Where Does the Time Go? edition
Old Thread: >>4083
Just sketching away as usual.
I'm going down to part-time at work (about 30 hours vs 45) so working 10 hours a day for three days I'll have 4 days straight of drawing to look forward to each week (for as long as my savings holds out). I hope to make good use of that time because I feel like I should be better by now. I've certainly improved over when I first started but I'm still lacking in many, many key areas.
>/loomis/ is finally in the top 50
Been here since the start lads, feels good.
Currently making some old piece I done digital.
anyone got anything for proportions, i'm working on something and kind of stuck on the arms. i got us to the elbows but im not sure if its too short. no image because im on a phone
Careful with Midna's helmet; looks like it's creating a little line tangent with the front of her face.
Also, I think proportionally her head should be slightly bigger. I don't think it's too far off from her canon proportions but it might be something to look closely at. Keep it up
When the arms are at rest, the wrists end and the hands begin at just below the "gooch", the base of the pelvis, if that helps
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Here is a painting I'm working on. Still have a lot to do and to fix on this one but thought I'd share it for now.
If you guys want to see how it looked when I started, you can see the video. https://vid.me/bUNMd
Looks fantastic as usual Atelier-anon; I'm looking forward to you becoming the next Ruan Jia.
Part of me feels that, if nothing else, the maxilla might be just a little tall.
I think the armor design is really fantastic. Do you make any thumbnail sketches or turnarounds for a character-oriented painting like this while you're coming up with designs or do you just find some reference/inspiration somewhere and run with it, going right into the sketch and painting itself?
Looking good dude, actually had to do a double take when I saw the thumbnail because I thought you were this guy.
Yeah for a while I've thought the mouth was the major problem with the image. Even though it's a very idealised face, there's just something wrong with it that I need to fix.
I don't really do a lot of preliminary work. For most of my paintings I start them as thumbnails and just keep working on them. Then whenever I run into a problem I can find some reference (haven't yet used any reference on this one but I will a bit later when I correct the eyes and stuff).
I have this thing I do with my friends and that is to finish our paintings by never making the picture any larger than the size of our hand when we hold it up to the monitor. Then when it looks like a solid painting we can zoom in and do that last bit of work on it. I didn't really do that with this one (although I did it a bit if you look at the video) because most of this image is about form subtle stuff but otherwise I do it.
The armor design on this one has changed a lot. I'll keep changing it because I'm not too happy with the armor around the breasts. I way I work is all about correcting the image so it's not really a linear process from drawing to painting. Because I work so much in a simplified stage, I can just keep making changes until I find the thing I like. If I was working in oil I would do a lot of preliminary work because in that medium, size matters and I can't make quick changes on a large canvas. In digital, I can treat a huge image (this one is like 10k tall) as if it was a small thumbnail sketch.
Lol thanks. Wei Feng is an artists I've followed for several years. He does cool stuff. There are 3 major Chinese artists that I normally pay attention to and that is Ruan Jia, Wei Feng and Yang Qi.
Thanks for the vid, it's always interesting to see how other artists do it.
I don't know if it's the foreshortening or if my eyes aren't aligned with the holes but her left arm looks a bit small to me.
Oh yeah it's all kinds of weird. The plan is to change it's position, it's sort of awkwardly shooting out of her shoulder. It's mostly just something from an earlier stage that I haven't changed yet. The plan is to re-paint it and make it go into the background. I have a habit of just leaving stuff around and I fix it later than I should. Like her torso is also kinda weird that I need to fix. So you're right, it looks weird ^^
>my pic made it to the OP
right now I'm trying to memorize bridgeman by drawing the same parts 18 times and then do those out of memory once in a while/inbetween.
trying to replicate forms in general too
Sounds like a handy exercise
hon hon hon
I'm trying to paint this pencil sketch but the skin color looks just flat and weird.
I find painting and color and all that shit incredibly difficult and esoteric so sorry man I won't be much help here. IMHO you should find a piece by an artist you like and color pick the shit out of it as a point of reference for your own work.
Agreed. I'll have to do some reaserch then.
Here's another try. I just wanted to keep it simple and effective (I'm a bit lazy that is).
Pretty good gesture in either case. Keep it up famula.
Don't wanna give false advice, so someone who's actually good tell me if those ribcages aren't a bit too long?
Nah, you're right. I think the lowest rib should be more close to the pelvis in the squashed side.
Sonic's Toei model is pretty great.
I've been experimenting with style. Which should i go for?
Should probably give yourself more room with those faces. It can't help you all that much to have them so small, limiting your ability to capture their likeness. Also if you're not you should definitely consider using wood pencils as well, it lets you change your stroke up a bit more.
That is way past cool my man.
Girl on the right looks less uh…pugnacious? Than the one on the right. I guess it depends on what you're going for.
Fix your noses dude
Every time I think about practicing drawing I experience some kind of panic reaction and completely wig out like I've got spiders crawling on me. I know it's failure-based anxiety over something I know I do badly at and will fail, but I just can't overcome it. Does anyone have any suggestions for dealing with this? I'm seriously considering just drinking as part of preparation for sketching.
>I'm seriously considering just drinking as part of preparation for sketching.
Getting a good buzz going might unironically keep you from feeling morose about your shit results. However, it would also make it harder to concentrate. It couldn't hurt to try!
Hope someone can help,pics related, I have a good grasp (at least i think) of drawing boxes in perspective, but after this I get stuck, for example when i draw a box in perspective, im not sure how to visualize a head within it if that makes sense, i'm not sure where to go from here or what the process should be. any help would be appreciated, many thanks.
I'm a fan of the Loomis method because there's no boxes involved-though you can fit it in a box after the fact. The "draw a sphere and add a line for the center of the face" works very well.
Okay duder. This is a post to everyone on this board, not just you but I want to address how people view anatomy. I've told a lot of people to learn the names of the muscles and their origins and insertions. One of the reasons for this is to know where the muscle actually goes and what happens beneath the skin. If your view is just that these are forms on the body, you only get a shallow idea of the anatomy.
Your pectoralis major for example, is represented as a form on the upper torso. If we were to understand the pectoralis major more deeply, we will note that it has 3 origins, one on the clavicle, one on the sternum (both the manubrium and the gladiolus, although with a common striation between the two) and on the aponeurosis of the external oblique. It inserts on the humerus in a very specific way where it fold over itself. By knowing this, we can take a more critical look at our drawings and model and design a drawing to feature the anatomy of the future.
In art, we have to make design choices, when making line drawings, we choose to exclude a lot of information about value and form, even in painting we have to exclude a lot of information because it's just not possible to capture everything, so knowing relevant information can make it so you can make designs that serve your intent better. if you want to show anatomy, knowing what bumps, depressions and overlaps are important will help a lot.
So This is why I suggest actually studying this stuff in-depth.
Also, I suggest working further on your anatomy studies. Often, an anatomical drawing looks bad because we're focusing on showing something technical, not visual. Just like how proper construction drawings look bad because we're focusing on something that isn't visual. So something I suggest is first, find ways to draw the anatomy (and constructive stuff) in a more visual way, but also, test yourself and push the image further. If you have drawn all of the anatomy properly. Add a light/shadow shape and see if it holds up. When doing this, you also get a chance to explore more of the volume of the anatomy and how it holds up when it becomes a visual drawing and not just a technical one. It takes much less time and effort than to do the technical drawing you just did, so there's not much of a reason not to.
I made this quick example to show what I meant based on your drawing. If you guys search Paul Richer Artistic Anatomy you'll find a great book on the subject and there is a PDF out there with the anatomical drawings in it (although it lacks like 3/4 of the actual book, it only has the anatomical pictures, not the later drawings showing how muscles move and streach, all text has been removed so that is why I suggest getting the physical book).
Thanks. It is impressive how you can draw what can't necessarily be seen-or seen easily-and still have it look wholly appropriate. The major striations of the pectoralis, how its twisting 'fan' shape inserts onto the humerus and creates the interclavicular fossa between the deltoids, the serratus and external obliques etc. Admittedly I don't know the muscular anatomy from the hips down to the knees pretty much at all except the vastuseses (vasti) and (e)rectus femoris which is frankly pathetic at this point.
I can see I'm going to have to step my shit up with you around, thanks for calling my lazy ass out. I'll look into Richer for sure but I guess until I do you'll have to forgive me; if I were to blame the resources I'm using alone I know I'd just be passing the buck. The biggest problem, I feel, is that I've just generally been lazy about applying things I've read or seen in general. At the same time a recommendation from whomst is easily the best current artist on the board couldn't hurt of course.
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Strong thumbnails. Though I do wonder with the image on the left, if the background is intended to be the focal point (not sure if intended, just based on these preliminary values) perhaps making it more open by pushing those pillars further to the right wouldn't be a bad idea.
Got a scanner, can finally start putting my stuff out there. Lemme have it.
Not really my sort of thing but it's kind of a cool aesthetic I guess.
The body just kinda looks like it's pasted on there, though. Also mind that line tangent where the foot on the right meets the edge of the stone tile.
Thank you for the feedback, boss. He's supposed to be floating over the cube things, rather than actually touching them, but what do you mean by the line tangent?
There are many kinds of tangents but generally it's when two lines kind of intersect with one another or even just come uncomfortably close. While this tangent is mostly innocuous you should generally strive to avoid them.
Oh shit, I didn't even notice that, thanks man.
Do you guys prefer to draw on paper or digital?
I like digital, I'd only paint on canvas if I really wanted an original, which would be pretty cool in all honesty.
looking good, keep studyin' fam
im reading a micheal hampton book
what's all this shite about c and s curves? I get it when gesture drawing the torso but on muscles and stuff i dunno why he'd be going on about them so much like this.
Halp, I tried to draw the figure to the left, but styled in a way to suit "Putsch-Chan" (middle), a character found on the Kraut/pol/ currently on 4chan/pol/.
The right picture is the result I got, it's not terrible (I hope at least), but I want to have a nice contribution for the meme war going on in Germany.
Also, is there any easy way to digitize stuff without having a draw-pad (maybe just a scanner?)
Photography. Be wary of lens distortion.
Do you have any literature I should consult to help myself systematically. I mean, it wasn't a complete failure, but randomly drawing things doesn't probably progress me very quickly…
Do the bargue drawing course. It's somewhere on the /loomis/ mega. If you stick with it long enough you'll be able to copy every drawing. Learning to see is the basis for analysis that you need for drawing from imagination.
Thanks, based drawfag :^), will look at it, am an absolute newfag, so any advice is much-appreciated.
Does it actually teach anything?
From a quick read it seemed to be just history and history followed by "draw these pics".
Not complaining btw, since the pics are good enough and have a simplified model at the side so you can see if you fucked up much.
I don't think it teaches anything itself iirc as I believe it was more of a handout kind of thing that a teacher would use in person alongside a student. I think it does a pretty good job of being self-explanatory, however you would probably need an instructor to help you use whatever media you're using effectively enough to copy the images accurately.
I've heard the value of Bargue is that it gives something objective and concrete for an Instructor to compare your drawing with to offer correction. Does it still have any value to the self studier?
Oh shit there's a loomis board? And it had GOOD artists on it? I really gotta dig around 8ch more. Also
>That fucking water mark
You niggas are making me want to start drawing again.
Okay so I did the Bargue Course at one of the few places left that still takes them seriously. I spent months and months doing them and I'm fairly familiar with their history as well as other similar courses made during the same time. Not jerking myself off, just thought I'd provide a little background.
Basically they're really good drawings with a lot of very solid qualities to be teased out from them. That being said, it's difficult to actually do that yourself. They can be very deceptive and some things like their straight lines or their very delicate use of flat 2D shapes in the rendering is often missed by people if not told to them (often repeatedly). There are other things to be learned through them like keying a drawing in steps, blocking in, light shape and so on that you don't really get without an instructor.
Also, not to put anyone down but getting to that point where you really hammer in the level of accuracy they're supposed to have is really difficult to do. Bargue Fatigue is something A LOT of students experience where you can tell that it really drains them because they're at that point where their eyes can barely see what to correct so a lot of the time people get depressed not being able to see the flaw. That is something not easy to force yourself to do, at least at first and having someone that can every day point to the flaws in the drawing really helps push you beyond your own perception where your ability to see accurately needs to catch up.
I love the Bargue Course. Having finished it I can really appreciate it and every now and then I'm tempted to try it again just to test how accurate I actually think I am (maybe I'll do it and post it here). That being said, it's difficult to recommend for someone self teaching. I'm sure you can get some value out of it but I haven't yet seen anyone do them outside of an academy or atelier that is actually touching on the qualities they were made to illustrate. What I tend to see online is just people treating them like any other photo study.
>go ninja go ninja go!
Draw nig-ga draw nig-ga draw!
When I tried it I could recreate the contours fairly accurately but when it came to values and rendering I simply didn't know what to do to progress-it probably would have been nice to have a teacher to bully me at the time. Now that I've spent some time in an atelier I feel like maybe I could push myself to complete a few plates but idk.
Looking good. Face looks a little narrow-note the sloping angle of the cheek on the right side.
Anybody want to have a go at drawing /nothingness/'s board-tan?
It's a new board and they've come up with a unique tan. It's a sentient black mist.
fugg meant to post this in the 8chan art thread
No; that thread was a mistake.
I'll help you if you want to try, though
>I'll help you if you want to try,
I can't draw. I picked it up literally two days ago. I'm still learning how to draw basic geometric shapes.
YouTube embed. Click thumbnail to play.
You can do it fam!
>it's already been sexualized
I fucking love anons.
Thanks for the in-depth assessment of the course's practicality for self-teaching!
Would pic related be a good method of tackling the issue.
Or should I just copy things and then slowly start to try and draw from imagination.
I guess the "systematic" way is the more efficient one if you want to get the fundamentals down without having to slowly explore them yourself…
I guess if one had natural talent drawing "without a plan" would be faster, but I'm not going to count on that in me.
It really depends on what kind of an artists you want to be.
To tackle the issue I brought up with the Bagrue course and self teaching, no that doesn't really solve the problem. The problem with the barge course is that you can't read your way to the solution, you need help with it and there's no
easy way to get it outside of spending a lot of money to attend a good academy or atelier. It sucks, maybe there are ways to compensate for that but I don't have an answer for it :C
I'm very skeptical of a lot of online "mentors" and people producing demos and online courses. The only online course I've actually found to be good is Scott Eaton's introduction to anatomy course, all others felt like they were appealing to a broader audience, showing off flashy gimmicks rather than really teaching something solid, so I wouldn't advice that as a substitute to hands-on teaching from someone trained in a classical/academic tradition.
My general rule when it comes to books is that if it's not 100 years old, there's probably a better book out there on the same subject. I don't mean to say those books are bad. I think I own all except for 2 of them. It's just I found them to be light compared to other books like a Harold Speed so I thought of them more as complimentary to my education rather than a primary source.
I don't think "copying" works very well. Just an example out of many. There was a student at the "academy" where I studied that could make some very good charcoal drawings when given enough time however when she picked up a paintbrush and started on the cast painting program, it all went to hell, and it was all because she copied her subjects and didn't work on them from the principals we were taught earlier. So she didn't really understand how all these principals worked and switching from a needle sharp piece of charcoal that allows you to fiddle and "build up" your image to a brush with sticky wet stuff on it that was difficult to control, it all went to hell.
I took a few years break from drawing out of my imagination to really just focus on observational drawing/painting and when I came back I was actually a lot better at it. I think you can develop your abilities very far from just observational drawing and then these things that someone like Bammes teaches become much easier to absorb and do.
I don't really know how to go about advising people how to learn and self teach because it's a very difficult thing and all "answers" I see people provide tend to be lacking. I've thought a lot about this and I really don't have good answers. I can maybe point people in the right direction but I wish I knew of a better way.
Now to end on a positive note. There is still hope for self teaching. One of my favourite artists Adolf Menzel was mostly self-taught. Use your head, no one person has all the answers and there's really no "one true way". Should also mention that I can be wrong about everything so sprinkle in a few grains of salt and think for yourself.
No, that pic reads like a bad joke as told by a 15 year old imho. That image makes me wince whenever I see it. That's not to say that you won't get better by studying through books, that's a given, but the image itself is just silly, especially when it starts with two perspective books and no observational drawing ones.
>especially when it starts with two perspective books and no observational drawing ones
Cannot agree more.
Thanks! I bit off more today, mostly fixing proportions and such but I think I learned a decent bit. Probably moving on to the next one because id probably hurt myself if i did this any longer.
I'd be interested in seeing this drawn
Too many board-tans are generic cutesy girls
I thought that was the point. Are you telling me tans should actually be original?
A lot of early board-tans weren't women, like /m/-tan and /v/-tan. Cute girls became the default some time ago.
Nothing wrong with a little originality, y'know?
/v/, /tg/, /m/, /vg/, /vp/ had a male and female from the start because Pokemon intro, Anonymous itself was represented by a featureless green male in a suit, and if you wanna go all the way back 2ch's equivalent of Anonymous was a Sin Sack, literally some random naked guy with a bag over his head.
I think Half/a/'s tan was at one point implied to be a male crossdressing.
First of all: THANK YOU VERY MUCH :D
that was an awesome answer, looks like I'll keep Bargue for later…
After searching around a bit I still am not sure where in god's name I am to start on this, but I heard that "The Practice and Science of Drawing" (also, it is ~100years old, so it has probably proven itself) by Harold Speed is a book that you can get years of use out of.
I went for a mega.nz archive I found here on 8ch
and downloaded most of the "Books and Articles" section. When I do get use out of any of the newer publishes, I 'll just donate to the author or simply buy the book irl…
I think how I'll tackle this is to make an exhaustive list of the fundamentals of drawing and take on exercises for one of the areas each drawing session, as it is probably better to have on specific target of technique-improvement at a time, similar to working out your body, I guess…?
Wish me luck, and if you have anything to add, or some additional ideas, feel free to leave them here, I very much appreciate the helpfulness of anon(s) who replied to me.
Have a great day!
(Pic related would be the quality I'd like to achieve, next german elections I'll try to be good enough to be a part of the drawfags in le meme war, until then I'll try to do what's most important: having fun learning the skill, I am thankful places like this exist, I'll be back posting my drawings once they aren't shitpost-tier like >>5826 anymore!)
Do you guys take requests? If so, would you make me more OCs with this character, in whatever style, doing whatever, pretty please?
Our board lacks a designated drawfag and the only thing I can do myself is hilarious photoshop edits of old Italian comic strips.
Cute OC but no, sorry.
Alright, it was worth a shot. Thanks anyways.
Illustration I'm working on for a facebook group of mine with an awesome critique by AMB. Whether you like the guy's style or not understanding his thought process is pretty invaluable imho.
YouTube embed. Click thumbnail to play.
Apart from Aaron Blaise he's probably the best character animation instructor active on youtube. His channel never really took off for a few different reasons but he's really active and generous with his time in either case.
Combining his course and its emphasis on character animation and staging with Adam Philiips' special effects course (https://www.youtube.com/watch?v=dKmo_ab0kY4) would be the most effective and inexpensive way to become an extremely well-rounded animator that I'm aware of, and that's what I'm working at now.
Unfortunately I still don't have a hell of a lot of drawing experience and I'm old as shit so I'm playing catch up.
Oh yea, I've seen this guy's videos. Most recently was linked to his how to study anatomy video, but I didn't realize it was the same guy who's animation videos I had watched a long time ago. I watched a sinnix video today that made me think of amb's video about putting the mask on the ball
to draw a face. Nice coincidence you posted about him, because I don't know if I would've been able to find the video again without his channel link.
>It can't help you all that much to have them so small, limiting your ability to capture their likeness.
I know. I've been drawing that way cause it's easier to get proportions right. The problem is these drawings are so small that I have little control over the details.
>Also if you're not you should definitely consider using wood pencils as well, it lets you change your stroke up a bit more.
That's what I use. Maybe I should try one of those graphite sticks and draw with bolder lines, just to get used to a larger scale.
More doodles, all from imagination except for the girl lying on her back (from a drawing I saw somewhere) in the second page and the foot on sandal in the fifth one. I think most of my mistakes are pretty obvious (gesture and proportions, especially in perspective) but my noggin insists on ignoring them. Seems some sort of weird resistance.
Looking good; keep it up.
Working on the other half of this
Scrapped that, probably best he's in a similar pose to my boi Ralph here.
YouTube embed. Click thumbnail to play.
>so long dental plan
Was this your reference?
Ah, a fellow teethster.
interestingly enough no but halfway through i realized the resemblance and wanted to killmyself
You need to work on your breasts, Ciircuit. They look like they're falling off everything you draw.
Thanks, you're right. Man, it's all the more silly that I draw them all the time.
Foreshortening is hard-especially when you don't know the anatomy that well. I initially had an extremely foreshortened arm but it gradually made its way further and further away from the center mass
I'll have to do more anatomy and perspective studies when I'm done with this. Running out of time.
What's with his nose?
He just got back from a two-week vacation in tumblr xd
I'm a newbie and I don't know if this thread is the right one.
Anyway this is something I drew for a /tg/ campaign I am making.
I've recently picked up drawing (recently being 1 year) but never got my head into it properly, just treated more of a side thing.
Now I am slowly getting interested in improving and actually learning how to draw.
I know this is absolutely awful but it's currently the best I can do.
Please criticize the hell out of me and give me advice, I know I suck but I really want to improve, even if I don't have much time to do so.
There isn't much individual criticism is going to help you with at this stage, you should probably consider picking up a book and working with that first. Some people don't appreciate it as much as I do, but I think Fun With a Pencil is one of the best books out there for learning the basics of how to draw from imagination if you stick with it and aren't turned off by the early 1900's style.
FWAP is objective trash for now, for a beginner who's serious measurement/observational drawing should be the foundation for everything else.
go read keys to drawing
>it's a spider
I don't like where this is going
Anyway your anatomy is fucked and so is your perspective Try learning how to draw 3D objects before moving onto something as complex as a spider.
It's that bad uhn.
At least it's refreshing having people tell me it's bad instead of "it's looks good" or "that's a lot of improvement".
That is a special scenario where I was trying to make it look more "professional", specifically I was testing out how to color because usually I only draw monochrome for my campaign.
Usually I do draw 2D like pics related.
Maybe I should stick to 2D before I get into more complex stuff.
Ah also, sorry for being a hassle but where can I find "Keys to Drawing"?
I did find out "Fun With a Pencil" but the hub page doesn't seem to have KD, it only mentions it.
its on /ic/
>Anyway your anatomy is fucked
Do you really study spider anatomy or are you just mindlessly repeating critique given to human figure drawings?
>Do you really study spider anatomy
I know about spider anatomy but not for art reasons, I'm a spider enthusiast. I own 13 different species.
>tfw no ebonic gf
Not him, but if you want to learn how to draw spiders then you do have to study what they look like, yeah.
Basically what this guy is talking about and does here in this video:
In the process of creating a single image you will sometimes need to do several studies of specific subjects and even complete revisions to try and figure out what you want your final image to look like and brute force a good result.
Found it, thanks a lot!
Here is another drawing I made, this time for my little brother. It's the 4th drawing I made, after really attempting drawing.
I traced, because placing lines is fucking frustrating and I wanted to finish it in a reasonable time and not try it more than 1 time.
I however learned something interesting:
I really don't need to "finish" drawings, for maximum learning effect; what is most important for me now, is probably to capture the general gesture and proportion by observation.
Correct me if I'm wrong, but this may be a good place to start, right?
I got myself "The Natural Way To Draw" by Kimon Nicolaides, do you recommend it?
I keep a weekly comic going.
Would anyone have any objections to me posting it here?
Drew something after so long.
Not bad. Tough angle. Also, though I could be wrong her legs appear a little short, at least that's my first impression
Trying to use an ink pen. What's the most immediate thing that needs improvement?
Stick with a forgiving medium pencil for now tbh. Jump into ink when your observational drawing is stronger.
If you insist on using ink get a very thin pen to make a "mapping drawing" and then use a thicker line to make the lines you're committed to.
*a forgiving medium like pencil
*use a thicker pen
I can learn observational drawing with either one, right? The thin pen/thick pen thing is a good idea.
Dem some stubby fingers.
Spiders are great to draw if you're practicing general anatomy instead of just human anatomy.
They're simpler in their structure than humans, but their shape is harder to work with.
A fun thing to do is design your own realistic spider, there is such variety in what you can do. From the eyes to the abdomen, if you really study spiders you'd be amazed how diverse they are in structure.
I tried drawing a skeleton
I'm still learning. None of this comes easily to me
I think you are suffering of lack of observational skills, AKA you draw what you think you are seeing, not what you are actually seeing.
You see an animu girl and you draw what your brain thinks an animu girl looks like, not a bunch of shapes that happen to be interpreted by your brain as an animu girl.
When you are drawing, take a good look at what are you trying to replicate, the big shapes first, then the small details.
Tracing is not a bad practice, but i recommend tracing drawings or photographs that focus more on the overall figure, not artsy stuff. Trace photos or drawings that focus on proportions of humans or whatever you want to recreate, then study the relationships in the drawing (videos and books are a good help for this), then recreate the drawing freehanded.
Also yes, not finishing drawings is good, you are just starting out, so you will be focusing on the overall flow of the figures, not the details. Forget about shading and rendering for now, just focus on the flow and proportions.
try drawing the spine as a bendy tube instead of two lines, go search the actual proportions of the spine too, the ones in your drawing are very wonky.
Draw the spine in less challenging positions, so your brain can construct a 3D vision of how the spine can work in different angles.
Also if you are just building the overall shape of the torso and the head, dont draw vertebrae like divisions, that just useless detail.
A more technical critic: use thin brushes, that brush seems too thick for what you are doing right now, it looks like you are training with a calligraphy pen instead of a pencil.
if you want to draw in a cartoonish style, read fun with a pencil by loomis or other books that focus on cartoons since it seems you lack a sense of 3d construction.
>try drawing the spine as a bendy tube instead of two lines
I was actually drawing cylinders it's just the size of the brush I used made this less noticeable.
>the ones in your drawing are very wonky
That's to be expected since I'm being very experimental with drawing right now
>Draw the spine in less challenging positions
I actually found this a semi challenging position. Although not the most challenging since I figured drawing the character bending over or lying down would be much harder
>use thin brushes
I do try to it's just whenever I do the strokes appear very faint and hard to see.
some stuff from this week
First time poster, I know I'm still shit
These are a few images made over the course of this past month, I still have a lot of anatomy to learn never learned any life drawing
I've always liked that painterly pixiv style
Any advice? I'm eager to get faster at this so I'm not spending 6-8 cumulative hours on a single image
hi nick i know you lurk here too
redpill me on the painterly pixiv style fam
This kind of shit
This kind of style would be my end goal
>Any advice? I'm eager to get faster at this so I'm not spending 6-8 cumulative hours on a single image
Work with a limited color palette to reduce the number of decisions you have to make. In traditional teaching environments, students of painting often begin in grey scale so they can focus more on manipulating value before dealing with color.
