Oh man.

I've been taking some notes on your use of texture, and trying to apply better texture to my own work. The way you seamlessly manipulate focus is phenomenal.

thanks Guy. i second Peabody's comment on your use of depth of field, that's some next level stuff.

something slightly less serious for a change:

Beacon that's ridiculous I love it!

Guyo, nice work once again. My friend saw your video about painting over a gray-purple base and now swears there is no other base colour that makes sense. I was like... 'purple...?'. It sure does work though for some reason, as I've just done a bunch of studies on eyes and textures and they look pretty neat.

Trying to get some solvent-free action going in my studio since I'm starting to feel like it's affecting me negatively the more I paint. Which means changing up my technique YET AGAIN... Good job I'm a n00b and not set in my ways.

Keep up the ridiculous work everyone!

Thanks Orion! This week is pretty steep but I have been collecting material to make some painting tutorials. About half of what I'm doing these days is in acrylic and I'm pretty happy with the method I've found for that, so there are definitely ways around the solvent issue.

A real quick one, regarding focal planes: get a small, medium and large brush. For the out of focus stuff, use the big brush exclusively (just one sharp detail in the wrong place can throw the whole effect). Medium brush for semi-focused stuff, small brush for tight focus.

You've captured the character of your drawing really well. And to think you were able to wrap the drawing up in a mere 400 hours!

There is something to be said for projects that require that kind of dedication. For starters, that gives you results that are off limits to anyone less dedicated- which as I'm sure you know, comprises the lion's share of our species.

Thank you, Guy, although I'm already regretting posting it. I'm still trying to coax this little guy out from the land of suck. They all do of course, right up until the moment they somehow don't, and this one hasn't quite finished cooking yet.

My biggest problem, I think (other than anatomy), is that my sculptures aren't very dynamic. I've only just started taking them from generic t-poses into asymmetrical action poses, and they all still look like they're posing for a picture, rather than a fortuitous capture of a dynamic moment in time. This guy is going right in the center of the piece, however, so I need to keep grinding until I can find a way to make him jump.

I already have Yama sculpted (although he'll need to be posed), so I figured why not take the leap and put together the kind of piece I've been working towards since starting off with all this. I can spend the next 90 days doing smaller projects or learning Maya, or I can bite the bullet and try to muscle my way through a big one. In the end, I think I'll be happier I went this way. I've got busts of the two kids coming along as well, so after I finish this guy I'll start on the hard surface environment stuff (which I think should be lots of fun, and less difficult than the organic), then some angry robots and I think a couple of brain-headed aliens in flying saucers.

Don't regret it too much Art. It may be far from finished, but it's really awesome how you can create these 3D characters, and your attention to detail.

Honestly, Art, knowing the direction you are pushing, I think you'd get as much mileage from a weekly life drawing workshop as you would from any software class.

Meanwhile, maybe you could coerce Ant into posing for a few photos, assuming this character's position as closely as possible. Then shoot not only from the main camera angle but from a variety of different angles. I know you are aiming for a sort of exaggerated anatomy but I think having a life reference at your side while sculpting would give you a lot more data points to work with.

This very thought has occurred to me as I've worked on several sculpts, although I hate to give Ant the satisfaction of asking him to model for me! I actually took reference shots of myself from a bunch of different angles for my four legged Myrtle sculpt. Reference is HUGELY helpful, for sure, and I'm utilizing it more and more. I used shots of my kid in fact from every conceivable angle for the little girl bust, and it made all the difference.

*Puts big mongoose brushes back into his brush roll*

Good tip! As for going solvent free in oils, I'm just using olive oil for cleanup then soap and water, and using thin oil like refined linseed or walnut as a couch on canvas. Didn't even have to change technique, feels exactly the same.

Art, as usual very nice work and attention to detail my friend!

"Encounters".

Most of my collages are available for free on my Flickr in their high-res versions. This one prints up to 18"x24".

"Volcano Crust"

Incredible! I've always loved Thomas' blend of natural and imaginary elements, but seeing it animated is really next-level. Cyb, I could see how you would relate so well- a lot of resonance with your work.

Handel, those are great. The giant lunar bug really appeals to the kid in me. Fantastic work.

Hey this is my first post as an official member and I'm really excited to get to share some of my artwork with you guys!

1) Squid Tree
2) Silly Gonzo
3) A DMT Excercise
4) Renaturation: Man Conquers Nature, Nature Conquers Man
5) untitled 1
6) Let's See Dreams

forgot to post this one when i made it; my crowning artistic achievement thus far

A couple new Banksy's.......

A chalk doodle I did today.

Thank you Guyomech!

"Meteor Shower Party"



"The TimeGate at Luna 3"

The first pic you posted of Banksy's recent work has been torn off the wall by some youth club owners to be sold.

http://www.express.co.uk...undown-street-in-Bristol