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Artwork (Traditional) / General Furry Art
Species Mammal (Other)
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This is my new character Remeroth Banneroth.
He's a spirit shaman with a particularly tragic past. His entire tribe was poisoned and murdered for reasons I have yet to totally refine, but ultimately serve as the focal point of his mission--revenge. :>
His tribe was noted for having some of the most powerful shamans and spirit warriors in the known kingdom and stubbornly defended their secrets from others, even from the emperor himself--because of this, and out of fear... they were murdered.
He is supposedly the last of his tribe, carrying with him the powerful secrets of his tribe, and is capable of incredible power. The lantern he is carrying holds the entire tribe's ashes and has the capability of summoning a small army to fight for him. The catch: spirits are very one-tracked beings, and these spirits are not easily dominated, they will only fight for him if they feel it benefits them or their tribe in some way, such as further Remeroth's mission of revenge for his fallen brethren. For menial fights and tasks, Remeroth must seek help elsewhere.
And there are some other things I will divulge later. I really like this character, and the scene was a bit inspired from a dream (that's were I get my best stuff).
Also, I have to thank
hibbary a million here. I thought I lost this image when I got some of my bloody goo on the face, but with the help of some of her acrylic ink and a little experimentation we figured it out! It isn't exactly the same as before but it's certainly workable, and the mistake isn't noticeable unless you've really seen it before hand. :3
He's a spirit shaman with a particularly tragic past. His entire tribe was poisoned and murdered for reasons I have yet to totally refine, but ultimately serve as the focal point of his mission--revenge. :>
His tribe was noted for having some of the most powerful shamans and spirit warriors in the known kingdom and stubbornly defended their secrets from others, even from the emperor himself--because of this, and out of fear... they were murdered.
He is supposedly the last of his tribe, carrying with him the powerful secrets of his tribe, and is capable of incredible power. The lantern he is carrying holds the entire tribe's ashes and has the capability of summoning a small army to fight for him. The catch: spirits are very one-tracked beings, and these spirits are not easily dominated, they will only fight for him if they feel it benefits them or their tribe in some way, such as further Remeroth's mission of revenge for his fallen brethren. For menial fights and tasks, Remeroth must seek help elsewhere.
And there are some other things I will divulge later. I really like this character, and the scene was a bit inspired from a dream (that's were I get my best stuff).
Also, I have to thank
hibbary a million here. I thought I lost this image when I got some of my bloody goo on the face, but with the help of some of her acrylic ink and a little experimentation we figured it out! It isn't exactly the same as before but it's certainly workable, and the mistake isn't noticeable unless you've really seen it before hand. :3
Category Artwork (Traditional) / General Furry Art
Species Mammal (Other)
Size 1070 x 720px
File Size 194.1 kB
bluddy goo on your face? I hope it's nothign fatal... sounds chronic, though.
ah, not my business.
great work here, the character looks interesting and a bit different. love his outfit, too. and yes, you caught a moving scenery quite nicely. as if he's turning to the lamp, saying, "Quiet, you!"
you are something of a graphite wizard, you are.
and I would like to see more of that character, too! the little backstory is something the better tales of fantasy are made of in my opinion.
ah, not my business.
great work here, the character looks interesting and a bit different. love his outfit, too. and yes, you caught a moving scenery quite nicely. as if he's turning to the lamp, saying, "Quiet, you!"
you are something of a graphite wizard, you are.
and I would like to see more of that character, too! the little backstory is something the better tales of fantasy are made of in my opinion.
No no... bloody goo from my hands on the face of the lemur dude here! I got some serious road rash the other day and my hands were all pussy and gooey trying to heal... And some of that fluid got on the face of the drawing... and I nearly cried, as I was only hours away from completion. ;_; I thought I may had lost the image, and I wanted to just tear it apart then... and it didn't help that I was also in a ton of pain, since I messed up my arm too... Uhhhg... bad daaaaay.
But thanks for the compliments on this guy. I looooove to convey motion and fluidity and my clothing designs typically tend to reflect this. Haha... I like you idea on the lamp though... XD
Well... in all this, my character is basically figuring out his way into an epic tale. He doesn't know who murdered his tribe or why at first... but slowly follows the clues.
But thanks for the compliments on this guy. I looooove to convey motion and fluidity and my clothing designs typically tend to reflect this. Haha... I like you idea on the lamp though... XD
Well... in all this, my character is basically figuring out his way into an epic tale. He doesn't know who murdered his tribe or why at first... but slowly follows the clues.
well, some pieces of art inspire such thoughts and notions in me. :) 
amiralaesir does occasiona pieces which make me sit down and write up a short poem to go with it. and soemtiems he uses them for the submission description afterards. 'xcuse me, gotta blush for a while...
amiralaesir does occasiona pieces which make me sit down and write up a short poem to go with it. and soemtiems he uses them for the submission description afterards. 'xcuse me, gotta blush for a while... 
