More stuff in progress!
I’m trying to work on my compositions and colors (but gods forbid me actually finding the time/determination to finish anything).
As you guys probably know, I’ve been mad busy and that just doesn’t seem to stop - I’m constantly stressed over something or other and nothing I do seems to really be decent enough to share… and I guess I’ve built an imaginary wall between myself and actually posting stuff here.
Which is silly, considering this is my process blog, not some immaculately polished portfolio blog.
That being said, here’s some things I’ve been afraid to post for some reason!
I’m celebrating the start of the year with an overall username change, so duxia > tiianen.
Have a safe new year everyone!
Greetings everyone !
I’ve been about to make this post maybe ten times already and now I’m actually going to do it. Go me !
I don’t want to take up too much of everyone’s space, thus the following “life update” has been placed under the cut.
PHOTO STUDIES | 2014
I had nothing to do at work yesterday morning, and I did one of these (the orange one) to kill time. It was surprisingly addictive and so I made some more during breaks.
Spend max. an hour on each and most of them are referenced from photos in this gallery, which is curated by the Finnish Defence Forces. Used a hard brush with no blending.
Anonymous asked:
No worries, I don’t mind !
I’ve actually shared my sad brush set before, so here’s the link to that. Other than that, flow is usually at 70~80%, opacity set to pen pressure and brush size decreasing and increasing to Z and X.
I don’t have an FAQ (I don’t think twice or thrice in two years equals frequently), but you can find most of my replies to questions here.
I’m glad you like my stuff. (-:
Anonymous asked:
I made a sorta-kinda-maybe tutorial thing last Halloween, you can find the parts to it here. It’s a bit old tho. c-:
I’m also seriously considering doing a sorta-kinda-maybe tutorial video thing during this summer. It’s just an issue of laptop horsepower (or the lack of therefore). Editing and rendering video stuff is a goddamn nightmare with my over-developed toaster of a laptop. P-:
BLUE II | 2014
I wanted to see how much I’ve actually improved during the last half a year, so I decided to make something akin to BLUE and tried to use a similar color scheme and approximately the same amount of time ( = one evening) as well.
I’m actually not too disappointed in myself.
So that’s cool. (-:
Anonymous asked:
Hello and thank you!
Here’s an example of the general layer structure I use:
Every time I feel like the work I’ve done on the working layers is solid / better than what’s under it, I merge the layers and then make a new working layer.
This way there’s always a change to go back one stage in the painting, but it also keeps the layer amount in check.
I also add new things on separate layers, especially if I’m not too sure how it will actually work with the stuff I already have done.
FATHER | 2014
I really need to start planning my colors beforehand and try to avoid abusing black so much. P-:
Ended cutting some corners here and there, but it’s nice to be finally able to put a lid on this thing. Thanks for sticking with me!
Next up, something else.
WIP | 2014
Once again, I could really use you peeps’ opinions before I start wrapping this stuff up!
I’m especially keen on hearing thoughts on the general mess that’s going on in there; do you think there is too much stuff, too little, is it too messy or hard to focus on, does something seem out of place or weird etc. etc. I’m personally not too sure about the Moomin cup. I like it as an idea (that’s why I put it there), but I’m not really convinced if it works here visually?
Anyhow, I’ll try getting this done during next week. (I’m starting at a new workplace for the summer on Monday, so it might get a little stressful. If I don’t have the energy to do it during the week, I'll definitely focus on it on the weekend. (-: )
WIP | 2014
This has been on a bit of hiatus, mostly because every time I opened up the file and looked at it, I could tell there was something wrong with the kid but never actually had the time to actually sit down and properly figure out what it was and what to do about it - until yesterday that is.
So here’s how I go about fixing my own, air-headed mistakes (which are almost always perspective-related).
Don’t be fooled by the nonchalant tone of that “added some details”. It did take me a good chunk of this day to do the hand hole, the plastic wrapping stuff and the stitching.
Anonymous asked:
Hi dear anon, I made a quick mindmap/list on the subject that you can use to expand upon if you want to. Here’s a link to it, hopefully there’s something that you can use!
In general, I suggest making mindmaps and such before trying to tackle to any given subject, just to figure out what you already know about the subject, what kind of stuff pops up often and what you would like to research more. Don’t filter and censor your thoughts, quantity is the goal here, not quality. Editing comes later. (-:
Anonymous asked:
A really good question!
I think children can create a very interesting cognitive mismatch; they’re something that’s (for adults) both familiar and unfamiliar at the same time; both “us” and “them”, definitely human but maybe not yet. That feeling of familiar strangeness, or creepiness if you will, is very essential to the type of narratives I enjoy and wish to tell myself.
I’m also really fascinated by the social interactions between children and the so-called “playground culture”. There’s this sort of exaggeratedly ritualistic feeling to a lot of it, especially the interactions that are clearly being copied from adults and played out without proper context or actual understanding of the act. Overall, the limits of believable situations are more lenient with children than they are with adults.
Children are also an easy way to evoke emotions, since most people have strong feelings associated with children and childhood.
lnter-net asked:
Hello,
and thank you!
I feel that sketching is one of those things of personal preference - you should do whatever feels most comfortable for you.
For me sketching with pen and paper feels more natural and relaxed (not to mention easier to access at all times), and I hardly ever do “pure sketching” on computer, as I just draw over my traditional sketches.
I usually carry around a small sketch/notebook where I can jot down ideas and observations - I don’t really focus that much on style and presentation in my sketches (unless the idea or observation is style related, of course).
Here’s a sort general idea what my sketches look like:
So, pretty much nothing like my finished pieces. P-:
As to somewhat answer your question: for me, sketches are just the skeleton of the piece, a sort of general idea meant to help figure out what I’m actually going to do and what goes where. They don’t need to look pretty and they certainly don’t need to perfectly define the piece - therefore whether I drew them on paper or on computer is quite irrelevant in the end.
Leaving a lot of room for improvement during the progress works the best for me, as it reduces some of the stress and anxiety, and helps me ignore thoughts like “I suck” / “I’m not good enough” / “Why do I even try?”, since I can counter everything with “It’s just a sketch”. And then the next the step is always about figuring out how to make it looks less terrible.
Some sort of demonstration on how sketches don’t necessarily need to be that big of a deal:
As you can (hopefully) see, the sketch is just a guideline, it tells me that yup, I’m going to paint a kid’s face and then where the kid’s features approximately are. But that’s about it. The rest of it get’s its shape in the progress.
So I guess my tip for improvement would rather be to try and take your stuff as far as your resources (skill, motivation, time, available tools etc.) let you.
If you really believe in the idea behind your work, continue working on it until you feel like there’s nothing more you can do about it. Don’t give up before you’ve done your best.
That being said, everyone works and thinks differently. I know some people who have amazingly beautiful sketchbooks and they tend have very different views on everything I’ve talked about.
But if you’re still figuring out what would be the best for your, it doesn’t hurt to try and see if this way of doing suits you. (-: