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/loomis/ - Art Gains

Art, Animation, Agony

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Moved to 8chan.moe/loomis

We're All Gonna Make It, Fella

Join us on DrawPile (host address: splelps.com) in the /loomis/ Channel Saturdays at 10EST!


File: 4c322d5798af179⋯.png (18.17 KB,626x626,1:1,question-mark_318-52837.png)

 No.5080 [Last50 Posts]

Eh, /ic has one so let's start one too.

What skill level do I have to be at to start creating my own characters? I want to be at the point where i no longer have to practice the fundamentals constantly and I can improve by making my own things.

____________________________
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 No.5081

You can create your own characters day one, son. They're going to look retarded but it never hurts to put some ideas down.

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 No.5082

>>5081

Or more accurately, what skill level do I need to create my own characters that don't look like ass

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 No.5084

>>5082

A lot of people are able to create appealing characters from a holistic design perspective even if they have very rudimentary drawing skills. The problem though is that yes you have to be good at drawing and work hard to get to the point where your drawings stop looking like shit and this is why most people give up.

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 No.5087

You need to be at least level 9. I've heard you can get a special Ring of Proficiency by grinding near the Carbon Village and showing your drawings to the Old Man but I've never tried it.

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 No.5088

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 No.5089

File: 464b5fcb02f796b⋯.jpeg (129.98 KB,900x1200,3:4,image.jpeg)

Here's my latest failure, what level am I now?

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 No.5090

>>5089

2, you've got a lot of work to do.

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 No.5091

>>5090

Thought so, just making sure

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 No.5092

>>5089

Probably better than you were yesterday

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 No.5094

File: 09c82b9ac57ffbc⋯.jpg (78.88 KB,1753x1240,1753:1240,9b8672be3a81abad0422024941….jpg)

File: 716c63365e7876d⋯.jpg (131.26 KB,776x1200,97:150,716c63365e7876dd7bd124ade2….jpg)

File: 9ccc482a02e8a7e⋯.jpg (631.15 KB,2048x1536,4:3,9ccc482a02e8a7e826a3160aa8….jpg)

Can someone spoonfeed me explain why I see a lot of drawings like these in art books for animations and the like? It looks to me like its just an easy way to block out values for whatever study they are doing but is there some other reason for it?

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 No.5097

>>5094

The first image appears to be an animation frame. In animation the artist doing the line drawings (the uh…animator) often uses a set of placeholder colors to create a sort of "paint by numbers" system for the colorist. So for example the yellow hue in this instance could indicate where the colorist is supposed to put a darker shade of whatever flesh color is being used. The other pictures you've posted appear to be mimicking that coloring style but aren't animation frames, themselves.

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 No.5146

File: 0d846444de0bdab⋯.jpg (327.28 KB,1021x714,1021:714,rivenmyst.jpg)

How does one achieve this art style?

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 No.5147

>>5146

Go back to the late 90s where you belong

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 No.5150

File: a331e178a8a4177⋯.jpg (181.83 KB,1000x1891,1000:1891,ba52bd3e72a7aff3d2b8fc91bc….jpg)

Is there any site for specific body parts resources?

I'm currently trying to learn how arms work, so it'd be good to have a site just throw various pictures of arms from various angles to see how they differ and how the form changes.

Google just mostly shows 2-3 angles and either semi-skinny or hugefuck buff for some reason.

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 No.5152

>>5150

Try Pinterest

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 No.5154

>>5080

This is a complex problem and one I am currently struggling with, but I'll share what I've learned.

First off: you always need to practice the fundamentals. There's not a specific point after which you can stop and just focus on original creations.

Creating original characters is something you need to practice specifically, in addition to the fundamentals. Practicing fundamentals and doing studies will only give you a foundation from which to start this. You need to understand the basic forms and proportions of the human body (or whatever you're making a character of) well enough that you know how to fit them together and vary them in believable ways (to make believable faces, etc.)

It's important to try more drawing freehand and then checking afterward against reference images. If you don't exercise your brain's ability to draw its own images, its ability to do so won't develop.

I would recommend trying to make original drawings of characters, then really stopping and analyzing what went wrong (because something will go wrong), using reference photos and whatever knowledge you've accumulated. Correct your images and try again, to cement the knowledge of how things ought to look.

The key is identifying what specific skill you want to improve ("creating my own characters" is very broad and can be broken down into several smaller pieces, such as gesture from imagination, how the major forms of the body look at various angles, etc.), then think of ways to improve that.

I recommend starting with gesture, which encapsulates the entire figure into a simplified general form. Work on creating good, believable gestures from your head first. Find references to correct them.

Hope this helps.

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 No.5155

>>5154

Thanks man, that's pretty much what i've been trying to do. I've been working on the fundamentals for a little under a year now.

I'm mainly focusing on figures and faces.

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 No.5210

File: 1d0982c13e0cae8⋯.jpg (39.21 KB,410x408,205:204,1d0982c13e0cae8c870cfac5ff….jpg)

>>5152

Not exactly what I was looking for, but there are some really good resources.

Thanks.

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 No.5264

File: befe4246e39d98f⋯.gif (74.72 KB,256x224,8:7,1493692822353-0.gif)

I'm reading the book Drawing on the Right Side of the Brain, and I stoped in a exercise where require a viewfinder, but I don't have time to get out of my house e buy materials to make one. So I found that is possible measure with a pencil. It's okay measuring with a pencil rather than a viewfinder for a begginer?

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 No.5265

>>5264

Yeah it's fine, you really don't need a viewfinder, and ideally you get to the point where you don't need to measure with a tool to get an accurate drawing down from reference.

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 No.5266

>>5265

Thanks, anon.

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 No.5267

>>5264

When I read that book I made my own viewfinder and ended up never using it in my life. I guess it would've somehow helped with composition but I don't plan on finding out.

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 No.5331

When creating a piece, I'm initially alright with it. But when I get to 3/4 of it, I start feeling unsatisfied about the piece and want to stop/start over.

Is it wise for me to stop so I can practice on the areas I need to? Or should I finish it fully and understand what I need to work on using that

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 No.5338

>>5331

I never finish anything and I guarantee I'm worse off because of it. Force yourself to confront your weaknesses or you'll languish in the beginner thread with me for all eternity

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 No.5392

File: 8db85dfe105e7fb⋯.png (48.55 KB,640x480,4:3,mlp_tan_question.png)

Do we have a discord?

>why?

I like how fast I can get feedback

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 No.5394

>>5392

tbht an imageboard is objectively better for that sort of thing than a live chat is. Live chat is a huge distraction and a great way to get caught up in idle chit-chat. Not that there's anything wrong with that sort of thing in particular, but you know.

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 No.5395

File: 5b13cd7bbf61aa3⋯.jpg (74.59 KB,480x953,480:953,l1terally me tbh.jpg)

>>5392

>tfw no /mlp/-tan gf irl to catch up on the latest pone happenings with

smh, just smh

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 No.5403

When should I consider picking up a tablet? I'm still working on my fundamentals, but it seems like a pretty handy thing to have.

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 No.5404

>>5403

Any time you can afford one worth using (either Intuos Large or Huion Giano) is the right time.

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 No.5441

Is the following good advice?

>Alternatively, do what I do when I need to draw something that doesn't look like shit

>Make a new 400x400 canvas

>Get reference images for what you want to draw

>And draw until you have at least 5GB of what you were drawing

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 No.5452

>>5441

>And draw until you have at least 5GB of what you were drawing

Even if every reference image you had was exactly one megabyte in size (which they won't be), that would still be well over 5000 images.

Does that sound like good advice?

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 No.5453

>>5392

Post more often here and you will, in turn, give people more reason to post and reply more quickly. Starting a discord or some IRC server will 1) give rise to a namefag circlejerk and 2) remove activity from the board that the discord was made for.

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 No.5454

>>5452

Well I mean, I'm not an artist.

Isn't that how you learn? You just draw things like a million times over?

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 No.5456

>>5454

Not exactly. You also have to look for your mistakes and try to correct them.

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 No.5484

>>5454

Drawing is all about memory, this 5000 drawing challenge or whatever will just make you memorize them, kinda like you wrote down your lessons on sheets of paper over and over to remember them.

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 No.5525

I really, really want to draw cake and ss. The problem is, I'm a member of a certain fandom, that would absolutely not stand for anything like that. Is there a way to have two drawing styles? Like, could I draw cake/ss on pen and paper, and my fandom stuff digitally? Could I practice drawing two different ways?

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 No.5544

>>5525

Yes, you can have multiple artstyles, as much as your brain can handle that is.

The problem is that artstyles A and B would improve and evolve over time, and if you don't actively try to differentiate them they would eventually merge into a single artstyle.

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 No.5567

how do i draw a benis :DD

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 No.5570

>>5567

step 1: draw circle

step 2: draw rest of benis :DD

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 No.5571

>>5525

Wouldn't be worth it. Your art is pretty much going to become your signature one way or another, like how Onta tried to start fresh as Doxy, the truth always comes out eventually. Ya fuckin' creep.

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 No.5644

Any good Youtube tutorials for intoing Loomis?

More specifically any good videos/advice on training myself how to keep characters' facial/bodily proportions consistent across each drawing?

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 No.5646

>>5644

Consistency comes with practice. Proko has one of the better explanations for some of the Loomis methods though.

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 No.5648

File: 14a412652533896⋯.png (25.55 KB,400x400,1:1,chickenscratch.png)

Is it a bad habit to draw with a mouse?

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 No.5649

>>5648

It's not so much a "bad habit" as it is plain "fucking retarded" if you consider your time at all valuable-hell, even if you don't. The only way you'll be able to draw properly with a mouse is if you use vectors and you won't be able to sketch with a mouse in either case.

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 No.5650

>>5649

So, go get paper?

And stop drawing scratch in 400x400?

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 No.5651

File: c78aeb127a86e0f⋯.jpg (39.74 KB,960x720,4:3,2014.jpg)

>>5650

You got it. Go buy a cheap stack of office paper, some pencils and a mechanical pencil then you're all set until you can afford a tablet or whatever.

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 No.5652

>>5651

Would lined paper be alright? Or grid paper? Or would using such measuring tools worsen my ability to learn to draw?

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 No.5653

File: f1268582449dfd1⋯.jpg (32.66 KB,548x757,548:757,1.jpg)

File: 4e331c6bf346797⋯.jpg (32.77 KB,548x757,548:757,2.jpg)

>>5652

Hell no don't use lined paper. You could conceivably use gridded paper to kind of help you study spatial relationships for the purpose of observational drawing but I don't think that's necessary. Draw this Shane Glines sketch upside down or something instead.

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 No.5654

>>5653

Arigato sensei

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 No.5726

>>5150

Find a torrent of Vilppu's anatomy lessons. It's the best way.

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 No.5803

File: 1997f47198c2459⋯.jpg (38.3 KB,520x376,65:47,stone loss.jpg)

I want into digital painting like >>5796 . Should I wait until I'm able to fucking draw something with lineart, then do it or is it fine to learn both side by side? If it's fine, are there any good resources for it in specific?

Also, since when does the board have a background?

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 No.5804

File: 1997f47198c2459⋯.jpg (38.3 KB,520x376,65:47,stone loss.jpg)

I want into digital painting like >>5796 . Should I wait until I'm able to fucking draw something with lineart, then do it, or is it fine to learn both side by side? If it's fine, are there any good resources for it in specific?

Also, since when does the board have a background?

pls don't doublepost

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 No.5810

>>5804

Drawing and painting are pretty closely related, but in general drawing is considered a bit more remedial and a good place to start. If you want to do that kind of "impasto-style" painting you could find some artists that make use of that method and study what they do for some inspiration while you work things out for yourself.

Apart from the anon who kindly posted a video in the drawing thread, one guy to look into might be "Daarken" who has a lot of material on his site, he too works primarily in that manner where it's more like a traditional painting workflow.

http://enliighten.com/blog/category/tutorials/

https://vimeo.com/31184977

There's also ctrlpaint.com which is a pretty definitive point of reference for digital drawing and painting.

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 No.5812

>>5804

So since you used me as an example, I thought I'd throw in a quick answer.

Personally I don't have too much of a problem getting into painting early but it depends on how you do it. If you don't have much of an understanding of the principals involved well it tends not to go too well but the same goes for drawing.

The way I did a lot of my learning was by doing a lot of charcoal mass-drawings (mostly figures and casts) so I could use a dry medium but still work with shapes and values as if it was paint. I should mention that I spent weeks on these drawings so it's not some quickie charcoal sketches. I also worked a lot in oils and learned a lot from that but it was based on what I had learned in charcoal. I should also mention that I did frequent pencil drawings of live models for a few years.

I would recommend reading Harold Speed's book The Practice and Science of Drawing. It also addresses your question in the book and dedicates a lot of time to it.

>>5810

Oh yeah. If someone is starting out, don't try and paint like how I did in that video. It really gives a false impression of how I work. I used that process because I had a very clear idea of how I wanted the image to be and I was comfortable enough with mass drawing that I knew I could "fix" it, no matter how ugly the beginning steps were. Better to try and work in a much cleaner way.

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 No.5916

File: cea0ef0b64cc409⋯.png (13.42 KB,342x174,57:29,Untitled.png)

Does anyone have experience with deeper color modes? I tried to switch to 16-bit color mode a while ago just to see if it would make coloring easier, but it's hard to compare. I also just now noticed that the color sliders show some crazy numbers, I guess that's how many color values 16-bit mode has.

Basically what I'm wondering is; do deeper color modes help at all, what kind of difference is there in practice, and which one should I use?

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 No.5917

>>5916

You'll notice it mainly in gradients and limited palettes.

Imagine trying to add some detail in shadow. 255 colors may seem like much, but if you're trying to get some smooth gradation in shadow that range may only be something like 10-20.

It will make the most difference when applying filters though. After a few iterations of adjustment filters you'll get some really bad artifacts on 8bit.

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 No.5918

File: c342faf06ebfdfb⋯.png (Spoiler Image,2.84 MB,1979x1587,1979:1587,danlayingatbeach.png)

File: de6e4df2cbdcc1c⋯.jpg (Spoiler Image,57.4 KB,913x600,913:600,1501635004804.jpg)

How do i make a big breasts feel heavy? like making it contain some weight in it.

I try to do it with this drawing by refer to this model, but it does not feel heavy enough.

redline will be great.

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 No.5921

>>5918

I guess I'm not sure; they look pretty heavy to me. Seeing as you copied the contours pretty much exactly I'm not sure what else you could try other than perhaps adding some line weight to the bottom and seeing if that does anything

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 No.5928

>>5918

If you want them look more heavy you have to show the pull of gravity more. The additional mass you added in comparison to the ref is pretty high up. It's a balancing act. If you let them dangle too much they'll look saggy instead.

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 No.5930

>>5918

There's no way to make it look realistic without adding more detail into it. I think you could try fix the light source. It's looks kind of dim in the illustration though.

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 No.5958

What is the cheapest I could get a cover illustration for a book? It's not even remotely done yet so this isn't an offer of work, I'm just thinking ahead a bit. It's fantasy.

Of course the price would depend on the level of detail and how long it took to draw.

Amazon says the ideal dimensions are 2,560 x 1,600.

I would only want something simple like this

https://www.amazon.co.uk/Kull-Exile-Atlantis-Robert-Howard/dp/0345490177/ref=pd_sim_14_8?_encoding=UTF8&psc=1&refRID=5K1DXXCFR467YGG93P9Z

basically just a tough guy with a sword in some sort of pose.

or possibly even something like this which is far more simple, and cheaper I assume.

https://www.amazon.co.uk/Complete-Chronicles-Conan-Centenary/dp/0575077662/ref=sr_1_sc_1?ie=UTF8&qid=1506961351&sr=8-1-spell&keywords=conan+hardocver

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 No.5959

>>5958

That painterly style matches up with one of our users here, hopefully he'll drop a hint to what the going rate would be for such a thing. Fair warning, a full on painting like that could take a lot of time and a skilled artist and consequently be fairly expensive so I would already get the "cheap" idea out of your head.

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 No.5960

>>5959

>be fairly expensive so I would already get the "cheap" idea out of your head.

i was referring to the content of the picture, not necessarily the style or level of detail that its done in.

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 No.5968

>>5812

Not the quoted anon, but I tried reading this book two times already and can't find what the point of it is. It's just a guy talking randomly about random things.

Am I retarded?

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 No.5969

>>5968

Not nesseserally. I think it assumes you already have some level of art education so that it's complementary but still I think it's very valuable. It can be difficult to understand a lot of the stuff and that's one reason why I and a lot of artists I know keep coming back and re-reading it. But let's take chapter 8 Line Drawing: practical. If you read it and then don't apply things like measuring and the blocking in, then yeah, you won't have gotten anything from it but if you do you should have a very very sound basis for creating a very good drawing, if only you apply it properly and correct the errors that creep in.

In the academy (generally the time before this book was written) There was a divide between those who considered line the core of art and those believing it to be mass. This books taps into that debate and by the end of it gives you a basic understanding of the two points of view. These points of view serve premises from where different types of art develop although there is always a lot of overlap. This is very important when thinking about art and that is why the beginning is focused on it so he can more easily discuss drawing in later chapters.

