No.10692 [Last50 Posts]
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No.10693
I wanted to just layer every picture in the entire thread over each other but I got lazy. I hope you can find it in your heart to forgive me
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No.10701
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No.10702
>>10701
I think I made some minor improvements here. Probably moving on.
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No.10708
Gonna do another x-ray on this bald specimen
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No.10719
>>10708
This pose was biting off a bit more than I can chew. Gotta study more. I know that "Strength Training Anatomy" has a lot of good references for raised arm poses so I'll probably check that out. Did a lot of hands today in both digital and traditional media.
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No.10721
>going to practice, today
>interview gets postponed, throwing everything off
>get to practice
>out of 2B lead
>try to use HB but it doesn't work
>only place I can get more is either amazon or 40 minutes away
Whatever. I'm not too keen on this method of hands, that Hampton's using, but I can't deny that it makes more sense than I initially thought it would. It comes down primarily to proportioning things.
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No.10722
This was my practice today. I will continue tomorrow.
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No.10723
Is there a way to practice drawing symmetrical shit?
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No.10725
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No.10727
>attempt to use only Hampton's described method
>attempt to use how I normally sketch
>attempt to mix both
Yup, like I figured yesterday, I've gotta essentially modify his way of doing it, to suit my own way of seeing shit.
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No.10729
I have finished drawing the figures I had pending. With this set, I just completed the task. Now I'm moving on to the next class.
Figure 6 was the most complicated due to the uncomfortable angle of the pose.
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No.10733
getting better at them faces a bit by bit every day.
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No.10736
THE HAND
is starting to make more sense, now. I left the structural lines in here, for feedback on the general method, too.
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No.10749
faces are getting much better probably my best ones yet.
started to work on clothing folds as well.
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No.10754
>>10736
I do like the method of making a sort of ellipsoid ball representing the carpals and then little linear or cylindrical doodlebops with balls on the end representing the metacarpals and finger joints. That method has balls. Seems a logical way to do it.
The real bones ought to be studied extensively before you simplify, though. Use the 3D models in the OP, your own hands (I put a folded towel on my desk so I can easily rest my elbow on it and view my hand) and photographs and go to town on those non-stop for like a week, alternating between observation and experimentation.
>>10749
Keep it up lad.
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No.10770
>>10754
I've already moved on to the legs, now, but thanks. I'll touch on these again later. I'm doing this because the hands are already visibly better understood, by me, than the rest of the parts of the body. So I basically need to move on.
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No.10776
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No.10777
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No.10780
Studying quads, and some rather awful attempts at inventing a simplified version, now that I look at it.
It's basically the same drawing, just some elements stretched poorly.
Guess that's what I get for going
>don't think about them, you'll obsess if you do
for the invention part.
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No.10783
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No.10787
another bad job. Whatever, I'll have more time tomorrow to study.
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No.10797
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No.10805
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No.10807
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No.10812
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No.10818
Okay, yeah. This is a good enough understanding of the pelvis, that I can go back to the legs again.
Tomorrow I'll either return to the quads, or move on to the next group in AfS.
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No.10819
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No.10820
>>10819
Thanks. Also I made a mistake in the upload, so here's the other one.
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No.10823
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No.10850
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No.10858
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No.10862
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No.10868
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No.10869
>>10862
Keep up the pace and you will probably surpass me in less than 1 year. Personally I'm starting to agree that <1 minute gestures are kind of a race to the bottom for someone that isn't already a very proficient artist-at this stage I think it's more important you take more information in. Consider doing more 2-3 minute drawings, capturing the major forms, accurate proportions and some limited details.
>>10868
Good idea still drawing the bones to completion even if the muscles are the focus, it will help reinforce what you already learned
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No.10872
>>10869
okay I gave the 3 min gesture a try
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No.10876
>>10869
Thanks. They also help in studying the anchor points, instead of just generic forms on a skeleton. One other thing I'm doing with this is referring to the anchor points in a different perspective, than I'm given, initially, to really orient my idea of the forms.
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No.10882
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No.10884
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No.10885
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No.10891
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No.10897
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No.10911
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No.10919
gonna have to learn some anatomy. again.
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No.10944
There's not really many good simplifications of butts, I've found, so I'll have to try this again.
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No.10951
I tried it again. I'm understanding it more than I realized.
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No.10967
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No.10968
Still working on hands, will probably draw a lot today while playing DND with the lads, too. I was worried playing would keep me from drawing but I probably draw more while playing than I do when I'm not smh
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No.10970
How the fuck do I into arms? Seems like the anatomy changes with every site I go.
Also why the fuck wasn't the platysma under neck muscles?
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No.10971
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No.10980
>>10968
Sweet jesus,this is amazing,give us some moar.
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No.10983
>>10980
I'll definitely be doing more-they're just recreations of drawings in Loomis and Hogarth books though, nothing special. I encourage you to do the same if hands are as big of a pain in the cock for you as they are for me
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No.10984
>>10983
They are recreations,i guess one second they are all originals.
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No.10985
>>10984
Yeah I'm just drawing them from a book, I should have disclosed that. Unfortunately I'm a long way off from drawing hands like this from memory.
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No.10988
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No.10989
Going to draw this from another angle, tomorrow.
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No.10991
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No.10992
>>10991
What is this, collage?
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No.10995
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No.11005
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No.11028
Ok, I managed to post in a really old thread but, critique my shit fam.
>>11027
>>11025
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No.11031
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No.11042
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No.11048
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No.11054
>>11042
>labelling all the muscles and shit
>draws shitty anime with it
JUST
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No.11056
>>11054
Anime is good though, redart. No one comes out the pussy drawing like Mozart. He's doing more or less exactly what he should be doing
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No.11058
>>11054
need to learn anatomy to draw good anime.
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No.11071
I need advice on where to go from here.
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No.11074
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No.11111
>>11071
Need to study drapery more, as well as just lighting in general.
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No.11113
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No.11114
>>11111
The thing you need to understand about drapery and cloth is that there are two types of folds - cubes and cylinders. Understand how it works for these two forms and you can create any drapery or fabric you want. You can break every single fold into these two forms.
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No.11119
>>11111
q u i n t s
Could of swore I had a nice in-depth fabric tutorial to post for ya, but I can't find it in my mess of files.
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No.11150
>>11114
I'm seeing that, actually. Hampton's overly autistic breakdown of it into seven types of folds, felt kinda, dunno. "Unnecessary?" I've been staring at, and analyzing, fabrics for the past few days, since I wasn't able to draw. And yeah, they sorta just crumple up into folds, or are straight, and the folds follow the orientation of it, combined with shape of what's underneath it, and gravity. I think if I just draw this from imagination for a bit, and check with photos, I can figure this out.
Thanks.
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No.11152
Well, shit, my faces are starting to look decent now.
Who'd have guessed all I had to do was combine three fucking different ways to draw outlines.
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No.11154
>>11152
No they arent. Even if you are going for anime, you should still respect perspective and proportions. The eye size differences is ridiculous. The nose being between the eye sockets makes no sense, even for anime. The cheek bone on the left is way out of whack. The oblique left and below view should have eyes on the same plane. The right eye is on the side of the head and curving back. That's not how eyes work. The left eye has way too much visible to the left - it should be pretty much the edge of the eye being the edge of the head in this view or just a tiny piece of skin. The left head line is facing forward towards the viewer. The face is on a plane at angle and mostly right except the right eye socket/eye/eyebrow and ignoring the outline of the head.
I've attached some basic anime proportions and heads to learn from. You can manipulate your cartoon heads to be bigger heads, larger eyes, tiny/non-existent noses, etc, but they should still conform to basic anatomy and proportions and perspectives. The child is a similar angle to yours for the head, but your face doesnt match the perspective of the head you drew.
Ive attached a ms paint basic overlay of your face with contours as best as I could in that shit program. Eye sockets are shown with circles. nose is within them. You are approaching am i kawaii ugu.
Try constructing the head and draw construction lines and contours back to the flat sides of the head. Work on detail-less fully formed heads and outline eyes, nose, mouth positions, just with your cartoon like proportions. When your heads and basic circles/triangle noses/line mouth start looking correct, then start adding details and move on from there. You are trying to make finished drawings without understanding basic construction.
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No.11155
>>11150
I'm starting to understand this, but obviously I need to do a lot more. I've got hogarth's shit on wrinkles downloaded, so I'll take a look into that later.
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No.11159
>>11155
Hogarth is genuinely really trash. I'm continuing to analyze Hampton's and study on my own. Instead I'm just pulling what bits I can learn, from Hogarth's book.
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No.11160
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No.11167
>>11154
I tried fixing it though I accidentally changed the angle how does it look?
I curved the guiding lines around the head earlier, then just blindly followed them and accidentally the eyes.
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No.11168
>>11167
the eyes angle inwards and right eye is very slightly too low relative to the angle of the face. mouth is too flat looking. left side should foreshorten a bit as it curves away from us. it looks much better than the previous one in terms of positioning. if its done digitally, you can fade all the lines and then ink over it to correct minor issues. if not, you can use tracing paper to correct it while leaving the previous one. You should just fill pages with faces instead of focusing on one in particular. it should be second nature to doodle these out. when a page is finished, go back and make notes of what you did wrong. if its minor, correct it on the page, if its major, put an x by it and reference it the next time you practice/fill another page with heads and sketches. you should always make notes and critique your work when sketching. legs too short, perspective off, reminders to look up anatomy or pose, etc.
try to fill pages like this image. just in your own style. so this character you would start probably straight on in middle of page. rotate the head left and right. tilt it up and down. you can use basic construction of oval head and contour lines or rule of third lines, whatever. just get used to rotating a generic head. can go back and add details, like eyes or nose if you are happy with it.
you are trying to perfect one pose. thats not how you learn. youll try to position/draw him looking up or down next and start the process all over. understand where each part goes relative to the flat plane on teh side of the head/rule of thirds. adjust for exaggerated proportions if doing cartoon style (head will be taller, eyes bigger, etc).
if you understand the basic head as a shape and how to rotate it, you can easily pose any direction. focus on filling pages with these basic head shapes and rotate them. do not copy these images verbatim, erasing until it 'looks like the examples'. note how they are constructed, put it away and start constructing your first one. then rotate it in your mind. refer back to examples after you finish to see what mistakes you are making and what to improve. checking references for every line you make is not going to help you learn - just how to 'copy'.
give yourself time limits like a gesture drawing. say 30 seconds per head or 1 minute or 2 minutes depending on how difficult it is for you starting out. remember, go light on details. you want to learn the construction/skeleton of the head and how to rotate it. adding details later is the easy part. having them all sit properly on their planes as it rotates is the biggest issue.
