produce better work in less time if you’re set up that way. I used to do life drawing this this dude who would sit and look at the model for 5 minutes, and then pick up his pencil, draw one line which was the whole figure. It was amazing to watch, and taught me a lot about work, and what it means.

To me working all night potentially says you have no grasp of time management and paint too slowly, but it seems to be the en vogue thing to show off about. Be very wary of being sucked into that. We all have to put the hours in, but just working hard and long hours isn’t enough, and is not sustainable for a full adult life if you want to have stuff like friends, relationships, kids, quality of life in general. Whilst we all love making art the danger of solely living to work is as corrosive to an artist as an office worker.

But soapboxing about time management to one side, do make sure you love it. It is the only thing that will keep you going through the inevitable hard times. I see a couple of aspiring artists in my social circles who don’t have sufficient love of the actual processes, and they want what they perceive as the fame and respect that comes with the role. That’s a nonsense, and a wrong-headed thing to chase. People at the very top of the game have the same concerns as those at the very bottom – how to stay in work, how to make ends meet, how to get all this work done. That doesn’t change with success, and it’s the love of the core process that will sustain you.

Also you must understand that being an illustrator is running a business. If you hate that idea, if you can’t find a way to sell yourself, to do accounts, to do marketing, networking and all of that stuff? Then maybe it’s not the life for you. Equally though there are many ways to handle that stuff, and they will vary by the individual. Couple of examples of that: I know one successful freelancer who has his mum handle his accounts and invoicing. Fair enough! For self promotion, these days I can switch on my self marketing persona like a light. It’s not “me”, my true, personal, family self. It’s a character that I had to build in order to get out there and get work, or else I was going to have to give up. Ways and means, you know?

Be careful not to be suckered into pity-parties and moaning groups. There is a lot of this about – where illustrators get together to tell each other how hard done-by they are. Whilst it is good to compare notes and war stories to get wiser about the business, pure negativity is never helpful, and self pity helps no one. Becoming a full time illustrator is hard: the numbers are against you. You will get really down about the challenges, you will suffer, you will want to give up. Make no mistake. But you can make a living from fantasy art, and in general the people you will hear proclaiming that one can’t are speaking about themselves. And often a glance at their folio will explain it.

Work hard, work smart. Make work that will sell in work time, and if you need to express yourself beyond that make personal work for yourself outside of work time. Eventually you might be lucky enough to bring the two together.

Set yourself clear, achievable goals. Don’t say “I want to work for the top company by X date”, that’s easy to say and tough to achieve. Set small goals like “I want to have submitted my work to 10 art directors this month”. Or “I will make 2 new folio pieces this month showing new things I haven’t tackled before”.

Be aware that advice from others is always skewed by their own perspective. Some people will tell you in no uncertain terms to be a specialist – find a niche and work the hell out of it until you own that niche. Equally though someone else will tell you to try everything, have experience in everything, be able to say “yes I can do that” more than “no I can’t”. How do you reconcile those pieces of advice? It’s very difficult. Different things work for different people, and being a successful illustrator is by definition a statistical anomaly. Those of us making a living are a tiny, odd minority of fantasy artists, let alone artists in general. Success in illustration is about being an outlier in many ways. So all advice is worth listening to, digesting, and drawing your own conclusions about. Try to be as widely read as you can be. Always look outside of your niche.

Focus on what you can control and change. Draw more. Paint more. If you find yourself whining on-line stop, hit delete and go draw. It is within your power to change bad situations with hard work, but no one can do that work for you, and whilst we all need to let off steam, don’t do it in the place where you advertise your services. Punch a pillow, moan to a friend off line. Draw more.

There is no magic short cut. I get asked a lot what brushes I use in Photoshop. Hard round. The first one in the defaults I believe. It’s nothing to do with special brushes. Learn to draw and paint you can turn almost any tool into good illustration. There are whole industries dedicated to telling you that you need expensive tools, precious artifacts of artistic creation, that you need to pay for this and that. Be wary of that stuff. It’s a diversion. A pencil and piece of typing paper work just as well a lot of the time.

Last of all, don’t believe the hype. Being an illustrator is precisely nothing to do with the 19th Century myth of being an artist. Don’t aim to be an eccentric creative who wears a beret and goes on and on about how eccentric and creative they are. Unless you have the super-talent that lets you get away with that fun nonsense (and some people do, and more power to them, they make the world a more varied place!) aim to be a hardworking, dependable ditch digger of an illustrator who is nice to work with, who inspires clients with hard work, timeliness, flexibility, self awareness, crazy stuff like manners and social skills: It’s a job.