It isn't a step by step style book and it was never intended to be that. I think the step by step approach is somewhat shallow and I think that's why most books you find on the subject don't include it, or if they do it's to illustrate a point (or in oil painting to avoid bad things further down the line). There isn't a lot that is needed to make a decent drawing but what you do need is a basic theoretical understanding and then applying it accurately. I think this is one reason people are hesitant to approach a lot of these books because they go from "okay block it out in straight lines, then develop it further" to a discussion of fairly complicated subjects. The middle ground is really just where you need to develop your own abilities to apply the simple stuff accurately.

I also think the book helps to give you a vocabulary for art and personally that is something that I think helps us think about art and by doing so, better evaluate our own work and correct it. The book introduces a basic discussion of aesthetics by talking about unity and variation and while you could end it there, I think that dichotomy can be applied everywhere in art. Example, light effect not strong? Well probably because you have too much variation in the light-shape and need to unify it. Is the gesture stiff? Well probably because the major angles do not have enough variation between each other. So the ideas in the book don't need to end there.

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 No.5970

>>5969

I see, I think I have to keep trying to read it slowly then. I may never get it, but I think coming back time after time is a nice plan.

I'll try to keep in mind those points while reading, it's easier understanding something if you know the end goal.

Thanks, mate.

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 No.6030

Do any of you know of any good 3D modeling programs to start off with?

I've tried Blender, but the GUI looks like it was designed by an autist. It's obtuse for somebody like me.

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 No.6031

>>6030

I don't think many people here specialize in 3D. I know there's Maya and Softimage XSI which might be under a different name now I don't know.

>I've tried Blender, but the GUI looks like it was designed by an autist.

In all honesty it probably was.

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 No.6067

>>6031

The problem is many of those softwares cost money, not just $60 or anything like that, either. Maya costs about $1400 for a 12 month subscription.

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 No.6069

>>6067

>subscription

Good God I hate that they're all using that subscription model now. At least Photoshop and Flash are relatively cheap.

You could always pirate it as well. If I can afford something for example I'll buy it but if you can't afford something what difference does it make if you pirate it or not? Unfortunately as an adult there isn't much I can honestly say I can't afford as far as the software I want goes but if you're a young guy without a job or just a barely passable one pirate for now until you can learn to use the software and pay for it when you can or when it pays for you. You know?

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 No.6070

>>6030

Blender is designed around keyboard shortcuts. It's actually very effective if you learn to use it.

>>6067

Nobody buys those 3D programs unless they're either stupid or making big bucks with 3D work.

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 No.6088

File: 9ac07c010503556⋯.jpg (257.1 KB,1100x1770,110:177,xz.jpg)

How do you learn from drawing from photos if your main goal is drawing from imagination and in a semirealistic style? Is there any structured way to do this? What should I pay attention to when drawing from photos?

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 No.6090

File: 5266826255b09b3⋯.jpg (80.29 KB,496x600,62:75,6.jpg)

File: a02e387fbdaba13⋯.jpg (31.7 KB,396x600,33:50,5.jpg)

>>6088

When you study photos or life, you should be looking for correspondences. This is related to the plum lines image in one of the other threads. Check out these to images as I think they highlight how to use plum lines as a tool for visual and structural analysis. Both of these are of a self-portrait of the same artist, the difference being one is constructed on vertical and horizontals versus triangles. Perhaps subjective, but it arguable they have distinct energies. The lines seem more placid while the angles seem explosive or expansive. These examples are taken their extreme as an exercise. You don't need to map out a subject to this level when you're drawing, The point is there are many correspondences. Which ones you choose and how you relate them will have a big impact on your piece.

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 No.6091

>>6088

Was that done digitally? And if so how did you get your line work to look that way?

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 No.6092

>>6090

But what is the point of plum lines? Just accuracy? I mean, what I'm trying to figure out is how to internalize stuff about the human figure: proportions and landmarks, how proportions change in perspective, form, rhythm, what makes a gesture look natural, that kind of things.

>>6091

No, just a regular graphite pencil on cheap paper.

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 No.6093

>>6092

>Just accuracy?

Plumb lines are something to internalize, they're just as valuable for observational drawing as they are for mental construction, because you can't easily construct or create from memory something you've never accurately seen, can you?

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 No.6094

>>6093

Not sure, it sounds like hard work really. But what are some good books to learn the plumb line method?

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 No.6097

>>6094

Copy plates from the Bargue Drawing Course. You'll find yourself using plumb lines unconsciously.

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 No.6126

File: f1f1651bfd4ebdd⋯.jpg (152 KB,650x921,650:921,harold-speed-drawing-2.jpg)

>>6088

Anyone trying to sell you "the way to do X" is wrong from the start. There is no one true way to do something. There are certain skills that help in the production of realistic works from imagination but these act more like complicated vendijagrams rather than a static set of skills. Lots and lots of professionals have a very poor understanding of perspective outside of the very basics, even people that specialise in environments and things where you'd think it's most common. So we can't say an in-depth understanding is necessary for landscape painting however it does help. You'll find the same thing with a lot of stuff. Tons of people don't know anatomy but they work professionally as character artists.

Certain skills can compensate for a lack of others so the way one person works and the way they learned can be very different from another while producing work of a comparable quality. The answer to your question has to be multiple answers. I learned from traditional training where I drew from life exclusively, I know other people that never draw from life that are very skilled artists so It's not so straightforward.

You can also ask yourself what type of images do you want to make. If you want to paint like Sargent I would suggest focusing on one one set of qualities and if you wanted to paint like most modern illustrators and concept artists, I would recommend different set of qualities.

>>6090

Not great examples. When your drawing looks like a series of measurements, you have no way of knowing if it's correct because you can't look at the image and then your subject and see how similar or different they are. When they're just measurements, you just have to trust that they are correct because you can't double check with your own judgments. Not only that but all "measuring" techniques are very prone to error so you will always find artists correct the image by eye rather than by measurement. Measurements are good for getting it in the ballpark and double checking but shouldn't be taken as "true" statements because it's so easy to measure a millimetre off with the slightest shake of your hand.

I attached a much more clear example of comparative measurements.

>>6092

It's just something to anchor yourself to. If you notice for example that the side of the head lines up with the side of a foot, you know have a relationship you can note down. You can also use a plum line to measure from so you can use the same base to check the width of something at different heights. Without it, it's easy to make your width correct for each measurements but wrong in their relationship to each other.

I don't really get this "I shouldn't check my accuracy because I'm trying to learn about the figure" argument. If your plum line shows that you drew something off, like it would have in your first drawing. Think of it as a check, if you measure and see that something is wrong, it therefor must mean that when you tried to study "perspective, form, rhythm, what makes a gesture look natural," you made a mistake and now you have to correct it.

I used to teach drawing and students would complain about always checking the negative shapes. To them it was in some way bad because they wanted to learn about the anatomy and gesture and stuff, but the issue they didn't realise or didn't want to focus on (and it took time to convince them of this) is that if they drew the figure and then checked the negative shape and it was different, that it means that what they had drawn has to have an error in it.

>>6094

Harold Speed's book The Practice and Science of Drawing goes over this and it's a good place to start. There are no real books just on just measuring in this way so there will be more there than you asked for.

>>6097

I wouldn't recommend it. Drawing from the Bargue plates doesn't do much more than drawing from a photo without instruction in how to approach it along with daily critiques. They're good if you get help with them but they don't really do much on their own. They serve as an example of qualities an instructor can post to and use to critique your re-creation of it. Also, I would advice everyone to avoid unconscious behaviours when learning.

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 No.6132

>>6126

Plumb lines and stuff like the sight-size method and grids are important for realistic portraits and figures, when you need to copy the model, but not so much for learning to draw from imagination.

I'm still a beginner but I think drawing from photos is more about learning to see and get rid of the symbol drawing syndrome.

Because we all start drawing the same way: people in the same pose, with no joints and floating in the air. That's the easiest way to represent the figure. If you're good enough but you're not in the mood, if you're tired or nervous and can't concentrate, your figures will tend to that stiff look again. For me that's the fight when it comes to drawing for comics, where you have to draw people in different situations and from different angles.

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 No.6161

File: 12adac6ed2272b9⋯.jpg (127.82 KB,971x822,971:822,360_head_turn_around_by_nu….jpg)

Where can I find head and/or body turnarounds like this? It's ridiculous how difficult it seems to be to find them.

The higher resolution, the better.

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 No.6162

>>6161

There's a lot on deviantart iirc but they're all shit resolutions too. Just use google and filter for a high resolution and see what happens.

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 No.6165

File: 1205d87dac219a3⋯.png (60.93 KB,500x250,2:1,1205d87dac219a3dcfa3c1d711….png)

rate my @yyyyyyy

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 No.6166

where is oekaki baord?

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 No.6167

>>6165

ayy/10

Needs more space Loomis tbh fam

>>6166

This is it. All of the art boards on 8chan are pretty much dead and there's no actual oekaki board as far a I know.