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No.11176
>>11160
I have to admit that some of what Hogarth lays out in his book, did help me see stuff. But at the same time I just can't seriously think his work looks good. I'll likely take a look over it all at some point, but as it stands now I'm not inclined to, due to how unappealing I find it.
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No.11181
Newfag here. Not a complete beginner but started drawing again maybe 2 months ago after falling out of practice for a few years. Been reading Loomis before I noticed this board, thought I may as well post something.
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No.11184
>>11181
Not a bad effort, just keep practicing and you will certainly improve
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No.11186
>>11181
Eye lashes dont come out of the bottom part of the eye. There's a noticeable gap on the bottom, whereas they come out of the tip of the eye lid on top. Even in a make-up heavy eye, like this image, you can still see how the eye lashes dont just magically sprout out.
You'll also benefit from noting the way the eyelashes dont just come out straight along the curvature. They have a relatively set pattern as they curve around the eye where they are curved left or right. Density of eyelashes is a key issue, too. Try not to just toss random lines to fill space.
Instead of detailing faces, I would focus on getting proportions and perspective right. Adding the shading and blending can look nice, but can also 'hide' your mistakes and make something look better than it really is on closer inspection, like lipstick on a pig.
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No.11187
>>11186
All good advice that I already knew. Bad habbit trying to "finish" everything, especially when I'm practicing heads. Also consciously covering up a few mistakes I couldn't rub out after applying too much pressure, like with the lashes and the lost waterline (that was supposed to be in both the eyes). I need to stop lipsticking all my pigs. Lel.
11184
Cheers. I know I've a long way to go to git gud but I'm feeling some momentum after reading some books on drawing for the first time. Don't know why I never used any before.
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No.11189
Going to buy Fallout 76 anon?
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No.11190
>>11189
Probably not. I'm too busy slapping myself in the dick with a leather belt for not being able to draw particularly well yet
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No.11196
>>11176
Okay, now I need to go back to using Hampton's figures, and then adding the clothes on with this general gestural fabric knowledge, I've acquired.
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No.11197
>>11196
Don't think you can escape me so easily, foolish human!
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No.11198
>>11197
>*unsheathes shuriken*
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No.11201
>>11189
What's the point? You probably can't fuck the robot.
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No.11207
>>11201
The only way to find out is if you preorder
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No.11220
>>11207
You won't get me with that, Todd.
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No.11223
Alright, tomorrow I think I'll do this on digital, so I can use layers to study.
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No.11226
>>11223
You shouldnt be doing clothing, hair, entire figures and details. You'd be much better served doing drapery/cloth studies, which also are very similar to hair once you understand them, and basic shape and construction with perspective of human body parts (not entire body).
Look how long her neck is. The breasts are bolted on. Her torso has bulging curves and she has negative hips. I would say teh basic composition/pose has a dynamic quality, but you have a lot of basic construction work you should focus on first.
Try just making a torso and hip section with pelvis ellipses. A spine line can connect or a circle. Women have pear shaped, triangular, circular, and couple other shapes to their abdomen/hip. It's not like toothpaste squirting out of a tube.
As you have anatomy issues, I would hold off on clothing and detailed hair. Get the basic body and parts down. Learn to rotate heads and bend arms and legs and twist the torso individually. Do basic eyes/nose/mouth/ears - pages of them at different angles and shapes - while working on the anatomy. You can start putting parts together and posing them as you go - create busts or make legs and hips walk or bend fingers and wrist and so on. As you get more comfortable, you can try doing entire bodies and eventually put clothes and hair on it.
But as it is, you wont find much more success transferring to digital. You'll be able to erase more or put outlines on a layer/fade them out and draw over it, but you wont be able to fix the mistakes at this level. You are trying to do too much, too fast. I know you want to draw entire people with details. Everyone does. But you are trying to run before you can even crawl. When you can bang out entire pages of manikins in various poses in minutes to figure out a pose you want, you'll see that your time spent on the basics will have paid off. You are only going to learn how to hopefully perfect this one drawing if you continue on. You want to be able to draw any pose and add any clothes and hair and body shape. You need fundamentals if you want to get to that point. You probably spent a while on this one image based on erasing marks. It's not wasted time, but you are putting more effort into something that will only marginally improve your art longterm. If you had spent the entire time drawing eyes or pelvis area or rotating heads, you would have something tangible that you can critique and see where you are going wrong, what parts you dont understand, what can be improved. You can make notes about the dozen or so heads on the page. Your currently just 'fixing til it looks right' without really learning why it was wrong in the first place.
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No.11240
>>11226
I want to respond to this promptly, since I am reading it. It's just, at the risk of someone using this as evidence of me being a bitch nigga, I'm just too mad at shit in my life, to actually listen to and take in everything that you're saying.
That being said, in the past, I've felt like this before upon getting serious critique, and I'm at least level headed enough right now to thank you for being someone willing to actually critique me thoroughly.
In fact, I've been having a hard time pinning down what I need to study, and seeing it all laid out for me clears a lot of things up. I even tried to do what you were saying and saw how I couldn't do it. That's good, that means I know where I need to go from here (slow down, and just fill fucking pages with parts, practicing the fundamentals, and truly thinking three dimensionally, since I'm clearly still using symbols.)
It's just, unfortunate timing on your part, is all. Though I guess I was still able to take away most of what you were saying.
So, sorry for being a bitch here, I'm just clearly unable to listen to this without getting mad, for the time being.
I'll be back later, after I reflect on shit and calm down, and when I return I'll be practicing more of what you're talking about.
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No.11249
>>11226
Okay, I'm better now, and finally actually taking in what you're saying.
I was at a loss, at first, since it seemed to be basically telling me to do what I just the past few months, again. I mean, that is what you're saying, but you're just saying in a more well thought out way, what I've known in the back of my mind, for years now.
>slow down
For real. Had I, instead of spending only a few days on each body part in the Hampton book, spent a week on each section, drawing each part, and only that part, filling up pages with it, I'd have improved a lot. Is what you're saying, at least, right?
You read me like a book, even, with the desires of what I want to draw. Surprisingly specifically, even, of how I want to be able to "bang out mannequins" to figure out what pose I want. So thanks. I'm not entirely sure where to go from here, beyond crack open Hampton's again, and this time do it again, but more carefully. Spending at least a week on each body part, and slowly assemble the body like I'm Johnny Joestar.
So thanks, again. I've been struggling, because I was trying to learn a whole bunch of stuff, and increasingly getting frustrated as I wasn't making much gains. Like, I still unintentionally symbol draw, in most cases, the minimal gains I have now are knowing all the general forms of the body, if I slow down and construct it, but even those general notions are wrong in a lot of ways.
But because of what you've said, I can take a step back, reflect, and actually make progress. So thanks.
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No.11251
Yeah, this was what I needed.
I think that this coming week, I'll focus on ribs more. I want to get to the point where I understand this form so much, that I become sick of drawing it, from being so good at it that it's no longer challenging.
Thanks.
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No.11252
>>11251
You can mix in other things while focusing on specific parts. >>11074 has some 'tracing' style exercises that you might benefit from, especially doing things digitally. Just identifying the joints and skeletal structure and breaking down into basic parts on top of a real image can be a good learning experience and help visualize and build muscle memory for shapes.
>>10971
Is another good example that is a benefit of digital - can draw over the faded out previous layer. You can see his iterative approach with the basic gesture lines, then adding joints and basic shapes/lines in red and yet another layer for skin/muscles/detail in dark black.
>>10911
Probably same guy throughout, but here's another set of gestures he forms joints and an outer/flesh layer filling out the basic shapes and lines. You can try this if you feel confident, especially combined with the tracing exercise and as you are digital, you can take your page of torsos and add breasts or pectorals or put clothes on it - anything you really want.
Finally, you seem to have a decent grasp of the torso, so I would do torso and pelvis together with a basic line connecting them. You can then mimic stretching the back backwards or bending forward and other twisting motions. You can work on proportions (bellybutton position, etc). Same if you want to try arms - Id do shoulder and elbow joints up to wrist (basic hand shape, no fingers) together. Legs Id have pelvis/hips and down to ankle with a basic foot. You dont have to do each part by itself as you have a general idea and lines.
I think you'll make excellent progress if you approach it section by section and then put it all together. I've attached some examples of basic torsos and other examples for examples of what I mean. I came off harsher than I should have. If you approach your drawing with a more iterative approach similar to examples I linked to and posted (gestures into basic shapes into details), I think you'll see significant gains. You dont have to spend weeks or months on this. Try not to be 'perfect' in the basic structures. You are going to draw over them on paper or a new layer digitally. You are most concerned with proportions and the pose of your gesture when putting the basic shapes/joints down. You dont have to measure to exact proportions, but you should be able to notice if arms are too long or legs too short or what have you in this phase. Once you are happy with this phase, then go over it with dark lines and add contours to outer shape and put details/clothes in.
