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We're All Gonna Make It Join us on DrawPile (Software: https://drawpile.net/ | Host address: splelps.com) in the /loomis/ channel, official meetup sunday afternoons ( 2pm US CST/CDT [9pm EU CET] ) with regular activity found throughout the week!

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Practice Thread: Floof Edition Anonymous 05/17/2020 (Sun) 18:01:35 No. 3
A thread for people of all skill levels to dump their works-in-progress and studies Draw shit. Draw it a lot. Git gud. Maybe Resources: Northern Kentucky University Drawing Database - Marc Leone "the Basics" Playlist: https://www.youtube.com/watch?v=Vtd6uwNFl9k&list=PLMXbAPr21di-Ox-dmDwL2riWedei1dn9S Anatomical 3-D Models: https://pastebin.com/9VgmQQPk Live Figure Models: http://www.onairvideo.com/ Random Figure Poses (3D Models): http://www.posemaniacs.com/ (RIP Flash) Random Google Street View: https://www.mapcrunch.com/ Books etc. (from Sticky): https://mega.nz/#F!es1BSKQR!spODyd0iaQmMelGA2GscFw
Edited last time by loomis on 10/21/2020 (Wed) 12:14:31.
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testing filesize
>>4 Apparently you can post 16mb files (which I think is a bit too generous but w/e). R-...remember to resize (<1000px height) normally!
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scapula study
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Probably my biggest issue with drawing is that there's not a specific way to learn it. specially if you're third world poorfag and can't pay official classes Some instructors tell you to start with figure drawing, some tell you to start with proportion with simple figures and another tells you to start with anatomy and pose models and even to start with the contour then fill the details later. So I decided for something else: I draw from models then try to draw specific parts of the skeleton inside (obviously having looked at a skeleton model earlier to have an idea of how it should look on certain angles), ex; today is torsos and yesterday was heads etc, Is this a good idea? What is your recommended path to learn human anatomy?
>>16 For a little more active board check out 8kun.top/loomis-this is our backup for now-I would like to develop it a little better though. Anatomy is a tough subject, in my opinion it goes like this: Observation (learn to draw what you see-learn about contours, plumb lines, spatial relationships) Perspective (forms and shapes, making things look like they have depth) Anatomy and Figure (bones, muscles and details) Drapery etc. (clothing, accessories) That said you have to learn everything anyway, but observation is the first step.
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I'm trying to get a better understanding of shadows and this board gives me a perfect excuse
>>21 When it comes to shadows I see a lot of high level artists just delineate the major "shadow shapes" as they correspond to the physical form of the subject. It's not something I know too much about myself tbh
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Test
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text only test
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Will this finally work?
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twofer
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>>133 >>134 >>135 >>136 >>137 >>138 Good to see you posting lad and GREAT to see .moe back up.
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Postin' here cause kun's all dead and shit. Low effort painting to try out Artstudio Pro on my ipad. I like the way the brushes feel compared to Procreate, but the interface is kind of fucky. Fun fact: Wild canines and songbirds are the only animals normies care about. And women love horses for some reason. Whenever I show people anything else they just tell me how much they love that one painting of "a wolf in a tree"(it's a gray fox in a pile of leaves) I did once.
>>143 That's an adorable photo. My husky wants to play with small rodents to death so I often have to go out there and stop him.
>>143 As far as the painting goes it's coming along alright,. Peep the negative space between the fox fella's rear legs-it appears it should be a little bit bigger or wider.
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>>139 Thanks, m8
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>>298 >>299 betty nice keep it coming
>>298 The skull with the open mouth is a little silly, everything else looks solid though. >>299 Diggin them beans and boxes bruh, keep it up.
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posted wrong one :) New home is nice.
>>312 >aha https://m.youtube.com/watch?v=djV11Xbc914 Good to see you made it fella
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>>312 Impressive rendering on this one
>>329 He does have a way with that, I need to learn how to smudge my pencil/graphite drawings better myself. You can really get a good result with pencil if you have the patience. Admittedly I'm kind of autistic about getting shit on my hands tho. Good forms on your work there btw fella
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We don't have a Draw Thread!
>>334 fml I knew I forgot something, maybe I'll email the mod fella and have him just port it over. Or we can start new-as one of the most prolific posters perhaps I'll leave that decision up to you: Do we start with a clean slate? or Do we bring over the huddled masses of drawings past along with the most recent drawthread? >pretty wild being able to post so frequently without an error of some sort innit
>>336 I say start fresh. I'd have done that, but I didn't have a OP image ready. Might just drop the paper texture bg and add text to >>336
>>337 >dat fresh How the HECK did you do that, feller? https://www.youtube.com/watch?v=sTJ1XwGDcA4
>>344 You put "moe" inside brackets. Check the posting help link in the top bar. IT WORKS FOR DOOM TOO
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>>329 Thank you :) I'm digging your figure drawings. >>299 I am going to try your box technique, I think it might help me out. >>330 I like using my fingers to smudge, but recently switched to tissue paper. Much better results. Oils from your hands can really mess up the paper's ability to blend. Speaking of paper, I am using regular printer paper and an old #2 pencil. The pencil is fine but the paper is not ideal. The graphite slides right off. :/ my current wip
>>350 So you just use tissue paper eh? Seems like a relatively cost effective way of doing it-though I think they make washable cloths you can use as well, I kinda don't think it'd be worth the trouble tho
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Was drawing this from observation but I fucked the proportions all the way up. I think I need to go back to the sketching phase and observe the center mass better
>>372 Looking at how far off I am makes me cringe but whatever. I wonder what medium Delavier uses, it's pretty strange how a book about bodybuilding has much more refined illustrations than any book specifically marketed to artists I've seen.
>>373 >Looking at how far off I am makes me cringe This is a good thing tbh. I always catch something wrong after I post a piece I initially felt good about. It is a very good learning experience for us. Especially when there are few here to give the feed back we need. Now comes your decision to fix what you think and repost. Or simply move on and apply what you learned to your next piece. :)
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>>374 I'm the kind of guy that quits every six months-I can understand the logic behind a lot of the various theory in drawing as that's what I've engaged in for years, but actually applying it in my own work in the moment is much less intuitive. Subject matter gradually getting drawn "bigger" as you move down the page is apparently pretty common in beginner work like mine where we just copy the contours without thinking hard enough about it. REE!
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If I could only rid myself of the petty distractions in my life, I know I could get to where I want to be faster. :)
>>378 If it's any consolation I don't have any real distractions and I still can't bring myself to do shit. >smh tbh fam
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>>383 Looking good El, is that Hampton?
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a WIP >>384 Yep
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The faces look awful. Next time I'll leave them flat and scribbly.
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Fucking around with tiptop's risography brushes. Discovered hyenas are hard as fuck to draw, they're so lumpy. Do I need to shrink down these images here? Or does it not matter? >tfw the page crashes when I try to upload from my ipad
>>390 I like it. Ditch the reference lines on the faces but leave the others and it would be a nice wall hanger imho :) >>392 I'm not sure about the image size rules here. Large image sizes seem to open faster and easier here than 8kun. >pic looking good so far :)
>>392 I would try and keep the resolution to 1000 or less in either direction. Just remember to keep your raw files
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I might try this one again later.
>>402 Is this digital?
>>405 no, graphite. I took it in GIMP and adjusted the contrast a bit.
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Just me practicing blending and using different charcoals. :/
I didn't know this place managed to stay alive after 8chan died. It's good to see that people are still around. As for me, I've fallen behind on practicing this past summer. I'm making an effort this month to develop better habits by spending at least an hour or two a day doing something related to improving my drawing, whether it's actually drawing or reading/watching something informational. Pics related are from the beginning of the month. I feel like my observational skills are okay, but I'll be working on my fundamentals more thoroughly in the coming months.
>>459 We were actually on 8kun but it had a lot of technical problems and would often appear inactive because of a frozen front page. We ended up moving here not too long ago. Good to have you back. You've done a good job capturing the contours and proportions of your subjects. Keep up the good work!
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complete and utter beg here, criticism very much appreciated! (also used outline on sketchfab as ref)
>>538 forgot to clarify, used 2nd pic as hands ref, used https://sketchfab.com/3d-models/ecorche-musclenames-anatomy-33162ec759e04d2985dbbdf4ec908d66 for everything else
>>538 You actually captured the likeness of the hands fairly well. Overall though you're not following the contours (the "outside") lines that great just yet-but I can see you sort of have the right idea, you just have to observe and record what you see better. I would suggest greatly reducing the complexity of your subject for now. Try a few "still life" drawings of household objects with simple and clearly defined contours you can keep track of easier.
>>540 thank you very much!
>>539 That model is phenomenal and I definitely suggest you hold onto it for anatomy and proportion study-that said I still think it would behoove you to try and draw a few simpler objects before moving on to complete-particularly clothed-humans. >>541 No problemo
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Hello I was practicing some digital painting. Here I have some mushrooms. The middle one (brown) I just did it today. I tried to make the scales but it is somewhat difficult. btw y'all are not using 8kun right now? An anon told me that I could post here.
>>552 Unfortunately 8kun has had severely debilitating software issues in which the front page would be frozen for literally weeks at a time over the year or so that we'd stayed there. At some point we just had to let go-so here we are now. As far as your drawings goes though I think they're quite decent, they really give a storybook/cartoon impression and/or a fantasy aesthetic-they're like something you'd see on "Wakfu" or something like that. Keep it up!
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drawing household objects
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>>557 >>556 A lot of those are fairly decent, the tea kettle(?) thing and the vase look pretty good, man. Your boxes and other primitives could use work, though. Keep that shit up. (please don't just arbitrarily spoiler your images, that's only for [hardcore] porn and ultraviolent shock art or related imagery-or when it's funny of course)
Edited last time by loomis on 10/19/2020 (Mon) 18:40:53.
>>558 Sorry, I thought you were supposed to spoiler images if they were big. Thanks for the help!
>>557 you need more line confidence, your lines are too short, try to let it flow more instead of making it choppy short dashes
>>559 I see, I guess because they were spoilered I didn't realize. What I'd suggest is just trying to make sure you compress their size in advance to 1000px maximum in either axis. In photoshop you use "Save for Web and Devices", in Krita you have to go to Image and then "Scale Image to New Size"-or something like that-and do it before saving it (which is bullshit btw). I don't know-depending on your software you might have to do a bit of kanoodling to figure it out but it's definitely something worth knowing how to do.
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I tried to draw some plants or something. I have no idea what I'm doing send help.
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>>569 Your drawings remind me of some illustrations that appear in a natural medicine book. Are you using references? If you say you have no idea what you're doing, look up references so you can get a better idea of how to draw plants.
>>569 I think you're losing focus and getting lost in the complexity of the leaves' arrangement and it's making you "abbreviate" everything, visually. Whether it's the contours or the "veins" of the leaf you're just kind of getting overwhelmed and saying "fuck it" at some point. Try to focus on the individual contour and placement of each individual leaf at a time, see for yourself what gives each leaf its character and individuality. Limit your focus (and your drawing) to a small section of the plant for now so you can keep your bearings. Any stray millimeter of line can completely change the message a drawing conveys so try not to rush, just look closely and record carefully-if you go too fast or allow yourself to be made anxious by the scope of the task you won't learn as much.
>>571 For the record, I think you did a good job with the twigs the leaves are coming from, as a baseline, and your attempt to "draw through" them as if they were hollow cylinders is a good way to think about it. Keep it up!
>>569 Are you drawing from life or from pure imagination?
>>573 I'm interested in this too. I'm pretty confident it's observation given the strength of the branch shape and the occasional folded leaves which I don't think someone with that level of experience would bother attempting
>>570 >>573 Yeah I used references for those. I will post them alongside my future practice. >>571 >>572 Thanks for the advice, you're spot on regarding my rushing of parts. I found myself frustrated with my unsteady and inaccurate linework so I tried to move on to the next part rather than get bogged down. This was my first real attempt at branching out from construction of basic shapes so it was a learning experience.
>>580 All that matters is that you understand what you did wrong and be mindful of it on your next attempt. It might not be a bad idea to start with a nice basic pencil as well as it's much more forgiving. With a felt tip pen like you're using your options for line thickness and really all such variables are extremely limited.
>> 581 Ey brother from another mother, how did you get that picture right next to your name? I think I want. Can I buy?
>>583 In the quick reply you click "Extra" (I think in the "thread creation" window you click "More") and then indulge in flaggotry to your heart's content. Take it my friend, it's all yours.
whaahahaha
>>585 Is that you, ArtChad?
>>586 >Is that you, ArtChad? You bet
>>587 Based
>>588 heh.
>>589 What are you up to today, big guy?
>>590 >What are you up to today, big guy? Pffffffffffft. Learning how to draw and programming I'd guess. As always.
>>590 >BIG GUY KEK
>>591 Mirin', ngl. One of my motivations for learning art is to make my magnum opus shitty indie game someday, but I'm nowhere near good enough at art yet-and being a programming layman I'm guaranteed to get cucked hard by whatever programmer I hire, besides. >8 years from now Just...
Edited last time by loomis on 10/20/2020 (Tue) 20:39:05.
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>>552 these would make great clipart. Very nice >>459 loving the caterpillar. A little bit of detail in the head would be better because I thought it was a water droplet lol until I saw the reference :) >>592 Cute. Love this hair style. Bangs bangs bangs 8)
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Some miscellaneous studies for tonight, gotta wake up early tomorrow
>>602 Layin is looking good so far
>>603 I think I made the forearms a little short. I'll have to be more mindful of such proportions in the future. I feel like the further a given detail gets from your starting point the harder it is to keep track of its relation to others.
>>607 They only look short because the hands are not present. Make a fist with your hand and curl your arm. Your knuckles should be approximately on level with your shoulder. :)
>>608 You're right; the humerus needs to be a little longer to accommodate the deltoids after all-I still feel the one on the left might be a few "line widths" too shallow but maybe not enough to make too much of a fuss about. I suppose it's important to consider all the layers of a subject before rushing to judgment.
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A bit uneven and a little more thigh gap than I intended versus the reference but if I keep making mistakes like that perhaps it'll secure me a future position at Pixar, if nothing else.
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Final
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>>639 I like the portrait. Was he a reference? >>640 I really like all four figures done in the first pic. Your figure work is real good in general. I see you need more study on heads and how a face is crammed into one lol However the heads and faces I find more interesting is here >>642 first image. The tall figure with it's pin hole eyes. That figure would look great standing next to your more developed character of the one eye, scythe girl. Maybe a companion of sorts or alter ego?. Looking good, keep it up :)
>>640 >>639 >>641 >>642 Very good productivity, keep it up. Having drawn through a Bridgman book myself I'm still not sure how I feel about his stuff. >>643 This is coming together pretty nicely.
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Experimenting with a bunch of brushes I "acquired". Drawing in a bumpy car, or early parkinsons? You decide.
>>680 QT foxes and woofs; the last one kind of reminds me of that Keke Geminmin fella's animations. https://www.youtube.com/watch?v=lurN4z-Aezs
>>680 I love that sly watercolor fox :D he has that "not sure if serious or..." look :)
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I don't think I studied this bone much, it really is a bit more complex than I'd given it credit for.
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value practice
>>705 I'm not certain if this is a reproduction/study of someone else's art or your own, but in either case I really like that soft-saturation pastel look. I've only come across a few others that are able to pull off that lineless, painterly technique and apply it to animation-style characters and environments successfully and I always appreciate stumbling across more.
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>>704 I've decided to save them to individual files, I'm up to 22 (starting from zero using this method, so I'm not counting the 15 I did the other day or the 8 that followed earlier this morning).
>>719 >forgot to resize them Oh bother. If that's one thing Krita is shit for it's not being able to constrain the image's proportions at the moment of saving the file.
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Anatomy studies for the day, I feel like I have memory problems so I'm working up hill, going to go for 300 of each bone to really hammer it home. If I keep up the pace of 50 a day I can get one bone "solved" (I hope) every six days. I'm taking inspiration from martial artists who practice the same movements over and over again tens of thousands of times throughout their career. If they can do that then I (or we) can do something like this.
>>732 Naturally, more complex bones like the ribcage and spine are going to take significantly more time but they're no less important than the easy shit like the ulna, radius, femur, tibia etc. of course. 300 is an intimidating number but it's not actually very much at all in the grand scheme of things; I'm sure the students of representative art schools and ateliers likely do as much or more. All told that's probably 20 hours or so on each of the simpler bone shapes.
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Repaintin' a rusty tin sailfish or blue marlin or something for my grandpa. Any suggestions or ideas? >cat photobomb >>681 Yeah, those colorful halftones look a lot like the dithering from Flipnote. And the goofy pose. >>683 Got the source image I was working off of if you want it.
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>>755 Paint a mural of a fishing boat on that fish :) You reminded me I owe my cat a portrait. Thanks for the reference. I like like yours better, has personality lol
>>762 They may look cute but it's important to always remember that a cornered fox is more dangerous than a jackal *pew pew pew* https://www.youtube.com/watch?v=IimjoFyUktY
Trying to figure out anime-style proportions, so I drew a lompk. I'm not super unhappy with it, but I'll do better next time. Maybe one day I'll be able to effectively draw cute boys doing cute things, the true meaning of life.
Still at it, it's been a tough week!
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>>643 ye >>791 Nice 'n bone-y. Good perspective as well
>>784 Looking pretty good! I like the cast shadows on the clothing. Try and give those lines a little more consistency, and try not to use two different "medias" for brushes as it can clash a bit. Notice how the lines have a certain texture to them but your colors has a sort of hard marker kind of look.
>>809 Lookin good!
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I don't really give a fuck about the guidelines since I started drawing yesterday. I draw whatever goes into my head, sometimes I try to draw cubes. I don’t think this is a board for me since it’s all professionals here, but for fun, I’ll put it here.
>>852 >I don’t think this is a board for me since it’s all professionals here HAHAHAHA no As long as you're trying or having fun, you're welcome here.
>>852 I like them. Drawing for fun is good motivation anyways. Also I have a bunch of those flash drives.
>>852 >I don’t think this is a board for me since it’s all professionals here ...
>>852 >I don’t think this is a board for me since it’s all professionals here I there even a single professional here?
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get
>>997 >>998 >>999 >>1000 Nice work (as usual) and very nice numbers
>>999 >>1000 >those double triples Yay!
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Not in the mood to continue drawing. So here's my shit.
>>1004 Nice attempt with the little car, I've found toys to be a fun study subject. If you have any Skylanders laying around they're an interesting thing to study too. Nice "Darkest Dungeon" knight as well.
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hey /loomis/ Is it okay if I ask a question here? I am autistic neetbux but I had some experience working temp odd construction jobs. Was thinking of doing wood work or chiseling but not sure. I am bored because I have too much time and there's only so much cleaning I could around the house , these temp jobs are so low hour and no body wants to hire me because of my disability . I am sorry if I am bothering you guys. I am bored with vidya and need a new hobby possibly something that doesn't have to deal with computers.
>>1007 Nothing wrong with woodwork. If that's yours it looks pretty cool
>>1007 It's certainly a good hobby with a low skill floor and a moderate skill ceiling. Was the hobby of choice for many frontier settlers and the like with a lot of wood and time. I would say give a shot my dude.
>>1007 >Autistic You shouldn't have any problems if anything. most people should want you.
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Here are a couple sketches from the sketch daily site, had either two or five minutes to make these
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>>1021 Keep it up, I suggest trying and get those measurements correct rather than doing too much "time limited" drawing at first.
>>1025 I agree. Once you've done enough slow and careful drawings, you will be so good at it, that drawing them will be just as fast as the sloppy ones you're doing now. Speed comes through confidence and experience. Be careful to not fall into bad habits.
>>1030 >>1030 I agree, I think I fell into the whole gesture thing a little early and it became hard to deviate from that thought process later; gesture drawing is a more intermediate thing I feel, in hindsight. You have to know what you're looking at pretty well before you can hope to record it in under a minute. https://www.youtube.com/watch?v=CO1apyVxvWs
>>1032 >You have to know what you're looking at pretty well before you can hope to record it in under a minute. Yeah, I don't know why some people tell you to do gesture drawing early on in your development as an artist. (I think than ebil Prokopenko also did that.) If you learn anatomy, the gesture comes naturally. There's that one animator LOOMIS-san likes, he says exactly the same. Learning to draw in proportions is the most basic and important skill to really master. It's about constantly measuring and comparing line angles, lengths, negative shapes, flows, etc. Once you're able to create a pretty accurate replica of images you like, you can start to get a bit more loose and only try to capture the essence of the thing you study (without necessarily making a perfect copy - that's not necessary). You'll be able to fall back on your ability to accurately copy what you see, whenever it's necessary though. For example when it comes to faces. We as humans are capable of interpreting the tiniest changes in facial structure, feature positions and expression. That's why there are so many furry artists. Many of them are incapable of creating believable human faces. So they just make it some malformed vaguely human looking face. Your brain is not used to seeing that and will tell you it looks alright. It's a cheap trick and often times just shows a lack of diligence.
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My second attempt at cylinders, trying a different way that I think looks much better... I was trying to do them making the axis and everything first but I found it looked significantly worse and took forever. Many are off but I made an effort to correct them as I went on.
>>1035 >There's that one animator LOOMIS-san likes, he says exactly the same. Very good memory, AMB appears to mesh traditional comparative measurement techniques like "enclosed shapes", plumb lines and the like with constructive methods in his quick sketches-but he also says to not put yourself on a time limit necessarily, just finish the drawing lol That said doing them quick on a time limit is fine, but only when you're at that level to where you can successfully appraise the subject that quickly.
Edited last time by loomis on 12/03/2020 (Thu) 02:20:49.
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I've been making an attempt to adopt a conscious style rather than aimlessly fiddling things into place all the time. I feel it's overdue that I give that aspect of art proper consideration. I think I'm somewhat getting a hang of line art, finally, even if it's still a little sloppy. I decided on aiming for Endou Okito as a direction for faces, for the time being. I love how she (?) does eyes. It's a fucking difficult style to emulate though, apparently. Damn my arrogant ass for thinking it would be easy. I've been fighting a losing battle for three days consecutively and this is the best I have to show for it. Fortunately, the war isn't over until I say it is.
What would you guys say is a good excersie to do on small pieces of paper ? Sometimes we get very slow shifts at my work and I find myself doodling on the store receipts. But there's not enough space for a bigger practice drawing, nor that much time since a singular customer can come in at any time. I've started doing just straight lines and cubes of different sizes since it's quick and it's not a problem if I get interrupted
>>1043 Looks pretty good to me, just keep studying. Three days isn't shit. Study real eyes to see if you can come up with some kind of connection to the way they do it >>1044 They make sketchbooks about the size of receipt books, would probably be a good investment.
>>1045 Seems interesting but I'm asking for excersies to do while bored at work, rather than a brand new sketchbook
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Finally got some art classes going again, picked up the acrylics for the first time in a long time. Kind of looks like shit right now, I think.
>>1047 Nice to see some traditional painting with actual paints. I find acrylics hard to use. (Or the ones I had where just shit. They didn't cover he paint below properly.) I'm like using aquarelle watercolors. I've just gotten my hands on some Schmincke watercolors. They're expensive, but it's worth it. It's so much fun to color with them. I'll post some images soon. (Provided I get my scanner working.)
>>1048 >I find acrylics hard to use. (Or the ones I had where just shit. They didn't cover he paint below properly.) Cheaper acrylic paint doesn't have enough pigment mixed in, the paint ends up very transparent. I like watercolor too. I use Windsor&Newton.
>>1053 Never, but I want to. One of my art teachers has a set she was going to let me experiment with, but then this whole fucking covid thing happened.
>>1053 Watercolor-fren here. Yes, I like quache. You can apply it really opaquely, but I like the light to dark approach of waercolors and the effects you can achieve with a very small amount of pigment mixed with with a lot of water. Something about watercolors just attracts me.
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Well, I think I have the structure mostly figured out. It was really confusing how this artist blends shapes together; That curved/cutout portion of the iris seems to actually be a highlight. A lot of the effect decidedly comes from their style of rendering though, rather than just the shape... So I'm gonna have to get into that as well. But that's fine, my technique sucks a mountain of dong for breakfast, lunch and dinner. This day had to come eventually.
>>1058 >That curved/cutout portion of the iris seems to actually be a highlight. I was actually going to ask about this specifically after looking at the image. I like the volumes of the eye socket and the lashes; it's a nice style.
>>1058 Ok, I've now also taken a look at Endou Okitos work. His eyes are realistic. He has a deep understanding of Eye anatomy They don't have a caved in iris. As you've mentioned you might've mistakenly assumed the highlight was part of the iris' outline. Thanks for exposing me to this artist. I really enjoy his work as well.
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>>1047 More class work, I don't like it but everyone I show it to is amazed, somehow. Decided to try having some Fun With An (apple) Pencil, and some quick sketches with a new brush pen. At least the bird turned out good.
>>1076 Nice blooks and that birb in particular. That landscape you did looks great in the thumbnail, it's a little raw when you zoom in but I know from that other thread that you're still familiarizing yourself with the medium. Keep it up
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Not sure why studying the face has always been so intimidating to me. >but I can guess This didn't take much time at all.
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>>1090 I'm not sure the Temporalis would be visible behind the Masseter at that angle; it passes beneath the Zygomatic Arch and attaches to the Coronoid Process. But now I'm being picky. ... Because that happens to be the only part of the facial muscles I'm confident at
>>1093 Oh shit, looking at the 3d reference that's just a part of the masseter. I'm a retard.
>>1094 I knew I should have softened that striation because it really is a bit harsh and looks like two separate muscles. I did screw up by having that little muscle that's attached to the front of the chin overlapping that other muscle rather than the reverse tho.
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The Fun continues. I think I'm starting to "feel the forms". Discovering that Procreate is bad at registering tilt. >>1087 I'm not that guy, I have some previous experience with acrylic. It's just my new teacher is giving some rather strange instruction.
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>>1076 I don't feel like this painting or teacher is really working out.
>>1126 I like the way this looks far off. But a major thing that is bothering me, is that the mountain going across the horizon is making a tangent that obscures the shape of the valley and makes the mountains all feel like one piece. If it were more faded out, lowered, or otherwise brought back a notch it would look a bit nicer.
>>1126 The most distracting thing for me is I can't tell where the sun is supposed to be. I have no indication it's overcast, so why do all the other mountains on the left not have a lit edge, while the closest one does? If the sun is coming from the upper left, it should treat all of those angles relatively the same. it does on the right side of the valley, but not the left side. Was this done from a photo or actual reference or was it a guided painting ala Bob Ross? Also I agree with anon here >>1128, it's not impossible for a valley to have a completely flat line on top live you've done, but not from the angle you chose. In order to even be close to that, the implication would be your position having the mountaintops form a horizon, implying the top of the valley is at eye level. However, the foreground of the painting obviously implies that you are on a lower slope. So simultaneously you have a mixed perspective going on with where the viewer is in relation to the foreground and backgroud. If I were to take the foreground being correct, and you at least "relatively" in the valley for the perspective, you'll find that the mountain tops naturally create a mild U or V-shaped curve for their edges meeting the skin. As you reach the top of the mountains it creates a flatline, and if you're above the mountains they'll start forming an upside-down curve. Again, it's possible I'm full of shit, and your teacher took you on a daytrip to do some live painting, and just happened to find this perspective, but that's my two cents on what could be improved. Good job otherwise though.
>>1208 >meeting the skin *sky Fuck.
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>>1128 >>1208 This was done from a photo, which I never got a picture of. The tops of the mountains are about as flat as it looks. It's not obvious from the painting but in the (shitty print out of a) photo I was working from, the perspective was looking somewhat downward, with the foreground being downhill, and somewhat far away. It's like the photo was taken by a drone or something. The sunlight looked like it's coming from behind the mountains and to the left, the only highlights catching a few lips sticking up in the front. It's supposed to be completely covered in distant trees, instead of smooth gradients of grass. This teacher's instruction is all over the place and makes no sense. The general purpose of this painting was to practice showing depth, but then I spent the whole time repainting abstract blobs on the closer mountains. It's done now anyways.
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>>1209 > >meeting the skin > Fuck What kind of "skin" are we talking about?
>>1230 That chromatic aberration makes even a picture of an ugly fuck look lewd. Good work if that's yours.
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The Krita chalk brush is pretty comfy to sketch with tbh
>>1233 >That chromatic aberration makes even a picture of an ugly fuck look lewd. Good work if that's yours. It's not necessarily the chromatic aberration. I've also added a misty effect by duplicating the layer and blurring the life out of it. That's what give it that "lewd" effect.
It's all about being subtle. hehehe
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I finally got a drawing tablet and Krita after having drawn in traditional pencil for a few years so I cranked out some drawings of some oc characters and I think I want to draw with ink. What kind of ink brushes do you guys like to draw with? Also I realized that I saved the second one in low res AND jpeg so that's why it looks so blurry.
>>1242 In Krita there's a brush called "Basic-5" that has a paintbrush icon. It seems like it'd be a good inking brush. I primarily use sketching brushes like Chalk-Soft or Charcoal-Medium though. Also a lot of people do fine work with the basic hard/round. It's one of the most simple and most versatile brushes.
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So I'm done reading fun with a pencil and practicing the goddamn exercises, what now?
>>1255 Now that you've been introduced to the idea of form, perhaps a perspective book such as "Perspective Made Easy"-or perspective lectures on youtube-would be a good place to move on to from there.
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Lazy doodles
>>1258 booba Nice dynamic poses anon
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>>1259 Glad you noticed the dynamicness because it's something I struggle with all the time
>>1258 >>1260 I'd like to see you do more of these
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And now for something completely different, expressionism. Did not have the right paint to get that bright teal color today.
>>1282 >And now for something completely different, expressionism. Impressionism > Expressionism But the appleroonie is looking goodie.
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I'm just practicing some simple contour sketches of random stuff around my house, currently a lemon and a potato. I do not know if I'm feeling the forms.
>>1320 Think about it as if it were made of glass and let that inform your drawing; do "turnarounds" of these objects in order to further understand their true dimension in space.
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100 hands
>>1352 Saw that in the 'pile Epic, if I do say so myself (which I do)
>>1282 It is done. And now onto pointillism. >>1284 >Impressionism > Expressionism I agree, that is coming eventually. >>1352 High five, thumbs up, I've got to hand it to you, round of applause, etc.
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literally my first drawing ever, it's probably horrible. I need some advice.
