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More from baroncoon
A few months ago I posted some sketches of my favorite skunk doing what she's paid to do. Show off in front of the camera http://www.furaffinity.net/view/1781803/ One of the images was a pose she did for an exclusive New York City boutique called "Just Accessories" that specialized in only selling fashion accessories boots, gloves, purses, jewelry. etc. This is the final color for that ad campaign, and it caused quite a stir when it came out. It was originally used on the sides city buses, but was also used in billboards, and as a double-page spread in several magazines. I even had a dream when this ad campaign came out and her and I were both back in the Big Apple for it. Rosemary couldn't resist having her picture taken next to a bus with this ad on it!
Tom_Clowder has been so kind as to assist me with doing the graphic design work for a couple of those Just Accessories ads and they are up on his FA page http://www.furaffinity.net/view/2529371 http://www.furaffinity.net/view/2529375 . As usual Rosemary is done in my color pencil, marker, gouache, micron pen method. Image size is about 11"x 15".
Tom_Clowder has been so kind as to assist me with doing the graphic design work for a couple of those Just Accessories ads and they are up on his FA page http://www.furaffinity.net/view/2529371 http://www.furaffinity.net/view/2529375 . As usual Rosemary is done in my color pencil, marker, gouache, micron pen method. Image size is about 11"x 15".
Category All / All
Species Skunk
Size 847 x 508px
File Size 79 kB
It shows, trully. You have a great idea about lighting, shading, how light would play off of different surfaces.
So many I've seen us a standard lighting model for there art, give there furred subjects a latex look. Your fur just looks healthy and well groomed. And your latex/vinal.. It leave one that loves such things speechless.
So many I've seen us a standard lighting model for there art, give there furred subjects a latex look. Your fur just looks healthy and well groomed. And your latex/vinal.. It leave one that loves such things speechless.
I'm glad you've enjoyed it. I'm rather surprised at how impressed people are with boots and gloves. I just figured out how to do them by trial and error over the years. Now I can usually just figure them out in my head since I had no reference for this picture.
Made all the more alluring by the pose and arch of the back and tail. Of all my characters Rosemary probably has some of the strongest back and ab muscles for her size. She can flip and even lift that tail when it is soggy wet which must add fifteen pounds to it weight!
Made all the more alluring by the pose and arch of the back and tail. Of all my characters Rosemary probably has some of the strongest back and ab muscles for her size. She can flip and even lift that tail when it is soggy wet which must add fifteen pounds to it weight!
I think it's partly because the boots and gloves came out quite elegantly, in texture, shape, and specularity, emphasizing what makes them both so alluring. Archetypical, if you will. =)
As for her back and tail and abdominal strength, I would hope so! That tail must be immensely heavy when wet! =)
I would definitely love to see more like this, not only of Rosemary, but that same sort of clothing styles. =)
As for her back and tail and abdominal strength, I would hope so! That tail must be immensely heavy when wet! =)
I would definitely love to see more like this, not only of Rosemary, but that same sort of clothing styles. =)
[i]As for her back and tail and abdominal strength, I would hope so! That tail must be immensely heavy when wet! =)
Yeah the amazing thing is that she likes to get wet and go swimming! Now if she knows she's going for a swim she'll usually slick her tail down, sometimes her body fur, with a light oil first so it doesn't soak up so much water. Still I've seen her swim with it just wet, but it does tire her out quicker.
Yeah the amazing thing is that she likes to get wet and go swimming! Now if she knows she's going for a swim she'll usually slick her tail down, sometimes her body fur, with a light oil first so it doesn't soak up so much water. Still I've seen her swim with it just wet, but it does tire her out quicker.
Now there's a show stopping gaze. At least it'll sure as hell stop me to take a longer look. With that in mind, better watch the traffic accident statistics in New York. An add like that might be dangerous to the unsuspecting populace.
That green eyed stare, those shiny extras, that big fluffy skunk tail you could get lost in... Yowza.
That green eyed stare, those shiny extras, that big fluffy skunk tail you could get lost in... Yowza.
If you mean the saturation of color it is a multi-step porcess. Let's see if I can explain in a fashion that makes any sense. Bear with me if this a long reply. There are several steps for the shiny black leather
I first determine "roughly" where the darkest shadows and the brightest hight lights will be on the object. This is generally determine by figuring out what basic shape of object is and where the light sources are and what reflective surfaces may have an impact on the object. I'll then in pencil lightly draw those locations on the object, the boots and gloves in this case, so I know where things go. If the object has a particularly complicated surface I might lightly shade the darkest shadow areas in graphite so I don't mix them up later with high light areas later on.
