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Thread: venice-london. FINISHED!!!!

  1. #21
    Anybody still reading?

    I'm not getting to spend as much time on this as I'd like, but just managed to get a good session on it so thought I'd update. If I had time to push on I'd have saved this as a this is where it's taking a "magic turn" in the direction.

    getting there... will get to start work on it again in a few hours.
    Rowena, i hope I'm keeping the "character" strong!
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  2. #22
    Join Date
    Apr 2007
    Tiffin, OH USA
    Wonderful to watch this progressing. Thank you for sharing Michael.

  3. #23
    Join Date
    Mar 2006
    Switzerland - AG
    yeah i'm still reading...but i think i'll wait until you finished. i would only interrupt your workflow...and i don't know wich way you're going with this image....nice idea and good till yet.

    I be watching this...

    Greez maror

    Artrage 2.6 & Wacom Intuos 3 A5
    XP SP2

  4. #24
    Join Date
    May 2007
    Rome (Italy)
    After Canaletto and Sargent why not look at Guardi, Bellotto and Turner? I hope You do not need help to find them Maror. Your a great scenarios painter and Bellottos, (the Canaletto son in law) with his "caprices" (imaginary landscapes of some place) was the Maror of three centuries ago!
    Panta rei (everything flows)!

  5. #25
    Join Date
    Oct 2006
    Pennsylvania USA
    Dear Michael, it sure is interesting to see this step by step, and it seems like hard work that is paying off!!! but do i see oriental paper lanterns on the gondola? and what i would call telephone poles and wires??? it must be going to be a mixture of different societies through time? very mysterious

  6. #26
    Thanks for the encouragement, it really helped.
    I read the first few of these comments as they came in but didn't reply as the work was flowing so thanks for the continued interest, Robert and Maror.

    Caesar, I think you are mixing me and Maror up. On the references, I practically grew up on Turner and used to regularly visit the tate gallery in London to see his stuff.
    I'm less familiar with Bellotti and Guardi so will definitely look them up. Speaking of turner, Constable seems totally different to me "in the flesh" at an artgallery rather than photos... much fresher and richer. Must go to a gallery soon!

    I was lucky enough to be allowed access at the Victoria and Albert museum to see a set of "studies" by Constable that don't get seen much that are "en plein air" studies avery bit as fresh as the impressionists produced later...

    Lee, I definately wanted to mix the old and modern... that's the big appeal of London to me, I love the mix of baroque and rennaisance and regency architecture with modern that you get in the centre and West End. i've taken liberties by mutating st Martins, the colliseum theatre (both adjoining trafalgar square) and st Pauls' cathedral from across town into one shot.

    I'm in two minds on posting an update yet... I feel like all the "artistic decisions" are complete, though I still need to work out the lower bodies of the figures in the boat....

    I've been mostly working at full screen or zoomed out further... It's time to zoom in and do a final detail pass.

    I don't want to ruin the impact of the final piece (but have probably done that already) but think some of you may be interested to compare what I have now with the final piece.

    I guess I'll try and finish this today and will post this and the final together!
    Last edited by michaelw; 10-11-2008 at 09:50 PM.
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  7. #27
    Join Date
    Jul 2006
    I look forward to the final when you get to it.
    Hope you give it some thought because it could be very nice.

    I will make a professional suggestion to you because you are a professional. You may want to come up with a style that can be shown at an earlier stage than only as a complete finish. This is a little too unfinished and a little chaotic for someone else to visualize, IMHO.

    But if you were in a working situation, you could very easily have someone pop in and look over your shoulder at an unfinished job at the progress and this stuff is a little unfocused. Or you are running up against a ridiculous deadline and have to produce a lot of images for a surprise visit by the suits. And if your director needs some eye candy, he'll be looking to you to back up his presentation.

    Might I recommend a drawing style that can hold the image very clearly whether or not the color is completed.

    Often times during pre-production one needs to go through lots of images while the powers that be make decisions based on those images, and before you take something to the stage of a lengthy finish to WOW the money people or whoever, you still want to be able to knock out some pretty solid environments, a few of which will be taken to final.

    And to do this you could perhaps have something that reads pretty decent with line only. And then with one or so simple compositional value washes with a couple highlight levels. (depending on how good you get, you can do this in short order).

    Just a thought. TV Animation style backgrounds are okay, but limited and say "TV Animation" and "direct to video". That's fine if that's the look you want. But you look like you are designing sweeping and detailed panoramas for gaming or features. Many of those productions call for very different palettes and styles than TV Animation backgrounds.

    Truly no offense is meant by this. I think you are in a place that you could accomplish a lot with a cleaned up drawing and some really precise tones.
    Your end products (portfolio pieces) I've seen could do with something to hold it all together so that it reads very quickly but can be roamed around in to satisfy the viewer as they assess all that will be in a complex and costly production shot. You want to really knock their eye out upon first glance.

    And that means polish. Because you are going to be competing against those who do it.

    Canaletto and those like him are sorta bland and sleepy. They are doing postcards from the 1600s or whatever and chronicling details and placement of buildings etc seemed to have been their reason for being. But you are doing things that tell a story above all else, and you would do well to ratchet it up a few notches.

    Of course, as always, my comments are only suggestions. And I sure would not say this to someone who would not be striving for the level you are.

    You have lots of talent, that much is clear. I can see it.
    Last edited by D Akey; 10-11-2008 at 10:44 PM.
    "Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream

  8. #28
    Great post D Akey! food for thought indeed. Don't ever worry about offering critique as I can take it!

    I'll be coming back to this post after I've had time to absorb it, but there's a lot ringing true already in my experience on previous jobs and some pitches I've made.
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  9. #29
    Another update... I'm still not done yet. So far i've spent about ten hours on this and must just get on and finish it...

    depressing revelation
    I've discovered that working on my tablet pc is a very bad idea... the view angle is tiny because of the wacom coating and I think it's throwing the colours right out....I;ve tried callibrating but am just not getting it right.

    On my normal pc the whole is more saturated and brighter... the palette looks really yellow on my del 24 inch, really blue on my laptop 17 inch and really dark on my tablet pc now

    here is where it's at let me know what you see...

    I still need to tighten up on the figures and details in the buildings and especially the water
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  10. #30
    By the way, i think this painting is on the brink of disaster...

    why is making art always so painful?

    I've done a test to add some bold new colour as it seems to be dying right now... COULD SAVE THE PATIENT.

    I'll post an update tomorrow as right now I'm watching tv...
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