Thank you, Hibbary! :3
Oh man, oh man, oh man....it's awesome to come back to the internet and see this drawing finished. Your pencil skills are mad, yes they are. You never cease to amaze me with every single new drawing. But you already know that >:B
The first thing I noticed here is how you managed to render his fur and hair. Especially the fur on his chest and stomach...it looks so soft, and mhrh I think I'll develop a mild obsession over his belly...it's even more cute now.
The second thing- clothing. All the details and folds...but I'm repeating myself.
And finally- the fire. I tried before and I know how difficult it is to render a realistic looking fire with a pencil, because I never succeded. You did a fantastic job on it, to say the least...maybe it could be a little lighter, but you said that it's not a regular fire but a blue soul-fire, so it works perfectly.
I'm excited...he's going to be an awesome character
Hibbary! :3Oh man, oh man, oh man....it's awesome to come back to the internet and see this drawing finished. Your pencil skills are mad, yes they are. You never cease to amaze me with every single new drawing. But you already know that >:B
The first thing I noticed here is how you managed to render his fur and hair. Especially the fur on his chest and stomach...it looks so soft, and mhrh I think I'll develop a mild obsession over his belly...it's even more cute now.
The second thing- clothing. All the details and folds...but I'm repeating myself.
And finally- the fire. I tried before and I know how difficult it is to render a realistic looking fire with a pencil, because I never succeded. You did a fantastic job on it, to say the least...maybe it could be a little lighter, but you said that it's not a regular fire but a blue soul-fire, so it works perfectly.
I'm excited...he's going to be an awesome character
Yes, Hibbary ftw!
I admit I wanted to get it done as a little surprise for you when I got back. :3 It was a little more of a challenge than you might think too... haha... I'll have to tell you the story later.
That fur was a really experiment for me... honestly, I've never really detailed fur to this extent before but I knew it wouldn't work if I didn't go for a realistic look. So, I looked at a few references, but still, I feel ashamed to say that it's not very realistic, but I just experimented and used those references as a guide a bit. Hehe... Belllly.... *pat pat* I'm glad you can still like it, though I admit it doesn't look as big as it did in the sketch... mostly becuase of the clothing covering it up and the fact that his fur is so white.... :|
As for the fire! Yoooou have nooooo ideaaaaaa how lame it is to draw fire on a white background. After I fixed the face, I drew the rest of this at Hibby's place (just the lantern) and we were both lamenting over how dificult fire is to draw on white voidish backgrounds... But indeeeeeed... it is a blue flame... so, I decided it could be ever so slightly darker... :3
I admit I wanted to get it done as a little surprise for you when I got back. :3 It was a little more of a challenge than you might think too... haha... I'll have to tell you the story later.
That fur was a really experiment for me... honestly, I've never really detailed fur to this extent before but I knew it wouldn't work if I didn't go for a realistic look. So, I looked at a few references, but still, I feel ashamed to say that it's not very realistic, but I just experimented and used those references as a guide a bit. Hehe... Belllly.... *pat pat* I'm glad you can still like it, though I admit it doesn't look as big as it did in the sketch... mostly becuase of the clothing covering it up and the fact that his fur is so white.... :|
As for the fire! Yoooou have nooooo ideaaaaaa how lame it is to draw fire on a white background. After I fixed the face, I drew the rest of this at Hibby's place (just the lantern) and we were both lamenting over how dificult fire is to draw on white voidish backgrounds... But indeeeeeed... it is a blue flame... so, I decided it could be ever so slightly darker... :3
My line art and general style isn't very emotive, so I try to use proper lighting to bring out the feeling in an image. Yanno, make it dramatic.
What can I say though? Thank you! :3 I'm really happy to see when people point out the things I put thought into, and composition is always one of my foremost priorities in artwork so thank you for liking that too. Although, I think the composition is a tad better in real life, as my scanner likes to auto-crop my images and I don't know what to do about that..... :C
What can I say though? Thank you! :3 I'm really happy to see when people point out the things I put thought into, and composition is always one of my foremost priorities in artwork so thank you for liking that too. Although, I think the composition is a tad better in real life, as my scanner likes to auto-crop my images and I don't know what to do about that..... :C
Mm I'm currently coloring this picture, because I love the flowing feel it has, and something has come to my attention that I'm very curious about. ^^
Now you know I Love your graphite work something fierce, I think you're very talented in doing so, which inspires me greatly to continue to learn to draw more. [speaking of I have something I'd love to show you that i've been working on for a friend]
Your shading however, blows me Away! It's always so smooth and seamless, how do you do that without making it look smudgy or dotted?
When I use a stomp for my shading I love it, but it still looks kinda spotty in a way, and I'm not too terribly fond of using my fingers because of the acids in my skin and such, it looks more smeared to me rather than shaded.