Next I'll often outline the object with a black disposable technical pen like a Pigma Micron. Note this technique can also be done for other colors like brown leather by exchanging the black micron for another color like brown. At this time I'll refine the lines and location of the various components that make up the object. Things like seams, zippers, heels, and individual pieces of leather or latex that make up the garment/ object.
At this point I'll take a black water-based marker like a Tombow brush pen and ink in only darkest parts of garment. If the leather of latex object is not going to be too shiny I'll sometimes use various shades grey Tombow brush pen to block in other areas.
Once I've given it a few minutes to dry I start laying in the color pencil on top. I'll decide in advance what underlying color I want the leather or latex to have. For this piece I thought blue would contrast nicely with Rosemary's violet/ charcoal fur. For this piece I used Prismacolor Ultramarine Blue, Blue Slate, Cloud Blue and Indigo. Any areas where there are bright high light I put no pencil there. I then apply odorless turpentine with a small round watercolor brush over the blue color pencil. The turpentine dissolves the wax and lets me blend the pigment into the bristol board working surface. It also removes most the wax from the surface so more layers of pencil can be put down. To help with the blending I'll sometimes use a Q-Tip cotton swab or on large areas I'll use a crumpled paper towel move more pigment around.
After the first layer of blues is put down I'll start applying various shades of warm grey and black and white Prismacolor pencil over the same areas. Then blend again with the turpentine. At this point I'll start alternating between the blues and greys until I have achieved the smooth, even blend effect I'm looking for. All the while I'll try to carefully blend around the areas where I want to preserve the bright white high lights and just soften their edges so they are no too stark!
Now if I've done everything right I should be left with a very smoothly blended colored object that has very little wax left on it. I can then go back in with the Micron pen and redefine seams, zippers and panel lines again on the garment. As a final touch I accent some of high light areas with white gouache. Did that make any sense at all?
I first determine "roughly" where the darkest shadows and the brightest hight lights will be on the object. This is generally determine by figuring out what basic shape of object is and where the light sources are and what reflective surfaces may have an impact on the object. I'll then in pencil lightly draw those locations on the object, the boots and gloves in this case, so I know where things go. If the object has a particularly complicated surface I might lightly shade the darkest shadow areas in graphite so I don't mix them up later with high light areas later on.
Next I'll often outline the object with a black disposable technical pen like a Pigma Micron. Note this technique can also be done for other colors like brown leather by exchanging the black micron for another color like brown. At this time I'll refine the lines and location of the various components that make up the object. Things like seams, zippers, heels, and individual pieces of leather or latex that make up the garment/ object.
At this point I'll take a black water-based marker like a Tombow brush pen and ink in only darkest parts of garment. If the leather of latex object is not going to be too shiny I'll sometimes use various shades grey Tombow brush pen to block in other areas.
Once I've given it a few minutes to dry I start laying in the color pencil on top. I'll decide in advance what underlying color I want the leather or latex to have. For this piece I thought blue would contrast nicely with Rosemary's violet/ charcoal fur. For this piece I used Prismacolor Ultramarine Blue, Blue Slate, Cloud Blue and Indigo. Any areas where there are bright high light I put no pencil there. I then apply odorless turpentine with a small round watercolor brush over the blue color pencil. The turpentine dissolves the wax and lets me blend the pigment into the bristol board working surface. It also removes most the wax from the surface so more layers of pencil can be put down. To help with the blending I'll sometimes use a Q-Tip cotton swab or on large areas I'll use a crumpled paper towel move more pigment around.
After the first layer of blues is put down I'll start applying various shades of warm grey and black and white Prismacolor pencil over the same areas. Then blend again with the turpentine. At this point I'll start alternating between the blues and greys until I have achieved the smooth, even blend effect I'm looking for. All the while I'll try to carefully blend around the areas where I want to preserve the bright white high lights and just soften their edges so they are no too stark!
Now if I've done everything right I should be left with a very smoothly blended colored object that has very little wax left on it. I can then go back in with the Micron pen and redefine seams, zippers and panel lines again on the garment. As a final touch I accent some of high light areas with white gouache. Did that make any sense at all?
Yes, it can. I have been using Martin-Weber Turpenoid for years but I'm planning to switch to Gamblin Gamsol. I'm making the switch because Turpenoid is odorless it is makes fumes and the Gamsol produces about third less volatiles. Over time that could have a cumulative effect on my health in my favor. As it is I store in a salsa jar with a lid. When need the solvent I remove the lid and then wet my brush. If I don't need again right away I put the lid back on. Also I try to maintain good ventilation in my work area.
Well piece like this will take about 10 to 14 hours. Now this one took less because I am so intimate with the character I can particularly do a Rosemary piece in my sleep. in fact I have actually had dreams in which I was doing images of her for commercial clients with her modeling. So finished this in about 8 hours. That is from starting initial drawing on bristol board. Have 
Smudge critique it corrections and clean up drawing and finish color work. Now if their was a background or a more complicated outfit or props in the image then the time can start increasing quickly!