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 No.6168

>>6166

>>6167

/draw/ was it but it's so dead that it still redirects to /a/ from many months ago when all board broke.

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 No.6169

>>6165

Dreamworks/10

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 No.6171

>>6167

>needs more space loomis

what is space loomis and how do i get one?

>>dead bords

8chan is 99% bots and shills

what did i and you expecte?

>>6168

does /a/ even let u Oekaka?

their rules say no shitposter

shit is in the eye of the bee holder

>>6169

you can do better than that

give it your worst

ill start: ''heh is dat a alien or a poop heh

nothin personel''

why i cant oekaki N E more???

REEEEEEEEEEEEEE

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 No.6172

>>6171

sorry english is not first language

I JUST WANT TO OEAKAKUGI

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 No.6182

What's the bump limit for our board anyway?

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 No.6183

>>6182

350 I think

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 No.6370

How many times should I do the Keys to Drawing exercises?

And how much time should I spend doing the first chapter of How to Draw before moving to following chapters?

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 No.6395

YouTube embed. Click thumbnail to play.

https://www.youtube.com/watch?v=n9WiyvRe1A0#t=2m24s - link to skip the intro and unrelated content

>>6182

>>6183

The bump limit is 300

https://8ch.net/settings.php?board=loomis

ctrl-f "reply_limit"

Also, Loomis BO please enable oekaki if you can, thanks

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 No.6397

File: 345c2d2e08129f5⋯.png (2.09 MB,2917x2917,1:1,ClipboardImage.png)

>>6395

Good rant. His point about people getting stuck watching videos and never getting around to the drawing is spot on. It is so easy to fall into this habit of vicariously living through video media. Your watching all these videos and it feels like your learning so much and you feel like you will be capable of doing it, but when you actually put the pen to the paper it is another story.

One example that highlights the importance of mileage are the stories of many traditional animators. Many of them couldn't even draw that well when they first got into the business. As low level assistants, a lot of the work was near tracing to either clean up the rough animations created by the pros or to create fill frames to smooth a sequence out. The important thing was they got to look over the pros' shoulders and spent a fuck ton of time "just moving the pencil". While there is no substitute for access to a experienced mentor, youtube and online courses offer plenty of guidance for anyone willing to put in the mileage.

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 No.6418

How do I spend more time drawing?

I read in Keys to Drawing most exercises require like 20-40 minutes but I can do them in 5.

Tips with this?

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 No.6420

File: 63c6d129b1b4b4a⋯.jpg (39.56 KB,440x704,5:8,my fapping arm.jpg)

File: 24cfba72b511e49⋯.jpg (110.54 KB,625x926,625:926,anatomy shit.jpg)

>>6418

>How do I spend more time drawing?

There's no answer other than to just do it. I had an epiphany of how much time I waste yesterday when I realized that most of these anatomy studies I'd completed in roughly five minutes each (this colored one I did this morning in around 7 I think) and it was the only drawing I'd done that day (for the most part)

There's really no excuse. As long as we're at the point where we can draw from observation reasonably well, we need to make the conscious decision to make use of that and draw with the intent to improve.

>I read in Keys to Drawing most exercises require like 20-40 minutes but I can do them in 5.

You might not be doing them correctly or the author might have overestimated the time the exercises take, I suppose it's on you to decide which.

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 No.6427

>>6418

Make sure to just spend time drawing from observation and imagination in addition to whatever "exercise" routine you do. This is just my personal experience as a beginner, but I think it is helpful to not force yourself to draw to much for the first 1-3 months. I'd start noticing the first signs of fatigue after about an hour of drawing, so I would just draw until then. I think this is what helped me draw everyday without any lapses. I now finding myself often doing 2 of these 1 hour sessions a day. My guess if I just stick with this for another month or two, my drawing times will likely increase again.

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 No.6553

Some questions:

1. Is there a book more basic than Keys to Drawing? I feel like I'm too much of a noob for it. Even if it's supposed to be for absolute beginners. Drawing on the Right Side is a no go due to my lack of tools.

2. What's a good exercise to break out of my comfort zone? All this time I've drawn full body front view animeish figures. That's my comfort zone.

3.How many gestures a day are enough for practice? 100? 200? For my first day I did 30-ish or so. Of course I'm gonna do more but I don't want to do only gestures forever.-

4. How many times should the exercises on How to Draw's first chapter be done? Like, One month on that single chapter?

5.How do I achieve Tsunako's skill level (for the uninitiated, Tsunako is the character designer from the Hyperdimension Neptunia series).

6.What's a good way to expand my visual memory of clothing? I feel like I can only draw 3 different outfits and that's it.

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 No.6554

>>6553

>Is there a book more basic than Keys to Drawing? I feel like I'm too much of a noob for it. Even if it's supposed to be for absolute beginners. Drawing on the Right Side is a no go due to my lack of tools.

You only have to do the first couple of pre-tool exercises in DonRSotB (whew) to "get it" tbh; let that inform you of how to draw from observation from that point forward.

>What's a good exercise to break out of my comfort zone? All this time I've drawn full body front view animeish figures. That's my comfort zone.

Gotta try drawing something else nigga

>How many gestures a day are enough for practice? 100? 200? For my first day I did 30-ish or so

I'd say doing like 60 is good. Don't burn yourself out.

>How do I achieve Tsunako's skill level (for the uninitiated, Tsunako is the character designer from the Hyperdimension Neptunia series).

I don't know, the "How to Draw Manga" books are unironically based af tho tbh fam

>What's a good way to expand my visual memory of clothing? I feel like I can only draw 3 different outfits and that's it.

Draw the outfits in fashion magazines or books with that theme. I think there's a "Shoujo Fashion" book in the resource hub's Mega file under references

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 No.6571

Someone redpill me on the way of progressing in art.

Like, I've been doing Keys to Drawing but feel that it's too advanced for me. I jumped to How to Draw and it's making me feel like a brainlet.

Some other people told me that I should focus on doing shapes.

what should I do?

>>6420

>>6427

>>6554

Thanks, all of you.

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 No.6607

Is it bad to jerk off to your own lewd drawings?

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 No.6608

>>6607

Absolutely not

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 No.6616

File: 815210bc63ab676⋯.png (242.35 KB,293x362,293:362,lucky larry.PNG)

What is a good practice tutorial to start with if you're trying to learn rendering with color, specifically colored pencil? I've already spent some time rendering values in pencil but it's all been with standard grey lead, i.e. black and white. I'm trying to get to actual color now.

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 No.6618

>>6616

If I knew how to color worth a damn myself I'd tell you. Sorry bud.

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 No.6661

How do you learn anatomy

I copy everything I see in the books.

but then after I look at illustrations/animu and they don't look the same as I saw in the books.

I don't fucking get it at all

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 No.6662

>>6661

You also have to look at anatomy with skin and fat over it, my nigga

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 No.6677

>>6661

In anatomy charts you generally only see muscle and bone. It always looks different once there's actual skin over top. I suggest looking up some of Proko's tutorials. I've found them helpful.

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 No.6693

File: 314326f1fbd5f61⋯.jpg (Spoiler Image,189.95 KB,850x1119,850:1119,__jack_the_ripper_fate_apo….jpg)

Are there resources out there with images similar to this? I always feel like I'm positioning my landmarks incorrectly, so an x-ray type view would be a massive help.

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 No.6696

>>6693

Gurochan? :^)

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 No.6701

Does any one have any advice on improving their networking skills?

I'm very abrasiveness. I like to get shit done and I don't much care how people think of me as long as what needs to be done is done. You know the old man who doesn't take shit from any one and sits on his porch swinging his beer? Basically where I am due to a difficult life. I tend to see the negatives and find ways to fix them rather than the positives and rewarding people for doing a good job. The good is fine so doesn't need to be focused on, the bad needs attention because it needs fixing to put it mildly.

I'd like to improve my people skills and my ability to network. I find I clash hard with most communities and while it doesn't bother me, it's not going to help me improve in my art.

How the fuck do I hide my power level?

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 No.6703

>>6693

Holy shit i hate that jack the ripper loli so much i wanna hate fuck her tight loli pussy and then i'd proceed to make sweet love to her in the missionary possition for the purpose of procreation

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 No.6705

File: aeae7badfab4bcf⋯.jpg (860.72 KB,2448x3264,3:4,15142572303641944199074.jpg)

Hey, /loomis/. I'm a beginner, and lately I've thought about how I should hold the pencil. I think I've been doing it wrong since I was a child. How should my "go to" grip be? Could it also be the reason my calligraphy is horrible?

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 No.6706

>>6705

Also, pic related is how I hold the pen/pencil.

