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DamaiMikaz — Bypassing security
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#glow #gun #hallway #powers #red #sato #scene #story #emion #glowingeyes #military #storytelling #weapon #emionthelastlight
Published: 2019-08-02 18:58:45 +0000 UTC; Views: 13788; Favourites: 807; Downloads: 28
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Description
Sato had always hated places like that, with walls lined with aura-blocking material. It made it hard to see through with his powers, so he had to be constantly alert. He tried to suppress his aura as much as possible to prevent them from noticing, and walked as calmly and silently as possible, while continually scanning his environment with his powers. He had no idea where they held the girl. The place was a maze, and the metheon in the walls prevented him from being able to map it out with his powers. The first few corners were easily. He noticed his opponents before they noticed him and took them out without a sound, but after that it became harder. Elwood didn't just put some random people there to keep Neorasa out. He hand picked those espers. Elite troops, formally trained and armed with aura-blocking weapons. Sato had to be careful. There was no way he could stop a metheon bullet, so he had to take out them before they even had the chance of pulling their weaponsContrary to what most people assume, Sato mostly takes the stealth approach in missions.
The boy isn't physically strong, and his mind-bending and energy reading skills make him more apt for a silent takedown than epic fights.
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Sato from my Emion project.
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Comments: 50
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Sato better watches out for that red barrel behind him. If it gets shot, it'll explode and take him the wall behind them. Neither will likely survive that, given the cracks.
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This piece has good lighting, there's a real sense of depth here. It's nice watching you experiment with your style. You're improving a lot this year!
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That's so nice to hear. I felt like I was really slow this year ^^
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I'm just going to address the technical side of this drawing so bear with me.
First of all, the perspective looks great here. I love it. I like how you don't fall into the trap of drawing a room's corner. You're better at drawing backgrounds than you may think.
The objects in the background feel a bit too much like they're still in "bounding box" form. It's very clear that the barrel is a cylinder and that the boxes are cubes. The one corner being cut off from one of the boxes helps but I think you can play around with the silhouettes of things a little more. Especially that barrel. If it has rings that protrude outwards, they should change the barrel's silhouette. You're also well aware that reference images should be used when drawing something new or foreign to you. You should've used reference images for the wooden pallet. If you did a Google image search for "wooden pallet" now, you'd probably feel a little embarrassed.
I really like the lighting. The sources are very clear. You clearly have good understanding of how light works.
Those white rims on the characters seem like a strange stylistic choice, though. It's like you're afraid the viewer won't notice the characters over the dark background. It's okay for characters to slightly blend in with the background. Even more so when it's a nameless, faceless characters like that guard. You could've gotten away with it on Sato if you hadn't drawn that white outline on the right side of his silhouette. I trust you to know well enough how to really draw rim lighting effects so these white outlines really just end up looking like a choice that comes from insecurity. Always be sure of yourself when making art.
The composition of the piece is great. I don't know if you're aware of what you did here, but it feels like you are. Everything points towards Sato. He's located exactly on the line between the left and central third of the image, the lights are all pointing at him, he is in extreme contrast with his background, the perspective vanishing point is on his torso, the cracks on the wall all point towards him. This is a very VERY good composition.
I hope I'm not coming off as too critical. It's true that I haven't put in nearly as many hours as you have into polishing my own craft and can barely compare, but I think I can at least give good advice. I know that you're an artist looking to constantly grow and improve despite being a hobbyist, so I feel like you can benefit from comments like mine, that aren't just stroking your ego.
Have fun. Keep being awesome.
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Nope. You're not too critical or anything. Most of the stuff you bring up is quite valid, and a lot of things about it have passed my mind as I was working on this picture.
I usually go through a couple of sketches, moving characters and objects around, and putting in some values, before coming to the final composition that works best imo.
