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Making of The Tale of Nahil and Remor by Ranarh Making of The Tale of Nahil and Remor by Ranarh
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So, after some time a longer tutorial again. I find it always difficult to explain the intricate ways of making a piece of art work. I think the most important part I can say is: Don't start before you're convinced, and love your work. I can firmly state that whenever I loved my paintings myself, others did too, but never the other way around.

Read a little more accumulated artistic wisdom in my art blog ranarh.blogspot.com.
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:icongrillzmt:
grillzmt Featured By Owner Jan 19, 2015  Hobbyist General Artist
dope!!!
thanks@
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:iconranarh:
Ranarh Featured By Owner Jan 19, 2015  Professional Digital Artist
Welcome!
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:iconthereallinebyline:
thereallinebyline Featured By Owner Nov 22, 2014  Hobbyist Artist
Nice. The tips about knowing when to stop and not starting until you're convinced are more than worth the price of admission. Those have given me a lot of trouble.
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:iconranarh:
Ranarh Featured By Owner Nov 25, 2014  Professional Digital Artist
Me too. The trouble is that the process of painting itself is fun, and that often made it hard to stop in time when I was starting to paint nonsense. The solution for me was to have several paintings lying around that I could finsih when I felt like painting.
I would also like to add that there is no need to pressure oneself into only ever painting when being sure about what to paint. Doing studies, sketches, and speedpaintings is very valuable.
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:iconthereallinebyline:
thereallinebyline Featured By Owner Nov 26, 2014  Hobbyist Artist
Good points.

My problem tends not to be less adding nonsense and more spotting flaws and mistakes and things that I know I could "fix" if I just worked on it a little more. Or else I'll start drawing without any idea of what I want to do, get poor results, and get sick of it.

But yeah, waiting until you're perfectly sure is a good way to make sure you never start at all. Better to get a good feel for what's enough, both in terms of planning and actual work on the piece. To much or too little can really hurt you. (Which is more or less what you already said. :) )
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:iconranarh:
Ranarh Featured By Owner Dec 1, 2014  Professional Digital Artist
I'm glad to see you understand it, though. ;)
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:iconthereallinebyline:
thereallinebyline Featured By Owner Dec 1, 2014  Hobbyist Artist
I don't know if I'd go that far. ;)
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:iconmiss-hena:
miss-hena Featured By Owner Nov 20, 2014
Sehr schön detailliert beschrieben! Eine Frage: Kannst du ein Beispiel nennen, wo der Horizont der Perspektive nicht identisch ist mit dem Horizont der Landschaft? Mir fällt da nichts zu ein!
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:iconranarh:
Ranarh Featured By Owner Nov 20, 2014  Professional Digital Artist
Aber klar doch. Zum einen sind das förmlich alle Innenansichten - man sieht immer wieder, dass die hintere Tavernenwand auf dem Horizont liegt.
Draussen geschieht das immer dann wenn der Betrachter auf einem Punkt steht der höher oder niedriger ist als die Umgebung. Liegt der Blickpunkt oben auf dem Hügel ist der Landschaftshorizont unter dem perspektivischen. Guckst Du besagten Hügel hinauf liegt er darunter (Hügelkuppe = Landschaftshorizont, perspektischer Horizont = da wo Du hingucken würdest wenn Du den Kopf nicht nach oben richtetest).
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:iconmiss-hena:
miss-hena Featured By Owner Nov 21, 2014
Hmm, ich habe es immer so verstanden, dass bei Wänden, Hügeln, Bergen usw. der Landschaftshorizont trotzdem derselbe bleibt, nur halt hinter dem besagten Objekt. Also dass die Spitze des Berges oder das Ende der Wand nicht der wirkliche Horizont ist, sondern man durch den Berg/die Wand "hindurch" gucken muss, um den richtigen Horizont zu haben. Knifflig, da muss ich nochmal länger drüber nachdenken!
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