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Joker

12oz Original
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Everything posted by Joker

  1. @EGGZ- you kept it simple, which is great. All your letters are readable, which is great. Color combo works fine... dark fill, light outline, bright outer. Nice job. The E and Z are both the same size (Z might be slightly larger) while both Gs are visibly smaller. Your EGG all nestle/snuggle up to each other nicely, but your Z is being treated like it's got a cold sore on its lip. Where's the love?! Move that a little to the left so it feels part of the other letters.
  2. Sitting in a hotel in downtown Detroit hoping sleep takes me sooner than later.
  3. Also, tips for buff paint - not sure where you're located (you used meters as a form of measurement so I assume you're not in the states) but the Home Depots and Lowes of the world always have mis-tints by the paint mixing counter. Mis-tints are usually paints that someone has asked for and either the color didn't work out or the mix was off from the intended color. Mis-tints typically sell for pretty cheap but nine times out of ten the color choices aren't as cool as you'd wish them to be. Also, you can buy a gallon of white and then mix in an 8oz of color for $4. Or you could buy a quart of color to mix with a half gallon of white you already have.
  4. @EGGZ With regards to single color combos - for the most part you can't go wrong with your choices. Even a bright red fill with a maroon red outline is going to look solid. Of course, the obvious direction would be to go with two colors that are as opposite from each other as possible: white & black, red & black, yellow & blue, green & red, et al. If you're planning to do a drop shadow I would use the same color as your outline for the drop shadow. Shines or highlights - it's always a good practice to go with white but there's also the argument to go with a brighter version of your fill-in color. For example, if your fill-in is school bus yellow you could do a light yellow highlight. If you add a forcefield or outer-outline I would go with something that is opposite of your fill. Let's say your fill-in is school bus yellow, which is a warm color, I would go with a light yellow for highlights, a true blue for outline and drop shadow, and a light blue outer-outline... or even an apple green, or brighter, which are both cool colors (as in temperature). With regards to color fade combos - if you ask me whom I think is the king of color fades I would say KEM is the out and out master at color combos for fade fill-ins. The guy kills it every single time. That said... I would take the advice others have already said. Keep your color combos simple for now - two, maybe three colors - and keep the colors similar. And by that I mean, like - orange to yellow to bright yellow - or dark green to bright green to light green - or red to pink - or teal blue to light turquoise. Keep your colors complimentary until you understand your colors. Kem knows colors, understands one color that shouldn't work with another indeed does work. He gets it because he's been doing it for years and has perfected it. As for your GG - I'd be curious to know/understand how you see them as GG. This conversation is something I've brought up to you in the sketch thread as well. Maybe if I see how you see them as a letter G I can better help you?
  5. @nachodik- That's solid, for sure. The letters are good, and the work you've done to interlock them and nestle one into the next is really nice, too. How the C connects to the R and the E to the P is a nice detail as well. I'd find a CMU wall to paint this one. The CMU bricks create a built-in guide to help you get those straight lines. Nicely done!
  6. Experimenting is the process of finding your own voice within this culture, so keep it up. That said, yes... simple-styles should be your focus to learn your letters well. Knowing their structure as a simple letter is key when it comes to distorting them, later. If your simple-style letters aren't recognizable then your wild-style letters are going to be even worse. If you look at the fidelity of the CREPE outlines above... those are at the perfect level for learning your letters. Learning how they nestle into each other, how they can connect, all that kind of stuff. Glad you're focused on learning can control at the moment. When you're ready come back to sketching and I'll try to help best I can.
  7. @EGGZ- Below is what I see. The top sketch is better but it's still a stretch to understand those are GG, mostly because the bar coming down overlaps the cross bar of the G making the letter a little unreadable. I get it, style is important, "camouflage" your letters so they're harder to read is the name of the game, but at the end of the day your letters have to be somewhat recognizable as their origin - an A should look somewhat like an A, a B should look somewhat like a B, and so on.
  8. I like this one. Probably because my favorite color is green, but let's look past that for a sec. I think my only call-out here is I might have done the bottom bar of the E like you did for the C. It would balance out the piece from left to right. But the colors, the shines, all the letters... very nice. Yeah, this is nice. I think the only thing I might do is bring the bar of the P down every so slightly, but that is a big might. This is pretty good. For extra credit you could make the bottom bar of the E connect to the curved bar of the P, but not necessary. No criticism on this one. Nicely done! Halftone fills win every time. I don't know why but I love 'em. Oddly enough, I never do them myself. Probably because it takes too much time and by the time I get to going into a piece with markers I'm already sick of looking at it. Yeah... I got issues. Anyway, this looks pretty good to me. The only thing I would do here is make the swooping bar of the E as big and chunky as the swooping loop of the A.
  9. You'll need to walk me through the GG on this one. The first one looks like a lowercase F to me, and the second one looks more like an E.