>>1356 That's not your first drawing ever, maybe your first drawing posted on this bort-we say things like that to protect our ego from potential criticism while simultaneously subtly fishing for compliments; try and be psychologically tough and not hold individual drawings too preciously because it'll only hold you back, you're going to be doing a lot of them.
>>1357 Well, it technically is my first drawing since I left highschool a decade ago to be precise. Thanks for the advice.
>>1356 >literally my first drawing ever I don't want to be rude or anything, but that post is full of attention faggotry.
>>1356 I think when you're looking for help, it would be keen to be a little more specific. "How do I make this look better?" appears to be a pretty common vague request and frankly, not one people can really answer because you have to know what you want from your art first before other people can help you. Otherwise people are going to think your request is disingenuous.
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Hand anatomy and color. Coloring is actually possible in drawpile even if you don't have pressure sensitivity. You just have to set the opacity to <20% and use darker and lighter color for shadow and light. Also kimono is peak aesthetic.
>>1407 Very cute Kimono grill and based heckin' handerinos. If you're having trouble with pressure sensitivity in Drawpile consider taking a look at preferences and turning off the "windows ink" checkbox if it is selected, that worked for me
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Pointillism adventures continue. It looks pretty cool from far away. Going to put a thin transparent wash of white or something over the background when it's done to tone down the saturation. Learned that the original picture I'm working off of was made by an algorithm.
>>1434 >upside-down clown emoji on the top left based and honkpilled
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>>1434 And now it is more or less finished. And some random sketches, two with reference, then one from imagination, as a general exercise from that character design course shared in the share thread. >>1438 There is no motherhonking escape from this clown world.
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>>1464 but why apple is skew
>>1465 Dammit, I thought it looked off, but my art teacher told me it looked fine and started blathering on about how apples aren't perfectly symmetrical or some bullshit.
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>>1466 Maybe he/she was trying to handwave away your doubts and focus on the positives. You've got a pretty good thing going on there. The only other thing I find questionable are the diagonal lines. Not that they diverge or don't diverge, but that they don't do either enough. It's in that uncanny valley where the top-right lines going in a slightly different direction feel too congruent to be an artistic deviation, but not consistent enough to look even with the rest. That accursed uncanny valley of fencesitting awkwardness that looks like a technical error. Everything else about it is neat. Like some heavily lacquer-dipped apple trapped in The 90's Zone. Especially the larger patch of color on the bottom right. I really like how it forms kind of a bent triangle that approaches but doesn't quite hit the opposing blunter triangular splotch pointing downward. Apples generally aren't too symmetrical, but if all the asymmetry and errors are strangely consistent, it ends up weird. As an analogy, you can make a few things in a piece too wide or narrow, but if the entire work consistently has the exact same degree of excessive horizontal distortion, it just looks like someone stretched it out. If you have to do more than one stretch, skew or rotation to "fix" the work, you're probably good.
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>>1468 >questionable diagonal lines They are pretty sloppy, aren't they. Could have been more careful with my brush technique when doing the lines, the brush bristles were a little too springy to put down consistent dots on the canvas. Near the end my teacher admitted she knew nothing about pointillism and was just guessing at the proper techniques. >heavily lacquer-dipped A lot of the texture comes from using really transparent paint. >trapped in The 90's Zone I do enjoy me that TOTALLY RAD, BAD 'n' CRAZY 90's aesthetic. Went ahead and fixed the lines and lumpiness without too much distortion with GIMP's warp tool.
>>1469 >brush technique I don't think it's a technique issue. At least not the precise thing your describing. The individual strokes look nice. I'd maybe try to keep the strokes more abstract, as you have a few consistent waves of smoothly changing strokes going. Unless you specifically want that patterned feel to show up, you'll likely want to make sure none of your strokes end up forming a recognizable pattern, especially not in areas with high contrast. People are good at picking up on patterns, and art weirdos are even better at it. Too many coincidences in a row and it stops reading like a big blanket of texture and more like a bunch of little details. You never want that in tertiary subjects. If there is anything to complain about technique wise, it's the background lines are formed directly out of brush strokes, rather than there being strips of color that are abstractly conveyed with strokes that don't necessarily align to the subject. There are probably some platitudes about keeping the practical details of the medium and the subject matter separate or maintaining abstract brushwork out there, and those seem pretty applicable to pointillism. But if you did want lines made out of strokes, I'd call it more of a lapse in judgement or going into autopilot than a direct problem with technique or your brush choice. If you made that apple, we both know you could put down parallel lines of dots if you focused on it. >texture ... really transparent paint I was getting more at the contrast between the blacks and near-blacks near the middle and the sharp lift toward the brighter form-describing shapes closer to the edges. If the color choices weren't as abstract, I'd say the apple almost has a metallic sheen to it. Even without the usual perspective cues you get from the gradual turn of form shadows, the fruit has form. It doesn't just look like it has form in some symbolic and communicative or shorthand way, it actually has form. That's fucking fantastic. >90's aesthetic is rad 90's aesthetic is rad. Having stared at it in its unskewed form for long enough, it looks more like a recoiling plum than an apple.
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I got a wooden mannequin recently, so I've been trying to get a better feel for proportion with it.
>>1488 Pretty good anon! Whenever I'd buy those things they'd inevitably get broken and I hated how inarticulate they were. Nowadays they have really cool posable anatomical models but they're quite a bit more expensive. >nice numbers btw
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>try to draw cute girl gook >end up with "we arr rook the same" caricature Maybe I should go back to digital. It's more of a hassle but HBs just aren't made for all purpose shading.
>>1493 Pay attention to “plumb lines”, which is how things line up horizontally and vertically. Notice how the left edge of the nose lines up with the right edge of the eye, versus how far left the nose is on your drawing. Things like that. Two, you put too much curve in the lower lids of the eyes, causing excess canthal tilt.
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Giving digital pointillism a shot. I'm finding it's a very time consuming art style. I've goofed up the perspective on the muzzle and I just can't seem to fix it.
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>>1493 When it comes to drawing, knowing what information to include and emphasize is very important. You don't have the benefit of a full value scale so you need to make some compromises somewhere. One way of doing this is to draw by contrast. So you put a line down where you see a strong contrast and you put down a weaker line (or no line at all) where you see a lower contrast. By doing this, you can usually get a pretty good impression of what you're drawing using line. You can even use this for the shadow line to get the effect of light and shadow without using any values. This is kind of what I did in this example. Where there's a strong contrast, there's a darker line, where there's a weaker contrast the line is lighter. I also included variation in the hardness of the line as for example her cheek on one side has a much softer contrast than the other. This can be a good way of learning to draw as you 1, it helps you to figure out what information is important and what is less. And 2, it allows you to make something using that looks visually like your subject and you can more easily compare them visually and make corrections. Also, using straight lines can be a way of simplifying your information into something much more manageable/controllable. All this isn't to say that my drawing example is great or anything. I'm sure it's pretty inaccurate if I spent the time to check everything but it's just to show the idea.
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Dump 1/2
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>>1502 2/2
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Still plugging away at my painterly bullshit. Nearly done with the apples exercises. >>1502 What's the meaning of all those little X's by your sketches?
>>1537 I'm not sure what to think about the completely even colors on the leopard. Can't tell if it'd look better with some noise in the value and hue selection between individual dots or not. Neat apples. I'm guessing the X stands for personal dissatisfaction or noticed faults. Most of the things marked off are at least a little off, at least when compared with the other parts of the same drawings. I'm more interested about the filenames. Those are some weird ass filenames.
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Decided to paint something without using the color picker/eyedrop tool and only work with the hue cube. Pretty fun to try to manage values and transitions without blending with the color picker. Will have to experiment more with this but it's a pretty interesting way to work. The pic itself is just something 100% imaginative. Normally I try to use some reference but this wasn't something super serious, more an experiment with technique.
>>1545 Looks good man, very impressive that this is without reference. The values are good and the anatomical minutiae is extremely impressive, such as that in the knees, head and neck in particular.
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mix of practice stuff and just having a bit of fun
>>1549 really good :DDD
>>1561 no its not
>>1549 >Valtr Good taste anon.
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>>1628 >touch grill >free circumcision oy vey! such a deal!
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Trying out a different ink brush for my line work
>>1714 Based Lizardchad; what a cool fella. That's not a komodo dragon is it? Those things are dangerous and probably shouldn't be walking around wearing sweaters.
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>>1714 >>1715 I believe it's a monitor lizard, so pretty much harmless How do I know that? Because he's monitoring the situation
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On a more serious note, I've been working on hands.
>>1717 And the other refs I used. The remaining are from the Charles Bargue course.
>>1716 >I named him safety lizard instead of safety monitor I'm such a fool
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Tried drawing a scene from imagination and realized I had no clue what I'm doing when simplifying plants or grass. What do, /loomis/? >inconsistent outline color wasn't visible on ipad
>>1736 Study plants in the same way you'd study anatomy and the simplification will come intuitively. ...probably
>>1736 Look up Bob Ross and other landscape painters, landscape painting is the easiest fucking thing on earth because it is spamming the shit out of colors without any prior planning to create the blurred abstract echoes of a real thing that the human mind will perceive as being an object.
>>1736 Use broken or implied lines, like you're drawing the shadowed underside of the clumps. The solid line makes it look too rigid and dense. **Also use a lighter line weight in general for things in the background* *
>>1743 >broke/implied lines Oh, that's really good advice and something newer drawfellas often forget about. The "line that isn't there" can be just as effective a tool as the line that is, at times.
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Man, why the FUCK shading gotta be so hard.
>>1748 Because you haven't practiced the fundamentals enough. You're not thinking about how light behaves, and the ability to work with light depends a lot in turn on a solid grasp of form. These are precisely the concepts explained in Fun with a Pencil and Figure Drawing for all its Worth. The meme books are so commonly recommended because they're really quite good at that, you ought to check them out. They, and a load of other material, are all available on the resource hub mega, the link for which is up in the OP.
>>1748 Apart from reading books you need to make good use of your digital tools. I 100% recommend going to ctrlpaint.com/library and indulging in a lot of the content there. It's organized quite well and I think you'll learn a lot regardless of what software you use.
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Fun study trying to make low contrasts look good. Also experimenting with using the mixer brush in photoshop.
>>1753 Damb that's a filled out lady. Are you still trying to abstain from color picking?