For instance, I did a quick mockup of your drawing in paint with simple circles and joints. I think if you had this framework without the drawing, youd have questioned some proportions before setting down details like hair and clothing. The hips, for instance, stand out (i didnt get the correct angle on the pelvic ellipses because of paint, but the general idea is there). Youd have seen that your hips go in opposing directions and one leg ended up longer and 'stretching' to connect the hips. I judged the crotch by your erased lines and cloth triangling for reference.
Another one that would stand out is the neck. And the left arm (her right) has a much longer forearm than the bicep. Foreshortening wouldnt account for this with the angle you are going. The back arm, in contrast, looks good in simple form, as the arm and twisting of the torso has it much farther back.
Your shoulder on the left (her right), if having the circle joint, would instantly show you that the shoulder guard/flaired collar part of the clothing isnt going around the shoulder like you intended. The opposite shoulder looks good though. You just miss the curvature of the joint on this side. Same for the bra part - you dont have the correct curvature as you would if you had the initial shape like your page of practice - you could put light contour lines around the ribcage if you wanted more guidelines.
You arent as far off as my original post might have come off. I dont think its a complete back to basics point. A little time on construction will give you a remarkable improvement fairly quickly in my opinion. Good luck.
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No.11253
>>11252
I'll take a look into the tracing stuff, too. Some other Anons, in a different place, advocated for switching the skeleton model to the actual skeleton.
Though I will say that like, forget about that picture you corrected there.
The figure in it was flat out given way less effor than I normally do, because I wanted to focus on the fabric physics.
I know that'll sound like an excuse, but scroll up in this very thread, and you'll see better examples of figures, from me.
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No.11268
Day 2 of ribs. This is already starting to make more sense, and I think by the end of day 7 I'll be able to draw this form from scratch. I want to get to the point where I know the body so well that I'm utterly sick of drawing it.
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No.11288
I'm probably going to take a break from drawing, for a few days.
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No.11292
>>11288
I don't think I've drawn a damn thing since my parents got their dog months ago, and it ain't the dog or my parents' fault. Every line I draw feels like a noose around my neck…what the FUCK is wrong with ME!?
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH!
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Post last edited at
No.11293
>>11292
Don't think, draw
draw some random shit
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No.11294
>>11293
>don't think
There's an idea whose time has come.
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No.11311
Just fixed this thing I drew the other day.
It still looks awkward at certain points, but it's really better than the long cat monster girl I did before.
It seems my understanding on color theory and shading is still as shit as ever though.
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No.11312
>>11311
This is easily the best you've done so far, particularly proportions-wise. Not sure what's up with you and the no arms thing but I'm sure you'll get there considering your gradual improvement up to this point. Keep it up
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No.11341
>>11312
>Not sure what's up with you and the no arms thing
Arms are fucking impossible to draw.
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No.11346
>>11341
Study them in isolation. Bones (including shoulder blade/clavicle) first, then muscles. You can do it fgt
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No.11371
>>11341
DO THE IMPOSSIBLE
SEE THE INVISIBLE
ROW ROW
FIGHT THE POWAH
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No.11372
>>11341
This. Arms are shit.
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No.11379
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No.11481
>>11293
>read this, and thought you were joking
>days go by, and I end up watching most of Vilppu's lecture on Spherical Forms (still only about an hour into it)
>try it out, to warm up for comic work
>it fucking works
>it fucking works
>despite me never having drawn this way before, it works better than how I've been sketching, before. And I can basically draw any pose now
I am honestly kind of upset, at how flat out fucking "wrong" the advice I've gotten up until this point is.
Overly analyzing every form won't get you to be able to create a figure from scratch. Instead, keeping it simple, drawing through the forms, and thinking about what you can't see instead of drawing every single part, enables me to do shit like this on one layer.
Well, Max shielding himself from the wind is two layers, but the second one is just adding details so it looks like Max.
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No.11483
>>11481
>I am honestly kind of upset, at how flat out fucking "wrong" the advice I've gotten up until this point is.
I'm not sure you're being taught anything "wrong", perhaps you're just reading it out of order? Forms (spherical or otherwise) are a pretty common concept taught by a wide variety of instructors-lest we forget about the joocy background image on this very board. One of the first things we're often taught to do is attempt to see through the drawing subject and relate it to spheres, cubes and other polygonal primitives.
Anyway, I've watched quite a few lectures of his and I'm not really sure what Vilppu does is all that different specifically-but I do enjoy his soothing grandpa voice, seeing his process play out where he goes down the figure from one anatomical landmark to the next, and of course consider him adept at what he does.
He is in my opinion probably the best nude figure draftsman out of the meme instructors out there that I've seen, my only criticism is that a nude figure draftsman is pretty much all he is (that and I'm not a big fan of his book-from what I'd read everything just seems so hastily done and not in a particularly appealing way).
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No.11485
>>11483
That's the thing, though. It's simple, and honestly something that's preached a lot, yes, even Proko talks about this. But the way he explained it, it all just sort of "clicked" for me. I didn't explain it in that post, but as you can see by the screenshots in it, I've had all the parts to this process down, at this point. It's just nobody ever told me the simple fact that you don't have to draw literally every side of every form, as you draw it. Just some preliminary marks, so you have a frame to work with, and then layer forms on top of eachother, only drawing what you'd be able to see.
And the thing is I've struggled with figuring out what's wrong with my sketching, precisely for that reason. I couldn't figure out what I was doing wrong, why the sketches got so messy, why they were so hard to keep track of after only a few forms, and hearing all this just excites me again since it's let me see what I was doing wrong.
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No.11487
>>11485
I see. In either case I'm looking forward to seeing you experiment with this more in the near future, keep it up bubbi
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No.11488
>>11487
thanks.
And believe me, I will be.
If nothing else, the poses in the comic will get way wilder now, since I now know how to foreshorten/do any pose.
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No.11495
>>11481
I'm watching that video right now, so I can understand precisely what you mean.
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No.11497
>>11481
I guess the thing he explains and emphasizes in construction is that you don't need to make a full simplified, correct shape and only then cut out, add to and extrude from it, which is more common in technical draftsmanship.
Just the bare idea of a form is enough to build on. Not even a full form, just the mere suggestion of it, allowing any additions to define the form without necessarily overriding anything that's already present. Correcting or redefining a suggestion or empty space is a lot easier when you're not contending against misleading lines which are already set down. Once that mindset clicks in, it's easier to deal with more complete constructions later and not be as led astray with details you can't see but choose to fill out for the sake of structure and guidance.
An iterative process, but with more allowances for the upcoming steps, so to speak.
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No.11500
I've been in a dark place for a while. haven't rly made any progress since late 2017. I've been doin small things and doodlin around, but i'm not sure how to get back on track, any tips?
I feel this kind of nostalgic sad feeling when looking at my old practising papers, but at the same time i feel lost, like not sure where to start, i sometimes even wonder "did i really drew this?"
I think one of the things that kinda discouraged me was not seeing as much progress as between 2015 (when i started drawing) - 2016. that was rapid, from drawing like a toddler to actually being able to draw stuff. but it was slowly stagnating, like i reached some limits in drawing (faces, postures etc) and whenever i was practising, it was just dull, like to the point in 2017 i felt like im actually degrading over time during practice.
I don't want to give up, I really enjoy drawing, but i feel lost.
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No.11502
>>11500
Draw something else. Birds, plants, dogs, wolves, bears, etc. They are much easier than humans and help you build fundamentals for construction, line weights, textures, and so on.
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No.11503
>>11500
>>11502
Architecture/cityscapes are great practice, too. Perspective drawing and breaking things down into basic lines and shapes, finding the verts and horizontals of a setting and building up the drawing iteratively.
And if that still doesnt do it for you, you can work on constructing objects inside boxes and building them up in technical drawings. How to Draw by Scott Robertson is excellent for that (drawabox steals all the concepts from the book and dumbs it down, you can find the book in resource thread here or /ic/ forget which one).
Build up other skills and come back to humanoids or work on them in tandem. This will give you tangible results that show improvement quickly.
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No.11508
>>11503
>>11502
thanks for the answer. yeah, I draw all around different things (because i focus on comics)
but drawing people is def my weak spot, i've checked >>11226
>>11252
>>11481
>>11483
these posts, and they're helpful, I'll focus on that. just watched vilppu's spherical forms too, so I understand the idea behind drawing like that better, but it's still pretty tough to put in motion. where do you guys get models to draw? is it better to draw from 3d simple human models, photos?
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No.11509
>>11508
http://www.eroticbeauties.net/pics/rose-from-hegre-art-posing-in-studio-nudes-36697.html
I use this site for references. Category for art and studio sections has a lot of good poses. Rose from Hegre Art posing studio is one of my favourites. Her muscle structure, bones, and flexibility in posing makes a great study. You can search by name for her in top bar to get more or just Hegre Art in general. The photography for hers are quite good too. My only complaint is they arent higher resolution, but large enough for self study. Most are like 1200x1600ish.
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No.11510
>>11509
id have to censor those, as a person strugglin with porn addiction, this might be bad, but thanks nonetheless, it's easier to spot the shapes on those ladies
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No.11513
Hooray for amateur inkling. If anyone has any advice let me know
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No.11514
>>11513
Some contour lines for the body. It looks so flat. The tail end doesnt curve properly. We should see some of the underside as its curving back in similar to the left side and neck. Dont need a tonne of lines to show some roundness. Maybe a simple pattern or some scales? Just something to break up the completely empty body and give some depth.
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No.11515
>>11514
Thanks anon, the line work was a little difficult for me because of how big I made the whole thing on the page. I later attempted to add cast shadow so it at least feels like it's grounded, but I really botched it. I've considered scales for the shadows on the body, but I'm trying to figure out how I'd handle it in a way that looks nice.
