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.traveller.  .traveller. is offline
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That is really good input! Thank you . I was wondering if using a darker value for the hilt and giving it a presence under the water would be productive. The 'blade' of the sword, as composed of the reflected light upon the water, exists in the conceptual world. The pommel exists in the material or rational world and therefore is composed of three dimensions. The hilt is the transition point between those two points and cannot be grasped by a human hand, yet.

I am too used to working from models and props, catches me up everytime when I draw from my head.

"It's pretty cut-throat anywhere near the printing industry..."
This reminded me of a young man in my classes. Very talented, very sweet, we got along well. Funny thing, as we approached graduation, I noticed him eyeing me up several times with a critical, speculative look that just yelled "competition". It's like he suddenly realised that he'd been making friends with the enemy, so to speak. It made me laugh since he is strictly a producer of art and I am primarily a preserver of art, so in my mind there wasn't a conflict. It was kind of flattering to be seen as competition when I am nowhere near his caliber.
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I can't wait to see the finished card - it's an amazing metaphor...

I used to teach design so I can't help suggesting one more thing...
I say leave the hilt alone. It makes that transition fine. The value can remain dark on the hilt and still carry that message. The dark value on the pommel is not the only way to convey weight/matter. Is that, perhaps, what you were trying to do then?

You might, instead, just make it a solid looking metal with the hot spot facing the light source as I mentioned. (Maybe a glare?) So you contrast the pommel, by making it a chrome-like metal with sharp black/white contrasts and crisp edges, for example, then it will give it the weight/matter appearance you are looking for..... is that an idea?

Your classmate may have envied you that creativity and imagination that is pretty clear with the images you have presented here! Just a thought....
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I was always being told in school "Great concept. Now work on your TECHNIQUE!"

I'm off to stare at my drawing again. I completely missed the fact that my reflection was off

I'm really glad that I went ahead and posted pictures. The feedback has been invaluable.
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I just have to stop looking at other people's artwork ... I go into instant crisis of confidence when I see brilliant work like your's .travellor.

I think that I'll just go hide in the corner now. No I am not fishing for compliments , I am just so very, very overwhelmed by your extraordinary talent.

My one and only attempt with lino (in 1967) left me with a multitude of stitches in one hand. I understand your loathing of it completely.

mythos
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Quote:
Originally Posted by mythos
I just have to stop looking at other people's artwork ... I go into instant crisis of confidence when I see brilliant work like your's .travellor.

I think that I'll just go hide in the corner now. No I am not fishing for compliments , I am just so very, very overwhelmed by your extraordinary talent.

My one and only attempt with lino (in 1967) left me with a multitude of stitches in one hand. I understand your loathing of it completely.

mythos
Oh, you're just being silly
Thank you for the compliments though! They gave me a warm fuzzy glow

Here is the Ace with the pommel fixed. I think I am happy now, even though my pattern of lights and darks need to be readjusted. Time to move on to the next card!
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Love it!!
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Quote:
Originally Posted by mythos
I just have to stop looking at other people's artwork ... I go into instant crisis of confidence when I see brilliant work like your's .travellor.

I think that I'll just go hide in the corner now. No I am not fishing for compliments , I am just so very, very overwhelmed by your extraordinary talent.

My one and only attempt with lino (in 1967) left me with a multitude of stitches in one hand. I understand your loathing of it completely.

mythos
I can see what you mean, M...

& vis-a-vis lino, I am ATTEMPTING that for the ACT (not MY "act", harhar, the Aeclectic one) & I've cut myself & bled on myself 1x so far!!! Never again, at least I don't think so!!
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Quote:
Originally Posted by .traveller.
Oh, you're just being silly
Thank you for the compliments though! They gave me a warm fuzzy glow
Am not being silly! I am never silly. Well, actually I am silly lots of the time but I always preface or suffix it with 'silly attack' ... so, what I said I meant. You have reason to glow. Your work is excellent and inspirational.

mythos
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.traveller.  .traveller. is offline
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Lino is a tool of the Devil. Maybe my Devil card will have little artists being "forced" to create with it... just kidding, I think.

Speaking of cards, I am working on the 2 of swords and I am inclined to have the figure's arms over the head, with either the wrists crossing or the blades crossing. In many of the depictions, the blades or the arms are crossed over the heart. How important is the cross-your-heart aspect? What would the pros and cons of crossing the blades instead of the wrists?
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I had never thought of it as 'cross-your-heart' - cool new meaning. I think of her as being in a stalemate situation, trying to balance two heavy swords (thoughts), unable to make a decision - being weighed down and so very stuck and divided - damned if you do, damned if you don't! This meaning would have pain added to it with it in your interpretation. Can't see a problem with that. It is your interpretation which matters, after all.

For centuries - with the single exception of the Sola Busca - minor cards weren't fully illustrated. Usually the number of swords and maybe some floral stuff. So ... you get to choose, to interpret ... to create a deck that holds a combination of traditional meaning and your interpretation. Go for it sez I!

mythos
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