Rascunho

master copy!

Rascunhando

After Effects

Essa é minha primeira vinheta feita no Adobe After Effects e Adobe Premier; fiz como job na agência. Essa versão é modificada, coloquei uma música que tem mais a ver com o tema hehehe, Ion Dissonance - Binary part II. O trampo original era com a Oh Fortuna, da Carmina Burana, do Orff, que na minha opinião pessoal é um sacrilégio musical colocá-la num vídeo meu.

Black and White

photoshop, 2h 30 min. ,referencia de anuncio de revista.

Rascunho

Webdesign

Layout antigo para hotsite que não foi pro ar, desenhado no Fireworks 8.

Auto-retrato estilo Rembrandt

Auto-retrato feito para o evento "classically revived" do forum PixelBrush.net. Tínhamos de escolher uma pintura de um mestre clássico e refaze-la com um toque pessoal. Escolhi os auto-retratos de Rembrandt, que não é bem do período clássico, é barroco, mas teve gente que fez sobre o Degás entao tá sussa. Feito inteiramente no Photoshop CS3, perdi a conta das horas que levou pra fazer. Tirei umas fotos de referência usando luz de vela. Usei o espelho pra ref do rosto, com a mesma iluminação. Adorei, recomendo à todos criar um auto-retrato de tempos em tempos.

Passo à passo:
clique aqui e veja o making of

Rascunho

Estudando David Malan

Isso é um exercício, uma cópia, desse desenho do artista David Malan:
http://brilliantanyway.blogspot.com/2008/05/conte-drawing.html
Lápis , limpatipos e papel comum, 1:30h

Eu - Rembrandt`s style II

Tá quase pronto, faltam uns ajustes de cor e texturas.

Rascunho

Knight

Speedpainting, 1h 30 min. , Photoshop, sem referência

Eu - Rembrandt`s style II

Mais algumas horas de trampo. O prazo eh daqui a 4 dias, ta quase pronto, preciso ainda ajusar algumas coisas que nao tao me agradando...

Warrior

1h e 30 min, painter e photoshop

Estudando Sargent

Estudo de valores tonais, cópia à lápis de retrato à carvão de John Singer Sargent.

Estudando Sargent

Estuda à lápis de retato de John Singer Sargent à carvão chamado:"Robert Henry Benson"

Whimsey Sketch

1 hora e 40 min, Photoshop usando só o pincel hard redondo padrão.
Imagem de referência original, clique aqui




Gostei bastante dessa porque comecei do jeito que tenho visto por ai; Escolhi a cor do fundo primeiro (todas as outras cores conterão um pouco dessa cor) e depois escolhi a paleta de cores, deixando num layer separado no canto. Indiquei o lugar dos olhos e sombra do nariz, depois fui usando somente as cores que ja tinha escolhido e pintei por cima do meu esboço, num layer só. O resultado não está 100%, os olhos e nariz estão blahhhhh mas pelo tempo, pelas condições e pelo resultado, to bem feliz.

Site Tugarê

Acabei de colocar no ar o site nova da agência que trabalho. Pode ser acessado aqui: http://www.tugare.com.br

A direção de arte é do Mark, dono da Tugarê, mas eu fiz o design das páginas internas. O site todo teve mudanças no decorrer do processo, mas a imagem a seguir é o layout original.

As disciplinas de Sargent

Posto abaixo dois textos que me prenderam muito a atenção. As disciplinas de Sargent fala sobre a vida e trabalhos de John Singer Sargent, um dos meus artistas favoritos de todos os tempos. O segundo texto fala sobre auto-crítica como forma construtiva de crescimento artístico, muito inspirador. Posto esses textos agora como forma de arquivar informações pertinentes ao meu próprio desenvolvimento como artista, espero que curtam, infelizmente está só em inglês:


Disciplines of John Singer Sargent
from:
http://www.explore-drawing-and-painting.com/Sargent-John-Singer.html

Who has not known or seen at least one painting of the American master artist John Singer Sargent? John Singer Sargent is one of a few great artists I admire.
John Singer Sargent's portrait of two girls with lanterns

Sargent started out as a portraitist, and gained lasting success by painting members of high society. He was also proficient at painting landscapes and other subject matters.

His paintings have such a transcendent, timeless quality that, even if you are not trying to emulate his style, you can learn much from him.

Years ago, when I was an art student in Italy, our teacher asked us to study John Singer Sargent’s oil painting techniques.

The point of this exercise was for us to mentally set aside the details. We weren’t concerned with any ″secret color palette″ or what or how much paint he used in this or that painting. Some of his so-called ″secrets″ have actually been passed down throughout the centuries from the great Renaissance Masters.

For example, his effortless and yet masterly brush strokes are very similar to those of Frans Hals and Diego Velasquez, equally inspiring painters.

What is the secret to Sargent’s greatness?

Having read extensively on John Singer Sargent’s life and work, I have identified several disciplines that helped him achieve greatness. By practicing these techniques with my students, it has helped us become better artists.

Try the following techniques and see how they can help you, too:

* John Singer Sargent would do a lot of sketches of a subject, either in pencil or watercolors, before he started an oil painting. These sketches helped him learn about the subject matter and served as a tool to practice his wrist movements for later brush strokes.

He encouraged his students to paint ″a hundred studies″ on the same subject matter and have canvases of various sizes ready to use at any time when inspiration struck.

He would say, ″You can’t do sketches enough. Sketch everything and keep everything and keep your curiosity fresh.″

* Sargent almost always drew from life and rarely used photographs.

He would place his easel right next to the model and walk back and forth between the easel and a set point that was far enough away to simultaneously see both the painting and the model in totality. In doing so, he was able to see the canvas and the model in the same light, at the same angle of vision, and at the same distance.