Be sure to check out Jon’s Deviantart account here http://jonhodgson.deviantart.com/
Also be sure to bookmark his personal website http://www.jonhodgson.com

Interview with SupermarioArt

Our first exclusive interview is with Mario Liberti aka. SupermarioART



He is an extreamly talented 3d artist with a flair for pin-ups.

What got you into 3d modelling?

I had always drawn in my life but when i bought my first PC it didn’t seem so true to be able to create nice drawings without stain everywhere with inks and pencils.First i discovered 2d and the world of photomanipulation with Photoimpact and Paint Shop Pro.Then after some month i met Bryce and my world is changed.I had the possibility to create fantastic 3d illustrations importing characters and models from DAz Studio in wonderful environments in a very easy way.This has been my working process for some years until i discovered Poser and Photoshop.

What has been the highlight of your professional life so far?

At present my professional life is still to build.I’ve worked for some commission and i wait again for the great job from a great client.But i can certainly highlight the attention of those people and professionals that like and feature my work in so beautiful site like yours.

What are your goals for the future?

My first goal is always improving my skill and technique.Then to have the possibility to illustrate a book or a magazine cover in a way to know my art to all people.

Which image have you enjoyed working on the most?

I’ve had a lot of fun in creating all artworks of the last year,where i have worked mixing 2d and 3d techniques and especially about my last three works where i have given so many room to my creativity and style.

Which has been your most challenging image to work on?

Excluding my last works i have to say that the image to which i’m particularly tied is “Lady Aaken”.It has been a very detailed work of composition and use of materials,a real challenge for me in that time and a great satisfaction for the final result.

What is the most satisfying thing about working in 3d?

The most satisfyng thing i think is the same about 2d and art in general.To create “something that doesn’t exist”,to express yourself and your creativity,at the end to give emotions to all people.If you reach this result i believe you can consider you really satisfied.

Do you have any experience in other mediums?

Only with some traditional like pencils and inks.

What is your typical work process from start to finish?

I prefer always to start from a 3d render about a human character in Poser.I work particularly on its pose,attitude and look,and i take care about lighting.In broad i have the scene to create in my mind so i choose lights and their direction.If i think i need some particular object i render it in Poser or Bryce.I save all images in png.format and i go to Photoshop for the composition.If renders have some imperfection,for example about character anatomy,i can correct it with “liquify filter” or “smudge brush” without problems.So i work with levels,i start to create all shapes i need(for example the pieces of an armor or a weapon)with base brushes or resource brushes i find on the web(especially on DeviantArt).I play with level effects,adding textures and colors if it’s necessary and continue to add detail on detail trying to mix all in the image with lighting i’ve thought.If some added object hasn’t a shadow i create it because all must be realistic and believable.In the meanwhile i can play also with the background.I can make it directly in Photoshop or Photoimpact,but also create it in 3d in Bryce.Then i work on the atmosphere of the image,i like a lot “fog brushes” and “lens flares”.I’ve always need to take care of all details,so i make corrections and additions in all stages of the work,also on the final image if necessary.
At the end i can make color or lighting corrections,i add my logo in Photoimpact,sometimes a frame….that’s all!

You do a lot of fantasy and sci-fi work, which do you prefer?

I have a natural tendency towards all is futuristic,but it’s quite difficult for me to make a decisive choice.If i must i choose “Extreme C.U.R.E.” and “NEXT POWERBALL” for the kind of style.

What are your inspirations and influences?

I have too many inspirations and influences to mention,really,my mind is a true sponge for this.My first influences began between 70′s and 80′s with japanese cartoons and american comics,so here is my love for robots and heroes/characters.Then all is continued with fantasy and sci-fi movies,insiprations about great artists like Boris Vallejo.And now there are so many sources and artists to inspire my mind.

What do you enjoy most about pin-ups?

Well,i think the reasons that move the artist to create a pin-up are essentially the same that move the viewer to watch it.There’s a clear erotic message in an artistic nude,a kind of healthy “voyeurism” typical of male towards female body.Nothing so strange,because the male mind is more sensible to visual stimulus unlike female mind that use human senses in a more complete way.A female body is so beautiful to watch and give wonderful sensations and emotions.The only difference is that the artist try to create that emotions,the viewer simply share them.