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 No.6709

File: 989c80ef26f9829⋯.jpg (789.58 KB,2000x1455,400:291,gettingagriptipsheet02.jpg)

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 No.6710

>>6709

This is interesting. I've discovered alot of these points myself. One different thing I sometimes do is "point" my fingers at the tip of my pencil. I mentally then am able to draw with the tips of my fingers. Feels like a more direct connection between my mind a pencil tip.

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 No.6714

YouTube embed. Click thumbnail to play.

>>6710

Yeah you're more or less talking out your ass, dude.

It's fine, you're uninformed and you'll understand what we're talking about once you start practicing.

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 No.6717

>>6714

Different people find different things work for them. The moment you say "there is only this ONE school of thought and everything else is bullshit" you're becoming a fanboy and losing new avenues to explore.

As someone who has painted for 20 years now I can't tell you a single magical technique that works for everyone in any area of it. What works for someone works for them and if it's getting the results they want then it's getting the results.

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 No.6721

>>6717

Who pissed in your cornflakes?

The video fucking shows multiple grips, and expresses the same sentiment.

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 No.6724

>>6721

Not him tbh but you started it lmoa

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 No.6726

>>6721

>Be an asshole

>Someone tells you to stop being an asshole if the guy is getting results

>Immediately turns on the victim complex in how someone being mean to him

Fuck off mate.

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 No.6786

Hey, newfag to /loomis/ here.

So i'm going to start trying to put a lot more stock into improving my work, but I actually had a question about the loomis books

They seem like a very "western" approach to learning how to draw, but am I wrong about that? Are the loomis books as known by eastern artists as here? I don't want this to be taken as "well i onli want 2 lurn anime", because I'm going to read the books anyways ofc, I was just wondering if these books are just as westernized as they feel.

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 No.6788

>>6786

Are you asking if you should read it if you want to draw manga/doujinshi?

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 No.6789

>>6786

Of course they're western, Andrew Loomis was an American illustrator working in the early 1900's. Loomis method is popular in the east as well

http://booklog.jp/tag/%E3%82%A4%E3%83%A9%E3%82%B9%E3%83%88%E6%8A%80%E6%B3%95?page=2&sort=rating&display=list

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 No.6795

Whats a good source for how to simply represent the basic shapes of the body to get proportions right at the earliest stage of the drawing? The way that I usually sketch doesnt work well for wonky angles, like looking down on characters.

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 No.6803

>>6789

I see- so I was looking at it wrong- he's western yes, but with a global appeal. Okay that's good- I was just curious before i dove in

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 No.6813

>>6786

>>6803

So loomis would fit into a very narrow category. It is very American and doesn't really follow what we can call the tradition of representational, western (primarily European) art up to that point. I think your intuitions are somewhat right in that there is a certain cultural feel to what he does and I think it just comes from him not being an artist as much as he was an illustrator in America, in the 30's and 40's. It's like Rockwell, he has the same feel where you can tell he is American and that he fits into a very narrow historical and cultural context.

There are very good art books that don't sit in that very narrow genre and have a very broad appeal. One example I often recommend (yet few seem to take the time to read…) is The Practice and Science of Drawing by Harold Speed. Link here if you just want a quick look at it http://www.gutenberg.org/files/14264/14264-h/14264-h.htm It's very different from Loomis and it's aimed at a much more traditional kind of artist (sort of semi academic art).

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 No.6815

>>6813

Thanks for the link; the one I found on archive.org (I think) had a lot of pages that weren't scanned properly

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 No.6816

File: a3c857938800b5f⋯.jpg (1.82 MB,3264x2448,4:3,IMG_0783.JPG)

>>6813

You're right, Loomis really only touches on the traditional method (sight size/comparative measurement) well after things like constructive drawing (based on distinctly american aesthetics as you'd said), planes and values etc., it's buried at page 88 in FDFAIW "the visual survey procedure". A strange editorial decision because many would consider that kind of understanding of basic drawing a prerequisite if anything.

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 No.6855

>>5080

absolute beginner here

with what book i start?

The Natural Way to Draw - Kimon Nicolaïdes

Keys to Drawing - Bert Dodson

Drawing on the Right Side of the Brain

Or just i start with the three books at the same time?

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 No.6856

>>6855

Start with the resource hub.

IMHO the best book to really understand the process itself is DOTRSOTB, but it's not really necessary to read all or most of the book, just the first chapters and exercises.

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 No.6860

>>6856

>IMHO

>DOTRSOTB

can you explain these acronym please?

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 No.6861

>>6860

>IMHO

In My Humble Opinion

>DOTRSOTB

Drawing on the Right Side of the Brain

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 No.6862

>>6861

thanks and sorry

the english is not my first language

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 No.6964

File: 60da8d06ac7d707⋯.png (202.64 KB,800x543,800:543,1515302098059.png)

Tried /ic/ on cuckchan and nobody could even answer the question.

Anyone know how you are supposed to draw/shade this area of the neck? How does this particular area affect the neck's surface when you're trying to render it?

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 No.6966

>>6964

That depends, can you post your drawing?

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 No.6967

File: 926fc54a4fbf26f⋯.jpg (40.75 KB,500x741,500:741,1495207238409.jpg)

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 No.6968

>>6967

What's your point.

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 No.6969

File: 995bd58faafbc0f⋯.jpg (Spoiler Image,163.11 KB,720x960,3:4,1515360253720.jpg)

>>6968

That's exactly how everyone replied, instead of just answering the question.

In case you aren't from /ic/ and aren't just trying to be a ruseman, here's my attempt. It's very poor since I have no idea what the hell exactly goes there.

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 No.6970

>>6969

Oh I see. You're just trying to learn the neck's muscles.

I wouldn't worry about rendering yet, then.

In any case, as a guideline, the whole neck can be simplified as a cylinder, and the shadow would just follow said cylinder naturally.

Only at some points the sterncleidomastoideus can tense hard enough to cast shadow, but even when it does, the shadow is larger at the bottom of the neck, less so as it goes upwards to the ear.

Put yourself in a mirror and make some angery/faces to see what i mean.

This board might not be too active, but this isn't halfchan

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 No.6972

>>6970

An actual answer, thanks. Reminds me of early 2000s 4chan.

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 No.6981

File: c2c4c21240979da⋯.png (210.8 KB,821x544,821:544,face6.png)

reposting from /art/ because i was called a fag for posting on a dead board but

my faces always come out pointy or really wide, any tips?

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 No.6984

>>6981

I don't have any tips for a FAG.

In all seriousness, draw skulls, draw from reference and/or trace for practice-try and put yourself inside the artist's head and consider their thought process as you do so..

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 No.6985

>>6981

>pointy

That's because chin of your characters comes literally to a point. If you want to make them look more realistic, chin has to be at least a little bit dull, or rounded/squared in some way. Fixing the chin is one of the fixes for the "too wide" issue.

>too wide

It's because there is no room for brain. These faces need to be a little bit taller and rounded on the top. You also seem to have no knowledge of how neck connects to the head or just no skill to implement it. Minimalistic nose, tiny ears, and too short eyebrows only make it more apparent.

You need to study anatomy. If heads are something you want to work on, get the Loomis' drawing the head,face, and hands book. However, it assumes that you understand and can implement at least a little bit of perspective, which is also something you need to work on. Pencil/stylus control is another thing you should practice as well.

You can still do stylized stuff, but just try to implement what you have learned from learning to draw realistically.

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 No.6990

>>6964

Well when doing an anatomy study and you want to draw it in light, you better have a model or reference because otherwise you're just relying on what you think you know.

Generally, no, you don't see it. A good trick to do is to search the body part you're interested in plus "bodybuilder" or "anorexic" and you'll see the extremes of what is generally possible with the human body.

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 No.7118

Are process videos at all useful to learn from?

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 No.7120

>>7118

Maybe, if they're not sped up. Also, don't expect to get better by simply "watching" like you're Jeb Bush or something. You have to "do" or your going to end up an armchair artist. No one got good at basketball by watching the Harlem Globetrotters beat the Generals over and over again. You've gotta squad up and hit the court my dude.

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 No.8098

File: ce06a3c7b5484f5⋯.jpg (45.46 KB,428x640,107:160,0ca3998d1df2bc02757500ac48….jpg)

Is there any program that allows me to import 3D models, move and spin them around and trace over them in a 2D semi-transparent canvas?

I don't care if the brushes are shitty, I'm just going to be using it for anatomy practice since I can't fucking learn the proper shape of the ribcage and a few other parts.

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 No.8099

>>8098

I don't think so. One strategy would be to use Design Doll or something similar. I don't think you can orientate the models on the fly but I'm pretty sure you can save them as images and export them onto a layer in your program of choice.

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 No.8109

>>8098

Why not just use 3DS max / blender / etc. and make a render that you open in photoshop?