* He taught his students that first, it was important to accurately draw the masses of the painting in the right place -- before putting in any fine features or details.

Sargent would say, ″If you work on a head for a week without indicating the features, you will have learned something about the modeling of the head.″

By that statement, he meant that an artist should work to get the basic structure right -- before focusing on the details. Draw and paint like a sculptor. Always look for big masses, angles and prominent planes.
John Singer Sargent's portrait of a boy sitting on the chair
* When it comes to painting, Sargent would use a lot of thick paint with a large paint brush.

He would say, ″You do not want dabs of color, you want plenty of paint to paint with.″

This is something I have taught my students. You can’t go wrong with a lot of paint, if you are using well-made brushes that can hold it all.

If you only use a small amount of paint for each brush stroke, the strokes will appear timid and your painting will suffer.

* Sargent worked mostly with half tones before finishing a painting with the dark tones and highlights.

He said, ″If you begin with the middle-tone and work up from it towards the darks so that you deal last with your highest lights and darkest darks, you avoid false accents.″

Making the middle tones come together may seem like it should be easy, but it takes discipline.

Using this technique, you first work tightly among the middle tones. Then, the dark tones and highlights are just accents.

However, if the middle tones are not right, then even the most dramatic darks and highlights will not hide the weakness of your painting.

* He would walk away from his easel to look at this painting from a distance and step back to the easel for each brush stroke that he added.

Looking at your painting from a distance, while you are creating it, instead of fixating on it, is a great discipline for every artist to have. I can’t emphasize this time-tested technique enough.

By constantly pulling back to see your painting from a distance, you are more likely to get the geometric perspectives right.

This is because you will be looking at your painting the way your viewers do. If the whole painting is done while you are only one foot away, the perspective of the painting will often be distorted.

* John Singer Sargent never hesitated to be a tough critic of his own art. He had the ability to detach himself from his paintings and was able to look them from a more objective point of view.

He was also known to erase entire paintings at times, if he was not satisfied with the outcome.

Once, he spent three weeks working on a lady’s portrait, only to decide that her hand was not painted well enough. He wiped away the whole painting and redid it. (Imagine how the lady sitter’s patience was stretched!)

You can develop the same ability to review your art to determine where you need to improve. Find out how to develop the art of self critique.
* Sargent learned from the old Masters – from artists like Frans Hals, he learned when to simplify and what to leave out of his paintings.

Copying other artists’ work is another powerful tool. I recommend you do this to help you improve your techniques.

When you copy a painting, you learn how the painting is composed and how to mix the colors you want to match the palette of the artist.

Your art will benefit if you imitate great artists like John Singer Sargent. His disciplines, if practiced consistently, will put you on a path toward better works of art.

*************************************


Improve Your Art Through Self-Critique
from:
http://www.explore-drawing-and-painting.com/improve-your-art.html

Having learned some basic painting techniques, you will naturally want to continue to improve your art. It is a wonderful feeling to move beyond being limited by your technical skills and be able to express yourself more freely!

At this stage, you can use the same basic self-critique strategies that many other artists use to improve their work.

To improve your art you must approach your work with a fresh eye and be honest with yourself. You do not want to be so harsh that you kill the spark which drives you to paint, but you don't want to be too lenient on yourself, either. The idea is to catch the weaknesses in your paintings so as to improve your abilities.

1)Set an objective for your painting or drawing before you start.
Having a clear idea of what your painting or drawing should look like when done is like traveling with a map. The mental picture will help you to get your art to where you want it.

Although I often embrace the idea of spontaneous detours, or what my art mentor calls 'discovery' (or what a lot of people call 'mistakes'), I am more comfortable when I'm done and my painting says what I wanted it to say.

You might want to achieve a certain mood or feeling in your painting. You might want to try some interesting color schemes, or attempt a particular style. Whatever the aim, ask yourself where you are heading with the work.

Sometimes we all find that a painting or drawing is not going anywhere. The best thing to do is to admit that you are struggling and ask yourself if you are willing to try it again.

A successful painting often comes only after many failed ones. Even the old masters did not achieve perfection on the first try.

2)Be willing to take a risk.
There are no mistakes when studying art. I have learned from other great artists that mistakes should be considered 'opportunities.

Use the so-called mistakes as opportunities to ask yourself questions. For example, do you really know how to mix the colors you want most of the time? Or, how far you should go before further work will just mess up the painting? Or, why does the nose look crooked?...Whatever the question, take it seriously and search for the answer!

3)Detach yourself for a while.
Often we artists become so involved with a painting that we 'become one' with our painting. We will stare at it for hours; we live and breathe it. Not a good thing.

As your painting progresses, take a break or two. Let it sit for hours, days, or even weeks. Review your goals for the painting to make sure you aren't getting distracted.

If you are unsure of how to continue, go away and come back later. You will be surprised at what you will see after you have pulled back for a while. You will be able to look at it from a more neutral point of view, which will allow you to improve your art.

Bottom line? Do not fall in love with your painting. Move on. Do another painting, or redo it completely if you do not like it. Tweaking it to death will get you nowhere.

4)Find another helpful critic.
When you are ready, show your painting to someone you know will give you an honest opinion. You do not want mindless flattering comments; they make you feel good, but they won't improve your art.

At same time, you do not want to be totally led by someone else's opinions. You do not want to feel like you are not creating your own painting any more.

First, know what pleases you and what needs to improve, then present the questions to someone else.

Second, ask both an artist better than you and a non-artist for their opinion. An untrained person's comments on your art can be valuable, too. And always remember to ask specific questions; otherwise you will get vague answers.

I have sometimes shown my paintings to my children; they can be quite frank.