>>1758 Not in this one. I go back and forth on it. I try to pick "fresh" colors a lot but it's practical to color pick and not have to find the color you were using previously from scratch. What I've been trying to do is limit color picking when working on my values or colors but when working on rendering I allow it. It's a balancing act. In Harold Speed's book on oil painting he talks about something similar. He discusses two approaches, one where you paint colors into other wet colors and allow them to mix a lot, and another where you place down your colors solidly and minimize how much they can mix with each other. He goes on to basically saying something to the effect of doing something between two extremes seems like a good starting point. Seems like some good advice I'll take.
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>>1750 I've already read fun with a pencil, and it hasn't really given me any new information that I didn't already know or haven't been already practicing. I think the bigger problem I'm having is that I just don't know how to express the style of shading I'm going for if that makes any sense. I'm trying to get the hard black cel shading with little to no color gradiation of the first two pics, but because I've spent so much time shading with a traditional pencil I'm not sure how go about doing it. For example, in my piece I posted a few days ago with the version of the character on the left, I wasn't sure if I should have hatched in between her right arm and chest or used solid black so I chose the former because I didn't want to lose the arm's line work but it still looks off (there's other issues I noticed after posting that but that's a big one). Another issue I'm having is that I don't really know if I should be drawing out the solid blacks and then using the fill tool to fill them or if I should be hand drawing them line by line like I have been for the sketchier/dirtier look of the second picture. I apologize for seeming like I'm trying to get spoonfed, it's just that I've been reading a lot of material and I feel like I'm going through the motions of what I've learned, but it's just not sticking. I'm not sure if it really is just as simple as "keep practicing" or if I need to pinpoint exactly what I'm doing wrong and just focus on that.
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>>1768 I'm not sure what it's called but that harsh shadow shading style without strong reference is only possible with a very good understanding of the form underneath (or in realist art, strict observation which is often aided by squinting or using a black mirror); doing studies like you're doing with those Proko hands is kind of the right idea as would be to do still live drawings of inanimate objects or busts. You'll note that in the screenshot you've chosen there's no hatching necessarily, rather just strong graphic shadow shapes alone. Judging by your decent studies it seems that-as I surmised-part of your problem is a need to improve your mastery of the digital medium itself which is why I'd suggested ctrlpaint.com/library which is probably the ultimate free resource in that regard.
>>1770 So what kinds of brushes would you recommend to do more studies and still lives with? All of my works I've done I used Krita's sketch pencil for the sketching and a G-pen/rough pen for the line work and shading. I just worry that if I try to learn regular digital painting I'm going to just .deviate further from the style I'm trying to achieve.
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>>1771 I think in lieu of the G-Pen and Rough Pen you should try the Details Marker (the pink/purple one) in the digital brushes tab and see how you like it. It has just a hint of opacity and a more subtle size pressure. The G-Pen is okay but it's very harsh. With the Details Marker you can get those dark blacks but you can build them up rather than having nowhere to go in-between.
>>1771 >>1774 Most of your favorite artists including the top anime and manga guys likely had a very formal education that looked more like what this gentleman >>1753 does and the artistic lineage he comes from than what many of us line artists are personally invested in (to our folly). You really can't know too much. Don't worry about formal study cramping your style, just make sure that what study you do informs your stylistic choices rather than allowing it to become a hostile takeover.
Edited last time by loomis on 02/16/2021 (Tue) 06:34:24.
>>1776 >>1774 I appreciate everyone's time and insight. Imma make you guys proud.
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I was trying to find my footing with figure drawing again and felt dumber than usual while attempting to draw this, but then I remembered that I'd always scribble like a retard in live model sessions before actually getting somewhere. Got an okay likeness here and learned a tiny bit about values too I guess
>>1849 Very well done anon. You can kind of see a handful of subtle measurement discrepancies (a missing "hump" in her hair, her cheek not extending beyond the contour of her shoulder like in the reference) but nothing that hurts the piece itself in the slightest. Good work
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I'm still trying to figure out what kind of process works well in digital. I think I'm getting a better grasp of how to use Krita. I also noticed here that between the sketch and the final, I lost the shape of her snout slightly.
>>1854 In hindsight I feel dumb bothering to try and crit >>1849, it's a very well done representation and everything I said is just nitpicky. >>1856 Not too shabby. Consider leaving out the harsh black lines and copying what you see of her character model as far as that goes a little closer and see if you like the result. Notice her eyes are about three(!) eye widths apart on her canon design. Keep it up
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Working on my character design for my (purely hypothetical) gaem
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I keep trying to adjust it here and there but I can't get it to mirror properly. I fucked up. I'm still relatively pleased with it, I guess.
>>1913 Who's the big head guy? Mad scientist? Happy scientist?
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>forgot the mirror tool was a thing Thank you based Krita for this crutch
>>1928 She cute. I feel like I recognize her, have you posted her before at some point? Looks like she could have been in a cartridge-era platformer. If she's meant to be fairly small on the screen you might want to exaggerate the size of the details (even more), and scale up parts of her helmet, gloves and shoes to make the silhouette read clearer. Kinda hard to say in advance.
>>1929 I think this might be the closest I'd come lol; not much in common with the design as it is today but I have posted it here before. This is probably back in 8chan.org's heyday. >you might want to exaggerate the size of the details (even more), and scale up parts of her helmet, gloves and shoes to make the silhouette read clearer. That was actually something I was thinking about. If not the head/body than definitely the hands and feet. It depends though, I've played games before where it was taken a little bit too far. A game I had a lot of affinity for called Brave Fencer Musashi had a sequel on the PS2 and I just couldn't take the characters seriously because of their ludicrous proportions. If I do take such liberties it has to hit a sweet spot where you don't necessarily notice it as a viewer but it still does what it's supposed to do, more subconsciously than not, I feel. Thanks for the advice!
>>1930 Sorry about the long winded rant but your suggestion brought out my PTSD; just look at how they fucking massacred my boy
>>1928 Cute! Also, big head was just a guy
>>1935 No worries, it's not at all that long winded. It was an interesting example anyhow, and I agree they rather overdid it. Seeing that brought one thing to mind though. Your character is very symmetrical throughout the design. Not only from side to side, but, for lack of a better word, rotationally? As in, the details are mostly perpendicular to the cylindrical form of the body. Assuming this is meant for a 3d game where the camera is not locked to an axis, in certain situations I'd wager this might make it difficult to discern which direction the character is facing. I recall having that problem with platformers at times, often leading to a needless death. That was back in the day of CRT, janky controls and very low-poly models, but still. This is pure speculation, but I wouldn't be surprised if the reason musashis hair is so overdone is to make it blatantly obvious which direction he's facing at all times. I've noticed that kind of thing is a general trend in stuff like successful platformers and RTS games, although maybe that's just good design practice overall. There's any number of ways you could accomplish that, unless you're completely opposed to the idea. Just a thought. Now pardon my rant.
>>1935 Although, the first design was better by far in that regard, I can see that long hair-tail thing being really distracting. I didn't mean to say the second design was good. Spaghetti spills right out of my pockets whenever I post, Jesus.
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>>1962 Nice dynamic poses. I honestly feel like there is a subtle improvement here over your previous similar submissions; seems more refined somehow.
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Time for a hiatus from imageboards
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Figured I would kill two birds with one stone by experimenting with blending methods while working on back muscles since they're my weakest anatomical link so-to-speak.
>stumble upon pic related >instantly realize two mistakes I always make when drawing torsos and how to fix them The power of /hyper/.
>>2158 What mistakes would those be tho
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>>3 How do you draw shadows Whenever I try to do it it just looks off.
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>>2172 First was the ribcage. I thought the ribcage tilted more and continued the line from the latissimus muscle, but it really doesn't. That bump under the scapula is actually the serratus muscle, the ribcage itself is straighter. The second mistake is making the belly start too close to the bottom of the torso. Hopefully this makes sense.
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>>2177 >Pick a light source >Understand the parts of your drawing as three-dimensional forms (i.e. a ball instead of a disk) >Study real lighting of these forms (pic related for a ball) to see how the shadows behave according to different light sources >??? >Profit
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>>2177 Light is a complex subject. Direction, reflected light (and color), form shadows and cast shadows, occlusion shadows and ambient lighting, exactly how much something that's more directly in the light should differ from something more tangent to it. Can't beat hitting the books and doing realistic studies in that regard. If you're looking for what gets you the most results for the least effort, then that would be differentiating between hard and soft shadows. Or making all of your shadows hard, if it fits your vision. This almost always beats universally soft shadows. A round form is lit pretty evenly until it starts approaching the shadow side, where it very smoothly goes from light to shade. There's a gradient there, and the nature of the gradient depends on the material in question. If your form has texture, this is where it will be most pronounced. That same round form might block light and cast a shadow on a different form. This will be crisp. No gradient. A fold in a shirt might be rounded on top as the material turns inward and back outward, but shadow it casts and where it ends tends to be sharp and crisp. ...Unless the light is relatively close, or the distance between the caster and the castee is rather long. Blockier forms tend to have hard shadows, as outside of reflected and ambient light, there's nothing to cause a gradient. Please excuse the rushed illustration.
>>2181 >>2180 Thanks
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>>2181 >>2180 Thanks, I tried, here is the result.
>>2187 Is the Walmart sun the light source? That's pretty cool, I like it. Though in that case, I think the head would cast a shadow on the other shoulder, and the crossed arms would cast a shadow on the abdomen as well.