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 No.8115

I get confused when memorizing my proportions (anime vs realism)

First realism

A 10 year old will have 3.25 heads (from head to crotch). And a highschool girl will have 4 heads.

Then in animu

A middle school girl would have 2.25 heads (again from head to crotch)

I made a chart to memorize them, placing the two figures side by side. But still my head gets full of fuck somehow. Do I just keep looking at it until it doesn't bother me anymore?

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 No.8116

File: c1a919515d20bf8⋯.jpg (210.48 KB,932x700,233:175,tour_20.jpg)

>>8098

clip studio or manga studio has a thing where you can use 3d models and trace them.

but I don't know much about it, but you can probably find guides by searching for them.

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 No.8317

What's the fastest way to get a visual library of clothing? Is there something like a categorized resource that lists all types of clothing and it's subcategories?

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 No.8388

File: 0a91183dcfc1b3e⋯.jpg (160.39 KB,846x768,141:128,JHelgesonLife25_05_11_2.jpg)

What is the pencil or crayon and color used in this drawing? It looks like sanguine but cooler, darker and less intense, more like red-violet.

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 No.8395

>>8388

Could be a colored lead, I've got a Koh-i-Noor lead holder and you can get some interesting leads for them.

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 No.8403

File: 54bd19fccafacf4⋯.jpg (133.7 KB,1000x1094,500:547,Clutch-pencils-5.6mm.jpg)

>>8395

Lead holders are neat but I guess the leads are super expensive. I'll take a look at the colors they have.

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 No.8408

I'm just starting to try to learn how color works. Should I go with pencils, or digital? I've already tried colored pencils and everything I make looks like shit, and nothing blends well. Is digital any easier to work with?

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 No.8411

>>8403

I don't think the leads are particularly expensive for what you get. They're THICK as hell and last for what seems like forever.

>>8408

Pencils gives you a pretty limited array of colors, so I'd say starting out with digital might be a good idea.

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 No.8446

How do I get the motivation to actually sit down and draw? Each time I think about drawing, I think of all the shit that my hand would make and instantly think about doing something else. I have a bunch of books and some instructional videos to follow, but each time I think about it, I just stop.

How do I actually get to drawing?

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 No.8448

How do I draw if I have very little creativity?

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 No.8449

File: 98c47a54d37754d⋯.mp4 (4.67 MB,986x720,493:360,Chuck Jones - The Evolutio….mp4)

>>8448

Do you have any other interests or experience outside of drawing? You need something in your head that you could use to form interesting ideas, and introduce it to new ideas so your mind is exercised. Chuck Jones recommended reading, and that's what works best for me. Books force you to use imagination to turn descriptions into images and fill in the blanks with your imagination.

Seeing interesting things and learning new things helps me a lot too.

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 No.8451

>>8446

There's a book about that, The war of art by Steven Pressfield. The last part is crap (you can try to make your own interpretation), but the rest of the book is useful to recognize all the tricks we use to procrastinate and find excuses to not get the work done.

>>8449

Agreed. Just lemme add something: you have to verbalize your ideas _before_ drawing anything. When you start drawing with no ideas, you tend to draw what you already know, you stay in that comfort zone and don't go beyond your limitations. Most comics and movies are made that way: first the story and then everything else.

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 No.8459

I was wondering for some time. If you are bad at drawings hands, would it be acceptable to buy a cheap pair of gloves and draw the gloves a certain amount of times to ease you into drawing (yours or from references) hands? From my perspective it would be hitting two birds with one stone (you're drawing from life and drawing something that is the middleman between the two categories of objects and human anatomy) but there may be caveats and pitfalls that I might not be taking into consideration.

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 No.8461

>>8459

I don't see why not. Why gloves though? is it because it has a simpler shape?

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 No.8488

File: 32ce4d85cc1add5⋯.png (85.5 KB,1035x581,1035:581,Capture.PNG)

How right (or wrong) is she? Until what point you find acceptable for a artist to get money at the exchange of doing the same stuff? I ask because I think it's bad to get stagnant with your art but at the same time you have to eat from something right? I just want to know your opinions on the matter

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 No.8489

>>8488

Being a crab that complains about the success of others rather than using the successes of others to inform their own path towards it is very unbecoming. There is no rule about what you should or shouldn't draw. Yes, I would personally say that versatility is important and we should always experiment and grow etc., but if someone doesn't want to do that they are welcome to it and if they find success that way "good for them".

We all have goals with our art to be met and one way to ensure that we never meet them is to spend too much time worrying about what other people are doing instead of what we're doing. When you start old like I did you come to understand the futility of comparing yourself to others or simply complaining as if your time somehow isn't much more valuable spent elsewhere. It's just another form of procrastination, and a shitty one to boot.

ALSO I'm not saying this is you, by the way-at least not for the most part, but such a line of thought does put you at risk as far as that goes. I'm just sharing my opinion on this kind of thing because it's very common. It's much easier to criticize something (especially in a flippant way i.e. "it's shit") than it is for us to do something ourselves and as it's the path of least resistance it becomes typical for a lot of us to act more as armchair critics and commentators than artists, and while that's fully within our right to be that way, it's also very harmful for our growth.

Let other people do what they want. What they can or can't do says nothing about you or me. We want to focus on where we're at, where we're going and how we're going to get there-and that requires eliminating as many distractions as possible.

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 No.8531

Anyone got links to Force by Michael Mattesi and/or How to Render by Scott Robertson?

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 No.8532

>>8531

Force is in the mega under "books and articles >> animation"

https://mega.nz/#F!es1BSKQR!spODyd0iaQmMelGA2GscFw!KpFCCLia

I don't think there's one for How to Render in there, though.

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 No.8534

File: 8afa82413848bcd⋯.png (465.53 KB,578x575,578:575,Holy Persuasion.png)

>>8532

Thanks

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 No.8668

>Draw portrait/object that is roughly playing-card sized on the paper

>Looks somewhat passable and consistent with current skill level

>Try to draw portrait/object large enough to take up most/all of the page

>It looks like garbage, proportions and alignments need to constantly be corrected and the finished work sucks

>Feels like losing a year's worth of progress instantly

What causes this and what the fuck are you supposed to do to fix it? Searching for answers to this online doesn't give me any relevant results.

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 No.8669

>>8668

There are several reasons contributing to your problem. To some degree, making the picture larger increases the resolution so what previously would be filled in by "noise" now asks to be fully drawn out.

The main reason, and this has been known about drawing and painting since the start, is that it is easier to compare something small than it is to compare something large. You can use this as a rule of thumb and it will help you a lot. The problems people have in their drawings or paintings are never that the details aren't detailed enough. Rarely that the individual parts of texture are not textured enough. The problems are always about the big things. People have problems drawing the shape of the head, the distance from one ear to the other and so on. There are ways to "measure" these things but measurements should always be considered rough estimations and you should rely on your careful judgment to have the final say.

So how do we get around this? Well you're almost at the solution: we make everything smaller. Not literally smaller but we try to perceive everything as smaller. We back up from our drawing or painting and look at it from a far. All great painters did this from Velazquez to Sargent. Some painters like Sargent, and Mancini were very strict about always stepping back and looking at their subject and canvas from the same distance every time.

You'd be amazed at how far stepping back and forcing yourself back when you want to get into details will get you. Don't fight the setback of having poor judgement of big things compared to small things. Overcome it by finding a solution that takes advantage of that thing you're naturally better at.

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 No.8690

Wheres the best starting place for someone who knows literally nothing and where do I go from there? I've looked through the resource hub here but I'm not sure where to jump off from there.

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 No.8691

>>8690

Read Keys to Drawing or the First (two!?) chapters of "Drawing on the Right Side of the Brain" to unlock your ability to copy from observation. From that point forward it's primarily repetition and refinement of the basic concepts found in there. After you understand how to draw what you see, it's time to learn construction and perspective so you can draw what you can't see, essentially. Good luck.

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 No.8733

>>8690

Learn to have fun even if you suck, this is the number one rule. Drawing should be more fun to you than video games. Start by tracing shit you like and adding some of your own things to a picture, then move on to doing your own things. Later on don't be afraid of drawing hard things because that's the only way to improve.

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 No.8734

>>8668

This might seem like a lazy answer, but I think you just have to practice drawing things large all the time until you get used to it. Also, do what the other anon said, step back and look at your work from another POV, it's easy to miss the big picture when your face is buried in the paper.