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No.11516
FOR FUCKS SAKE WHY EVERYTIME I FLIP THE CANVAS THE FACE IS ASYMMETRICAL AND BENT? END ME
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No.11517
>>11516
Our eyes get tired, it's the same reason people draw hands with six fingers and shit
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No.11518
>>11517
So you are saying if I draw after waking up I'll not draw like a retard?
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No.11519
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No.11520
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No.11526
>>11516
Maybe take a break after an hour or two; stretch your legs, walk outside a little, maybe get breakfast/lunch/dinner. Just something to get you away from the canvas for a bit (at least 15 to 30 minutes). Then come back with fresh eyes.
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No.11528
>>11516
Here's a fact, if its 100% symmetrical. The face would look like plastic surgery in form of drawing.
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No.11534
>>11519
I'm still retarded, you failed.
>>11528
But if it's 10% symmetrical the face looks like gollum.
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No.11552
two attempts at a low angle. what could I stand to improve in my process itself.
I've watched Vilppu's video on spherical forms. I think for now I should get back in to practicing on traditional material.
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No.11554
Human anatomy was too hard, so I started some study of animal anatomy.
>>11502
I love birds. Thanks for posting these. Saved and will use.
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No.11556
>>11552
First one has giant legs, but the body looks 'normal'. All the proportions remain consistent except the legs. If you have such extreme leg size looking up, the rest of the body should be similarly extreme as it goes.
Here's a quick mark up of a woman in a similar pose to yours. The head sticks forward a bit while upperbody leans back. Legs are much closer with this angle. Note how the head is slightly larger than the chest due to the leaning back/head is farther forward to look at camera. But after that, the torso, hips and thigh all get increasingly larger for the low angle shot.
In your shot, the thigh is like 2 heads in height, the hips are smaller than the head (based on bikini area), the chest is roughly equal to the head, the upperarm is slightly larger despite bending back and the forearm is extremely tiny for foreshortening when it comes from behind and at an angle - we should see more of it at this perspective.
It's a decent attempt, but the legs and hips are low angled and rest of body is normal/flat looking in comparison. Reduce size of legs slightly, and have each proportion get successively smaller. As its anime/cartoonish, a larger head is likely required for expressiveness and typically oversized to begin with, so dont shrink it much or at all.
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No.11562
>>11556
Thanks. I'll likely be hitting just basic perspective again, when I get back to practicing. So where did you get a photo like that?
I asked someone recently and they told/showed me about Hyper Angles, and I'm going to seek out a PDF of those books, at the very least.
I say all this because I think the fact that most poses I've drawn from reference are rather basic, in their perpsective, hasn't helped force me to learn stuff like what you've been saying. Though realizing my ability to use perspective and construct, isn't as up to par as I thought it was, also helped in that.
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No.11565
I'm so glad I found these photo sets. It's exactly what I've been looking for, for like a year now.
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No.11566
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No.11567
>>11562
I just searched low angle woman or something like that and threw some quick ms paint lines on for basic anatomy.
There's various ways to learn. I mostly know it from cityscapes and 3 point perspectives in architecture. You can do it technical style with boxes and duplicate the boxes in whatever perspective you choose. Some just 'wing it' with general idea. You can do gestures - low angle is usually triangular upwards coming to a point at the top of head. It's a stylized angle, so it doesnt have to be perfect proportions either - you are exaggerating everything. Just be consistent with how you exaggerate these angles (yours was extreme exaggeration and then normal proportions for half the body for example). You can have your program set up a perspective grid (or make one yourself as a layer if it doesnt have the option). Use it as basic guidelines, etc. Eventually you have a feel for it.
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No.11569
>>11565
>never skip leg day.png
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No.11572
Some back studies I'm working on
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No.11574
>>11566
don't really know what I hope to accomplish by posting this
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No.11576
>>11567
A lot to take in, but I'll keep all of that in mind, as difficult as it may be.
Right now I"m still doing what I started, yesterday, before reading what you said. Just trying to do more of the Hyper Angle references, but today I'm using simple forms, to hopefully break it all down in ways I can understand.
Surrounding a figure with boxes, and grids, sounds like a good idea too, if I find the time for it I'll do that digitally.
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No.11578
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No.11579
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No.11581
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No.11582
I've zero discipline for proper practice smh.
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No.11583
>>11581
this the people are from my head, the background is not
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No.11584
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No.11589
I did a trace over, of the reference, to see how close I was.
Honestly it's not that far off.
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No.11591
>>11572
Another page it back from yesterday and going to do more later today
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No.11592
This pose was too similar to the previous one, for me to truly be learning.
I'll use a different one, tomorrow.
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No.11595
>>11592
take that package in buddy, just gorge on it
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No.11596
>>11592
dick jokes aside have you tried looking back and forth quickly between the drawing and the subject to see how close you're getting? Things kinda move and you notice it. Or tried drawing the negative space instead of the object, such as between the arms and body? They're tricks my life drawing teacher suggested to me to help with accuracy.
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No.11597
>>11584
just gestures
am I doing it right
trying to stay away from contours
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No.11602
>>11597
>>11597
pls tell me if I am doing it right
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No.11603
>>11597
>>11602
I think one of the major weaknesses of the gesture "meme" is that every major artist that talks about doing gesture has a different way of doing it so you can never be sure if you're doing it right or if there even is a right way.
IMHO a rule of thumb should be "could I conceivably use my result to take my figure drawing to a complete finish", that is literally the one thing I've noticed that's shared between people who draw gesture is that the gesture is just the first step to moulding a real figure drawing through an applied, total understanding of the figure that comes from long drawings, anatomy studies and so on.
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No.11604
>>11603
so to find out if I am doing it right go back to each one, and finish it?
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No.11605
>>11591
I like these. Reminds me to use cross hatching, which I almost never do. Drawing looks simple but characteristic and just nice.
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No.11607
>>11596
You are mistaken, with what I'm striving for.
I can already be really accurate. But it's just empty copying if I do that. What you're talking about are basically just tricks to achieve what amounts to little more than using a grid to copy in chunks.
I'm trying to break down the body, and understand how it works/looks/moves, in a 3D sense. So I'm more concerned with getting these primitives in the same perspective, than I am just blindly matching with plumb lines and negative space.
As an aside, I know this'll come across as an excuse, but I do think next time I see my eye doctor, I need to be emphatic about getting my lazy eye fixed. I'm trying to draw these with my glasses on, and I can't do it. My right eye goes super fucking lazy when I've got them on. Also the way I draw I tend to look more at the subject, than the page, and in turn use my peripheral vision. And having them on fucks with said peripheral vision, so I may need to get bigger frames.
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No.11608
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No.11610
>>11608
Little off from the model. Note the torso leaning back - yours is straight for most part. He's also doing a bit of a crunch with the chest coming out a bit, like sucking in your gut type of look. The head in yours is straight - the model's is bent at about a 45-60 degrees in relation to shoulder. You have the x and y axis correct, but didnt account for the z axis tilt. I think loomis or someone has examples of this with sticks/spikes through the head/ellipses showing how it tilts up, down, left right and at angles if you need a visual representation. The bent leg could be further back in the image (looks like hes walking forward with it compared to it being well behind the model's body).
Not a bad job overall. If you are looking for muscle studies, I'd focus individually on parts with higher res images.
If it was a muscle study, it looks like you drew the body with muscles instead of layering muscles onto the frame/skeleton/basic shapes. I've included an image showing the difference. This isnt a shading or texturing issue, though those can help hide the mistake. Yours looks like you drew a basic body and added lines for muscles instead of drawing say basic cylinders or a rough skeleton. It's hard to explain, but imagine putting more and more shirts on. Like a joke with 10+ sweaters. The way you are drawing muscles looks like if you drew 10 hem lines parallel near the waist and wrists to show 10 shirts without adding mass to the basic body shape (people look fatter and usually the shirts angle outwards from the body and 'get shorter'). If you erased every muscle line on that drawing, it would look like a basic shape model to me. It should look like the muscles are on top of the shape, not flat like they are textures inside the outline if that makes sense.
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No.11611
>>11610
I will try to assimilate this info into my practice
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No.11619
I drew this today. Was mostly working on scenery and random doodles.
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No.11620
>>11619
Very nice, particularly the watery cliff scene
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No.11621
>>11619
me on the bottom right
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No.11622
>>11619
me on the bottom left
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No.11624
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No.11628
Decided to start doing digital art.
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No.11629
YouTube embed. Click thumbnail to play. >>11624
Your gestures look so much better than the muscle studies. You have a grasp of the shape and form of the body. When you do the muscle studies, it looks like you are reproducing what you see. As if you are simply looking at the basic shape of the muscle (oh this one is a little band coming down the inner thigh from the hip, this is a circular muscle). It feels like you are drawing the outline/silhouette of the muscle on the leg in this image. These are large chunks of meat held together and to bones by sinew and tendons. I believe you are getting caught up reproducing what you see and not understanding how each muscle group sits on the skeleton and moves and stretches as 3d objects of their own. They are spandex patterns for your outer shape.
For legs, this video is really good in my opinion. You have a good sense of the shapes and movement already. I think you are too focused on drawing what you see. Maybe turn your reference upside down or sideways when looking at it. You seem to have the same problem he relates to several minutes in - he'll often find his legs start getting a straight look to them. Yours are spread out, but both legs are pretty straight looking if you rotate the image.
Note how he describes how the muscles bend in or towards the hip adn so on. This is what a muscle study is supposed to teach you - not just to reproduce what you see on a model, but truly understanding that if you bend your leg, these two or three major muscles shift and move and protrude in so and so manner.
