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Messages - API-Beast
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Portfolios / Beast: Pixel Artist
« on: May 11, 2019, 01:26:01 pm »

General Discussion / Re: Community updates
« on: August 11, 2018, 04:43:31 am »
From my perspective Pixelation has completely lost touch with reality. The Discord and before that the Slack kept the forum alive, without it Pixelation would have died long ago.

Pixelation has what, four active users? You don't need eight moderators to police four users. Especially ironic considering that the two latest mods have always been more active in the Discord than the Forum.

As for the reasoning for separating the two I can say with conviction that the Discord has always been inclusive and welcoming. There has been one person with a crude sense of humor but outside of that he has been very civil and even encouraged a welcoming attitude. This all could have been solved by a bit of persuasion, but instead it was turned into a ideological issue which just made everything worse and pissed of quite a few people. With all that drama and how poorly it was handled by the Pixelation moderation team I doubt many people will come back to it, even if you somehow manage to bring back some basic level of activity.

Overall I don't think Pixelation has any future, at least not on the path it is currently taking.

It might be easier to understand it as having the four walls all be angled differently, depending on the direction they are facing.

Challenges & Activities / Re: The Daily Sketch
« on: June 20, 2018, 04:11:37 pm »
@pistachio: Where do you get your info on the exact muscle and fat regions? I've been looking for facial anatomy references but all I found was super simplified stuff.

Challenges & Activities / Re: The Daily Sketch
« on: June 18, 2018, 02:16:39 pm »

That's a extremely difficult topic. However I would suggest you to start with improving your drawing accuracy, else the journey will be incredibly frustrating. One way to improve your accuracy is by doing so called "Bargue Drawings".

Resources / Re: Tools, Resources and Linkage.
« on: June 14, 2018, 04:26:42 pm »
PDF copy of "Charles Bargue Drawing Course", which has some good info on how drawing was taught in the 19th century.

High resolution copies of the plates can be found here, for anyone who wants to improve their drawing accuracy by doing some Bargue drawings.

General Discussion / Re: Letís Study Perspective
« on: April 06, 2018, 02:47:37 pm »
The construction practice didn't really get me anywhere so I shifted my focus to textures and rendering, getting a bit more mileage. This medium is so different that I can't really apply anything I learned from pixel art, but I hope to master it in a similar fashion to be a bit more flexible.

I use material showcases like these as reference. They work very nicely for this purpose as they only show the parts relevant to the rendering, no less no more. It's very difficult to figure the intricacies of a material from photos.


General Discussion / Re: Letís Study Perspective
« on: March 20, 2018, 04:04:16 am »
I don't know Japanese either, I just go after the pictures. ;D Probably not doing floor plan drawings anytime soon, but might be a good practice to get used to creating scenes in 3D in the future.

I have finished my box drill, now the difficulty is jumping from constructing abstract forms to constructing real life forms. This requires not a pure bottom up approach but more a mix of both.

I am not yet at a level where I can construct arbitrary real life objects yet so for now I focus on constructing one thing I already familiarized myself before: the head. I follow moderndayjames approach to construction here, who is probably the number one source on perspective drawing right now.

"STRUCTURAL ANATOMY: Drawing the Head" Video by moderndayjames

I use a pressure sensitive ball point pen for the construction lines and a quite heavy gel pen for the final lines. That way the construction lines are there but aren't as visible. As I become more accustomed to the construction I should get away with only imagining most construction lines rather than drawing them out.

General Discussion / Re: how to calculate your rates for pixels?
« on: March 18, 2018, 03:36:35 pm »
i never thought of it this way either, i always thought that the hours began when the art starts, not when the negotiation begins. thats very interesting!
No, I wouldn't charge for communication but it can indirectly affect the work. For example concept art reduces the work needed since you can skip the sketch and concept steps in your workflow. If you have a sketch and concept stage then it's important that it is what the client wants, if the client is fussy about it, or simply wasn't clear enough in his description you may have to make multiple sketches or concepts, eating up a lot of time.

General Discussion / Re: how to calculate your rates for pixels?
« on: March 18, 2018, 01:32:22 pm »
I have to completely disagree here, a hourly contract is perfect for art.

  • How long something takes depends to a large part on the client, how much information he gives, whether he provides concept art, how often he asks for revisions, etc. Having a hourly contract makes this relationship much clearer to the client.
  • Furthermore, the time something takes is not a fixed amount, art is never finished. If the client is happy with a lower quality then that will be much cheaper than when he wants the next Mona Lisa. A hourly contract plus good communication means you can figure out what quality the client wants as you go.
  • It removes the need to renegotiate for every small thing, keeping the communication fluid.
  • Due to the aforementioned factors it's impossible to make accurate estimates unless you know both the client and the scope of work extremly well.

A flat rate is something you could do if you already know the client very well, but for new clients I wouldn't do it.

It doesn't punish fast artists, they can charge a higher hourly rate or provide a higher quality in the same time as someone else. Fast artists have a huge market advantage.

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