I don't think you need to restrict yourself to greyscale, but you should restrict the color palette to achieve a similar effect. Check out some of Kienan Lafferty's concept art. He employs this technique as a means to produce realized concepts with speed. He only invests the many hours rendering out a highly detailed piece after many iterations of designs have been developed to refine what any final piece will be. The main thing I see lacking from your work is a sense of depth - everything is flat. This will improve as both your drawing and use of light & shadow improves. Consider pic related; notice the limited color palette and how he restricts himself to 3 values to communicate highlight/midtone/shadow. This is all he needs to communicate depth and form.
You can make it bro. We can all make it.
I shall heed your words well anon, thank you
>tfw can't pin point what's wrong with my drawings/what to improve on the most
will someone tell me
the knight one is from reference
You'd have to post a lot of actually completed work for someone to be able to tell where your weaknesses are. One of them is chicken scratch though I'll tell you that right now.
>peter han dynamic sketching 1.mp4
A lot of perspective and volume issues here but I'm pretty confident I'm aware of them enough to fix them, given time. I wonder if making a layer of line guides, arcs and grids would help make sure some of this stuff doesn't get away from me.
Great animation, anon.
Is that's a character you designed or it he from something?
>Great animation, anon.
Thanks man, I think when I really go for it and plan it out properly it's going to look pretty good; it's one thing to animate a loose series of thumbnails though, bringing this further is going to be extremely difficult.
>Is that's a character you designed or it he from something?
I'm working with another artist on a project. I'd say it's more his design at the moment than mine but we usually bounce ideas back and forth.
any1 got composition advice
I'd move the foot on his right (his left) because I can't tell if that is his big toe or his dick resting on top of his foot.
newfag here. love the 'eyechart' lel.
ugly af. the woman i mean. why would you even?
>not drawing ugly things
I shouldn't have added that bulb as an afterthought (or at all). I feel like I just made more problems with this lmoa
Got yelled at for posting these in the wrong thread awhile back. Some art I done did. I'm only really decent at rendering, still suck at drawing after 3 years.
That's pretty good, I like it.
The robot is super cute, as well.
Just a random drawing of some character from some game.
Pretty good fam, keep it up. His forearm on our left seems a bit shorter and thinner than its counterpart on the right. His nose isn't following the center line of his face quite right either, a very easy fix. Still looks pretty good in either case, keep it up.
from the s/p thread on ic
Not bad familia. If you tighten your rendering up a little you'd have a nice selfie there.
Wanted to goof around with a lighter pastel color palette. Anything goofy with the anatomy I should take a look at?
I feel like the scapula on the right shouldn't overlap the spine like that but I guess I'm not completely sure. Find a reference!
This is the reference I'm using for the anatomy.
The shoulders are wrong not as much for the scapula as much it's because the shoulders won't be that relaxed. Trying it myself before heading to bed I realized my own shoulders would be up to me ear in order to support me.
Sorry for double-posting.
This is how it looks after redoing the shoulders
You should use human references as well as skeletons, man. The trapezius and other back muscles fold over the scapula, not under it as it kind of appears, there. Keep it up, though
i somehow paint better when i'm frustrated. i didn't give a shit about this study so it was loose and came out better. fascinating stuff
Finished a new piece, looked better on paper than scanned in though…
leg on our left appears too short, smaller and thinner in general-and is completely flat. If anything it should look slightly longer and larger than its opposite as it's coming towards the viewer and the other one is receding into the distance.
on ic? my username was juniper but i stopped after a month because i was among the worst of the worst
Cool textures. I also think you did a good job on the values in communicating depth. Like how the elbow resting on his leg feels like its much further back than the knee.
I recognize your stuff, you weren't that bad m8
How about now?
I was also told in the /v/ drawthread that her legs looked "dislocated" so I fixed them, hopefully.
did you blow in from reddit or something?
I see you being a faggot in the /v/ "drawthread" already
>did you blow in from reddit or something?
Been on /loomis/ since it's inception.
Someone on /v/ wanted a "cute bee"; probably just taking the piss; but I was bored so I drew one anyway.
Didn't know it was an offense to ask for help on multiple boards nigger.
Based on the boots, the legs are pointing backwards.
>responding to 8gag bait
cute bee tbh fam
cheers bruv, i think i got a bit better since then
Been on a roll lately, really doin' my best to get my ink-jobs better. Not really used to drawing girls as well, but I needed to get this one off my chest.
Why wouldn't this be /loomis/, are you shitting me? This is awesome improvement man. Keep it up!
way to go, fambalaya
I, thanks Anons. It's just that it seems like it'd be inappropriate since it's not traditional study or sketch stuff, but an ongoing thing that I'm admittedly seeking to garner exposure for, to an extent.
And the lack of really anyone knowing this thing I've worked on exists, can get pretty disheartening.
You don't have to be shy about sharing your stuff here, man. This board isn't just for studies and I think most of us are studying as a means to an end as well anyway-you're living the dream as far as I'm concerned. In the process of working on something you've wanted to do you've shown great improvement for one year and I'm looking forward to seeing more. That said this board is probably the last place you'd post that kind of stuff if you're actually looking for exposure itself as there's literally like 7 people here total I think lmoa
Pretty fun stuff. The hatching on the right xeno could stand to complement the form better. Keep workin'
Yeah. I know.
I'm probably holding myself back more than I realize, in regards to all that.
Because I know that there's barely anyone here, too, so by extension I should be sharing this.
As an aside, while I'm blogshitting about the behind the scenes stuff, the big reason I want exposure is because I want to share it with as many people as I can. Because I mean, the story is just fun. And I want people to have fun with it.
And the easiest way to do all that is to get exposure, and hopefully at some point, get enough money from doing it that I can actually have good chunks of time each day to work on it. To basically replace the lost income from my actual job.
It is fun, you've got potential man, just keep working. By this time next year you could be the next Gashi_Gashi or some sh*t. Might not be a bad idea to revisit the entire thing a year from now, even. As your art gets better your exposure will get better as well and you'll want to bring up your old stuff to your current level eventually. No matter what though, you'll be painting in the dark for a while. There are artists much better than either of us that no one knows who never leave their fap cave so don't be one of those guys, but just make sure that when you get exposure you're ready for it.
One thing you might consider doing is trying twitch or picarto, you're guaranteed to get a lot more followers there than on just about any board on 8chan. When you make it big though just make sure you don't forget where you came from *tear*
I'd use picarto or twitch if my computer wasn't using linux
No I can't switch, unfortuantely. Won't go into detail, but that much is true.
Though, as I say that, I'd also prefer to avoid showing the pages off before they're done, exception being only to two of my friends who act as basically editors. So I doubt I'd stream even if I could.
But thanks. The Gashi Gashi comparison is pretty uplifting too, since I like his stuff a lot. I've certainly got a plan for all this though, so I guess I shouldn't be too disheartened. My planning ability is clearly good, if I've gotten 60+ pages of my comic done, and I'm still going strong. Just gotta keep going on.
Do you stream? I saw your little mix & pop filter behind that book.