  10. I bought this jacket when it dropped (black and white version). I think I've worn it once. I wanted to support the artist but ultimately it's just not my style/thing so I never wear it. It's just been sitting in my closet for seven years. If anyone is interested in it hit me up in a DM. Size medium but fits like a large. Willing to trade. https://hypebeast.com/2015/12/nawer-x-turbokolor-co-birch-camo
  11. @EGGZ- Yeah, I would keep your pieces fairly simple until you start to get comfortable with the tools. Can control takes a lot of practice so be patient with yourself. Oddly enough, tagging often helps with can control when it comes to pieces. Especially big tags. You gain confidence in hitting longer lines, curved lines, etc. when you're tagging. Even if you're just practicing on a sheet of wood or something, it'll help. Learn what your caps can do by testing them out - doing lines up close, lines from 6" away, a quick line, how slow can you go before it causes drips, all that kind of stuff.
  12. That halftone fade is great. I absolutely love that. Great colors and the playful highlights add to that look/feel. I like the purple 3D as well. Two things stand out for me : 1. Your R and P - those swooping bars make me think of Cameron Diaz' hair "gel" moment in Something About Mary. Those bars are really sticking out/up. I see what you're trying to do, keep some similarities in all letters, but I think if you raise up the little bar at the left of each letter, even just a little bit, it'll make a difference. The fill is a little busy for my tastes but that's just a personal preference. I prefer simple fills on simple pieces (like your halftone fill above) as they just look so damn good. My only feedback on this piece mirrors what I noted above about the bars trying to reach the moon. There's a continuous style you're trying to achieve (or achieved), and for the most part it looks good, but those extensions on each letter are what grab my eye... not the letters themselves (which are pretty good BTW). 3D on this one is great. Nice job. And the background is pretty good, too. I have one note of feedback, though... can you guess what it is? The letters on this are pretty good, though. The C and Es are really nice. The fill, the colors, highlights, all look pretty good to me. I like how you tucked the last E into the open space underneath the P... perfect. Your connections from the C to the R and R to the P are simple but pretty good. Definitely a starting point, there. I don't mind the lowercase E in the middle but I might have chosen another color to better mix with the bright colors in your fill. Example,... look how bold that green is behind your piece. It compliments the piece really well. I might have used the green for the lowercase E and worked out another color set for the background. No complaints about the tops of your letters ;). This is coming along pretty nicely. The P looks a little short, and I would probably open up the E at the end just a little bit so it doesn't feel cramped compared to the C. Final note: One thing I noticed on the first three is that there's room to push the letters together a little more and close up some of that dead space between each letter. For all I know you could have done that on purpose, and that would be fine, but I think the pieces overall would feel stronger if you nestled each letter into each other a little more. Hope that helps.
  13. Full marks for taking a leap with this one. The letters are there but I can tell you put some big efforts into trying something different. While it may not be something you continue to explore - these kinds of exercises can lead to moments of discovery that inspire the next piece. Love it.
  14. Can you break down the two Gs in this for me? They look like two Fs. I think the weight of the bars on your Z could be a little heftier to better align with your other letters. Right now that lower bar looks malnourished compared to the others.
  15. @Schnitzel- thanks! It's a technique I learned from reading up on techniques industrial designers use for their marker drawings. It's not exactly how they do it but it's the way I've taught myself based on what they do. They start with very light colors and then go back in with either same color or the next shade up and build on top of the lighter color underneath, working their way from light to dark. There's some cool videos on Youtube that show process. I've also found that Chartpak AD markers are the most wet color markers out there. The ink stays wet longer. But if you use them you have to move fast. Because the ink stays wet longer the color will bleed further. You get used to it after a while by putting color just slightly inward of your outline knowing that the color will bleed just to the line. But I've found that the AD markers blend from one color to the next really well.
  16. Two notes of feedback on this: 1. The P feels like it's being pushed and falling to the right. It's the like E said "Nah, B... ". I would copy the R and just remove the leg. It's the same build as the P except for the leg but at least it sits upright. 2. The C feels slightly bigger than the rest of the letters. Other than those two notes this feels pretty good! Question for you... when you're doing your marker fades are you doing all the yellow then going in with orange? To get better fades I would color by letter. Marker ink stays wet for a very short amount of time. If you shorten the amount of time you're building your color fades then you have a better chance at applying wet ink to wet ink, which will give you a smoother fade. Darker colors to lighter colors is more difficult but with practice it's possible.
  17. Nice! So glad you painted this. I like what you've done with the tops of all your letters having a similar upward flare, but I think you could dial this in a little more by shifting the R to the left, a little closer to the E. If you look at the horizontal bars at the bottom of the E and R... they're both practically the same thing. I think if you shift the R to the left and run the bottom bar of the E into the R you'll have the same piece but it'll flow a little better. Good, simple letters? Check. Bits and highlights? Check. Broken concrete wall? Check. Classic simple-style Graffiti. Well done. Yeah, paint this. Same colors, same fill and 3D. Paint it. I think every writer with a couple of blackbooks to their name has little bits of paper taped to a page to extend the sketch. So funny, I love it.