Saturday, 10 November 2012

Sketchbook: LtPlissken

Sketchbook by LtPlissken

Sketchbook name: Sexual Live for nothing or Draw for something…

Medium: Digital/ Pencil

Website: http://www.conceptart.org/forums/showthread.php?t=159968&page=66



Over all impressions.
This sketchbook is testament to what can be achieved with dedication and practice. The early drawings are nothing to brag about but as sketchbook progresses you can see major improvement. There is a great variety of works here ranging from studies to coloured works.

This is a long sketchbook (over 60 pages) because LtPlissken is fairly popular due to the fact that he responds to as many of the comments as he possibly can.



Studies.
You can find all kinds of studies in this sketchbook. Not only is there figure drawings but there are quite afew perspective and environment pieces.



I have not seen many sketchbooks with such nice perspective drawings. It is great seeing the vanishing points and his guidelines. One of his best studies is the staircases(shown above). They look fantastic and have a real 3d feel to them.



Critique
The main criticism I can give to LtPlissken is the heads don’t seem to fit the bodies right. This is because of minor issues with the anatomy of the face and neck. My personal recommendation would be to practice portraits for abit just to fix this issue.

It would also be nice to see more dynamic poses in his finished pieces. I would love to see figures in strange perspective angles. This would help to create more interesting final pieces.

More coloured pieces would also be nice as LtPlissken has a nice eye for colour.



Personal favourite piece
Whilst I love his perspective studies my favorite piece is reserved for his weapons. Particularly his enchanted hammer. The colours look great and there is a great contrast in the image that makes the hammer pop off the page.

The scratchy style adds character to the weapon and really compliments the glow. He has captured a sense of heat at the bottom of the hammer. This gives it a just forged look.

The background really suits the image as it highlights the important areas of the image and draws your eye there. The background serves to heighten the contrast. I would love to see this style mixed with his figure studies.





Final point
LtPlissken is defiantly on the right track. He has some great designs and a good eye for colour. This sketchbook is defiantly one to keep an eye on. Plus he has a great sense of humor and sometimes adds a random youtube video into some of his posts.

Sketchbook: Pen And Ink Drawings By Dawood Marion

Sketchbook by Dawood Marion

Sketchbook name: Dawood Marion Drawing Pad

Medium: Pen and Ink Drawings with Acrylic

Website: http://dawoodsketchs.blogspot.co.uk/



The reason I chose this sketchbook to be featured was because of it’s raw nature. Whilst not perfect each of his pen and ink drawings has a lot of personality to them.



His work is a breath of fresh air. My personal favorite is the self-portrait. The size is impressive and the attitude projected in the face is very nice indeed. I love the fact that it is made up to look like a movie poster.



Anatomy is delightfully warped without being to alien. Everything is close enough to the real thing to be recognizable but to so abstract that it confuses. This gives his work some real charm that I have only found in afew artists.



Another nice feature of his is the fact that he also creates youtube videos. The videos feel abit like an armature skateboard video (in a good way). I do fee he could play on the drawing out in public more, maybe even get someone else to hold the camera whilst he sketches.



The environment ink drawing that caught my eye has a fantastic monotone look to it. The coffee shade of brown gives it a rustic look. This also has the effect of having a sensory feel to it. Like all his images you can almost touch his work through the computer screen. Hell this piece I can almost smell.



I have not seen another sketchbook that makes me feel like getting out there and drawing. His overall presentation has a very cool feel. I love the fact that he has tried his hand at video and I would love to see more from Dawood in the future.



Be sure to check out his sketchbook here

Also be sure to watch some of his videos. They have more character about them than most of the videos I have seen on youtube.

Sketchbook: ssandulak’s sketch pad

Sketchbook by ssandulak

Sketchbook name: ssandulak’s sketch pad – diving into digital awesome

Medium: Digital/ Pencil

Website: http://conceptart.org/forums/showthread.php?t=190375&page=2



Over all impressions.
The sketchbook initially has a rough feel to it. Some of the earlier studies are seem a bit too loose but as the sketchbook grows so to does ssandulak’s confidence. His later works are unrecognizable to the first posts.

There is a good variety of art works here. These range from studies to competition pieces to personal works.



Studies.
You can see the dedication to his craft through the quality of his studies. Loomis studies look almost as good as the book which he based them from. The time he spent studying muscles and proportions has really paid off.



I must pay special attention to his texture studies (shown above) The is a fantastic contrast giving them a realistic look. I would love to see more studies like this personally.



The face and expression studies look great. The line art is extreamly confident. It is nice seeing such variety in the faces.