And are you on Da? Cause if so I'm totally watching you ^_^
[does this make me a fangirl? o,O]
Now you know I Love your graphite work something fierce, I think you're very talented in doing so, which inspires me greatly to continue to learn to draw more. [speaking of I have something I'd love to show you that i've been working on for a friend]
Your shading however, blows me Away! It's always so smooth and seamless, how do you do that without making it look smudgy or dotted?
When I use a stomp for my shading I love it, but it still looks kinda spotty in a way, and I'm not too terribly fond of using my fingers because of the acids in my skin and such, it looks more smeared to me rather than shaded.
And are you on Da? Cause if so I'm totally watching you ^_^
[does this make me a fangirl? o,O]
Hello! I'm a douche again. :> There is hardly a dull moment with me and I'm pretty bad at getting back to messages that are obviously important. :c
I know its too late now (uuuuuuugh, I suck), but I'm still curious to see that image you were talking about.
Yes, THAT. The shading. Well, in all honesty I don't think you are gonna like the answer since its not an easy solution. There are a couple of methods I'll share with you.
Its kinda of tought to explain and might be a lot of information so bare with me, please.
First and foremost you need to understand the texture you are drawing. Not all textures are supposed to look smooth really, and there are different ways to create textured based on how you layer your pencil work--which is exactly how I make my smooth shades and something I can not stress enough importance on in creating many many effects. The stumps are actually not the perfect tool for smoothness either, and I’ve found them to kinda fuck shit up in that way, but they can be used in moderation, and are very valuable for other things! Mostly, the are quite excellent for "painting on" certain shades that are typically much lighter tones than what a pencil can easily achieve. With the residue lead left on the tip, it's nice for almost pure white shades and you should use it pretty much exactly as you would a pencil by applying the proper pressure to the paper.
Which brings up another point. Pencil to paper pressure isn't everything, but it's damn close to everything. You would be surprised how much versatility a simple HB pencil can have and cover. Its almost always better to start off light (I'm just gonna tell you that it is better) and layer on darker too. You can never start too light!
And, this is where people misunderstand just how long my work takes since they must usually assume I only go over an area once or twice with my pencil and BLAMO, perfect, which is very wrong.
My method absolute best method is very time consuming and includes a lot of layering and then another special technique that I like to call "dotting". This is where it's kinda nice to have a few different hardnesses of lead too--and probably not exactly for what you'd think. "Dotting" is where you put down an initial layer of lead that is close the shade that you want (even better if you build up to that layer), and it is almost certainly better to make it a little lighter than you actually want the shade to be too. But, once you get something that you kinda like you will probably notice that it won't be perfectly smooth and a bit spotty (especially if you were lazy in putting down the lead like I tend to be). What you need to do now is take a very sharp pencil (mechanical pencils are nice since they never get dull per se) that has an appropriate harness of lead. Then you put your nose in the paper and look for all the little white "pixels" that are caused by the grain of the paper. There might not be too much “white” if you were layering on led before that, but you'll still notice dots of "too light" spots (and hopefully not too dark) shades that will give you that grainy effect. What you do is locate the patches of shades that are desirable to the shade you want and then start to lightly shade around those patches (having a harder lead = softer shades = easier to control during this process) until all the shades start to blend together uniformly. This is why it's so important not to go to dark because it's much tougher to erase those "too dark" patches with precision rather than draw in between them. But, if you have to lighten an area up it is almost always just fine to do so. Just don't get hasty again and try and draw that "exact" shade again because you will almost certainly repeat your mistake... slowly build up evenly and carefully. Start at the edges of the spot you lightened and work towards the center so you are sure that you are matching the surrounding area.
The final thing I would say is be mindful the direct you are pushing your pencil and how you stroke your pencil across the paper. Typically your darkest point is at the spot that you initially put you pencil to the paper and the lighted spot is at point the pencil leaves the paper, at the end of the stroke. Lets so you have a patch of anime hair that comes to a point… and for the strands of hair you are running pencil across the paper and ending the stroke at the tip of the hair… All the strokes that come together at the tip of the hair are gonna make the tip rather darker than where you first put your pencil on the paper still. Okay, now let's say you want that classic highlight in the hair! You will simply work upwards from the point you were drawing before and let the pencil taper off the paper as it gets to the area you want to have the highlight. This is just a simple example of a texture you can get with pressure control making sure to run your pencil along the contours, form, and figure of the object.
As for other things… well… layering… It is made a lot easier to get evenly shaded all around if you do an insane amount of close knit cross-hatching. It's hard to explain exactly why, but it works. Just, when you need to block out an area in a shade, make sure to change the direction of the pencil often.
Okay, I think I’ve given you an encyclopedia to deal with for now. If you have any specific questions please ask.
