/art/ - Art & Creative

can anyone give me inking suggestions to get faster?

I've tried to use bigger brushes to avoid time consuming autistic accuracy and working zoomed out to avoid spoting little artifacts and correct them, but I'm still slow as shit.

In pic related I simply cleaned up the sketch, it's probably the fastest I've done but I don't like the outcome that much.

>>4814

Patience & practice

The only other way I can think of is to change your method: draw the final lineart on a new layer so you don't have to clean out the sketchy bits at all.

I use the same method as you though, and I've found that increasing the "contrast" (i.e. using a curves adjustment layer and turning it way down) of the lineart can help spot those little specks way easier, and that in turn makes the cleaning process faster.

Also drawing over the lines with a slightly thicker brush can cover a lot of junk and gaps at once, it's easier to erase that to your liking than trying to erase every little pixel. (for example I might use it on her cheek)

>avoid time consuming autistic accuracy

Why would you want to avoid accuracy?

>>4817

>draw the final lineart on a new layer

I already do that, probably should've mentioned I was reffering to that in "I've tried to use bigger brushes to avoid time consuming autistic accuracy and working zoomed out to avoid spoting little artifacts and correct them, but I'm still slow as shit".

>Why would you want to avoid accuracy?

Because it is time consuming.

Anyway, I guess I'l stick to what I already do and improve on getting faster.

/loomis/ is slow so asking it here as well.

Any tips at making good mouths, noses and ears?

I tried just shadowing the nose and mouth in the first two but they are kinda shit. Then I tried actually drawing it in, but it's even worse.

I want to learn how to make them realistic instead of just :^).

Also, how the fuck do I make a proper neck?

>>4950

Ohh man, this brings me back to my highschool days.

What I can share with you is that necks/heads protrude forward off the torso, more than most people realize. Detailed nose bridge lines curve around the socket into the brow; your nose lines are too straight in the 3rd picture, the eyes are too wide and close together. For the shape of the upper lip I establish a philtrum first (which firefox doesn't recognize as a word, lel) get a curved triangle underneath, between the two outer planes, then shape the upper lip based off that.

This might be going over your head right now, but in due time you will remember what I said and have an epiphany. Maybe.

Humans get way too much time in the spotlight, skeletons and geometric shapes are where it's at.

>I want to make it realistic

Then take up photography :^)

>>4951

>learn to draw

holy shit, we got a professor in the house.

>>4951

>>4958

>draw shapes

I kind of tried some time ago but I ended up just ignoring it for more complex parts. Is there any book on it or should I just try to find symbols in upside-down pics and draw them until I git gud?

>>4953

>skeletons

You mean literally learning about the bones or doing something like pic related?

If it's the pic then I already do it. If it's about actual skeleton then I was thinking about learning it once I got better, going like

drawing a lot of shit, getting better line control and whatnot -> skeleton -> muscles -> skin and the rest

but I don't know if it's a good idea, seeing as most of what I try to draw are faces.

Thanks for the tips btw.

>>4966

I'll read both, thanks.

>Atlas of Human Anatomy for the Artist

Too spooky

>>4981

So time for me to get into the middle of this.

The idea of drawing what you see and not what you think you see is great but you have it backwards. When you consider something a cylinder, you are giving an intellectual explanation of what it is. You are describing its form, this is great but you are not seeing form. You are seeing a series of 2D abstract shapes that are hitting your retina that your brain translates into what we would recognise as form.

Now I wouldn't put it past people "teaching" stuff online to also get this wrong because even though the practice of drawing what you see is very simple in theory, the practice of it is exceedingly difficult because it goes against out instinctive approach to drawing.

This approach to drawing/painting goes back to artists like Velazquez and sits at one end of the spectrum between line drawing and mass drawing also described as the constructive and visual approach (this being on the mass/visual side of things). Now I feel it important to stress that both these approaches should be studied because they feed into each other. Exclusively studying one approach will cripple you as an artist and make you miss out on half of what there is to learn and experience in drawing and painting.

(pic related, just an example of one of own hybrid drawings where I use both of these principals. I tend to use this drawing to explain some of these principals to new students.

The object (constructive) is considered by the use of a contour line but only in areas where the contour of the subject is visually apparent as a separation between two contrasting values. Also consider how there is no information in the shadows because it isn't visually apparent. Look at how the contour of the legs and feet at times disappear in shadow and is instead communicated by a shadow line. This is due to their lack of contrast with their environment and the strong contrast of light and shadow.)

>>4982

I see. as a brief aside are you the guy who made this post on /loomis/?

I get what you're talking about, I didn't even consider that using things like a cylinder is actually still using the more rigid method. When I look at things and try to break them down I tend to look at it more "mathematically" I guess would be the best way to describe it, like I try to overlay and cut through the form and break it down in my minds eye. Like, if I look at my hand I'm basically trying to wrap contour lines around it at the landmarks in my head, but at my skill level that's been probably not as helpful as either not doing that or doing that plus what you're describing.

I actually had an incredibly frustrating time painting because I was unable to use construction lines to break it down, in spite of the times I just painted the general form and wound up with at least a recognizable representation of what it was I trying to portray. Same with gesture at first, ignoring the fact that I had the order wrong I was trying to create an armature and then get all the limbs like that. It wasn't until I broke away from that and deliberately let things become more loose that I started to get a grasp of it.

How would you recommend someone get a grasp on this? I'm thinking starting off with something that doesn't let me get overly precise, like the charcoal pencil that's been sharpened with a blade, or the graphite crayons I have laying around.

Anyone recommend this tablet or should i just get the Huion H610 pro tablet?

>>5000

huion or a bigger wacom, don't let yourself be swayed by the box art, the most important thing when it comes to tablets it to get something big enough for your arm to move freely.

never use your wrists to draw, carpal tunnel m80

Pic related is what I have, the active area is slightly smaller than a A4 sheet.

Hi, I'd like to have some feedback on my work? I've only been trying complex colors for a few weeks now, so if you can tell me what's wrong in my current work? I'm not entitled to mechas of course, I just wanted to give it a try the last 2 weeks.

Thanks.

>>5039

It is true, but it's harder than it sounds.

Most of the people willing to pay for porn are looking for a boner and not art, so you better be prepared to draw disgusting shit that will deplete your dignity and shouldn't even arouse anyone to begin with.

>>5040

Many will tell you such a guide doesn't exists, and they're somewhat right, what they mean though, is that there is no definitive go-to book or course to teach you everything you need to know the way you need to, you have to scrap your knowledge from a variety of sources including your own experimentation and practice, so yeah, "just keep drawing bro" is valid advice, but, what people should preach instead should be "just keep drawing, once you know what to do".

My personal favorite sources to "know what to do" are Proko, ten minute drawing techniques, michael hampton's design and invention, vilppu's drawing manual, scott robertson's how to draw, ernest norling's perspective made easy and some of sycra's videos; these sources are the most simple yet complete instructives you're ever going to find, but there's still more to it, you have to be familiar with fundamental knowledge, otherwise many of these things will still be hard to get into.

pic related, it's the fundamentals of art, let me see if I can catch a screenshot of another post I made a long time ago going in detail about this.