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 No.8738

how the fuck do you draw an uncut penis that doesn't look deformed

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 No.8739

>>8738

Watch the climax of the 80's science fiction movie, Dune

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 No.8782

File: 6dec16b6b9e8312⋯.png (520.41 KB,407x711,407:711,121.png)

I can't draw from imagination

does drawing from reference help that or is a crutch

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 No.8783

File: 8426ff70f06f181⋯.jpg (158.39 KB,974x1500,487:750,1.jpg)

File: d21d4b5f7d2e30d⋯.jpg (160.52 KB,974x1500,487:750,2.jpg)

File: d41efa56ab26606⋯.jpg (190.28 KB,974x1500,487:750,3.jpg)

File: e1ea961a14d0ada⋯.jpg (182.31 KB,974x1500,487:750,4.jpg)

>>8782

There are multiple factors in drawing from imagination.

Your "Mental Library"®: The appearance of things you've learned to recall intuitively over time through repetition and drawing from observation (a lot).

Your References: supplements acquired to aid in the creation of a specific image

Construction: Allows you to orient material from reference or your mental library in multiple positions

For example, you might be drawing a muscular character so you'd have an ecorche handy to inform you of generic muscle placement, proportion etc.-but you wouldn't be copying anywhere near it 1:1 whether in its position or its appearance, rather it would be used primarily to help you create something entirely new.

References can be pictures of humans, animals, clothes, buildings etc. It's all fair game and it's NOT a crutch but in some ways it can be used as one. There are those that do simply copy their reference exactly and it's usually pretty lame assuming it's not a study to begin with. You should always consider putting something of your own into your personal art.

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 No.8784

the Industrial Form and Texture References - http://hardsurface.tumblr.com/ is an hero

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 No.8787

>>8783

thanks

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 No.9389

File: b289f87f4cd5656⋯.png (165.17 KB,626x813,626:813,gf.png)

so while 8ch I was down I went off to 4chan's /ic/

told them that I had been doing line and circles exercises for about a month now, 4 days a week

it takes about 4 hours, they told me that I should have to do that after a month, and told me to use that time to study anatomy.

just wanted to cross reference this here

so is should I cut the line and circles exercises, and focus on anatomy and perspective?

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 No.9395

>>9389

You spend four hours a day drawing lines and circles? I sometimes do that as a warn up / trick to get myself started, but four hours? I'm going to have to agree with /ic/ here, and say the bulk of that time could be spent actually drawing something.

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 No.9400

>>9389

yeah man just to 1 A4 size page of circles and lines as a warm up, then get started on anatomy and perspective.

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 No.9402

>>9400

>>9395

alright

thanks

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 No.9404

File: 9cf8d2327f894a8⋯.jpg (121.17 KB,960x632,120:79,Untitled-1.jpg)

>>9389

You get good at what you practice.

I did far more than that and by the time I stopped I had some of the cleanest and fastest freehand lines around (I also use the best tablet, an Intuos Large, so that's a factor as well). I'd do it all again in a heartbeat, but thankfully I doubt I'll ever have to.

I do resent the fact that it's, purely psychologically, harder for me to study anatomy and things of that sort than it was to redundantly ghost over lines, ellipses etc. for literal days at a time because it's basically the same shit. Perhaps it's just easier to accept an ellipse being slightly off than it is having to look at a mutated face or contorted figure, ultimately that has nothing to do with the exercises themselves though.

You should definitely try and incorporate other subjects into your regimen regardless of what anyone including me says though. Doing just one thing autistically isn't going to solve the bulk of your problems any more than they did mine. You can tell by looking at your work that your lines aren't good yet, but that shouldn't keep you from drawing real stuff either.

The fact is that the line exercises are just "compressed mileage" that you'll otherwise get from drawing. Your control will get better passively just by drawing anything, as long as you keep your hand moving relentlessly.

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 No.9673

File: d63c9f687ddf62e⋯.png (111.4 KB,780x439,780:439,darkside1-780x439.png)

i wanna learn to draw so i can be my own artist for game development

even stuff like this would be good enough its not that detailed

should i get the books and go the traditional route with pencil and paper? are there good tutorials for learning pixel art that i should just do those instead?

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 No.9677

>>9673

You should absolutely be learning "traditional" drawing. It’s still the basis for what you want to do. Don’t get caught up in the meme of having to follow a giving book or using a specific technique; they’re guidance, and you really learn to draw by drawing - a lot.

That said, pixel art is discipline unto itself. That picture you posted is actually a fairly poor example of pixel art. Definitely a low detail makes it le 8 bit indie look that shows the dev had no knowledge of why old games looked like they did. Too many colors, too little of contrast between highlight, mid-range and shadow within the colors used, and that intense, smooth gradient lighting FX. Even if you have no plans to emulate an older systems graphics, I think it’s a damn good idea to study, say, the NES or Genesis or whatever’s limitations to inform your work.

TIGsource used to have some pixel artists in the art forum who knew what they were talking about and shared knowledge through tuts and shit. But I haven’t lurked there in years, so it could be completely WOKE by now. Same goes for pixelation.org.

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 No.9697

anyone know any good videos or books that go into drawing backgrounds, but more so, the inking techniques to make a background look natural and lived in?

Also, does anyone have a good tutorial on stylized animu hair?

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 No.9698

File: 4a361214e095d0c⋯.png (357.04 KB,1066x1080,533:540,ClipboardImage.png)

>>9697

forgot my pic

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 No.9699

>>9697

I think backgrounds are just a matter of perspective and composition, the rest is just personal taste and storytelling which isn't necessarily art related. You have to think about what makes a place look lived in to draw it moreso than any kind of technique will do that for you.

One good book is "Framed Ink" which is a book about composition for sequential art.

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 No.9701

I've set myself up to have around an hour over for focused practice every day. What's a source of good exercises that you can do in that time? I need plenty of them, its crucial that I don't have to think about what to do when I start.

I can do preparatory reading/video watching outside of it, but the hour should just be about gains.

Drawing digitally, and I think the end goal is creating a comic.

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 No.9702

>>9701

Best thing I think you could do is gesture studies for about an hour. Go to a place like pose maniacs, or just do a bunch from imagination. Focus on pose, proportion, anatomy, form, and perspective for that hour but just shotgun it with a bunch of doodles to target your weak areas. Look at those doodles, take notes on them, and isolate your problems then do studies on what you’d like to improve.

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 No.9703

YouTube embed. Click thumbnail to play.

>>9702

This also might be worth watching

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 No.9746

>>9703

literally the worst video on art education on youtube that has over a million views and nobody questions it because they think sycra is a god when he isn't

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 No.9810

What's a good piece of portable hardware to use for drawing/digital painting?

The iPad Pro with the pencil looks like it would be the best bet but I have never bought an Apple product before.

I've used a Surface previously but it was a complete fucking dumpster fire.

Are there any decent Android tablets?

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 No.9879

File: 3397ec61ce4e414⋯.png (66.99 KB,385x367,385:367,3397ec61ce4e414c9fc80f5173….png)

If you're making a comic in a distinctly anime style, should you make it left-to-right or right-to-left?

I feel like if your style is sufficiently like in japanese manga, it might feel weird for people to read it left-to-right.

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 No.9883

>>9879

Depends on how many viewers based from their region that will read your comic. There's no doubt why manga is read from right to left because it's solely made for Japanese.

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 No.9884

>>9883

But people who read manga will no doubt attempt to read it from right to left unless you tell them not to, since that's the way manga reads no matter who reads it.

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 No.9885

>>9884

It's up to you, I personally don't care which order it is when I read manga or comic. Most viewers instinctively figure it out once they start reading it.

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 No.9886

YouTube embed. Click thumbnail to play.

>>9879

I ordered the art book made by the people that produced this animated short and I was pretty pissed that it ended up being right to left. While this is somewhat different, I'd ask you to consider not being a weeaboo unless absolutely necessary (which in this case I'd say it's not). Your audience isn't going to be 37 year old Japanese virgins, you know? For the first few years you might not have an audience at all, for that matter.

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 No.9968

>>9966

As a person that's gone so deep into the fundamentals that I'm having a hard time finding my way out, the only answer I can recommend is do both. Don't get so bogged down with academia that you never do anything with what you learn, but don't sit there mindlessly doodling forever either

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 No.10045

File: a223f98437db307⋯.jpg (16.79 KB,347x346,347:346,confusion.jpg)

Is it illegal use to stock images as references for drawing practice if you don't pay for them? I know this is a stupid question but bear with me.

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 No.10047

>>10045

Yeah. The Internet Art Police come and get you.

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 No.10050

File: b309c92b72eb220⋯.png (139.3 KB,308x765,308:765,1445780523188.png)

How do you deal with insomnia and chronic anxiety?

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 No.10051

File: f02b44cb658047e⋯.png (24.75 KB,1200x1114,600:557,1200px-Paroxetine-2D-skele….png)

>>10050

Happy pills.

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 No.10052

>>10045

You done goofed anon, the cyberpolice will knock at your door any second.

Probably falls under fair use, but in any case it won't be a problem unless you post it around the internet with your name on it.

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 No.10053

Does anyone have that one gook/chink video about line control?