>>2187 >>2195 It's certainly more attractive. Kudos. The inconsistency in lighting up the form as a whole is visible, but I'm more concerned about the shadows being of different hues. Going the more realistic route, you'd expect them to be very much in the same ballpark. The light always dominates. One light cannot influence the shadows it creates on its own. What changes the shadows are: 1. Reflected and secondary lights. Other light sources that might only have marginal influence over anything in the dominion of your primary light have no problems throwing their weight around in the areas the primary light cannot reach. You got sun, you've got grass, you've got the blue skies above. The warm sun can't hit it? Chances are, you're going to have influences of both both the sky and grass giving everything in the shadows that can "see" the grass and the sky dragged toward the teal end of the spectrum. Closer to the grass, more green. Obstructed from the grass, more blue. Fuck your yellow sunshine, we cold in these shadows. 2. Local value. The nature of the subject being lit up. A light blue subject might appear cyan, purple or something completely different in intense enough light. In mild or neutral lighting, direct or ambient, the color of the subject will have a much greater impact on the final visible hue. A light subject has a different gradient going from light to shadow as would a dark one. An intensely saturated subject in a colored light is different still. Unless you've got a matching set of secondary lights underneath, reflected or otherwise, you don't see that kind of difference in shadows, and if you do, that would almost necessitate articulating the bleedover from one set of shades to the other, depending on which secondary or reflected light they get hit by and how directly it happens. Going stylized, you'd expect more batshit contrast and difference. Real wacky saturated shades and more focus on making the shadow shapes look particularly interesting, bending the subtleties of exactly how shadows wrap around forms. Stupidly intense purples and weird greens, complete black and overblown occlusion shadows, effects that escape the silhouette of the character just to make a pleasing pointy curve. Choices informed by reality, but in no way subordinate to it. Right now, it's in that weird middleground that achieves the worst of both worlds. To my eye, you're better off keeping everything in the shade very similar or indistinguishable (until, and possibly after you get more knowledgeable about the mechanics of light), or going bonkers and leaving absolutely no doubt that you intended for two shadows to be from completely different worlds. I've always held the opinion that undeniable intent is one of the key ingredients in selling deviations from the norm. If you make an inaccuracy, it comes across as a mistake. If you swing wild and go steadfast against the grain, that registers as a design choice. All the sharp words and aimless ranting about light aside, the execution is much better than the former drawing. Keep at it, fucker.
>>2187 Nice job keeping the shadows clean, I agree with anon that different hues in the shadows don't make sense if you don't have multiple light sources, but you heavily imply there are multiple light sources, so I'm just going to try and construct where exactly the light is supposed to be with lines. We're going to start with the head and make our way down. Your only defined highlight is on the upper part of the right side of his head. This tells me that light source at minimum must be in line with his shoulders. Immediately however I am greated by the fact that the shadows that his sphere shaped head cast on itself is in the lower fifth of the head. This implies that the light must be signing on him pretty severely from his right side and from his front, not directly over his shoulders. Next and biggest contradiction we run into is the shadow his head casts on his shoulder. This doesn't match up with the head whatsoever. The shadow begins on his right shoulder at an impossible angle if the highlight is to be held true, the blue line marks where the shadow interacts with the head, in order to be in the shadow, that blue line must meet *somewhere* in the shadows of the sphere of the head, either on the visible side of the the start of the shadows or some other side of the sphere that has the line marking the beginning of shadows. You imply here that the light is coming far more over his head than the highlight implies, this gets even worse however, when we get to the left shoulder. The highlights on the head imply that light is coming from the upper right and is going into the lower left. Therefore, if the head is casting a shadow on the body, the shadow cast on the shoulders should be to the lower left of the rest of the head. Where the shadow ends on the left shoulder/upper neck implies that that the light is coming from the upper left, and is washing downwards to the lower right, this is in direct conflict with the head. If there are supposed to be two light sources, there should be two shadows on the shoulders, if there is only supposed to be one, you need to be consistent. The next most egregrious is the wrist resting on the opposite arm. The shadows imply that light is coming straight down. If this is the case, and his left arm is going from the front of the right arm, over the top, and under the upper right arm, the left arm *must* be casting some sort of shadow on the lower arm, it should also be casting a shadows on the chest as well unless his arms are being held multiple inches in front of him as opposed to gentle wresting on his chest as almost every single person who folds there arms do unless they're doing russian kicks in a squat. With the left arm, the light goes from imply it is coming straight down to instead appear to be going from almost the direct right of the character. This is further reflected in the silhouette you put behind him, which implies that the light is coming directly parrallel on the horizontal plane (i.e. the plane that makes up the floor and ceiling) and barely offset to the right of the median plane (imagine a flat rectangle cutting him in half symmetrically from the front to back) this barely lines up with what you are doing on the upper left arm and the silhouette. but I could buy these as being consistent if you just made the shade on the upper arm small as the silhouette. Next problem is the super dark shadow on the neck and the clothing. These technically match up, but imply the lighting is coming directly from above, this obviously clashes with the shading on the head, which again, imples it is coming from the upper right. I assume, though am not confident, you were trying to imply two light sources, one that's casting the silhouette perfectly, and one that is coming from the upper right. If this was the case, there needs to be shadows interacting with shadows and highlights interacting with highlights and all other sorts of garbage. To avoid this problem in the future, choose one point where you want the light to be, any point, all lines come radially from that point and will make it easier to figure out where shadows are as far as the "two dimension" that your flat drawing implies, to take care of the third one, you'll need to capture in your mind whether the light is front, next to, or behind the subject, once chosen, stay consistent. The closer the light is to be parallel to the subject, the more details in the lighting will show, the more difficult it will get. Much better than the original mind you, but you really need to decide on 1. how many lights are present, and 2. where that light (or lights) is. I apologize if this didn't make sense, it's a bit hard to explain verbally.
>>2195 >Is the Walmart sun the light source? Yes >>2197 >>2203 Thanks for the responses I'll keep that in mind when drawing shadows next time.
>>2203 >I assume, though am not confident, you were trying to imply two light sources, one that's casting the silhouette perfectly, and one that is coming from the upper right. Honestly, for the most part it 1 light source from the right hand corner. I added the blue hue onto the shadow to make the art stand out a bit and the blue background part was just a style choice not an actual shadow.
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>>2231 BUNDA based Elena, good work as usual lad
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Trying to figure out how to shoe
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Currently trying to draw Ron Watkins cause why not
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>>2256 Sorta gave up halfway through.
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>>2256 >>2259 I JUST WANTED TO TRUST THE PLAN AND NOW WE HAVE A SENILE CHINESE ASSET AS OUR PRESIDENT HOW COULD WE LET THIS HAPPEN!? AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
>>2260 >How could we let this happen Trump let it. If Trump were anything besides a slightly less incompetent Israeli puppet he could have used executive powers to launch an actual investigation, declared martial law, anything to stop the blatant election fraud. He didn't. He just went >Oopsie daisies! Sorry patriots, looks like these little 4 years of being slightly in power but not really are over now, no chance for reelection either, the jews said no more appeasement years, enjoy enslavement, and remember vote for the establishment! Then left. The absolutely hilarious part is that the jews still can't make a homogenous efficient faked election because people will still hate one candidate more than the other enough to make people realize that there's no way in hell Biden could have won. They just went ahead and did it anyway. Trump tards are so stupid that they aren't even mad, they're just mad Trump lost, instead of the fact that there's clearly no actual legitimate elections in the United States and now that's been proven.
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>>2262 It's pretty amazing how this whole thing has been memory holed. Only a select few of us autists will probably remember the actual footage we saw live as it was going down 3 or more years from now. It was all history in the making and yet it will never see the inside of a textbook. Everyone is continuing on like nothing happened too; Rudy Giuliani is boomerposting on Twitter, the GOP is acting like they weren't complicit in what happened and pretending to fight against some retroactively meaningless proposal by the Democrats etc. >we've gotta stop this bill or they'll rig the election...again! The only one that hasn't given up is the fucking pillow guy; he apparently won't stop making low budget documentaries with zero production values until they physically restrain him from doing so. https://lindelltv.com/
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>>2260 Excellent artchadposting
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Working on another acrylic painting for class. This time, a Glossy Ibis. Moved a few things around to avoid tangents. What do you guys think, does the reflection look convincing yet?
>>2271 The reflection looks mostly convincing. Even if you get the reflections around the beak to look just right, that rock right beneath the beak is going to be a lodestone on your neck. Unless you have to follow your reference, consider getting rid of the rock, or, in the most subtle of ways, delineating between subject and reflection. Even peerless realism isn't immune from poor composition that kills clarity, and I'd place most of the blame on the reference, rather than your attempts to capture the essence of the reference.
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>>2244 >"Why yes, I have an extensive knowledge of anatomy and form, how could you tell?"
>accidentally turn on breast fat while studying muscles >I was wrong all along, breasts start below the part where the pectoralis connects with the arm, they end well below the end of the pectoralis, and there's a bit of extra fat on the side above the breasts Holy shit so that's why I couldn't into tits. Site is human.biodigital.com It's pretty useful though the muscles are rather flat and sometimes combined with tendons.
>>2299 Human Biodigital is gross tbh, everything looks fucked up, it's slow and it gives you way more miscellanea than you really need to be thinking about. IMHO it's best to juse use artist-created Ecorchés on sketchfab. Check out the pastebin in OP.
>>2300 Sketchfab doesn't have female half muscle half bone models, plus biodigital lets you isolate structures and make muscles or bones transparent which helps in some cases. It's good enough if you make a custom model with the superfluous muscles hidden and supplement it with muscle drawings for the proper forms.
>>2299 >Holy shit so that's why I couldn't into tits. Yes, the female breast is like a tear drop flowing from within the arm pit around the bottom of the pectoralis major.
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Been working at some studies from the Bargue course, but recent life changes have introduced some unfortunate time constraints. I'm not as productive as before, I'm afraid.
>>2337 Good work on your measurements anon. One thing that might help your shaded areas look more appealing is to use the same stroke direction (I usually do a 45-ish degree angle as it's the most comfortable)
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Sketch on a scrap piece of canvas. The lettering doesn't curve right but it looks alright from a distance. I've started painting with a softer white. I normally use pretty stiff paint and while there are some neat things about it, It takes a lot of work to get the painting going and it's easy to gunk-up the brush/canvas. So this time I mixed in some oil with the white and it worked pretty well. Next time I'll have some stiff white on the side for a few thicker marks at the end.
>>2299 Thanks for the site, that was really interesting!
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Day 5
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Trying to transfer my practice with pencil and paper over to digital. I think the sketch was headed in the right direction, but I don't like how it looks after I put down more defined lines. I'm not really sure exactly what I'm doing wrong though.
>>2360 One problem you'll note is your piece is exuding a bit of the old "symbol drawing" phenomenon common with artists. If you look at the reference's eyes you will see only a faint impression of eyelashes which are otherwise more of a self-contained area. You can kind of make out the blurry impression of individual lashes but they're largely relegated to the greater mass.
