Here's the art for today! Some finished lineart for the 1991 cutscene, I added some things. The first shot you see after the 1986 cutscene is the wedding ring, then you see Debbie excited. She's excited to be married and to move into their new house. (Oliver couldn't really afford it, but that's why he's going to work for forever!)
Also have a shot of the parents rolling up in the moving truck. And a shot of Oliver looking at the mortgage bill when he's at his old house. Other than that, it's pretty much the same as here:
[link] (ignore the crappy art, I need to fix some drawings..)
I've had to learn how to communicate things more concisely without movement or dialogue. So gotta make sure it's clear so I kinda have to exaggerate movement, like in silent movies. Actually storyboard blogs and comic books have helped me out! Here's some cool blogs that have helped me out :D
http://sevencamels.blogspot.com/
http://theartcenter.blogspot.com/
-this blog is just awesome!
http://bryoncaldwell.blogspot.com/
Also, I just bought
Imaginative Realism by James Gurney at the book store yesterday. Holy crap.... This speaks to me more than "art school" techniques; where they force you to paint objects in front of you all day hoping that in your future when you are on your own you will look back and say "Gee, I'm sure glad I learned the fundamentals!" Where the most important thing is why you are drawing what you see. So later you can draw what you don't see with the same accuracy. (Unless you find greater satisfaction in studying form itself, and not so much ideas)
All the great paintings, Last Supper, The Sistine Chapel, School of Athens. None of these are real. They are images in their heads that became realistic looking. And during the renaissance, there were very concrete steps to creating an image in your head to something realistic on paper (I'll quote from the book):
"1:After deciding on his idea for a picture, Barocci made dozens of loose sketches to establish gestures and arrangment of the figures.
2: He then made studies in charcoal or pastel from live models.
3: Next he sculpted miniature figurines in wax or clay, each draped in tiny costumes to see how they would look under various lighting arrangements.
4 He proceeded with a compositional study in gouache or oil, considering the overall pattern of light and shade.
5: He then produced a full-size tonal study or "cartoon" in pastels or charcoal and powdered gesso.
6 He transferred this drawing to the canvas.
7:Before proceeding with the painting he made small oil studies to define the color relationships
This applies to any medium and anything you are drawing. I'll keep reading the book, so far it's been awesome! He really pushes for artists to find what they are most comfortable with. i.e. If you do not like sharpening your pencil with a knife, then use a pencil sharpener.