Lookin' good. In the thumbnail his head overall seems just a little thin relative to the ref but when I'd copied the images into photoshop and scaled them it appears much closer. Take care with his eye on our right because you have a little bit more sclera showing on both the bottom and left side of the pupil and it appears like he's kind of looking upwards in that eye. Mind the major angles and placement of the hand, too-you can see it should be just a little bit closer to his jaw and the opening of his shirt, but its relation to the other hand is pretty good.
It's something I've considered getting into but I'm just not all there with my art yet; pretty pathetic as I've been at it for years now, but maybe some day. R-…right?
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>the absolute state of my figure drawing without reference
Still so much to learn, fams
Thanks for the link!
Finally caught up. As I said before I'm impressed with not only the artwork's improvement, but how both the art and writing have a lot of character. You improved a hell of a lot artistically in a short amount of time and in ways you probably wouldn't have if you'd have sat around doing studies and the like. I feel like your anecdote is an important one and a lesson learned for myself. I could see this blowing up some day fam; keep at it.
Thanks, I'm glad to hear you think the art has improved significantly, specifically for that reason you said.
What you've said is very much true, I'm only human, so as long as I have a job and other shit, I won't have the mental stamina and time to get both practicing and working on my comic, in.
I had a choice to make early on, I could either keep making standalone drawings, or I could tell a story with them.
But one thing people overlook is that like, you'll get better. And so many people I've encountered just keep waiting until they think they're "good enough".
I knew I wasn't good enough at the start, but I didn't really care. I've wanted to do this exact thing since I was like, 3. So I'm doing it until it's done, or I die.
I don't really see it blowing up, but I hope it does too. For uh, admittedly really cheesy reasons I'd rather not divulge, making an ass of myself. So we'll just pretend I want to get it out there, to make shekels from it.
at least the thumbnail looks good
Glasses are tough, I think you pretty much nailed them except a few of the subtle curves and the angle of the part that hooks behind the ear. Very subtle. Good job being conscious of the highlight on his collar-though you can kind of see how in the picture that shape is a bit longer, approaching the contour of his neck. The ear's shape is a little off as well, both its contour and internally. Keep it up.
Something look wrong but I dont know what.
For what it is, it looks fine on my end in pretty much every way-maybe the thighs are a little disproportionately thick on the figure on the left but not extremely so, the feet on both figures (but the right one in particular) might be a little big as well; however until you clean it up a bit it's hard to tell if there's anything really offensively wrong.
Do you have any advice on paneling? When you draw your comic do you set up the panels first or make drawings and fit them in the panels after the fact?
I already posted the links, so anyone who'd want to support me with a reblog or some shit already knows how.
I see your post, >>6380 so give me a second. I want to make it a separate one than this.
Since I don't know where you're having troubles, I'm going to go in depth on this. So like, forewarning, you asked for this.
Before drawing, before even writing, I throw ideas at my editors (they're just my friends, but they put up with so much of my shit they honestly kind of deserve to be paid.) and brainstorm.
Then I take what's working, and start expanding upon it.
I'll start by just writing out an event that I want the story to get to, and I'll just have fun with imagining the dumbest/coolest shit I can think of.
From there, if it's still working, I'll actually just think about it a lot, whenever I'm not working on it. Driving, working, eating, whatever.
The important part is to daydream the scene as much as you can, but not in a lackadaisical way.
You're doing this to play out the events you've been formulating, and tweak what you to keep, rewrite, and just axe.
Then I script. I do the entire chapter's ahead of time, before I even draw a single line for a page.
The way I have the script set up, I nest the lines in such a way that I can just run my eyes down the edge, to jump from panel to panel.
Each > here is a panel. Anything indented is a bullet point describing it.
Subsequent indents describe the prior bullet point. So on and so forth.
6 to 8 panels is a generally good number. You can do more, you can do less, but six to eight is good. I'll explain why in a bit.
From there I thumbnail.
The screenshot of it here is 100% size on the canvas
The small size is integral, it allows you to see the entire page in your focal vision, and you're able to tweak everything way more easily.
I determine the layout I want for the panels
Panel layout is something with a crap ton to it, that you'll have to ask me to make another post if you want me to go in depth on, since it's got so much to it.
But in general I find that three rows works the best for anything you're doing. It's the most visually appealing, and also lets you cram in the most "comic" for the least amount of work.
You can find a multitude of templates online, I'd recommend a manga template, they're the most neatly layed out ones, and western comics tend to just do whatever with their panels.
The way you determine layout is gauging what events you want to put on the page, and what panels should go where. Sounds like I'm over simplifying it, doesn't it?
It seems harder than it is. It's a matter of picking the "keyframes" to it, in order to best convey the sequence.
You want it slower? You include more keyframes in a shorter amount of time. Faster? The opposite.
When you've got those, you take a chunk of 6 to simplify.
In your head, divide the blank thumbnail into 2x3.
Now you increase and decrease the size, based on importance.
Need more panels? Just stick one in between any of the rows.
There's a lot more to it than just that, but those are the easiest rules you can follow, and it'll all work out decently.
I will add one more thing though, pay attention to your gutters. Time passes between them, so the bigger they are, the more that does, and vice versa.
By proxy, you can use them to "group" panels, and make it easier for the reader to go from panel to panel.
That thumbnail is then copy pasted onto the page template, scaled up, and lined up with the margins of the final page.
From there, it's sketched on, inked, colored, and given the finishing touches.
Keep in mind, I'm never locked in at any point in this process, but the further in I go, the more work it'll take to change something. I actually jumped back a page, to provide all these examples, because of how easy it is to change shit. And my script, thumbnail, and sketches, didn't line up.
It might seem like I threw in a lot of fluff, but trust me, if you ignore pretty much any bit of the stuff I've said, you'll wind up with a comic that feels like something out of the sunday funnies, or some old sprite comic.
I hate to say it but the first panel doesn't really read very well because of the excess sparkles and extremely simplified facial features-it might be a good idea to close off some of the shapes of his facial features like his eyes or even give him a little bit of a shade under his nose ala Haruhiko Mikimoto or some shit. I love everything else though, particularly the "CANNOO-[n]"!
Poor Sally, never saw it coming.
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Great insight into your process; thanks man (might make a good filler entry onto your website too)
I'll have to keep that in mind, because yeah I'm well aware of how crappy the faces to this are. And have been at working on it.
A few pages from here are a bit better in that regard, since after that page I started keeping Anatomy for Sculptors open, in another window.
if I run out of little details, then yeah I'll throw it in there.
If not, just putting it on my main blog might be good, since I've yet to see any sort of tutorial that comprehensive, and comparatively concise of "three rows, 6 to 8 panels, scale panel size for importance"
It looks like the character came to abrupt stop. Not sure if that was the intent, because panel 4 seems to show him running again.
Not obscuring mouth and putting eyebrows would basically solve the issue with the first panel. I had no idea what's going on in it until I read >>6385
Keep in mind that manga is made to be read right to left, while your comic is the opposite.