>>2360 First statement would be using a blurry reference shot feels like self-harm to me, putting that to the side. Why are you defining the eyelashes like that on the left eye? I can't see that shit at all on the reference. The hair curl descending on the left should barely dip until it looks like it's almost going to touch, but doesn't, here you gave it such a large gap that impression doesn't stick. You've also redone the chin to be a smoother curve than it was in the original, she's rocking a Stacy jaw--line and you're reducing it to an animu curve. You've also made her head wider than the original. The left eye has either been made too small or placed too far to the left, when you did that, you fucked up the positioning of the left side of the mouth, as the very left portion of her smile should be inline with edge of her left eye, you have it lined up with her tearduct instead. You also lost a bit of mass on the left side of the hair.
>>2349 It’s a given that almost all art looks better from a distance. Is that oil paint?
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Day 6
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>>2364 >>2371 Taking these two posts together, I think I've identified the specific problems with my process that led to these mistakes (Pardon me if I end up restating what was already observed). I wasn't paying very close attention to the reference when drawing the eyelashes. If I looked back at what I was doing more, I would probably have realized what you both pointed out. So I need to pay more attention to what I actually see and not what I think I see. I think it would have been more obvious to me that her curl of hair almost touches her eyebrow if I were using a sharper reference photo (which was already noted). Looking at my rough, I see that I didn't really divide the ball into planes on either side of her head. The "slice" was too thin, so to speak. So the underlying construction ended up too wide, leaving her face too wide as well. I think that same construction would also help me keep track of her face's shape with respect to her jawline. As for the rest, I should include a couple more guidelines to more accurately capture the size and position of the facial features. Hopefully I didn't misinterpret what my goals should be to fix these problems, although I'm sure someone will correct me if I'm wrong. Thanks for the help, guys, I'll keep practicing and come back later with a new, different set mistakes to improve on.
>>2380 I am a Loomis advocate but I don't think you should limit yourself to this method 100% for drawing from observation. This is more an abstraction for creating imagined heads. The measurements in the Loomis head are somewhat consistent with the real thing and they're good to have memorized and make use of, but when you're drawing from pure observation you will probably get better results mixing in observational abstractions like plumb lines, negative/positive space and the like as well. The Loomis head is good for what it is but it's also somewhat rigid and in portraiture you'll see the subjects making expressions that compromise their symmetry. It's not bad to use necessarily, you got a decent overall result of the volume of the head itself albeit a little wide just as you noted, but look at how the lower jaw in the reference is very slightly asymmetrical from the expression she's making. Because you were thinking too much in term of the Loomis abstraction and not necessarily using your observational skills as well as you could have you actually turned it into a perfectly symmetrical ovoid. See how the cheeks turn concave a bit beneath the cheekbones and how they become convex as they pair up with the chin?
>>2380 In his book about this, Loomis plainly states the construction method is meant to be only something to do a quick check on proportion and position of features, along with being easy to throw on for checking composition. If you're trying to seriously study and draw a face, the Loomis method is not going to help you as much as seriously studying it ala >>2381 One big misunderstanding I think happens on this board is that Loomis had decades of traditional art training and experience behind him so he had already broken his back against the concept of anatomy before figuring out his construction method. His method for quick construction was never meant to be a replacement for actually studying anatomy, just a way to use what you know faster. To actually study the anatomy this anon has the general idea >>2381 don't let Loomis drag you into drawing what you know, draw what you actually see when studying from a reference.
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Day 7
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Day 8
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Day 9 I'm about to fail my drawing streak. Help
>>2402 Draw me a terrible no-good 2minute meme
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Day 10 Fuck it I will keep going. I'm already halfway there it's too late to give up now.
>>2412 Gud job, keep it up
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>>2414 >tfw no ungulate gf
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Day 11
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Day 12
>>2424 >>2439 Adorable
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Day 13
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Haven't done figure drawing in a long-ass time and I regret it. This was my last one in a series of half a dozen or s. This one was a somewhat longer pose (10 minutes). It's not perfect but I'm pretty happy with it. My biggest issue with it is the mechanically straight thigh and I could have did the feet a bit better. A lot of the time was spent making minor adjustments, adding and subtracting details etc.
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Day 14 Only a week to go!
>>2527 Nnnaaa...
>>2527 You gotta put that tail higher nigga it be lookin' like her tail is her butt when it should be lookin' like an extension of her spine 'n sheeit, gnomesaiyan?
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>>2527 >>2529 like this
>>2537 >tail Noice >litterbox why tho
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I still cannot into eyes but I might be getting a little closer. Pls no bully boorudude
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>>2554 You can always try doing eyes in larger sizes
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Day 15
>>2529 >>2537 Thanks for the feedback.
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>>2555 You're a big eye. But yes, I do find it easier to draw beeger, and when I try smaller things they always come out really off. Anyway here's more Loomis practice.
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Day 16
>>2586 Oh! I like it. I came here from the main page because your drawing stood out to me. Thanks.
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Day 17
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Day 18
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>>2630 STAY STRONG SMOL SOLDIER
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Day 19
>>2630 frog burger frogger
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>>2635 Anon... You might be onto something!
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Day 20
>>2649 I adore it.
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Day 21 This is it. 21 days of consecutive drawings! Thank you for bearing witness to my art improvement journey. I will keep drawing but won't be posting my progress anymore. Good luck on your art improvement.
>>2652 >I will keep drawing but won't be posting my progress anymore y tho
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Reminder not to paint yourself into a corner by indulging in detail too soon. In the first image I basically just sketched out the body and the arm nearest the viewer and just started slapping on details, fitting the anatomical features together. The problem is that I didn't realize my existing arm was much too short to pull off the intended pose (especially with the oversized head) without there being a major discrepancy in length between the two. Ultimately I made the decision to just make the ginormous head smaller to compensate (honestly when I sat back and looked at it I'm not sure I intended it to be that big to begin with anyway), it's still lacking the initial intent somewhat and will need a bit more alteration, but it is certainly an improvement over its predecessor even if the fundamental problem remains.
>>2652 FINE but you gotta post something finished then.
Why'd you delet you're are post faggit
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>>2659 I did it on a whim when I felt like I wasn't going about practicing very rationally. It makes no sense to try to use hatching like that without understanding how it relates to value. If there was any perspective so I could follow the form that would be a slightly different matter, but without that depth value is really all you have to describe it. Beyond that I assume it just comes down to studying from life like every other damn thing I wish there was a shortcut to. I didn't even ask a specific question, and what implicit question there was, was essentially superfluous. Still, deleting it was kinda gay. So I'm doing this kind of thing now, trying to establish some kind of baseline for how to achieve a certain value. Seems like you really need to cross your hatches to achieve any significant control unless you're using very thin, sketchy lines and not caring too much about structure. Thinner lines for lighter values allow you to make it less stupidly sparse, thicker line for darker values are pretty much necessary because you need inhuman precision to modulate it much darker than 50-60%. Am I on point so far? Am I missing anything? On an unrelated note it's kinda funny how my 10%gray sketching background perfectly matches the board, heh. That's a complete coincidence.
>>2662 The most common way of darkening crosshatching is with multiple layers of hatching. Like 4, 5, or 6.
>>2663 That many? The most I've seen is 3, far as I can remember. Would they all be at different angles?
>>2665 Yup. Different angles. It's not like real pens have a line width option.
>>2666 You could vary it by pressure with a steel nib, or just use multiple pens. But point taken, I'm in no position to argue with the antichrist.
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>>2666 Anon...
Oh, right. Fountain pens and flex nibs. Forgot those existed, I'm used to doing all my pen work with microns.
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Just some figure practice, been inspired by Jaoquin Sorrolla lately.
>>2680 Uh...gay?
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Thought I'd give painting a proper attempt. Looking again I messed up the value and perspective of his face dude that's literally everything but how am i doing with the block-in aside from that? I don't understand the process very well. Feeling kind of lost.
>>2680 neat and gay
>>2737 Looking pretty good man. With regards to that neck area you can pretty clearly see that triangular shape which is decidedly darker than just about every other portion of the model's skin. Make sure to squint a bit and it will-for whatever reason-make some of the disparities in value more apparent.
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so i am copying hogarth because apparently frazetta did, and i don't have much to do, and i actually feel like i'm learning something then there's other things
>>2743 I want boobs on 2nd pic, rightmost figure unf
>>2743 Very nice work anon. Hogarth is a lot of fun to study. I think the figures are so over the top with the muscles and poses it can appear pretty silly. He is underrated and even looked down upon for some reason, but I think his work is pretty appealing even if only in an ironic way.
>>2745 i barely would study anything at all until recently and i happened to start appreciating him just today the fact that it's so over the top was the main reason i would sneer at the thought of studying him, it's so far removed from what i want to do but now that i'm taking a chance, it feels a lot more purposeful now, even. i wouldn't call my appreciation ironic now but rather genuine for sure
>>2737 What do you mean by not understanding the process?
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>>2751 Workflow, I guess. How to analyze the reference, how to structure the painting and in what order to perform the steps. As of now I'm thinking about it sort of like this. 1. Lay in the light and shadow shapes 2. Define larger planes within them 3. Blend (only after step 2 complete) 4. Adjust values by washes 5. Define smaller planes and finer details 6. Add occlusion and highlights That comes across a little more rigid than what really happens in practice, but that kind of thing, as opposed to just translating the coordinates of the values from the reference as if I was doing that upside down drawing exercise, which while excellent for training your eye has in my experience done little to actually teach my anything but copying photos, I never found any method that I could replicate when painting anything more complex than cubes and cylinders from imagination. Although perhaps that's just because I was doing it wrong. In addition to which I don't really get how to make the strokes beyond some vague perception that I need to follow the curve of the form. I've long avoided painting and value because it seems such a different mindset to how I work with line. That got kinda lengthy and schizoposty. Maybe I'm overthinking it, but I haven't found any resources that deal with this kind of thing beyond the very most basic level.
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Additionally, blending methods is something I haven't found much information on and that's been kind of awkward. Like how to retain an edge, or at least not completely make a blurry mess of your soft shapes. I've figured out that you should at least never touch more than one edge at a time, and from that it becomes a little more obvious that you need to break down painting your planes into steps or layers in order to get clean strokes, but is there any more to it than that?
