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By dannycruz4
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© 2011 - 2021 dannycruz4
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Hey this is amazing do you sell you stuff like this?
dannycruz4's avatar
Thanks, the original art to this was sold a long time ago :)
Hey Danny
btw, i was wondering how much do you ask for an artwork?
dannycruz4's avatar
Feel free to note me :)
Sol-Caninus's avatar
This would seem to be the only post in which you used some real black spotting, which creates much needed contrast. otherwise, because of the incredible detailing, the pieces tend to be gray.  The tonal schemes, therefore, tend to be weak.  They are gray on gray, or gray on white.  Here you have black and gray on white, which could be stronger, but it's at least moving in the right direction.

You seem to ignore the tonal scheme in favor of the detailed draughting.  But the tonal scheme is the most important element of composition.  It should be decided in the thumbnails in the design-stage.  Of course, now with digital it's possible to play with the design after the fact.  Do you do digital?  

In any event, marvelous technique and really good drawing.  Powerful imagery!  Good stuff.
dannycruz4's avatar
Thanks for the insight, you're totally right. This was done back in 2010 and I guess at the time I was limited in my artistic influences and means of rendering the figure.
Around that time I became fascinated with this type of work…

That sort of thing gave me a mentality of avoiding solid blacks into my work and preferring to have the darks in my images made up of built up scratchy hatchings instead of a solid dark tone.

And I kind of chased that for a while and as a result my stuff became mired in splotchy mid tones.  Eventually it got out of control it stopped looking appealing to me and I grew tired of it ( specifically the piece I did for mythic legions was the straw that broke the camel's back) and a couple of years ago I tried get more "crunch" back into my work.

I can do a bit of digital but for the most part there's a disconnect for me there so I mainly use it for post-work touch ups. I don't think I have it in me to create a piece entirely digital though.
Sol-Caninus's avatar
Well you followed the classic method of the Pen Masters.  I wouldn't call that a limitation!  Technically, it's quite an accomplishment.  One has to be aware, however, of the limitations.  The Masters were aware, which is why they CHEATED.  haha. (i.e. wash tones, as mentioned in the note).  They were really painting with their pens, thinking hard and carefully about tonal contrast and blending in terms of the entire composition.  They made it work.  

These pencil examples are so delicately refined that I don't see how it's possible to translate them into ink, directly. The desired effect is a satin finish executed with a 104, or other ultra fine flex nib.  I tried for years to get master such a technique, and maybe came close with some things I did last Inktober, but, still, it's way over my head. 

All the same, it's not the technique that's on display; it's the composition.  And I would play with the designs to maximize the effects. 

Here's what I mean by tonal schemes - the basic five - with applications.  (BTW- that satin effect I mentioned is on the girl's face, second image to the last at the bottom.) 
  Basic Tonal Schemes by Sol-Caninus
So, then, you could play with your images in Clip Studio Paint, or PS, etc., to explore different tonal schemes.  And you could do that without messing up the originals.  
dannycruz4's avatar
Great stuff, thanks!
i have to admit this type of stuff is kind of an afterthought to me but seems to be pretty fact, i would guess it's something that gives off a 'first impression' maybe more than whatever the actual drawing is, if that makes sense.
Sol-Caninus's avatar
yes, that's it exactly.  The first impression is conveyed by the tonal scheme.  It provides the basic information from which one begins to make sense of what he sees.  They say 90% of the information we use to recognize a form is given in the silhouette.  The same idea applies to tonal scheme with regard to the entire composition.  

That it comes as an afterthought simply means that you're oriented to drawing, modeling, sculpting forms, primarily.  When you step back from the work or squint your eyes so that none of it reads clearly, such that all the detail is blurred and the only thing that reads clearly are the values, then you're orienting to the composition as a whole, as a painter.  This is also the level at which to deal with design.  This is what they call the postage stamp test - reduce the work to the size of a postage stamp or view it from a great distance.  If it falls apart, or doesn't read well, it fails.  The design should read strongly.  If it doesn't, or there isn't one, that's a big problem.  That is a pretty good indicator that the viewer must work too hard to get a foothold in the composition.  The comp should catch his interest, lure him in, then direct him here and there and keep him from leaving.  It's a seduction.

This is what I was getting at when I asked about digital.  You can work separately on building design skill by scanning drawings and playing with tonal schemes in PS.  I did that with some inks by :iconjimsandersiii: (his inks over Mike Zeck's pencils of Colossal Boy) that I recreated. (see below)  Some people have a knack for it, the rest of us have to study and practice.  LOL.     
Copy of Sander's Mike Zeck Colossal Boy by Sol-Caninus   Sanders Colossal Boy v2 by Sol-Caninus   Sanders Colossal Boy v3 by Sol-Caninus   
dannycruz4's avatar
Really useful stuff..Thanks again!
Sol-Caninus's avatar
Sure thing.  Sorry for using examples of my own work :blush:  Just the quickest way to show what I mean.  :iconsky-boy: has some good compositions, aside from the excellent technique. 
CreepyBattenberg's avatar
Hi danny I wonder if I would be able to use your artwork in a you tube video that I am doing about Harold the Haunted doll?

I am working with my friend Anthony on this and we would love to use this picture to represent a demon called Abbadon. We will credit you in the video description.

Kind Regards
dannycruz4's avatar
hey simon. 
sure, no problem.
send me the link for the video when you post it, thanks.
CreepyBattenberg's avatar
Thank you so much Danny I really appreciate that! I will be sure to post the link here for you!
Simon 😊
CreepyBattenberg's avatar
Hi Danny here is the link for the video 😊
CreepyBattenberg's avatar
And thank you again! You are a fantastic artist!
kimgauge's avatar
Hi Danny, I'm a great admirer of your work and of course this one is another stella effort! Can I ask you what you are using? It looks like your using pencils, but how do you get your black areas looking so black - is there post production work on the contrast? Cheers Kim.
dannycruz4's avatar
thanks. yeah, i'll darken(basically multiply the layer then duplicate it and adjust) and also bring up the contrast slightly digitally. 
also if you compare this to some of my more recent stuff I'm not really doing those dense dark areas on my figures anymore. instead i'm using hatching to build up the areas that would be dark. so i'm not really getting that dark look that i was doing a few years back.
cool gallery btw
StarGamerWorld's avatar
So as I said before, this demon is another great work of yours :D If he is your heroic/anti-heroic demon, what sort of personality would he have and how high a standing in Hell do you think he'd have? :)
dannycruz4's avatar
hes kind of a mid level savage type..
StarGamerWorld's avatar
Ah, interesting! So why would he be a hero or anti-hero then? Do you know what his motivation would be or such? :)
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