Also, I had a question as a fellow comic making-fag although I just stuff my work in the drawer. Why do you use "slanted" or "diagonal" panel borders, and why are they angled one way or another? I don't think I fully understand the reasons for their use. I grew up reading European books, and edges non-parallel to the page edges were used very sparingly and usually to achieve very specific effect.
He means "manga" template like a general guide outlining general safe drawing zones and "bleed" areas. It's standard for any comic page and not just manga if you plan on trying to print.
I was going to say the same thing, but I was also going to use the term autism in a derogatory manner.
a derogatory, yet endearing manner, I might add~
Thats not bad at all anon
We'll both make it fam
He's leaning into the punch, hence why he's looking down, weight forward, and has an abdominal crunch going on.
>why do I slant the borders
Dynamism. It gives the feeling of the panels being more intense, people use the dutch angle for a different, but rooted in similar intent, effect.
This chapter has been very action oriented, but if you look through the pages again, you'll find I only tilt the borders when something dynamic is happening.
And that's deliberate.
Uniform, or perpendicular, borders, give the impression of more mundane or laid back actions taking place. So I make use of that when characters are just talking, interacting, etc.
Also I find many webcomics, and manga alike, tend to treat their panels as storyboards, as opposed to like a comic, so I like to do things with the pages that can't be done in any other medium, Like on this page, where she comes in from off the page, and goes behind the first panel.
Draw sans with sandals on
This isn't like a /v/ drawthread, requests are really done here. This thread is mostly for drawfags to post what they've made.
…doesn't he normally have sandals on?
He wears hi-tops. or slippers.
I think I'm going to stop using color for while, try out hatching instead. I don't like what I'm doing even if it is getting better.
>I think I'm going to stop doing something because I feel like I'm bad at it
That's literally the opposite of what you should be doing, my man. Press on.
Well they told me to go here before the thread slid off the board
>I think I'm going to stop using color for while
You're better than Ciircuit at least,
What's wrong with Ciircuit?
There's nothing "wrong" with him, his art just happens to be bad and his fetishes are cringey. He's a cool guy whenever I see him post, he's real enthusiastic about art. Shame he's flat-out not a good artist.
I meant what's wrong with his art.
What's right with it? He can't shade, he can't color, his anatomy is abysmal, he hasn't seemed to improve at all since I first saw him post several years ago, much of what he draws looks flat because he doesn't properly foreshorten most of the time, half his art looks like it was done in MS paint, the list goes on.
The best work I've seen of his are his animations - just about the only thing he's good at - and he has a good understanding of how objects should move, but that doesn't fix his other issues: most of his work is monochrome or uses color sparingly and it's easy to make a simple black & white doodle look good when it's in motion.
I like the guy, he clearly enjoys sharing his work with people, but he should really invest more time into trying to improve on the basics instead of using cheap shortcuts and never properly learning the fundamentals of art, that's how you get people like Shadman coming about.
Interested party here, thanks for your honesty. That reminds me of how I've kinda been losing my attitude towards art and drive to improve lately.
Not that I haven't had similar critiques before; I hope this one will finally make me act upon it and rethink my current choices of activities.
I'm aware of some of the shortcuts I've been using and probably deluded myself a little bit too much about their usefulness :^), but I didn't think it was this bad, so at least that's a great eye-opener, if not a wake-up call.
>it's easy to make a simple black & white doodle look good when it's in motion.
That's definitely true. Using a big brush/working on small canvas also simplifies things a lot, as does limiting the complexity and range of the movements.
first time posting, long time lurker.
hard drive crashed, i had a growing interest with digital painting but said crash only left me drawing with the most pleb materials i could draw with.
Good stuff dude. Looking forward to seeing what you're able to do with better materials. Some plain printer paper would be a good starting point at least.
One of the good things I can say about you is how well you take criticism. A lot of artists take things personally get deeply upset or demoralized when they get harsh critiques, but you don't.
It's obvious you enjoy art in a way a lot of artists probably don't, you're always up for taking people's requests no matter how bizarre, even in the face of people giving you rather personal insults about some of your more fetish-y artwork you keep your cool and don't get discouraged from posting with that enthusiasm you've got. That's something really quite rare.
It probably feels nice having people replying to you saying that they like your work, but that can lead you into a sense of complacency which halts your artistic progress altogether. Complacency is the killer of improvement. It's great you understand you've got issues, but that doesn't mean much unless you try to actively improve them.
That cat is freaking me out, but nice. I like the way you draw faces, they could do with some work but they've got a real interesting style to them.
i'm trying to figure out the faces thing and improve them. i just never properly figured out expressions other than far more stylized stuff. i've made it a goal to step out of my comfort zone and embrace something that's not just blatant furshit
and yeah, probably that cat was a bit weird. not really the kind of body i am used to drawing either way
Getting away from furshit altogether is probably not a bad idea and I don't mean that just for the negative connotations, it's a lazy way of drawing.
Not him but a lot of furries are exceptional artists; I don't see how it's "lazy" at all. It's one of the biggest art oriented communities around so of course the quality of the work varies wildly. Focus more on the craft and less on the content. I've seen shading on a prolapsed butthole that would have brought Rembrandt to tears, even as it brought me to vomit.
Assuming you aren't exaggerating for effect, I would be interested in seeing this prolapsed butthole, by pure artistic curiosity, of course.
Any style can be done well, but in general furry art is lazy because it lets you get away with things you couldn't do in a more realistic style.
Don't take the exceptions as the norm.
Anyway, the torso appears pretty big, I would increase the size of his head substantially (5% or more) to make it appear more proportional (remember the 8 heads rule). Also it kind of looks like the spine is being bent in an unnatural way; I could be wrong-I'm not super familiar with the range of motion to begin with but it seems like the pelvis and oblique portion of the body are being tilted backwards at like a 45 degree angle from a neutral position as if the character were leaning way back or laying down, but the shoulders and ribcage are tilted forwards making like a sideways "U" shape if that makes sense.
Mind your pronouns, shitlord
Please resize the images. It's hard to make sense of them when they're so enormous. One thing I I'd like to suggest is to work on your construction. It's an interesting sort of european-looking style that kind of reminds me of the "Professor Layton" series as far as I can tell, but I think the more you work on that construction stuff the better you'll be able to make these characters look, and if you so choose, move. Character design is a bit of an esoteric concept I don't yet know much about myself, but I'm not given the impression that the image in the middle is off balance from a design perspective, personally.
Alright, I resized them real quick and added a sketch I had done a few days ago for variety's sake. The problem I was told about for the middle image was that the bottom half felt stiff as the top seemed more moving all the way to the side, making the pose look uncomfortable and unbalanced.
Also, I like the sketch you had made, the style looks like it came from a realistic-looking comic with nice, thick outlines.
There is always an error when I send the resized versions all at once (even deleted my og post just to send them), so ill try to send them one at a time.
Last one won't send, so I'll just leave it at these two.
Yes, kill yourself.
Made pic 1 a month ago and felt it was too autistic to upload somewhere with my name attached.
