Yugo's Art and Fanart

I have been practicing with colors in photoshop for some time, but there is still much I need to learn to use PS effectively. You can see here that I have tested out the waters with this picture. For some reason the canvas in Photoshop show up a lot warmer than the actual image file, this worries me as I can not accurately apply the right colors with the naked eye and had to go over each layer and adjust the color balance. I'm content with this portrait on a conceptual standpoint, but I will try push to become more effective with my brushes.

Hello everyone. I have something special for all of you and yeah, this is something very unexpected. As I was digging though my old saved files of works art that I have scanned and stored away I have recently dug out progress pictures of the Bloodstained cover art painting I did a while ago. Yes, the very same one you've seen in Update #47. I will post them all here and give a brief description for each picture. Allow me to start from the beginning..






This started as a very rough concept. I have done the homework of looking up in how Ayami Kojima had painted her works, the media used, and the method of using them. With the little information I had scavenged in the world wide web I have continued to break down the method into steps from what I could work with in the best of my knowledge. This is actually the second picture of Miriam I have drawn that made the cutting board. Satisfied with the result that met the required look for a Kojima-style art form I continued with this drawing onward.  











Here is a rough drawing of Miriam, You can see the background is still being conceptualized in which is still a working progress. I tossed around the idea of making wings behind her made of stained glass that perhaps burst from a Gothic window frame for a colorful radiant light effect, but the idea was debunked because of the difficulty of producing a visual effect in such a small composition size especially with the limited mediums that I had to work with. The time I was working on this I had very little room and most of my art supplies were kept in storage. Not a very comfortable workspace, but it is what it is and wasn't going to let it deter me from finishing a project that was in hiatus since the beginning of last year.



 





On this step I proceeded to do shading with regular pencil. I was very careful with the finer details and were able to keep the picture clean for my first try. It is almost like an art piece of it's own. Kojima-esque, but much more like it's own creature. I kept my pencils pointed and my technical pencils loaded just to not blur out any of the crisp detail that I had accomplished thus far.








Here is where I start to apply ink wash and detailing the lines with Micron technical pens only at where the contrast are at it's darkest. The lighting of this picture was bad, but the contrast of Miriam's image has buffed since it's pencil shading. The details were kept in clean and pristine condition. The black and white was a visage that kept it sharp, but what comes next may have proven to be another challenge difficult to overcome without losing it's finest detail.






Here is a closer view of the face and the upper torso. You can see how the colors from different traditional mediums combine together. Again, this picture isn't the best example due to it's harsh exposure to my lamp light.







Here I taped down the picture onto a board to work on the background. I had penciled out the foreground and was using Kojima's works she had made for the Castlevania series as an inpiration. The foreground is much more reminiscent of that of Symphony of the Night, Lament of Innocence, and partially from Chronicles. This was all done in acrylic, but was able to go over some parts with color pencil to better bring out the highlights. I wanted to mix together a medium that will give me that heavy brushstroke texturing I would find so often in Kojima's works by using some form of paste I can mix with the paint, but I failed to prepare the medium beforehand. However I did notice something as I had continued onward with the painting, oddly enough those brushtrokes I loved so much started to appear very gradually. I let parts of the part dry a little more so the brush won't take away the texture. There wasn't much of it, but the brushstrokes was naturally there and preparing the medium in the end ultimately wasn't necessary. On the right side you can see some of the blue as I was trying out which medium works best in where.






   
I began to work in the background around this point. I was really upset that Miriam gotten dirty from some of the smudging while I was working on the background because I had worked so hard on her and made every effort to keep her clean. None the less, I convinced myself to push onward with the background as I would later go over cleaning up Miriam once I am close to finish. The feeling of defeat for not being able to keep my art clean has made me felt like I was back at square one, but it was really only the background that needed to be finished. Needless to say, that too, took many steps to complete. I first started looking up various references that I can print out and trace on tracing paper on both sides. I avoided the areas that were colored of course, traced the image onto the canvas and then penciled in the tracing. I've added some parts that will resemble a wall that also include an arch that hopefully lined up with the composition. The next step followed shortly after.







With this step I've shaded some parts here and there and did a light wash with watercolor to solidify the walls and the window frame. Oddly enough, this gives the illusion that the structure Miriam is inside of is well lit by the light of the daylight sun. I was rather impressed with the way it came out and as much as I wanted to leave it I felt like it didn't quite suit the theme that I was going for, but perhaps that I will revisit this in another painting I thought. I was done some wonderful watercolor pieces in the past, but it's been too long to actually come back with what I've learned when I'm very out of practice.  The right corner of the background was a blue bled intended to capture the mood that later became a marker for my final step. 

Here is a drawing that I had finished the other night. This was drawn during and after the fight with Bloodless in the Bloodless Battle Thread. It is not quite in style with the other ones I have posted here, but drawing dynamic poses was ideal none the less. I'm happy with the way this one come out as it shows that I can still draw action poses. I will do more of these for a few of my other drawings that I will continue to work on.

yugosalkins I really want to see that second image coloured Frazetta-style!

Izek looks like Jack's stand hahaha. Not sure how redmalkav would feel about that...

Hmm, that would be very interesting. I think I'll give that a try when get some more time in. Thanks for your input!

Such cool characters and style you got going. Would like it many times over man!

Hello again everyone, 

Because I'm on the lookout for Goofball I decided to come back in and see how are things going since my absence. I forgotten that I had an art piece or two that I forgot to post up here, but luckily today is much more fitting since it is April 1st after all. A big surprise for you all my fellow forum friends that I am bringing back, behold, the Pillar Men of Bloodstained!