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Old 11-09-2007   #1
Cavematty
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Default Cavematty - Behemoth challenge!

Hey guys, here are my thumbnails. I'll be posting my process this time, getting serious after last months cop out!
Here are my thumbs:



they are:

1. giant ass eagle attacking a castle and wasting a tower. Little dudes are running, falling off the wall, and a couple brave ones on the left shooting arrows back. My first idea so a bit cliche, and, well a bit shit :P

2. Giant robot cruising around wellington city. I took a photo of the NZpost building the other morning and was thinking about painting into that... no real development

3. two horses are crossing the drawbridge over a castle moat, when massive tentacles attack them.... uh... yeah.

4. Volcano god guy...

5. hordes worshipping the same volcano god - far more interesting composition - added depth etc...

6. Guy chilling out in his cubicle in his office building... out the window. Knocked back - is a giant ass head as something truly behemoth passes by...

7. a bit more thought on (6) and probably the direction I am heading. Maybe a couple of people, the ones on the left have noticed and are panicking! dropping their coffes, screaming... ARGH! ha. the guy on the right has his headphones on and is slouching it up and chilling out Maybe he'll be drawing on a wacom.. woop! will add nice panoramic view out the window - maybe some circling helicopters etc.... dunno what kind of creature it will be neither :P

Comments welcome. Will post development soon
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Old 11-10-2007   #2
Joah
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Interesting sketches. What do you use to make the gradient skies? Or did you do that digitally?
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Old 11-11-2007   #3
Iron Rook
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nice concepts you have some good ideas,
number 1 and 6 are my favourites
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Old 12-03-2007   #4
Cavematty
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Default Process

Hey guys, sorry for the slackness of posting during the competition.
It was a bit of struggle fitting in any drawing time around the day job, so the side thread suffered. But here goes a quick explanation if anyone is interested.

So I decided to go with the last one. All the other compositions were so similar - big thing, teeny people. Big thing, teeny people. I was finding it hard to get any narrative into the piece. The thing I liked about the last one was that it allowed me to get close enough to add detail to both the behemoth and the little guys.

From here I tried a lot of compositions before i was happy. I mean a lot. This was maybe the longest part of the process. Im not a phenominal drawer, so each concept took a lot longer than it might take a pro.

Here a few samples:











I got to this last little pencil drawing and for the first time found a dynamic that I really liked. I always wanted to have the contrast of a few really strong reactions, and one oblivious guy. Initially he was going to be wearing headphones or asleep at his desk, but when this drawing arrived, I realised it was far more interesting to have him interacting with the other foreground characters. It also made it easier for me to lead the viewers eye around the composition
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Old 12-03-2007   #5
Cavematty
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From here I knew the direction I was headed, but it still took a lot of tweaking and refining. I've never done an illustration with more than about 2 characters in it before, so juggling the extra guys (especially with their dynamic poses) was a learning process. Every time I changed one pose, it seemed to change the flow of the illustration, and several others would need tweaking too.



At this point I was happy enough with the composition to try adding colour. I fell in love with the idea of the glow through the behemoths flesh, hence it being so over the top here. It stayed that way until a friend of mine pointed out the vastly increased mass of a behemoths fingers, and I toned it back



Important to note from here is reference. From the beginning I opened up an a3 document in photoshop and started pasting in illustrations that I thought might suit my rendering style or colour for this piece. I also got photographic reference for everything I might need. For the fg characters I set up a tripod and took photos of myself falling over chairs. And I also got my flatmate to take photos of me with my nose mushed up against the window of our lounge. Funnily enough I never really explained to her what it was for, and a week later when she wandered in to see the near finished illustration she went "aaaaaaah. that makes sense".
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Last edited by Cavematty; 12-03-2007 at 00:57 AM.
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Old 12-03-2007   #6
Cavematty
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Flipping image to check out the composition is an invaluable tool. The old masters did it with mirrors, I have it shortcutted to " cntrl / " in photoshop. It really does give you fresh eyes. I also tried out an alternative colour scheme with adjustment layers. I like the colours, but found the feel far too friendly and cosy for what was happening in the scene.

I was in love with the nose at this point, having over rendered it beyond anything else in the scene. Still, probably the best nose I've painted so far! ha. It took a little bit of convincing to go back to my earlier idea of mushing it up against the glass. Thanks for that goes to Tim Gibson (I think). In the end I was proud to have "killed my darling" to create an illustration that was stronger for the change.

The water cooler was shawshanks idea, and really helped balance out the composition. Chur bruv!
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Old 12-03-2007   #7
Cavematty
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And here's the finished piece ...






I had a great time doing this pic and learnt heaps.
I wasn't so precious about this as previous illustrations, having had a few mental shifts during the process that really helped my mindset and made me more productive. For a start, upon encountering a problem at one stage, instead of getting frustrated, I suddenly found myself getting excited, as I'd found an area of weakness, and was really about to learn something. A great mindset, and one I will endeavour to nurture in the future, though lets be honest, it aint always easy! The other thing was, relaxing about the finality of the deadline. There will be another comp next month. As long as I learn from this one, I don't need to put on the impossible pressure of making it perfect!
These mental shifts really helped my productivity and creativity, as well as improving my mood and my actual enjoyment of the piece as a whole. It fascinated me and I think I might start a few threads on various forums to discuss this further.

Heaps of thanks to the awesome group of my peers that helped me out with this one.

Guido Thum - my late night buddy, and most constant sounding board.
Andy Shaw - infectiously happy, and rampantly talented.
Tim Gibson - grizzly words that really put a boot up my ass, and then some help once I was on the way :P
Tom Simpson - a sleeping giant, ready to smash the gnomon challenge sometime soon...
and Lawton Lonsdale - a bit shy with the critiques despite great knowledge ---> get on the web Law!

Thanks heaps and good luck to everyone. Congrats on the finish boys
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Last edited by Cavematty; 12-03-2007 at 01:33 AM.
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Old 12-03-2007   #8
Laurentiu_Bontea
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I love that early Mac, nice touch!
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