I recommend just following along with the video I linked. Dont just stop and start the video. Watch him form say the basic shape, pause, then form that. Go step by step, but dont do it line by line. Try to reproduce from muscle references like you are using. Then switch back to the video and see how well you did compared to his. He is doing slightly stylized/not perfect realism, but it looks like what you are trying for in yoru attempts.
Basically, muscle studies are to figure out how the muscles connect and taper off. Knowing the muscle comes in below the knee on the inside is more important than knowing the outline of that muscle or texture of the fibers. Understanding which part of the bones shape the shin and its contour is more important than what looks like muscles connecting on your rightmost leg. Just run your hand down your shin. You can feel the bone on the inside - you are drawing that as connected muscles and a hard line separating them. The outer calf muscle forms the curvature away from the bone.It tucks in under your shin bone if you push in on it. Thats the white area on your reference model. You can follow it down to connect to the lower ankle bone on the inside. but just feel how the muscle tucks into the bone - thats the curvature you want to define.
Keep up the work. The gestures are really good. You could take a few and add muscle to random parts or add some cleaner lines over top on a new layer if you wanted to use them for muscle study. I think you are too focused on reproducing the reference and drawing symbols instead of the actual shapes. Your gestures almost have the contours already - youd just need to look at muscle groups and carve out the slight curves and shapes like the video does. I think that would be much better practice. Just remember, you arent filling in lines, you are adding layers of muscle. Your lines arent defining areas of the leg - they are adding weight and mass to it. Good luck.
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No.11693
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No.11694
>>11693
Good. However, IIRC one of your primary weaknesses at the moment is faces; I’d suggest studying skulls, doing portraits and generally attacking that problem soon
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No.11695
alright, lets get back in.
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No.11696
>>11694
Faces and facial expressions, gesture, and proportions are my main weaknesses, yes. My goal is to draw comics but I need to learn so much it's overwhelming. Perspective, people interacting with each other, types of bodies (old and young, fat and skinny, etc.), so many things. I'll probably die before I draw a single page.
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No.11705
>>11629
I am trying to follow the video
does this look like I am understanding what he is saying?
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No.11708
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No.11709
God it feels good to be in a position where I can actually work on art, again. Looking at the last post date, it's been over a week since I got one of these in. But I've squared away everything that was interfering, and it just feels good to be doing this again.
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No.11712
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No.11715
These goddam plates are fucking hard and this is only the first one.
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No.11717
>>11715
The little crosshair is really helpful tho; you can do it
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No.11718
>>11715
Man, I should do the plates too.
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No.11721
>>11715
>>11717
I dislike the crosshairs because it implies a flat geometric plane instead of the contours of the face. You dont have any context for what you are drawing and its centered on a part that is not even central to the eye socket.
You should draw a square plane the eye socket will inhabit and then build it up from that plane. You can rotate the plane in space for each view. This might help with some of the flatness in the eye socket/brow lines you are drawing. The top right looks like the same brow as the bottom left, top middle and bottom right. There's very little difference in the curvature and line length of any of those lines, which represent the top of the eye socket and should have different curvature for those angles. If you had a plane at those angles, you could see instantly that the brows dont fit inside the rotated view.
Thats not to say these are bad. Just if you are working on getting exact proportions and placement based on any angle, you would be better off setting planes that respect the contour of the face.
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No.11724
>>11721
>I dislike the crosshairs
I think you’re misconstruing the Bargue drawings as being intended for anatomy study rather then general observational drawing instruction. The point isn’t that you’re drawing anatomy in this instance, it’s that you’re observing and recording the spatial relationships between lines and shapes. The stock anatomy is just a convenient means of teaching visual measurement, such as when you draw a bust or cast at an Atelier. You’re studying drawing including values first, the representational subject isn’t the primary, secondary or even tertiary concern
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No.11725
>>11709
I'm unwilling to even attempt to assert that I'm in a position where I can regularly practice again. Shit keeps happening to me, that I just need to endure it until this long streak of IRL bad luck ends.
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No.11727
>>11725
Sorry to hear that, man. I think I mentioned it before but my parents got a dog early this year and have conscripted me to watch it almost every day I don’t work. I really like the damn thing but being kept away from my apartment that I’m paying out the ass for and unable to draw much besides has been very bothersome.
>take dog with them to park this morning
>intend to leave immediately after we get back around noon
>“you’re going to watch the dog while we go visit grandma, right?”
“Well that’s fuckin’ news to me but why the hell not”
>they arrive just now (5:40~) and want me to eat with them
>macaroni and cheese-it’ll take another hour just to cook
JUST
If the puppy wasn’t so hyper and spontaneously destructive I could draw here more but it ain’t been easy
(More of a feels thread post but the board has been even deader than usual lately; who cares lmoa)
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Post last edited at
No.11742
I really wish I had better eyesight. I forget if I posted about it in this thread or not, but my current setup for trad media, means I have to choose between either blurriness, or double vision from my lazy eye and angle of glasses. I'll start tracing primitives onto figures, again, when I practice next.
>>11727
That sucks man, sorry you've gotta deal with that.
>board has been deader than usual lately
I uh, sorry. At the risk of sounding a bit cocky, I do think the way I used to practice daily, contributed to some of the activity. But shit's been hard on me IRL, lately. Things seem to be turning around, but I refuse to make promises on my activity level.
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No.11745
>>11742
You’re right, people are apprehensive about posting on a dead board so any bit of activity is exponentially valuable. The importance of those that post regularly, even if only once every other day or so can’t be understated.
This is the last art board on this godforsaken website that’s even close to active, and should its flickering spark ever be truly extinguished so too will the hopes of tens of thousands of totally hot babes that want nothing more than to see our artistic projects bear fruit and subsequently have their pussies bred by our superior /loomis/ genes.
That all said, sometimes real world obligations have to take priority over hypothetical future glories by necessity. It’s unfortunate but that’s life I guess. A lot of us sure as hell aren’t in our late teens with all the time in the world anymore.
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No.11755
>>11717
appreciate the encouragement, I'm just bitching and moaning, I'm gonna bitch and moan about the next one too. It's actually fun just hard.
>>11718
legend has it if you suffer them all you recieve the favor of the gods
>>11724
exactly, I think this is a gauntlet you're supposed to run so you can then accurately study once you move on to anatomy or whatever. The eyes are obviously plaster casts. Nobody has eyelids this thick.
Since I'm doing this on tablet and having a hard time trying tracing them first to get a feel for it, then drawing, also using the pen tool to get my crosshairs nice and straight instead of that warbly hairy deal. If I still can't get it then fuck it, I'll go back to pencil and paper and do it again.
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No.11783
Sorry for the shit quality here, normally I line it with 2B, but this was purely for myself. I'm only posting this to show I did anything at all.
Was tired of how wrong my legs looked. Took a few minutes to slow the fuck down, and actually break down what I was looking at. The answer was simple in hindsight. I had the forms of the leg, aligned wrong, and how they interact wrong.
>>11745
Ah, but see, when you're a teen you don't value your time or want to accomplish anything, at least that's the general sentiment I've seen. I'm fine with being older, and unable to work on art as much as I want to, as I've at least got freedom and drive now.
But yeah, IRL shit takes energy out of you. Enough that I've dropped off in activity here at least. It sucks, but while I was forcing myself to do art no matter what, when I technically had time between shifts, I was a wreck. Part of just attending to real life, and being an adult, it seems, is just keeping yourself in check and making sure you don't burn out, or over exert yourself.
On the plus side, I'm setting up the fourth page of the chapter, right now. So as much as the setbacks have, well, set me back lately, it's still chugging along.
(and hopefully when I dumpass an entire chapter at once, instead of a slow trickle of shit, it'll garner more attention.)
Not much more anyone can ask for than just getting by as you can.
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No.11791
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No.11798
Yeah, these are already looking better.
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No.11825
>>11798
One of these days I'll be back on my feet, and centered, completely.
Some day.
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No.11884
>>11825
Looking good fella; I think I'll have to take a gander at the hyper angle books as well. Seems like a good one-stop resource for extreme foreshortening and things like that. I'm still struggling with my poses being essentially "character turnaround"-tier. I know almost all of the relevant anatomy by heart but I'll be damned if I can draw it in anything but the most mundane pose.
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No.11886
>>11798
>>11825
Can you upload the pdf of the book?
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No.11940
Bad, but I still practiced/studied today. I'm out of focus, and it's been a while since I actually legit studied traditional stuff. Fortunately, that also means that if I get back in to it, I'll be doing better again.
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No.11941
>>11940
Keep it up stud, even if you have to claw and scrape for every minute it's worth it
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No.11947
>>11941
Thanks. As goofy as it'll sound, I've found meditating to help out on this. Don't get me wrong, I'm completely aware there's no magic to it, or "spirit" or "soul" shit. It's just you're sorta forcing your body/brain to relax, take a step back, and assess what's going on. Anyway, I say all that, because in turn, when I do it before I draw, like today, I'm much more able to focus the whole time. Due largely in part to using said meditation to reconcile things that are troubling me IRL.
Anyway, I knew I was primarily just out of practice on this, as today I'm back at it again. I think tomorrow I'll just do a trace of the leg here, but going deep on the bones and landmarks/muscles, so I can get a really strong idea of the forms.
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No.11974
just some misc gesture stuff, I warmed up with, then the tracings for today. I've primarily been just sketching or doodling on my new tablet, but my output is far worse with it, than on my computer.
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No.12010
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No.12011
>>12010
For things you're not going to bother rendering and the like you could consider using printer paper instead, imho even newsprint is wasted on anatomy studies and things like that-a friend of mine is actually doing pretty good ones on notebook paper (but that looks like shit and is even less cost effective)
>t. has tons of costly meme papers I never use because I'm still shit
Just…
END IT, AAAAAAAAAAAAAA-!