One of the earlier ones did without the items in the background, but felt too empty and boring to me. That's why I decided to add the clutter. In a way also as a sense of visual storytelling. I wanted the thing to give off somewhat of an industrial vibe, a place that's usually just worked in and not used to be clean and for the viewing eye of visitors and whatnot. The story that the snippet is based on (the longer version) also conveys that, but this is just a short snippet so a lot is cut out. As for the amount of detail vs stylization. That's always something I struggle with. On the one hand my drawings are quite stylized. The faces, the clothing, etc. I wanted the objects to fit in. It always irks me when people draw really stylized characters over a very realistic background and they stand out like a sore thumb. Really a pet peeve of mine. Also, adding too much detail to objects would draw the attention away from the characters. You see in a lot of paintings (also concept art) that the backgrounds are always rather simple and lack detail to draw the viewer's eye to the place that the artists wants the attention too, adding the detail there.
As for lighting. I admit that I get my lighting inspiration mostly from movies and cinema. Not realistic in the slightest (I don't know if you've ever looked up the average lighting plan for a movie scene, it's insane!) but it does help to convey dramatic moods and details that would've otherwise been lost or overlooked in realistic lighting. The rim light is such a stylistic choice. Not realistic, I know. I tried without but imo it didn't bring the right focus on the man in the foreground as him and his menacing weapon got kinda lost in the dark wall next to him.
As for composition. I'm still learning. I've been reading a lot on cinema lately and how to lead the viewer's eye through a certain scene. I hope it'll be paying off
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It's funny that you'd bring up cinematic lighting. I happen to be a student animator.
This includes practicing work with video and stop motion so I had to set up some of those lighting plans on my own a few times. I usually stick to the basic three point lighting method, though.
I also have to practice lighting plans constantly for 3D animation.
Anyway, I really think you could've done rim lights better. A rim light wouldn't create a white outline for the character from both sides unless the character is standing right between the light source and the camera.
I get that you want the background to be stylized and simplified but right now it looks like low-poly models with textures on them. There is another step between this and complete photo-realism. You can also emulate depth-of-field and blur out a few bits.
Like I said before - the composition is perfect. It's a little by-the-book, but there really isn't anything wrong with that.
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Well, guess the difference is that I don't have any study or professional take on it. I mostly learn from watching movies and reading blogs and stuff.
I figure it helps a lot when you're actually have someone from the industry helping you catch on to it.
Then again, courses are expensive and I really don't see the value for me personally, as I'm not intending to turn this hobby of mine into a job (and I don't have massive extra money to spend or anything)
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Heh... Courses can be useful, but the academy mostly relies on independent study.
Sure, they teach a few basics in every course but they leave most of the technical stuff up to the students to figure out.
They want to focus on teaching artistic thinking. Deal with content rather than technique.
I wouldn't suggest anyone without the intention of working full time as an artist to join the academy and I wouldn't suggest anyone with good enough self-learning capabilities to invest their time and money in technical courses. There's so much information available for free right now that it's ridiculous.
What really is worth money in terms of learning and teaching is critique. Getting a professional's opinion on your work and their suggestions is the best thing you can get when it comes to improving in the field of art.
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Yeah. I think critiques and contacts with professionals is the best thing art schools have to offer. Both of those are hard to get by when you're not in there. Up to a certain level it's easy to get feedback and there are a lot of internet groups you can go to, but once you're past a certain level you're pretty much on your own
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The description is a snippet from the story. There's more underneath other art pieces if you're interested
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Yeah I kinda imagined Sato was more on the stealth side 
The composition of the drawing is so well done that it makes me tense just thinking that the elite dude could turn around any minute
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Nice! Like the color of the powers vs the color of the gun
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Yeah. I wanted to make somewhat of a contrast
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It's because Sato can't fight for shit XD
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sato is like a vengeful litte ghost that haunts you to death
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Only if you hurt his friends ^^
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If bad guys were like the ones from MGS1 he just needs to hide in a box and everything will be ok. If the bad guys are like the ones from MGS4 then... it will be a pain in the butt.
Awesome work as always!
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"Security Stinks!" xD
Good digital painting! (And thank you for adding one of my past deviations in your list of favorites). 
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