  18. Joker

    bicicletas

    I've used Garmin in the past, they were okay. About three years ago I switched to the Stages Dash when it first came out. It was simple in design but covered all the bases for the feedback I wanted. I upgraded to their newest version of the Dash last year and have been really happy with it. A handful of team mates use them as well and are all glad they have it. Have a few friends that use the new Wahoo Elemnt Roam & Bolt and they love 'em. I think the general feedback I've been seeing (at least from folks I ride with) is that Garmin quality has been going downhill, and the new generation of computers have taken over with higher quality, better feedback options, and much more reliable connections. I will say that at the beginning of this year I added a Gamin Varia to my bike and it's been incredible. That feedback of knowing a car is approaching long before I hear it has been great. It's expensive for what it is but I have found it to be well worth that expense. Oh... and I've been doing some CX racing, lately. Muddy, sandy, and fun. Hard as hell, though. One more race for me this year and then I'm taking a nice break before picking up the training, again.
  19. I apologize... I had written a reply to this a while ago but apparently didn't hit submit. Sorry about that. Basically I said something to the effect of the orange simple-style piece looks great. I have no feedback other than you need to paint that. The pink outline piece on the other hand looks like it could use some tightening up. The swooping bars at left and right look forced, if that makes sense. When adding bars like that try to make them feel like they're a bar that has grown out of the letter and is sweeping away from it. Keep it tight to the letter, for now, and as you get better at them you can start to push the boundaries a little. I drew this letter S for you about a month ago to explain what I mean. Again... sorry I did not hit submit earlier. Also - the cross-bar of the T doesn't need to be so thick. If you made it the same weight as the top bar of the E you could essentially run the cross-bar of the T right into the top bar of the E. If you look at your piece now you can see that already happening... you just need to thin out the cross-bar of the T. Also, that descender leg of the E that kicks out to the right - how it goes back up to the vertical bar of the B, I would make that become the bar of the B. Then the bottom straight bar of the B you can extend that to the left and overlap the descender leg of the E.
  20. Well, yes... I'll agree with that it's an arrow overload. BUT - I don't mind them so much within the piece. Maybe clean up the ones that are acting as battle armor on the outside of your piece. Keep them consistent in size/shape and get rid of the kinks. Keep them straight. Something like below:
  21. @EGGZ Your letter E could be repurposed as Z on the end for continuity. You've used the letter G twice so using the same basic shape of the E for your letter Z makes sense. The top and bottom of the E can be reused, just sort out the bar that connects them to make the letter Z. Also, your cross-bar on your letter G is exactly the same as the bar above it, making it look and feel more like a letter C. Give that cross-bar slightly more emphasis to make it look more like the letter G.
  22. Yeah, visuals that speak to your questions would be helpful because I don't really understand what you're asking. However, I'll try to answer based on what I think you're asking. Sounds like. you know the difference between a Serif letter and a Sans Serif letter, so I'm not sure where the "kink" comes in. To me a kink would be the same as a sharp bend, so are you asking about bending the serif of a letter or are you asking what the difference between a bend and a serif is? You are "allowed" to do whatever you want so long as your letters hold their shape. When you start adding bars indiscriminately just to fill space you run the risk of taking it too far. As long as your R or your T look like an R and T, for the most part, add all the bars you want. My thought around adding extra bars to letters that are solely used to fill in "dead" space are sometimes a result of the letters not sitting next to each other in a better way. Some writers purposefully leave space between their letters and fill the space with bars but because that is a consideration when laying out their letters those added bars look purposeful, and not just filler. So short answer - yes, the bottom half of a B can be a flat, non-rounded bar as long as the letter itself still looks like a B.
  23. First, rack or buy a bottle of shoe polish, like this Kiwi bottle or something similar that has a removable or replaces soft pad applicator. Then buy a jug of Marsh Ink, like this one or black ink, or silver ink, or white ink. They have a few options. Remove the soft pad applicator on the Kiwi bottle, empty out the shoe polish, clean out the bottle with water, let dry. Once dry, shake the Marsh Ink jug for a good while to evenly mix the ink. Pour the mixed ink into the Kiwi bottle, put the soft pad applicator back on, and you're done. The Marsh Ink jug will get you 8 full mops... for $20. Compare that to one $17 Krink mop and you've saved yourself quite a bit of cash. Or better yet, buy empty bottles like these, create a cool logo, print it to a label and apply it to the bottle, fill the bottle with Marsh Ink, sell the bottle for $10. Buy a boat with the wads of cash you'll make, live your life.
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