Critique
If I had to give some constructive criticism it would be I feel ssandulak needs to study colour theory for a bit. This is just to make his illustrations standout that bit more. I do feel that his work is constantly improving so it should not be too long before he masters that.




Personal favourite piece
There are quite a few nice pieces in this sketchbook but my favorite has to be the robotic girl. The contrast is great and I love the steam punk feel to it. I really enjoy the background. Most of the space in the image is used very wisely. Nothing looks to cluttered or too bare. Everything in this image tells a story from the little sketches in the background right the way to the decoration on her top.

It is nice to see a female figure not overly sexualized yet still having personality. This is an extremely classy piece. I would love to see a coloured version but the black and white does serve its purpose to create a nice contrast between the figure and the environment.



Final point
In the few post ssandulak has put up he has improved dramatically. If he keeps up the hard work I can see this becoming a very popular and inspiring sketchbook.

Sketchbooks: Scratches in the dark

Sketchbook: Scratches in the dark

Owner: Little-Maiden

Link: http://conceptart.org/forums/showthread.php?t=214406&page=9



The improvement in this sketchbook is really impressive. First page a lot of his work seems very flat but by page 9 the sketchbook evolves into an impressive mix of studies and concept work.



I am a sucker for perspective drawings and I adore one of the later pictures on page 9. This seems like a great exercise to quickly grasp the concept of perspective.



Gesture studies demonstrate a fine grasp of proportions. I would like to see him join the gesture studies with his perspective ones.



I have noticed afew skeletal studies, which look accurate. I don’t see many studies of these types in sketchbook so. It would be nice to see more of them.



So far my favourite piece in the sketchbook is on page 8. Little-Maiden combines his gesture studies with colour to produce simplistic yet extremely eye catching poses.



I do think if he really wants to improve should focus on generating thumbnails for final pieces so he can generate some interesting perspectives and ultimately more eye catching final pieces.  Also I do think his studies are holding him back at this time. Little Maiden has a keen grasp of all the concepts, if he was to focus now on just creating finals I feel he could become one of the strongest artists on the web very quickly.



I seriously cannot wait to see what he comes up with next.  Keep entering those competitions and you will win one very soon.

There were so many great images in his sketchbook I did not have space to put them all in. Be sure to visit his sketchbook http://conceptart.org/forums/showthread.php?t=214406&page=9

Sketchbook: Eros Kwerps

Sketchbook: Eros Kwerps
Sketchbook by:Chazillah

Title: Erps Kwerps

Link: http://conceptart.org/forums/showthread.php?t=228623



This is a sketchbook to make anybody envious. There is huge variety here but each polished to a high standard. This is a sketchbook to make anybody envious. There is huge variety here but each polished to a high standard. The sketchbook starts off with a very beautiful painting of feet with water being poured over them. The feet are painted perfectly and the water is realistic which is not an easy feat. (pun intended.)



Her perspective studies show real dedication as she has displayed any corrections she has made. Her figure drawings are extremely impressive. They look like something you would find in an art tutorial book. For me the thing that makes her sketchbook really shine is her finished paintings. Ranging from fantasy art to nude portraits, they are all executed with competency and style. Each one of her paintings are eye catching and impressive to behold. I do feel that this is one of those sketchbooks all artists should visit as it shows the amount of work needed to become successful in illustration. It also shows the areas where you should be focusing on and how you should lay out your studies. I would love to see Chazillah work on a book of studies. I could look at her anatomy drawings all day.



Sketchbooks: Scott Harris



Scott Harris' Harley Quinn Pin Up
The opening for his sketchbook says his goal is to be a versatile conceptual artist. Not too uncommon a goal but what his opening statement lacks in originality he more than make up for in style.

A solid start for this sketchbook with plenty of room to grow. The pin ups have a strong sense of style about them along with very competent line work. Every character has a unique feel about them.

He has some humorous pieces like the hammer time mage but the centrepiece of his sketchbook is his version of Harley Quinn from the batman series, which has some fantastic colour work to it.

His environmental studies have a really nice look about them. Shading and values look good and I would love to see more of them as his sketchbook grows.

If I were to give one piece of constructive criticism to his sketchbook it would be mouths need some work. That said this sketchbook shows a lot of promise. I am looking forward to seeing it grow.

He says he wants to be a concept artist. If he continues to improve from where he is at the moment I have no doubt he will make it in the industry.

Definatly a sketchbook to keep an eye on.

You can visit his sketchbook at http://www.conceptart.org/forums/showthread.php?t=234025

He also has a Deviantart account: http://scott-harris.deviantart.com/

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