I don't know that I'm qualified to do this, as my posing (and everything) is still shit a lot of the time, but-
It looks like the lower half of the body is facing straight to veiwer while the top half is in almost 3/4, and the two halves don't line up right. I redlined in pic related a pose following the general outline. It's still awkward with an arched back and leading with the crotch, but pay attention to the perspective and attitude of the different parts of the body. And in the other pic >>6451 the arm to leg ratio is off. It almost seems like you're losing proportion as you draw. Or you're not getting it right at the construction stage.
>try to do redline with a mouse
>when you're a pencil and paper guy
What the fuck is that first image?
That is some legit Tumblr-tier autism, you should feel fucking ashamed.
I don't usually do landscapes, since I'm not very good at them, but I need to branch out.
Scanner didn't do too great scanning it in, but it's gonna hafta do.
Made me think Hermaeus Mora on Vvardenfell. Also, HNNNNGGGGG your shading ability.
I did a Conan.
Cute Beep Boop
>try to do redline with a mouse
Get a tablet ffs
It's Bebop the Man-Boar from the Ninja Turtles as a little girl obviously.
Post work crab
*cuts a huge fart then walks out*
Poor Sally. You shouldn't hit a grill like that; even if she is a psychotic, murderous, and perhaps worst of all, french monster. You're mean!
wow, just wow
Oh don't worry, she'll (hopefully) be fine.
Remember who's the boss, here.
Here's something less offensive for the underage fellows
>you will never be an orc with a 8 inch flaccid wing-ding and a qt olf gf
Looks like his dinger is a little off-center fam, let the furrow between the abdominals direct you to where that mandingo meat mallet's medial mass ought to be found.
i think you're right, gonna adjust that right now
Damn, that's pretty good.
Reminds me of an old CYOA book I had as a kid.
dude come on
I don't like this me-me
Wow! It's the worst thing ever!
Just a quick anatomy practice, never even attempted a back view before Olivia from USUM
Gesture, proportions, and perspective.
Study from life, and practice invention.
what is up with that pose
I made a gentlemanly Ork is mspaint..
Dude's face kind of looks like a Sonic OC (&Knuckles) in that one frame but nothing stands out as being particularly in need of correction. Kudos on another page in the can.
Her arm on the right is too long, and her tiddy shouldn't overlap her ribcage like that, rather the reverse. Keep practicing. Draw a lot more figures from observation so you can pick up on little things like that.
Keep in mind the back of the leg opposite the knee doesn't just create a wedge, there's actually a lot of different muscles and things like that which converge in that area. Biceps femoris, semitendinosus, semimembrinosus etc.
Not bad; not sure why you're using that program but w/e
I know you said you want more exposure, you should try out twitter my dude.
Oh, I know. You can find a lot of artists on there to take inspiration from though.
>t. did a somewhat fucked up master study of a piece Pixel Noodle/Sleepy was streaming last night
I'd follow you, n*gga
>what is up with that pose
>Get a tablet ffs
What the h*ck kind of a file name is that heh
How does it look so far? If you couldn't already tell, shading isn't one of my greatest strengths. If you can help me in any way then that would be greatly appreciated.
Also, are there any non-cancerous websites that I can upload my art to?
It's alright, not really that special either. Don't be too afraid of adding shades on the boots and clothes. You can always undo if you over do it. It's something you aware of naturally..
Look into what "line tangents" are and then make an effort to not let them happen. They're all over this piece my niggity diggity doo
I'll keep that in mind, thanks.
Really? I don't see any.
>Really? I don't see any.
Circled in red: tangents. Circled in blue: multiple lines intersecting at same point. Not an exhaustive list of such cases in the image. These are the sorts of things to look out for in linework.
Thanks for pointing those out on my behalf, I went to sleep right after making that post; there's at least one more-the stripe on the shoe on our right, but also, the contour of the bottom of the palm of her hand on our left, it overlaps pretty much exactly where the top of her shoe or sock would be and creates an implied tangent there if not a literal one. Note how the volumes of the sock are practically identical but that one on our left is completely enclosed by that hand.
Proportions are a little wonky but you've got the right idea. Keep it up
>tfw draw thread might actually reach bump limit in a little over 3 months instead of an entire year
>tfw I thought he was jerkin' it
Yeah, I got the same response when I posted it elsewhere.
Updating the thread with a WIP, don't worry I'll finish it.
But the other thing is I've decided to do a video tutorial, detailing the process I've described here >>6384
If you have anything specifically you'd want to ask me, about it, feel free.
That's actually kind of the point.
Not sure how explicitly I've said it before, though I have hinted at it, but yeah. Max is deliberately designed after elements of Sonic. Specifically the way his pupils turn into the same beads toei Sonic's does, and the general structure to him. Like how his legs basically become long arcs, when he's got pants on.
There's a lot of influences spread throughout the comic, really.
Thanks, I've followed you.
The biggest problem for me with twitter is not knowing how to get noticed, and not really enjoying the interaction aspect.
I've said it elsewhere, but the biggest reason I want to get my comic out there is because I enjoy making it, and people seem to enjoy reading it. And after taking a gander at the competition I'm up against, I can see why.
I guess it's also worth mentioning that there's more topics I'd like to cover with my videos, like how I've made use of "sex appeal" with Sally's design, but in an incredibly
shittily drawn subdued way.
Or how I'm making full use of how I grew up in a /co/ environment, but transitioned into /a/, and the mixture of Manga and Comics that I've got going.
Stuff like that, so to recontextualize what I said earlier, I mean general questions, not just questions about the comic.
Slowly working on some girls to finish out a sketch book before 2018.
>Also, are there any non-cancerous websites that I can upload my art to?
Nope. The best you can do is minimize your exposure by being selective of who you follow and interact with. Their are good, non-pozzed-out-the-ass pockets of artists/people, even on tumblr.
You'll still get demi-queer, headmate-kin gender-salads liking your stuff it it gains any notability.
Been doing my damndest to get my ink gains up.
Shame my scanner is too small for most of my work.
(holy shit I'm an idiot)
The parts that are flat black did you do in post on the computer? Also, great work. Very Junji Ito esque (which I assume is intentional)
I can never get it to be without the little white specks of unshaded area when I try with a pen, thats why I ask.
Went ahead and gave it a shot myself to see, turned out ok I think.
Yeah, my scanner is too small, so I scan in multiple parts and then mess with the brightness and contrast so it removes the little faults the scanner picks up which you can't see normally. It's a pain, but it works. The flat black was done with my brush pen, rather than in post.
Alright, thanks man! The pricing on those isn't anywhere near as brutal as I was expecting. Will have to look into ordering some.
vid.me is no longer available.
Why not? Is it against the rules of the board, or it's just you declining to do it?
I came back to see your replies to that piece of shit doodle and your advice is noted
And my sides are gone
Hey /loomis, critique my doodling please and thanks.
I'd fuck that eldritch abomination.
that neck looks like it has an extra vertebrae