And, yes I'm on DA (same name), its kinda my main stomping ground, but recently I've even been relatively inactive there.
I know its too late now (uuuuuuugh, I suck), but I'm still curious to see that image you were talking about.
Yes, THAT. The shading. Well, in all honesty I don't think you are gonna like the answer since its not an easy solution. There are a couple of methods I'll share with you.
Its kinda of tought to explain and might be a lot of information so bare with me, please.
First and foremost you need to understand the texture you are drawing. Not all textures are supposed to look smooth really, and there are different ways to create textured based on how you layer your pencil work--which is exactly how I make my smooth shades and something I can not stress enough importance on in creating many many effects. The stumps are actually not the perfect tool for smoothness either, and I’ve found them to kinda fuck shit up in that way, but they can be used in moderation, and are very valuable for other things! Mostly, the are quite excellent for "painting on" certain shades that are typically much lighter tones than what a pencil can easily achieve. With the residue lead left on the tip, it's nice for almost pure white shades and you should use it pretty much exactly as you would a pencil by applying the proper pressure to the paper.
Which brings up another point. Pencil to paper pressure isn't everything, but it's damn close to everything. You would be surprised how much versatility a simple HB pencil can have and cover. Its almost always better to start off light (I'm just gonna tell you that it is better) and layer on darker too. You can never start too light!
And, this is where people misunderstand just how long my work takes since they must usually assume I only go over an area once or twice with my pencil and BLAMO, perfect, which is very wrong.
My method absolute best method is very time consuming and includes a lot of layering and then another special technique that I like to call "dotting". This is where it's kinda nice to have a few different hardnesses of lead too--and probably not exactly for what you'd think. "Dotting" is where you put down an initial layer of lead that is close the shade that you want (even better if you build up to that layer), and it is almost certainly better to make it a little lighter than you actually want the shade to be too. But, once you get something that you kinda like you will probably notice that it won't be perfectly smooth and a bit spotty (especially if you were lazy in putting down the lead like I tend to be). What you need to do now is take a very sharp pencil (mechanical pencils are nice since they never get dull per se) that has an appropriate harness of lead. Then you put your nose in the paper and look for all the little white "pixels" that are caused by the grain of the paper. There might not be too much “white” if you were layering on led before that, but you'll still notice dots of "too light" spots (and hopefully not too dark) shades that will give you that grainy effect. What you do is locate the patches of shades that are desirable to the shade you want and then start to lightly shade around those patches (having a harder lead = softer shades = easier to control during this process) until all the shades start to blend together uniformly. This is why it's so important not to go to dark because it's much tougher to erase those "too dark" patches with precision rather than draw in between them. But, if you have to lighten an area up it is almost always just fine to do so. Just don't get hasty again and try and draw that "exact" shade again because you will almost certainly repeat your mistake... slowly build up evenly and carefully. Start at the edges of the spot you lightened and work towards the center so you are sure that you are matching the surrounding area.
The final thing I would say is be mindful the direct you are pushing your pencil and how you stroke your pencil across the paper. Typically your darkest point is at the spot that you initially put you pencil to the paper and the lighted spot is at point the pencil leaves the paper, at the end of the stroke. Lets so you have a patch of anime hair that comes to a point… and for the strands of hair you are running pencil across the paper and ending the stroke at the tip of the hair… All the strokes that come together at the tip of the hair are gonna make the tip rather darker than where you first put your pencil on the paper still. Okay, now let's say you want that classic highlight in the hair! You will simply work upwards from the point you were drawing before and let the pencil taper off the paper as it gets to the area you want to have the highlight. This is just a simple example of a texture you can get with pressure control making sure to run your pencil along the contours, form, and figure of the object.
As for other things… well… layering… It is made a lot easier to get evenly shaded all around if you do an insane amount of close knit cross-hatching. It's hard to explain exactly why, but it works. Just, when you need to block out an area in a shade, make sure to change the direction of the pencil often.
Okay, I think I’ve given you an encyclopedia to deal with for now. If you have any specific questions please ask.
And, yes I'm on DA (same name), its kinda my main stomping ground, but recently I've even been relatively inactive there.
oh hun the last thing you are is a Douche!! Trust me. :)
ok this is a Very well written and informative response, and i Do actaully love it. The main thing i Am getting from this however? is it's gonna take me a Lot of practice to get anywhere near this level. But honest? while it's slow going, i think i am starting to get there. At least this time I understand most of what you're explaining. :)
And i do thank you Very very much. ^^
ok this is a Very well written and informative response, and i Do actaully love it. The main thing i Am getting from this however? is it's gonna take me a Lot of practice to get anywhere near this level. But honest? while it's slow going, i think i am starting to get there. At least this time I understand most of what you're explaining. :)
And i do thank you Very very much. ^^
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