>>2753 There is many methods of making shapes on the canvas. Blocking in and blending like you are doing is very similar to oil painting. You could also use a not-opaque, soft-edged brush and build up value with multiple strokes, like with pencils or watercolor. Some digital artists like to constantly color-pick the edges of soft-edged strokes. Stroke direction only matters if your brush has a texture or blending to it. > done little to actually teach my anything but copying photos That's what all that business of plumb lines and measuring is about. If you want to do something out of your head, you need to study the fuck out of it. By study, I mean more than just copy a photo directly, I mean pic related. >>2754 Blending digitally is hard to talk about because every program and brush blends with different algorithms. >it becomes a little more obvious that you need to break down painting your planes into steps or layers It's common for digital artists to place every individual shape or body part on its own layer. It's not mandatory, just common.
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>>2755 If what I'm doing is similar to oil painting, perhaps I should look at some learning material for that. So far I'm finding it easier than working with opacity at least most of the time. I do study the structure of things, but even with a solid construction underneath I've always fucked up lighting it despite having a reasonable grasp of the theory. I can see what needs to happen where, but haven't learned any good method for getting it there if that makes sense. Fundamentally I guess it's a matter of using the tools incompetently. The end result is always a hideous blotchy mess. This kind of block-in plane blending thing is showing promise though. Bonus shrimp sketch
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Hate to spam like an attention whore but I painted some apples to practice blending and I like how the light came out, even if they're pretty misshapen in places.
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>>2743 today, some from Anatomy For Sculptors and featuring shitty webcam photos
>>2761 Anatomy For Sculptors is pretty great. I haven't come across any other reference book so dedicated to illustrating the form, specifically.
>>2746 >i wouldn't call my appreciation ironic now but rather genuine for sure Yeah I mean the way he draws dividing lines over the forms to subtly make stuff easier to draw is pretty genius. >>2758 I wouldn't call posts well within the bounds of the thread's subject matter spam, post away. >>2761 >Anatomy for Sculptors I didn't like that one very much and I can't put my finger on why. Good work though
>>2768 to be fair it's a bit too much to take at first i had no idea what to even do with it (at least for a total retard like me) pretty sure i've had the PDF for years and didn't click until my recent streak of studies, perhaps another try is wirth it anon. like >>2764 said, it's really a whole damn lot to take, it's very devoted to what it is trying to do >>2758 no such thing as spam around here lad, we carry on
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Please point out my shortcomings senpai My core shadows are too light, aren't they?
>>2798 Getting conflicting information on the lighting. The cube's brightest side is lit from the upper-left but then degrades as it goes down and to the right. I'm uncertain if the subject had focused lighting as opposed to generally lighting, but unless the "edge" of the focused beam was on that side of the cube, the lighting doesn't match up with the sphere. Following this, the light on the octagonal(nontagonal?) prism implies that the light is hitting more towards the front of the viewer as opposed to the same angle as the sphere and cube. It's not bad as much as it is very minorly noticeable. Furthermore, there's so much vagueness on the edge on the top of the octagonal/nontagonal prism I can't tell if it has 8 sides or 9. Your perspective seems to be ever so slightly off as far as how much of the top of the octogonal (nontagonal?) prism should be visible. Cylinder looks great. I would agree the sphere's core shadow isn't dark enough. it's lighter than the shadow itself. Good job with the reflected light band though.
>>2772 >ayy lmao wolf
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>>2799 I see what you mean with the conflicting directions. I think the brightest point on the cube might be a reflection of the lightsource (which has a big diffuser from what I can see in the video) which is kind of blown out on the sphere in the reference. And it is indeed a nonagon, which I could have taken greater care with in hindsight. There are several things with the perspective that I really could have done better. I know it doesn't match the reference all that closely, I took a lot of liberties with the values and the occlusion in particular.
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>>2817 >Dad Elf Why haven't I seen that before? Neat
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End
>>2818 Danke, though I had intended for the character to be a vampire of some sort, guess the ears are too large
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so, i've been drawing some things since >>2761, i have had 30 pages or so on my sketchbok but not much is worth showing, let alone for my shitty laptop webcam it's 6 am, i should sleep some.
>>2850 Nice floppa; 30 pages is a good start. LET'S FRICKIN' GOOOO
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i'm still alive (barely)
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>>2859 Keep workin'. IIRC these plates are meant to be tackled over a period of many, many hours so don't rush yourself. Try and do the best you can with the shading, make comically small strokes and build up gradations of value >>2863 Gosh I want to put quarter-genies in that indo-aryan qt's wow hole if you know what I'm talmbout
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i am starting to understand muscles and bones, long road ahead, soon enough i want to tackle extreme perspective, any anons have any pointers for that i would also appreciate it
>>2879 I think I know that model on the bottom. Rajiv, that nigga is great. Real low bmi >perspective My perspective skills are nonexistent unfortunately.
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>>2879 more things from this day (or well, not anymore. it's 1 am now)
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>>2879 >i want to tackle extreme perspective, any anons have any pointers for that i would also appreciate it A lot of drawing complex perspective is being able to turn and rotate forms, to really visualize the most basic shapes in 3D and turn them into the body. It's a lot easier said than done, but a good place to start would obviously be Kim Jung Gi's work and looking at that. Krenz Cushart has a series of advanced perspective tutorials on his Gumroad you can download that breakdown that method and make it easier. I don't have any recent work but I have some practice from exactly one year ago. Of course there's also YouTube https://invidious.tube/watch?v=D0g2MMsvqEM https://invidious.tube/watch?v=6T_-DiAzYBc
>>2881 AWOOGA! >>2882 Good stuff man
Edited last time by loomis on 05/20/2021 (Thu) 04:24:54.
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Long time since I pivck up my tablet, it seems that it was a pretty useless invertion considering that I barely used in 3 years.. and I didn't improve at all
>>2950 >why gobbo 1. The head shape is too angular, especially that knob on the top right. Smooth those curves and bend those straight lines, and remember to regularly look at your work from a distance, or at least very zoomed out. 2. The large head, general thiccness, short torso, and squat pose are all contributing to feeling of not quite human shortness. 3. The eyes are a little far apart, maybe.
>>2951 Hard disagree on the eyes being too far apart. It doesn't seem to be a greater distance than one eye to me at least. It's common enough to have even more than that, particularly if you're going for a cute look, even for very large eyes since the distance has to be proportional to their size. At least that's been my general experience. I believe Aaron Blaise is a proponent of that as well, just to cite one source other than dude trust me. I agree about the body overall though.
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Shading practice, was too lazy to ever finish them.
>>2954 Nice hatching anon, looks pretty cool
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>>2950 More random shit of mine
>>2964 You're really good at qt3.14 faces. Nice stuff!
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Fin
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I don't really know if I'm doing it right or getting it at all but I will continue regardless.
>>2977 The five cs and the five ps, based Rumisuru Nice Miles Morales-and other stuff as usual >>2981 That's the spirit!
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>>2982 Danke, though it isn't miles
>>2988 >88 Nice Fuhrer's dubs
>>2988 >Human - Compatible I'm listening...
>>2988 checked and heil'd Aquatic animals are all slim and slender and flexible and slimy and powerful tails? Im much more interested in human compatibility
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What the fuck is wrong with these eyes? I can tell they're not level or something, but I've been redrawing it all day and can't fix them.
>>3046 I like it
>>3046 Looks okay to me tbh. i think they draw the ears a bit lower on the moeblob face though for one thing. The ear/browridge placement makes sense on a real human bean's head but on a chubbily wubbily baby animu face they usually have them coming like below the eyes I think. I could be wrong but look at some moe moe desu reference or something.
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>>3047 Thanks >>3048 Are you sure? I cleaned up the lines a bit, but it still looks weird to me. Ignore the other weird-looking bits. You were right about the ears though, thanks.
>>3046 Been looking at this moe blob on and off all of yesterday and I honestly can't see anything distractingly different concerning the eyes. If it's still bothering you I would recommend flipping it and mirroring the piece in a graphics manipulation software of your choice, as assuming you made a mistake, it will become more glaring that way. If I had any critique, it would be that the chin is a smidge too weak, taking her straight from loli to toddler, which the super heavy make-upesque eyelashes indicating at least a slightly older girl clashes with, as those type of eyelashes don't belong on a toddler. In the end however, could just be taste and stylization.
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>>3046 >>3049 I will leave the body for other who are more capable than me. As far as the face goes the only thing that really catches my attention is the thickness of the neck. These might be just stylistic choices >ear not visible >edge of eyelashes less pointy >eyelashes smaller but numerous >upper eyelid lower >lower eyelid and eyelashes not visible >nose less visible >right eye smaller >right iris more angled >left iris larger >forehead more curved >hair follow the curvature of the forehead >neck shorter >lower part of the face upper I apologize for destroying the original intent of your drawing. >>3054 >the chin is a smidge too weak, taking her straight from loli to toddler A round chin makes the character look more cartoony. The age of the character is more dependent on the shape of the head. The rounder it is the younger it looks. A stretched oval shape makes it look older.
>>3055 You've solved it; the left corner of the right eye wasn't shaped right, so it made the eyes look like they were different shapes. Often that part's covered by hair or something, so I couldn't figure out what was throwing them off. I was curving it with regards to how I wanted the eye to be shaped without paying attention to where the eye socket would cover it which pisses me off, because I just realized you shouldn't mirror the angle of that part of the eye 2 sketches ago, but because I wanted these to look rounder I didn't consider that for some reason. Both you and >>3054 are right about the lashes being too thick for this face, though. But I like them anyway. >the only thing that really catches my attention is the thickness of the neck Most of my drawings either have really defined necks and shoulders, or short and fat ones. I deliberately didn't draw the collarbone here, but since I usually use it to guide the neck, so I couldn't really figure out how to make it look right. I thought I could get away with just making a shadow, but it fucked that up, too. I should have just used a guide line for the chin, too, but I didn't think you'd see one from that angle. I have next to no idea how to properly apply shadows, so I shouldn't have tried to use them to hide shit. >ear not visible I didn't really want to show the ear either, it just felt like I had to because of the head tilt. That's also why it's so shitty; normally I only draw more realistic-looking ones, so I don't really know how to properly handle them in this style. >I apologize for destroying the original intent of your drawing. Hardly, most of the changes you made were things I tried to do but failed at, or else oversights that I made while looking to correct other parts.
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>>3046 > What the fuck is wrong with these eyes? I can tell they're not level or something, but I've been redrawing it all day and can't fix them. That's some next level NGMI-shit. "This face is fucking wrong. How do I fix it?" ...face is totally fine. lmao


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