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Blimey Jon, incredible. I saw your 3D mock-up of this on Facebook. What program did you use for that? (the 3D bit....!)

Thanks Darren.

That was done in 3D Studio Max (2013, I think). I can't always be arsed, but I think when you know what the scene is, more or less, but want to play around with the composition a bit it's a worthwhile few hours spent.

More stuff.

EDIT: I feel kinda bad for winning without any discernable art-y talent. Maybe this art lark is easier than it looks...

It's true! No point working for a living.

My parents always wanted me to become a solicitor. I mean, can you imagine that!?

I am literally thrilled by this outcome.

I guess I'll write and you'll draw the next one, eh Doc?

You must be strong.

Jon, you're awesome.

Also, great to hear of your family's new arrival, and amines, best of luck with yours!

Wow, thanks very much.

She's sat next to me as I work, it's great.

Pictsy many thanks as well, that is also very helpful, especially the description on brushes and the recommendation for Digital Art Masters this sounds like exactly what I would be looking for.
Both of your comments are greatly appreciated, and who knows maybe one month I will submit a full colour image to the monthly art comp rather than my usual black and white affairs!! 

I am excited to get going now perhaps with my forthcoming 2 weeks paternity I will get the chance to sit down and work through what you have said and start having a play around..

Heh. Lots of advice. Just pick the art you like the most, and off you go....

For what it's worth I too come from a traditional background (I got my degree as a painter) and I came to have digital somewhat thrust upon me through my career path. I found initially that it helped greatly to try and use the tools in much the same way as you would traditional media, e.g. use a brush or layer blend that best emulates a something such as a glaze or wash, use a brush that feels like blocking in oil paint, etc. I can't really give you any specifics because it all feels such a long time ago now but, for instance, using a multiply layer is the closest thing to watercolour washes as it is effectively light (not blending) subtractive. If you play with a few brush options on top of that (I'm assuming Photoshop and some sort of pressure sensitive tablet, otherwise - Kudos!) then setting pressure to drive opacity better emulates hard media such as pencil and pastel (and angle can replicate various tips pretty well); pressure driving size better emulates a brush with wet media, etc. It's worth creating a few things you like the feel of, and then saving them as tool presets (like a brush preset, but you can save additional options).

I have a few ink brushes and pencils I've created specifically to feel more like working in a sketchbook if you fancy importing them for a play around.

Jon many thanks for the detailed description and information on your workflow and how you create an image. That is really really useful to me.
I think my problem is I can do the basics quite successfully using traditional media but when transferring to digital, even though I understand and use layers in their simplest sense, it is the blending, multiply, and overlay of layers which confuses me as knowing when to use which option for what effect / benefit. Plus also as stupid as it is, knowing the best type of brush and the relative settings of that brush e.g. opacity etc to create the painted effect I want!

By the way best of luck with the baby. I can only sympathise as my wife is due to give birth to our third tomorrow!!  So I am currently sat in work a little distracted awaiting a phone call at any time!

Thanks. She's amazing, but it's all a bit new and terrifying.

In terms of layers and stuff, I wouldn't really worry about it too much. People seem to think there's a right and wrong way, but there really isn't. There are tricks to save time, and accepted studio practices, etc, but really just mess around and use the things that you discover work for you. Do a lot of work you're happy to throw away, and just play with different brushes - use a really intractable one and force it to work for you.

The trick is to work out where you're going and then discover the best way to get there, and the other stuff will come along as you go.

All the best of luck with number three!

Jon, Hoagy, some cracking pictures there. Hoagy I really like your character design and can definitely see the Hewlitt influence. Jon same as usual..amazing! I would love to be able to know your workflow in creating something like this. I am relatively new to creating digital art and am struggling to use colours effectively in this sort of application.

Thanks very much. And sure! It varies from piece to piece, to be honest, but in this case...

I started with a sketch for layout - nice and loose, nothing too detailed;




Sticking that on the top layer as a multiply blend, I create another layer underneath and start a tonal sketch. It makes sense in this case as the scene is to be dominated by the light sources. In a more white-lit scene, I'd probably start by blocking in the colour.




When I'm happy there's enough there to steer I can just turn off the top sketch layer;




A new layer over the top, in this case blended to overlay (as the tonal study is quite dark. I generally prefer multiply, but depends on the piece). I very roughly blocked in some colour, just as a steer;




I also adjust the image with feedback from the client that he's given me the wrong dimensions.
Naturally, its all pretty horrible so far. I flatten everything, and scribble in some further colour detail and depth. All the art college stuff about warm/ cold and colour wheel theory is your friend here.




And then, just iterate. It's all about the iteration really. Keep going until the deadline hits, then stop*.

I think really the biggest trick I've learned with painting is that there is no trick. Get down your intention as quickly as possible (it may take some exploration to discover what your intention is). It doesn't matter how loose everything is, you just need enough that you can see where it's going. And then refine. Piece of piss.

There's loads of stuff out there that can help. Feng Zhu is particularly good in terms of tutorials, though there are bloody loads. If you're impatient like me then it's really just down to playing around and lots of practice. **


*You could keep going until you're happy, but I've never heard of that working for anybody.

** Apologies for anything that doesn't make sense. Up all night with a screaming baby.

That's right put me in the mood for some Tank Girl.

Today's thing;

1: The Enigmatic Dr X - Uncle Joe
2: Pete Wells - Contamination
3: james newell - The Reality of Death

ok juuuuuuuust going to reply here cuz no one said how awesome Jon's last piece was.  Cuz....it's pretty freaking awesome.  Someone ought to acknowledge it.

MenschMaschine: your hellboy is pretty freaking rad, too.

I just saw this. Thank you. Thank you so much, that's really lovely of you.

It's okay though, I just put things up for fun, and cos 2000 AD's where it all started for me. So long as no-one's actually offended.

On review  I realise I did manage to hog the thread a bit recently. Sorry everyone.

Sorry.   

Thank you Mr B. Christ as well. It's all very flattering.

This one's a little more "on-message".

Got bored waiting for my next big project to come in, so spent the day making fan art.

And what better way to spend a Sunday than devising fun ways to drop your family down a lift shaft?

Thanks Woolly.

I am humbled by your kind comments.