Smudge critique it corrections and clean up drawing and finish color work. Now if their was a background or a more complicated outfit or props in the image then the time can start increasing quickly!
I'm just glad you understood some of it! At my day job as Art Retail Supervisor I've tried to explain my technique to people on several occassions without actually physically demonstrating it to them. Either I'm getting better at explaining or your just smarter than many of my customers because about two minutes into the explanation their eyes usually glaze over.
Magnificent. The art, the pose, the model ... There just aren't any words.
If it was possible, I'd fave this about a hundred times. And I could spend days brushing her out, from head to toe, and definitely including that incredible tail.
(There ought to be a smilie for my tongue dragging on the floor. )
Nicolai, the Rosemary fanboy
If it was possible, I'd fave this about a hundred times. And I could spend days brushing her out, from head to toe, and definitely including that incredible tail.
(There ought to be a smilie for my tongue dragging on the floor. )
Nicolai, the Rosemary fanboy
My gawd those copyright notices are infuriating! I know why you put them there, but it annoys me all the same when I download something you've put up and it's spoiled like that. I have to wonder about a couple of things.
1) Do you sell so many prints that it would spoil your sales to post these unmarked. My personal experience with print sales is that it never made any difference. People buy prints to support an artist. If getting it free is that important, they'll download it and tolerate any watermark or copyright you care to put on it that doesn't obscure the art entirely. Or do you have some sort of publication plans?
2) How many other artists might be willing to correct watermarks or copyrights. I know I can do it, using Photoshop. It's a lot of work, but not in the least impossible.
1) Do you sell so many prints that it would spoil your sales to post these unmarked. My personal experience with print sales is that it never made any difference. People buy prints to support an artist. If getting it free is that important, they'll download it and tolerate any watermark or copyright you care to put on it that doesn't obscure the art entirely. Or do you have some sort of publication plans?
2) How many other artists might be willing to correct watermarks or copyrights. I know I can do it, using Photoshop. It's a lot of work, but not in the least impossible.
Well if certain web sites in Asia would stop posting examples as of my work as wallpapers of my work every time I post something without that copyright notice I'd be fine with not sticking it in front. But they do and they won't take the work down this seems to discourage them. If don't like the notice then I guess you shouldn't watch my stuff cause it is not going away anytime soon.
Also it has not as much with print sales as protecting my copyright on the characters I've spent a lot of time creating. I am not vigorous about defending my copyright I can lose it.
As far as removing the watermark goes it is kind of like the locks on your home. If a real pro wants in he or she will get in, but most criminals are not real pros so it discourages about 90% of the wannabes. If some wants to really get my work and remove the watermark then they'll find a way, but that doesn't mean I have to make it easy for them.
Also it has not as much with print sales as protecting my copyright on the characters I've spent a lot of time creating. I am not vigorous about defending my copyright I can lose it.
As far as removing the watermark goes it is kind of like the locks on your home. If a real pro wants in he or she will get in, but most criminals are not real pros so it discourages about 90% of the wannabes. If some wants to really get my work and remove the watermark then they'll find a way, but that doesn't mean I have to make it easy for them.
Foreighn websites pirating your stuff can be a pain. From time to time it comes to my notice that somebody is posting my comics from a few years ago to a web site in Germany or Finland, and they don't pay any notice to complaints. What can you do? Sue? I can't even add watermarks, because all they have to have is a printed copy to scan.
But I reason they aren't hurting sales anymore, and just do my best to sleep at night not worrying about it. After all -- I have no rights. Only corporations with armies of lawyers have rights. I wasn't getting rich anyway, and never will.
If ever my work becomes worth anything (more than chicken feed, that is), then no doubt some corporation will have a stake in it and sue to death anyone who transgresses my (their) intellectual property.
Oh, oh... the Blue Angles are buzzing my balcony again with their F18's...
Its that time of year the Canadian National Exhibition puts on its airshow, and those buggers are flying really low this year. About 200 feet as best I can make out, barely clearing the high rises around here.
But I reason they aren't hurting sales anymore, and just do my best to sleep at night not worrying about it. After all -- I have no rights. Only corporations with armies of lawyers have rights. I wasn't getting rich anyway, and never will.
If ever my work becomes worth anything (more than chicken feed, that is), then no doubt some corporation will have a stake in it and sue to death anyone who transgresses my (their) intellectual property.
Oh, oh... the Blue Angles are buzzing my balcony again with their F18's...
Its that time of year the Canadian National Exhibition puts on its airshow, and those buggers are flying really low this year. About 200 feet as best I can make out, barely clearing the high rises around here.
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