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No.12013
>>12011
Thanks, but it's too much of a pain to use printer paper. Not enough space where I am, and printer paper's not big enough for me. Though I can see where you're coming from.
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No.12014
>>12011
sketchbooks at dollar stores are cheap as fuck and decent paper. you can get acid free, hard cover, ring bound with like 50-100 pages for like $2. Like $3 or 4 if you get A4 size. I dont see any reason to buy no name toilet roll paper just because you arent rendering or its just anatomy studies.
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No.12016
rebostin from beginnner thread, this was done on imagination, what think
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No.12021
YouTube embed. Click thumbnail to play. >>12016
(you don't really have to post in multiple threads in a board with less than 10 regulars lad, but it's okay)
I think you're starting to take note of some of the landmark features like the clavicle and sternum and that's a good thing, but there's so much more to be done that I can't really say much more.
>babs, tiddie, babs and tiddie
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No.12022
>>12014
It depends how much grit you like your paper to have. Copy paper is stupid smooth and can be fun to draw on. Shit for shading. Those cheap sketchbooks are shit for shading too though unless you rip the pages out so you can put them on a hard surface. It's all medium and personal preference really.
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No.12046
again, just practicing more of Hyper Angles. I'm focusing on moving from pose to pose, instead of going down the list of very similar poses, for the time being.
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No.12197
Need to work on how I represent and angle the torso/pelvis.
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No.12201
I'd forgotten that I could do things like this. It's been almost 10 years.
Pose lifted from a manga, but still.
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No.12203
>>12201
I assume he's supposed to be standing straight up but if his foot was reacting more to the ground it would make an interesting running pose
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No.12204
>>12203
That's actually what it is.
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No.12205
Need to study faces like 1000% harder than I have. I think I literally only studied a few pages of loomis once like 4 years ago and only intermittently drew individual heads from photographs here and there. What the hell is wrong with me.
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No.12207
some studying, after I got all the thumbnails for the chapter done.
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No.12218
Biceps Brachii.
I've decided to go over at least the arms, from AfS.
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No.12247
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No.12268
looking at these next to each other, I messed up quite a bit. I think tomorrow, I'll study the scapula itself.
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No.12283
The Surface Pro 2 RT is a fucking awful tablet (it can't open facebook or youtube even because it's weak as SHIT) but it makes a pretty damn good pdf reader/audio player tbh. It's got a beautiful screen, it can easily stand vertically which makes reading books fairly comfortable.
Definitely makes a good "second monitor" for a mobile setup. Staying at my parents' again and I'm not big on bringing my big ass laptop and Intuos over, gnomesaiyan?
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No.12298
Scapulas.
Scapulae?
Scapulaters.
>>12283
Pretty much. I got an expensive as fuck tablet for christmas, and I felt pretty bad for not using it as much as I thought I would, and misleading my folks, but I'm approaching it wrong. It's not as good at what either traditional, or a computer, do, but it's got one huge advantage over both. You only need the stylus, and it, to do digital stuff. So I'm likely going to use it for both a "second monitor" like you're saying (with reference models and images) and as a sorta "portable digital sketchbook."
Ultimately you just can't beat the utility of a mouse, tablet, and keyboard. Or the infinitesimally nuanced shit you can do with physical media.
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No.12299
>>12283
Work on line weights.
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No.12330
Coracobrachialis and Brachialis
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No.12335
>>12283
>The Surface Pro 2 RT is a fucking awful tablet
Mine died a year ago. One day It's going to overheat and there's nothing you can do about it.
Wangblows, never again.
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No.12337
>>12335
It's not even windows though, it's this degenerated subhuman operating system more akin to iOS. Nevertheless I did learn something, if you turn off all of the visual effects that were so wisely enabled by factory default its speed is like doubled and that's not even an exaggeration. It still has problems with certain websites, probably because it uses IE with no viable alternative, but what it can do, play local media files, images, video and audio, it does quite well and I feel is quite valuable despite its myriad shortcomings.
I was very surprised to see these pieces of literal trash being sold on amazon for over $200 when I know for a fact I'd seen them for much less than that in the recent past. I'd easily recommend anyone pick one up if they can find them for $100 or less, though. They're competitive with the most recent Kindle in practical speed and better in most of the ways that matter (screen, filing system etc.)
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No.12355
Brachioradialus and Extensor Carpi Radialus Longus.
Going to be upfront and say I barely understood the shape of these forms, so I'm going to try again the next time I study. Likely from a more basic angle.
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No.12366
Sort of understanding this now. I make no promises of doing a study tomorrow.
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No.12367
The forearms are a b*tch overall. I'm still trying to get the hang of them, too.
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No.12370
>>12367
T-that's kinda hot.
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No.12403
Kind of gotta laugh at how much this camera distorts everything. I think I'll start scanning any trad shit in if I feel like posting it in the future
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No.12404
>>12403
The one on the bottom is with the camera dead straight on. It's hilarious because this figure is definitely close to canon proportions irl, but after I take a picture of it it looks retarded
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No.12419
>>12367
Thanks. You got any idea of if I'm close or not, on these?
I wanted to actually put the muscles I have studied on a body, before I move on to the extensor and flexor groups. Which are a fucking nightmare, from what I saw.
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No.12423
How do you fight the existential dread and disappointment that comes at the end of every sketch? I know what I need to be doing is just grinding out as many images as possible right now, but when I can make myself draw, I can never make myself draw twice.
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No.12427
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No.12428
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No.12431
>>12427
This and also by doing boring grindy exercises it both warms me up and motivates to draw something fun that I want to draw. Although sometimes it's only one picture I usually still manage to draw something I want to try and draw once a day apart from all the exercises and focused learning.
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No.12440
not sure if doodling or practicing
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No.12442
>>12440
Maybe it both, ughnnn
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No.12444
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No.12454
Anyone have a good video for clothes/fabric? I can't seem to understand it from pictures, and I wonder if I should buy a big mirror and clothes just to understand it.
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No.12455
>>12454
Actually I forgot movies exist, drawing is killing my IQ.
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No.12458
>>12454
Nobody answered me when I asked so I've been trying to figure it out on my own. But the shit I've found to be super useful is that in Hampton's figure drawing has a section on cloth folds. Once you know the concept behind the folds you can then look in the mirror and start observing how the folds originate from tension points and how gravity affects it. At least that's how I've been practicing it.
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No.12459
Using Bridgman as a reference to understand how neck muscles interact with each other
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No.12461
>>12458
Nigga it's too cold to be postin' all dat sheeit you'll get it did just keep workin' dawg gnomesaiyan
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No.12503
The stitches still haven't fucking fallen out of my finger, so I've got little milimeter thick knobules on the tip of mine, making it harder than it should be to draw.
Anyway, this was just to refresh my memory, since it's been a few days since I last was able to really draw.
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No.12504
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No.12507
>>12503
https://www.youtube.com/playlist?list=PLwQq1-SdsNvYkupMPA_OszCQXWqGQ1FRm
Watch the first 4 videos. You look to be just drawing what you see in these sketches. You might erase construction lines, but it doesnt honestly look like you are constructing properly. It feels like you are drawing piece by piece, like your deltoid and then the upper arm (it doesnt look like you drew the bicep and tricep as separate shapes; more like one big blob and then a slight line that you see on the image instead of defining the muscles as you draw). The head feels off in the angle and center line, particularly down by the mouth/jaw.
These videos are for fashion, but she explains construction process extremely well and shows it using tracings of fashion models and then expanding on the basic form. As you get better, obviously you wont have to trace. She doesnt trace everything either and later videos show how to exaggerate while maintaining proportions, etc.
22nd video on angles and proportions would be good for you as well.
If you actively draw the joints as circles and define the form better in construction phase, you can use basic anatomy that she describes in video 3a or 3b I think to get the idea for curvature of muscle groups. Like I said earlier, you are drawing what you see for this particular person/model. It doesnt feel like you understand why the shapes are there and your muscle lines on his outstretched arm are extremely telling in this regard. The center line for the pecs also comes out flat and isnt the correct angle for his chest. If you mapped out the proper center lines for the form, you would see that curvature and angle he has. As is, it looks like you drew the outside of his body and then knew you needed a pec line and just put one there to have one.
I highly recommend the tutorial videos there. All of her stuff is good. Put it on 2.0x speed though. Shes long winded and rambles a bit at times. Slow down when you need to or pause. I do think you should step back from mere duplication of poses and learn the actual anatomy (or just the basic understanding of hips/pelvic box, shoulders/collar bone, how major muscles curve - basically how she describes the slight curvature of calves, where biceps tuck in to elbows, how the knee and muscles interact, etc - dont need full anatomy study with 8 hour classes on an ankle or some shit).
Do the first step that she does and trace those basic forms - the mickey mouse breasts and shoulders was something I hadnt seen mentioned by other tutorials or teachers and was life changing for me when doing rough sketches/construction phase. I had done contour lines on the forms in later construction phases before, but learning about seam lines and fashion sketching was another simple technique that changed how I viewed 3d forms and contours. It makes so much sense in hindsight, but I just eyeballed outer edges and contour spots before and that change helped shore up my poses. Never thought fashion design would help my poses and gestures so much. I think if you do her first step tracing and THEN do your outlines/finish the pose. dont do all 4 tracing steps she does - thats just her beginner fashion designs and more related for fashion; just use the first step to get your bearings.
Alternatively, do your own construction freehand and then do one with step 1 of the tracing from her first video. Apply the techniques from steps 2-4 freehand after that. That will allow you to practice freehand/from reference and the second one helps you with the later construction phases by having a better foundation starting out. Eventually you wont need the step 1 tracing.
