This topic contains 9 replies, has 4 voices, and was last updated by  Brett Barkley 2 years, 10 months ago.

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  • #765

    Brett Barkley

    Again, sorry to anyone who voted…then lost their vote because I mistakenly deleted the page. Yikes. I’m still figuring out a lot of this software.

    But it looks like I’m going to call this for Steel, Knight and Mercy. Sorry, Joe, it looks like the kids are trying to take over. and get rid of us 🙂

    A couple quick notes:

    Steel – Great pose! I’d like you to focus on a less sketchy line quality and I’m going to teach you a little coloring, for a less airbrushed feel. Great work!

    Knight – One of your best entries ever! I love the colors and I love the details. Great job! I want to see you spending more time on your pencil drawings. I truly hope you see how much you can do when you put the work in. Great job!

    Mercy – What a creative, expressive piece of artwork! I’m very proud of you! I love the colors and I love the posing. I’d recommend you try using a little more reference, though, just to be certain you get your colors right. 🙂

    Joe – I LOVE THIS PIECE! It may not be your first choice stylistically, but this looks REALLY awesome! The only thing I’d suggest is varying your lineweights on the figure contours. Try thinking of it as inking thin-thick-thin as you begin each plane of the contour. If that doesn’t make sense, drop me a line and I’ll try to explain better. This was a VERY exciting piece of art! I’d love to see you do more with this style.

    We’ll have a new Art Clash posted shortly…once I get the three WINNERS to weigh-in. 🙂


  • #751

    Brett Barkley


    SUBJECT: Deadpool

    CONCEPT: Draw your very best iconic image of Deadpool. Your image should reflect everything you feel and want conveyed about the character.

    Good luck!

    The Rules:
    THE ART CLASH is a weekly art challenge. Each TUESDAY a new Art Clash challenge will be posted. You may work in ANY MEDIA you like, but you must stick to the brief of this week’s Art Clash. And please, no posting old work in the Art Clash. This is about encouraging growth through work, so we expect a new piece every time.

    Your final art will need to be uploaded to an image hosting service (here are a few I recommend: Imgur, Google Photos and Flickr) and then may be posted here ANY time until SUNDAY evening at MIDNIGHT (EST). Voting begins immediately afterward and polls close on MONDAY at MIDNIGHT (EST). So don’t miss out!
    The artist with the most votes for the week by the close of the polls is declared that week’s winner and chooses the next Art Clash.

  • #755

    Brett Barkley

    Ok. Now that I think I’ve got a break from projects for the first time in nearly half a year, I have a little more time to do some of the things I’d like to do. So I’m going to give a slight behind-the-scenes view of my process for this piece and I’d like to follow that up with a brief guide to placing figures in space.

    First, this is my Deadpool iconic rough, done on my Galaxy Note 4, while I had a few spare moments before everyone got up and I had to start the day.

    When I’m doing an iconic image, I want to get as much of the surface visual information in the piece that I can. I want the viewer to have an idea of who this character is by what they see. So I try to fit everything I can in the image, or at least the most important information about the character. On this piece, I want to show Deadpool loaded down with pouches and military equipment, so I’ve worked to fit the full figure in to the frame. This will make it easier to overload the character with the pouches and gear, which were such an emblem of the time he was created. Often, particularly in a more dynamic piece, I’ll tilt the camera angle. This does a couple things. First, it better enables me to fit more of the character in the frame. Second, it gives the piece a slight more action-oriented, off-balance perspective. It’s tough for a tilted piece to come across as static or boring.

    But there’s a second component to the image, beyond what the viewer will see on the surface; what he or she will recognize instinctively from the posing and positioning in the frame. I already mentioned how I make a piece more dynamic by tilting the shot. That definitely establishes the piece as more dynamic. But if I want more drama, I’m going to try a couple of things to enhance how the viewer instinctively reads the piece. Probably the easiest way I do this is through lower the vanishing point, which gives the reader the impression the character is above us, which naturally makes them seem more powerful. You can also put the character dead-on with our view, as if they’re standing, rock-solid and immovable, directly in our path. There’s more you can do. The key is to understand the instinctual interpretations we all have of the postures we see. Will Eisner does some great work in laying these out for aspiring artists.

    But once we have a general idea of a pose, how do we actually implement this? I’ve attached this image to give you an idea of how I put the pose on paper.

    In this image, I took the roughs from above and expanded it to include the outline for what I like to think of a kind of shoe box world the character inhabits. Regardless of background, or environment, when we draw a figure, because of how our eyes work, we see that figure in perspective. Perspective can be daunting, IF you have the wrong idea about it. I believe it would help if you can manage to think of your character as positioned in a shoe box, something you have standing on the edge of a table, which would allow you to move a camera in virtually any direction with any tilt to give you the shot you want. I’ve placed the shoe box outline with the horizon line (Determined as the line on which the four lines moving away from us intersect, or the vanishing point rests. It will be parallel to the line at the bottom of our shoe box.) When we understand that all the lines of the character, the line of the shoulders, the line of the hips, the knees, the eyes, everything is beholden to the horizon line, we can place a character in space, or in an environment dynamically and believably.

    I hope this helps a bit. I’ll post more and earlier in the week, time permitting.


  • #756

    Brett Barkley

    And here are the loose pencils. This is probably my favorite part of the process, but unfortunately where I often get to spend the least amount of time. I established the general form in proper perspective in the last stage. Now my work is far less difficult, because I can simply dedicate all my energies toward developing the figure to be as aesthetically pleasing as I can.

    Again, due to a lack of time, I generally don’t get to spend as much time as I’d like in this stage (oh, how I’d love to just pencil), but I’ll probably tighten this up a bit more, then it’s on to inks.


    I did these next two before breakfast Sunday. Basically, this is just a process of knocking back the loose pencils and then penciling in a more distinct, less sketchy line.

    And then I use a broad brush to drop in shadows for inking. I worked a little differently on this than I normally do. Usually I block out the black areas and pencil around that. I don’t know which I prefer. But this process is just a way of determining light sources and using a big brush to clumsily block in areas of shadow. I’ll worry about the interpretation and tightening of the blocked-in areas when I ink.


  • #757


    I really had some fun on this one!!!!

  • #758

    Brett Barkley

    And the inks! I’m thinking this is from his Weapon X days.

  • #759


  • #760

    Brett Barkley

    And Mercy’s original take on Deadpool:

  • #761

    Joe Kemp

    late again – totally ran out of time this week but i tried something a little different with exaggerating the anatomy

  • #762

    Brett Barkley

    Voting is now open!

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