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No.12536
>>12507
I'm going to be upfront and say I barely read any of that just now, but I do appreciate it. I'm in a fucking foul mood at the moment, and imbibing a fuckton of in depth critique is basically the last thing I need. Largely because my finger is still sort of fucked up, and making it hard to draw, on top of the days when I straight up couldn't do so at all.
So I'll get back to you on this stuff, when I'm better able to take it in. But thanks.
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No.12545
>>12507
Okay, I'm in a bit better of a mood at this point, and I read all of this.
I can easily tell you what my biggest problem is, with sketching. How exactly do I construct the parts to a figure, without the sketch rapidly getting cluttered and unintelligible? I've never found a way to, and have only been able to either break a figure down into basic forms, or sketch like I showed above. I can do it more easily when I draw digitally, as shown
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No.12591
Rough sketch and then blocking in some values using a soft charcoal pencil on sketchpad paper. Taken about 1 1/2 to 2 hours so far. Will continue at a later date. Sorry for poor image quality.
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No.12592
>>12591
One more and the reference.
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No.12598
>>12592
Pick better references. You want to at the very least convert it to black and white in photoshop and adjust the contrast if you are using a random photo. The lighting for the reference is a catwalk. It's horrible for a pencil sketch. The midtones are washed out and there is reflected light everywhere. It's not as obvious in color, but look at this black and white with minor contrast adjustments. Look at the nose in particular for how the lighting of the photograph makes it a horrible image for a pencil sketch.
You cant see it, but photographs use lenses for taking photos. Lenses warp the perspective, even in normal looking photos. This is barrel distortion or just lens distortion. Photoshop has a Lens Distortion filter for removing/adjusting the distortion of photos. Sometimes its subtle and you cant even tell, but its there. Other times, you can see literal curvature in columns or walls. I dont have photoshop anymore and couldnt find a filter option in krita to fix it on your photo (or check how much it has to begin with). You should adjust this in any photos you want to draw.
Lighting and composition are different for photography and pencil sketching and even painting. Can you do it or produce something good regardless? Yes, many do, but you shouldnt handicap yourself with more difficult photos as your references. Try to find photos with proper lighting so you have a solid set of midtones, highlights and shadows. Black and white is obviously best and you want no lens distortion. Almost every celeb photo will have lens distortion and touchups and blown out lighting to hide imperfections and sell magazines and look better on television. They are not great for pencil sketches in most cases, but you can at least try to do a little prep work and mess with contrast and distortions before using them if you want celebs.
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No.12611
>>12598
All stuff I already know but thanks for the edit as I can't do that sort of thing on a tablet. What you've posted actually looks fine to me, in truth I was struggling a bit with the image as is. But one artist meme I've never got is that everything has to have perfect and dramatic lighting. Might not always want that effect, or just want a little more of a challenge than pic related to replicate…
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No.12612
>>12598
Addendum: she looks dog rough in that pic so I doubt there was much airbrushing done. Keek. I just picked a random photo, different to what I'd usually use, mainly as I couldn't think of what else to draw and she has a weird almost negro like facial structure. Treating it as a simple value study maybe it was a bit too needlessly difficult, yes. No disrespect. Feedback is good even though I know it and was just bumping the board.
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No.12632
First time I've ever seriously tried to draw in my life, making sure to practice every day. Also making sure not to leave a drawing unfinished to start a new one, since I've had a habit of doing that with other things in life.
So based on this, what's the 3 most glaring issues I need to focus on at the moment?
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No.12633
>>12632
You're at too early a stage to really give good advice to without you probably other thinking it. Keep drawing everyday doing basic fundamentals. use the resources in the sticky and keep at it.
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No.12634
>>12632
-Proportions
-Anatomy
-Dealing with the frustration you'll feel from progressing so slowly.
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No.12636
>>12634
That's basically what I thought, I fucked up the proportions since I started at the boots and tried to make everything a bit smaller so it would all fit on the page, but halfway through I decided to just cut off the head and make everything else normal-sized.
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No.12637
>>12632
-Focus on not copying contours, but shapes.
-Focus on only getting the gesture from gesture drawings and maybe the anatomy if you're working on that, but imo gestures are only useful when you try to draw them from another angle
-Seriously don't focus so much time on one thing
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No.12644
>>12637
>Focus on not copying contours, but shapes.
I don't think I understand
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No.12645
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No.12646
>>12645
I like these videos
These are good fucking videos
thanks mayn
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No.12652
Doing just heads and faces for a couple weeks.
Is been nice when cartoony static and emotionless.
I feel the peace but not the anger.
Oddly, when I'm just sketching on my notepad in class I get extremely emotive faces I can't achieve when planning and shit.
What could I do to make third pic more angry?
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No.12653
>>12652
You could try flaring the nostrils and curling the lips
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No.12657
>>12652
First image is good construction on bottom. Your problem seems to be proportions. Hair, for instance, sits on top of the head - not inside the construction circle. You have no foreheads and eyebrows at the hair line. Eyes go in the middle of the head roughly. Yours are at the top.
To apply an angry expression, use your lines from the construction phase. That first image has the horizontal lines that break up the face for the eyes, nose and mouth. Side of head circle tells you where the jaw line starts and where the ear is located. You can see that constructed image is looking downwards by the contour lines and general construction lines.
So if you want it to be angry, all you do is adjust the angles/curves of lines for the mouth and eyebrows. Add 2 or 3 lines for eyebrow scrunching above the nose. The attached image has the same construction lines visible (very faint, but you can see them). The eyes dont move and are the same eyes in all 3 faces. The nose is nearly identical, but they add slight flaring to nostrils and some cheek lines. The mouth is the same except very, very slight downward curves at end of the mouth.
If you bring your eyes down to just above your nose and square off the jaw a little, you can get an image like the MS paint adjusted version I posted in the second image. Try adding contour lines to the images like the first image you posted and see how yours dont line up.
Generally, if you like your style of simple lines (kinda like Nintendo Miis), you could apply different emotions with very tiny lines added. Slight curve at end of mouth up or down for happy or mad. Eyebrows are the other expressive item and only thing youd have to change. Angle down towards nose for anger and move the arch point towards the outside more for happy or shocked or other emotions.
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No.12670
>>12657
Thanks, I tried again and tried as hard as I could right now to keep everything in the construction circle. Including making the same guy.
I also tried to make the most realistic face I could make by memory.
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No.12674
Practicing, dying insiding.
>>12670
Have to tried https://drawabox.com/ ? or making basic shapes.
I don't think jumping straight into expressions is a good idea.
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No.12675
I tried drawabox for a while but really wasn't my style.
Is good if you think "Fun with a pencil" is too much "Learn to swim by being thrown into the pool".
But it has some nice perspective fundamentals.
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No.12677
>>12675
"Fun with a pencil" was more like hitting a brick wall for me, and only drawing deformed body parts from imagination over and over again helped me start. Anyway I would try to immediately drop the construction lines, because they slow you way down, and should only be used the first couple of times to get the idea of what you're doing, don't be so strict with proportions at this point and most importantly never do heads that stare directly at you for practice.
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No.12679
>>12677
I must admit it's really frustrating to draw with construction lines and still not get it right.
I definetely have more fun doing shitty sketches in class but I don't feel the practice.
I do try to make fast and simple construction lines, that seeing them right now are definetely more emotive, but can only do that with pen.
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No.12682
Somebody tell me what exactly the point of figure drawing is? It's supposed to teach you to view poses in their most basic forms, right? Is it absolutely essential to progressing, as in "you'll get nowhere without learning it"?
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No.12683
>>12682
Depends on what you want to do, anon.
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No.12685
>>12682
You apply what you were taught and learned to figure drawing. It doesnt teach you anything. It's for practice and muscle memory. With that muscle memory and catalogue of poses you've seen and practiced, you can apply knowledge you learned to construct poses on your own or rotate a pose to capture it from other angles and exaggerate poses and apply your own style.
If you just do figure drawing without actually understanding the poses, construction process, how muscles interact and proportions, you are just going to be reproducing that one image - you arent learning how to draw anything but trial and error on that one image and then back to square one for the next pose.
It's like a golfer going to the driving range. You dont learn anything hitting the ball the same way over and over and randomly slicing or topping the ball. You are just engraining how to do it wrong over and over again because you didnt bother to learn or have someone point out mistakes or just didnt take your time and apply what youve learned. You are just hitting balls.
Thats what figure/gesture drawing is if you dont bother learning things from other steps. You want to apply what youve learned to figure drawing; not learn from doing figure drawings.
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No.12692
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No.12730
Okay, so I know I said I was going to study more of figure stuff, but I had to go back on that. I've decided to get down and study values, and rendering. Now to preface, I know that's a rabbit hole for turd polishing, I just want to know it "enough" so that I can really bring out my drawings more.
I was advised to push all the tones I was using further, yesterday, but today I think it's clear I wasn't pushing the mid and light tones enough.
Also brush recommendations.
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No.12753
Same guy from >>12632
Yes I know I fucked up the shading, but I'm starting to learn how to properly "see" shapes and lines instead of drawing with my eyes. Advice on where to focus next?
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No.12754
>>12753
keep doing what youre doing with shapes and put some time in focusing more on proportions
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No.12755
Today I drew a figure and a portrait.
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No.12756
>>12755
Haven't seen you in a bit, good attempt lad. I can see your figures are quite a bit stronger than your portraits, keep practicing!
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No.12814
Practicing drawing busts and also practicing drawing faster. Towards the end I found a better way to construct shoulders at least.
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No.12818
>>12685
Different anon here, but fucking thank you from the bottom of my heart.
Everyone around me keeps saying 'you have to learn from figure drawing' and I couldn't understand why it always caused me to give up in frustration until I read your post.
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No.12898
Okay yeah, that makes more sense now.
Also need to keep these up, and remember I do enjoy studying this shit.
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No.12916
I forget if there's anything else to really know, at this point, to have the general map of all the superficial muscles, known for figure drawing. I guess I'll have to figure out hands, and then I can move on to values again.
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No.12917
>>12898
>>12916
Lookin' good bubbi, keep it up
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No.12918
>>12916
superficial muscles is all you need to know. and even then, you dont really need to know the names or anything.
key thing to know is that bones dont bend or twist or stretch. sounds dumb, but if you realize this, the rest becomes a lot easier because muscles are broken down into 3 groups - muscles that rotate the bones, muscles that flex/move the bones and muscles that retract/pull the bones back to original position.
the flex muscles are very prominent when movement happens. The neck has two that connect under the jaw and form visual muscles when a neck twists. twist your arm and look at it - youll see the muscle on it very easily.
for the extension and retraction, the muscles are always paired and opposite of each other in an S shape style. tricep and bicep, for instance. if you are bending an arm, the bicep is going to flex and pull the arm. if you want to go back, the tricep will flex and straighten the arm. you dont need to know the names of muscles once you realize this simple concept - its very intuitive and a 'oh shit, that makes so much sense now' moment once you see it in action. not just limbs, either. ab crunches are the abs flexing and pulling the torso. going back uses muscles in the back. so if you bend forward, the abs will flex and be small while the back muscles will stretch. if you pull backwards, your back muscles will contract and the abs will be stretched. everything works like this in the body and if the bones are moving, there are muscles stretching and their opposite group is flexing/bunching up.
finally, once you understand how muscles mechanically move bones, you just need to know simple fact about muscles - they are attached to bone. crazy, i know, but they are. that means the shoulder muscle/deltoid will always connect to the middle of the upper arm bone. it doesnt matter where you move the arm, the deltoid will always be connected there. muscles have to move the bones, so where they connect will help you draw it in any pose. generally the muscle will connect to the next bone in sequence. thigh muscles go down into the calf bones/below the knee. triceps go down under the elbow to the forearm bones. biceps go up to the top of the shoulder and down to the forearm. There's 2 bones on forearm and calf - the biceps of the legs and arms go to one bone and other ones attach to the other bone - this is how you flex and extend bones and the muscles have to connect to bones other than the ones they cover or they'll never do anything.
it sounds complex, but its really simple and you dont need to know the name of a single muscle or bone or even the body part with muscles. if it moves, it needs a flexor and an extensor - one to move and one to return it to default position. if one of these groups is flexing, the other is stretching. they muscle has to attach to next bone over or it wont do anything. these points are fixed and dont change. knowing this means draw your pose and then the muscles connect at those points. the muscle will practically draw itself flexed or stretched once you figure these things out - you are just connecting dots from both ends of the muscle and if your pose has it stretched, the dots are farther apart and you have to draw it stretched out. if they are closer together, you know it'll be a chunky blob of muscle bunched up.
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No.12930
>>12917
At this point I've come to understand all the superficial muscles, sans hands and feet. And it feels fucking amazing, knowing all these now, even if I can't exactly name them all and have to refer to Anatomy for Sculptors for specifics on some. This shit has been incomprehensible for the longest time, so yeah, feels good to know it.
>>12918
No yeah, I hadn't thought of it like that until you mentioned it, but
>the bones don't flex
Has me realizing a lot of stuff, and is giving me ideas on how I can incorporate them into exaggerated gesture. The last point you're talking about there are anchor points, and now that I know about this stuff I could probably start really warping the body to suit the angles and poses I like drawing this stuff in.
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No.12964
Alright. I think I finally understand arms. Now, I'm going to move on to values. As knowing this is enough for me to draw a complete figure.
The only thing I'm going to return to studying like this, for a while anyway, is if my hands are too shitty to convey stuff. Not my own hands, the hands I draw.
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No.12965
>>12964
Apart from anatomy try and keep all those abstractions you've learned in mind and you should be able to convey something or another; use your hands as a reference as often as you can as well, eventually you may have no need to do so but it can't hurt for the time being
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No.12966
>>12965
Yeah, for sure. Overall my art's been "good enough" for a while now, given I just want to tell an overall pretty simple story. But it's the smaller stuff like this that I'll need in order to truly elevate it.
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No.12973
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No.12975
Duel gender anatomy practice. It’s more effect to practice this way. For some reason my lines are worse today. Maybe due to the heat.
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No.12976
>>12975
You practicing with one drawing a day, son?
Your line accuracy will never go up if you're doing quality over quantity.
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No.12977
>>12976
Yes. Well I didn't draw one for a few days because of the heat and other factors.
How should I be practising?
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No.12978
>>12977
The only part you learn something from a picture is the sketch, and trying to visualize it inside your head, and the only way to actually make things stick inside your head is to do them over and over again.
So optimally you should be doing everything before you cleaned up your picture, over and over again, trying to understand why you're doing it. Remembering about all the basics of drawing, form and perspective mainly.
Something like my previous drawings, but with whatever you're looking to work on. 1 picture a day is probably only meant for things like painting, where it takes ages to just make one. Otherwise it's pointless.
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No.12979
>>12978
So draw an image, then redraw it a few times and then clean it up?
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No.12980
>>12979
Draw a image, draw a image, draw a image.
Erasing is fine, I should note, it's like redrawing a picture, which is also fine. Just make sure you're always trying to learn. Only clean up when you want to show off to yourself or others.
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No.12981
>>12980
How long am I supposed to take when sketching? Do I just roughly go over the basic forms and features like here, or do I go more in depth? It seems if I go more in depth it stops being a sketch but if I just sketch like this I won't be paying enough attention to things.
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No.12982
>>12981
The way you draw confuses me, I'm not sure if you're using references or not or how long it is you actually take. But if I had a suggestion, it would be more focused practice, rather than the whole body. But mostly trying to put forms into everything in your drawings, drawing a quick mannequin before the clothes, helps it not stick and get the forms right.
The boobs on your left picture isn't finished, your hair is too close to the skull in my opinion, has no form like mostly everything. The arms on the right picture aren't defined. The clothes seems to be hiding the whole body so you have nothing to understand, why it looks so fucked up.
Focus on small amount of things, and get them good, use the right tutorials.
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No.12983
>>12981
dont focus on creating waifus focus on creating a believable figure for a person
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No.12984
>>12981
The drawings you are posting should take about 30 seconds to 2 minutes, depending on skill level.
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No.12985
>>12982
I was using references. Focusing on Individual parts makes sense. I did draw ribs, hips and bones and such but because I was doing sketches I did not flesh them out under the clothing, this would be what caused it.
>>12983
Believable waifu figures of a person?
>>12984
Yes, well maybe a bit longer. I was doing sketches.
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No.12986
>>12985
>Believable waifu figures of a person?
He means learn how to create a person first, waifu later, but you have no idea how to do either. You really should check out the sticky.
>Yes, well maybe a bit longer. I was doing sketches.
Aim for faster.
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No.12988
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No.12989
>>12988
that's one long necked boy
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No.12998
Did some more sketching. I probably won’t do more in the near future, I'll go back to what I was doing.
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No.13005
Invidious embed. Click thumbnail to play. >>12978
>So optimally you should be doing everything before you cleaned up your picture, over and over again.
Exactly, I'm 100% totally agree to what this Anon said. The problem I see from most newbs is that they're too hesitate to redraw their shit drawing back from square one. Instead of redraw everything back, they tried fix some portion from their shit existing drawing and hope for for a perfection. That's not how learning process works in drawing. A proof of concept can be seen from video related made by Shizurin senpai livestream. Well, she's a vtuber and not a pro artist herself. But at least she got the technique right by redrawing again with new layer ontop of old layer which was shit in her first attempt. I find this is the best conventional technique that basically can teach yourself how to draw better. You need the skill to reconstruct the existing shit drawing into better one. From there you will learn how to advance.
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No.13006
>>12988
why does he have 2 collar bones? the pecs attach to them.
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No.13023
>>13005
The link doesn't work.
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No.13047
>>13023
Works for me. I used an external video player like mpv to play it. So in my machine I simply type "mpv https://invidio.us/watch?v=7x8aMEUBv3E" in the command line to play the video. Not sure how you'd play that embedded video. I guess it would redirect you to nvidio.us website and you may need to enable javascript.
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No.13052
I feel like i'm stuck in a rut with my art
I'm not really sure what to draw and how to improve, I know I have places to improve but i'm not sure how to get there
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No.13065
>>13052
grind something. fill 10 pages with nothing but mouths or eyes from every angle and different shapes and expressions. open google earth and get random 3d shot or street views and do pages of cityscapes and practice perspective. new york is pretty good for this. can do big city shot or zoom to street or parks randomly for different shots from every angle.
just pick something at random and draw 10+ pages of nothing but that. weekly theme thread has pilots. do several pages of poses, gestures and pick one or two and make full drawings of. if you are beyond skill of needing to practice basic things, take a random manga or comic, read a chapter, then close it and reproduce it with your own style and take on the scenes.
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No.13066
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No.13148
>One of theVilppu resources in hub was removed
Does anyone have this shit without me needing to pay for it?
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No.13200
Tried painting up some really fast figures using quickpose, they don't look the best
I always seem to put off doing the body because it always turns out like this, even though I know millage makes up for it in the long run
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No.13259
Okay, this drawing is flawed, but having done this figure study today, after such a long lapse of them, it's cemented to me that I need to move on to study other aspects of art, like values, animation, and spriting. Basically anything "new" that I know for a fact I don't know, in order to fully round out my skillset, as my perspective, anatomy, gesture, etc, is solid enough to do so.
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No.13318
finished >>12973
gib advice
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No.13319
>>13200
Torso isn't long enough on the second one, also needs to be curved on the right side, since it's being viewed directly from behind.
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