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 No.10054

YouTube embed. Click thumbnail to play.

>>10053

Peter Han's?

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 No.10057

>>10050

>How do you deal with insomnia

By drawing anyway.

Try it. Any gains are better than no gains. One line drawn is more drawing than someone who didn't draw even a single line.

There is no escape, Anon. You have to draw every day. You won't be allowed to go to bed until you have drawn.

Follow that and you'll gain gains every day, for the rest of your life, for free.

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 No.10058

>>10057

But if you draw the same stuff everyday from imagination you may end up with no gain at all.

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 No.10060

File: aa6848a3d5f4177⋯.png (112.36 KB,1545x560,309:112,books.png)

which one of these should I start reading first

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 No.10061

>>10054

That's it, thanks.

>tfw just came up with another story I still can't draw in my second year of learning the basics

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 No.10062

>>10060

Scott Robertson's How to Draw is really good at introducing perspective and how to create volume. Working through it first should help build a solid foundation.

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 No.10063

>>10060

>dem "The Art of" books

Where do you get your art books?

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 No.10065

>>10063

mega

I made a drawing thread on /b/, just to get some practice in, I am really shit, and told some anon I am trying to get better, dude gave my a mega link with all these books

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 No.10084

Is floating hand or using your wrist/elbow for support better?

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 No.10409

>>10084

Keep your elbow off the surface, you can use your wrist to glide though

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 No.10431

I'm a complete beginner, any recommendations for videos/courses to watch while I'm starting? I'm a bit worried about developing bad habits/plateauing at ass level

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 No.10432

>>10431

Without knowing your particular goals, even with the best material in the world there's no guarantee you won't be ass level for quite some time. Here's a relatively new youtube channel someone shared with me the other day that might be a lot of help though if you can power through it. It's very dry but appears to be good formal instruction to get you on the right track.

https://www.youtube.com/channel/UCNPLX1hfy3Q8zr4eKvmhLGQ/playlists

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 No.10703

Would like some advice; I bought a wacom pen and touch graphics tablet some time ago (CTH-460) model which I've been using for about probably a year now (on and off). I still can't draw figures yet but my straight lines have improved and I can do boxes without too much difficulty, still having issues with doing curves. I've been thinking about buying another tablet, specifically a medium sized one. I didn't do it earlier because at the time, only Wacom was available and they were expensive. Now that there's brands like Huion and others which seems to be a good alternative but I'm not sure if I'd be wasting my money again.

Has anyone been drawing on a small tablet on a 21/22 monitor? Did it make a difference buying a medium tablet? Would also be open to suggestions as to which tablet I should get.

Thanks

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 No.10704

>>10703

If you check the tablet thread ( >>1804 ), as someone that's literally used everything I've said about all I can say as far as tablets goes. I 100% recommend an Intuos Large tablet or conversely the Huion WH 1409 v2 (new model). Those are the only two I will recommend in good conscience. The Medium Intuos is okay, but it's worse the Huion model I'd mentioned.

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 No.10808

YouTube embed. Click thumbnail to play.

Are this guy's advice and exercises any good?

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 No.10809

>>10808

He appears to be someone that is still a bit early in his own artistic journey to be teaching, that said sometimes a better artist is a worse teacher etc. and the advice he might be imparting could be originating from hands more skilled than his own.

As with anyone else you kind of have to use your own discretion when it comes to whether or not you should follow their advice.

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 No.10890

How do I practice painting?

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 No.10893

>>10890

By painting.

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 No.10900

>>10893

Why do you do that? It's easier just to end my life right fucking now.

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 No.10904

File: 746e70bbb36c014⋯.jpg (44.19 KB,800x450,16:9,aa.wad.jpg)

>>10900

I don't know, why do we do anything?

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 No.10905

>>10904

To suffer, I guess.

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 No.10913

File: 652ce8fbe250de6⋯.jpg (440.24 KB,1920x2658,320:443,072a092784cbe082162fa751a1….jpg)

What's a good site for sorted muscle pics?

I'm currently using innerbody and wikipedia, but sometimes neither of them has good pics for a certain muscle.

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 No.10929

I'm trying to learn how to draw with my shoulder. When I'm drawing, can I support myself with my locked wrist while letting the shoulder do all the motion, or do I have to have my entire arm in the air?

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 No.10934

>>10929

Unless you're afraid of smearing the ink, you can support yourself with any part of the arm. I usually use my elbow and wrist for support.

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 No.10945

>>10913

Her collar bone is wrong. It's funny how this guy can draw 900x better than me and I can still see a mistake. Feels weird.

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 No.10947

File: f384aa826a22a53⋯.jpg (123.64 KB,782x652,391:326,stop oppressing me bigot.jpg)

>>10945

Doesn't look wrong to me. What's wrong with it?

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 No.10950

File: 1290ac0d629be18⋯.jpg (330.49 KB,810x903,270:301,Pectoralis-Major_HR.jpg)

>>10947

There is a muscle called the pectoralis major and a section of it called the head that makes the end of the bone always look like a subtle plane rather than a ravine like the pic. Doesn't matter if really muscular body or not, you can't have a ravine there.

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 No.10952

>>10950

I'll show you a picture when I get the opportunity, but even on extremely muscular figures you can sometimes see the front plane of the bone like that, circumstantially. You might even be able to see it on yourself in your webcam or mirror.

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 No.10953

File: eb97a027fbc96ac⋯.jpg (171.44 KB,904x940,226:235,long clav.jpg)

>>10952

As you can see in your picture what covers it most is a tendon, that plane is obscured most of the time but under the right circumstances it is visible. My guess is that the artist of that piece was copying a reference directly and slapping an anime head on it.

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 No.10966

>>10953

That's a good example, but it's still a subtle change of planes. It's still not a 90º angle like that pic.

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 No.10973

any tips or methods to learn anatomy. I decided to use Proko's videos to learn them but I was wondering if there's an alternative method.

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 No.10975

>>10973

By drawing instead of watching videos and tutorials. Knowing what a muscle is called doesn't do shit to help you draw it better.

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 No.10976

>>10975

I'm watching the video to learn how to draw them.

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 No.10977

File: 2d47c8d4df943be⋯.png (178.24 KB,414x452,207:226,nazi midget.png)

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 No.10978

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 No.10996

How do I make non-kike noses?

Seems like every nose I make is a hooknose.

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 No.10997

File: 38b86dd828bc2ba⋯.png (133.79 KB,667x669,667:669,pic.png)

what exercises should I do if I have been drawing for a year and am still at level 1?

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 No.10998

>>10997

Doesn't look like level 1 to me. Looks like you just need more plain old experience by drawing variety of things without half assing them, you can't draw things quickly for comics if you don't know how to draw them properly to begin with.

>what exercises should I do

I recommend "make a bigger canvas" and "use a different brush". At a proper resolution that's basically a solid 3-4 pixel wide black brush. The room for accuracy and detail disappears with the brush strokes, it's much harder to draw when you don't have the precision and space to properly reason about what you're drawing.

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 No.10999

File: dcad6610a2b0132⋯.png (86.61 KB,691x819,691:819,goblin.png)

>>10998

well that was just a one off thing before I realized I didn't know what I was doing and backed off

so just draw at this point?

okay

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 No.11009

>>10997

have you been drawing for a year or just scribbling shit without actually learning? your lines arent straight. the lineweight doesnt vary. your perspective is off. there is nothing redeeming about this work for a year's worth of time.

what you need to do is practice drawing, not keep repeating the same mistakes. go buy sakura pigma or staedtler finer liners. pretty cheap on amazon or random office store/arts store. get some heavyweight acid and lingen free paper (hardcover coiled book from dollar store for couple dollars at most, but make sure its heavyweight to stop impressions and bleed through to other side/other pages).

Draw a line with a straight edge. Now trace it with your pen of choice. Do it like 10 times per straight line. Have short, medium and full page lines. Add some random curved lines and trace them. Practice using from the elbow and shoulder for your motions instead of just the wrist.

Next, rule out some lines like you would be learning letters in elementary school. Draw perfect circles bounded by the two lines and one edge touching the previous circle. Fill lines and pages of these. Do ellipses on angles left and right as well. Pages of them. These should be daily exercises until you can draw straight lines and make ellipses properly. When making circles, circle the same line twice. No more, no less. Eventually, you want to have both lines perfectly overlap. Beginning, youll have gaps between the lines and go outside your bounding lines. But youll get better pen control eventually. Use elbow and shoulder primarily - youve written from the wrist for years. The other muscles arent trained and are better for certain motions and straighter lines over distances.

From here, practice basic shapes with 1pt and 2pt perspective. Cubes, spheres, cones, pyramids, cylinders. Draw the 'hidden' lines behind the sides facing out. Trace your lines to vanishing points.

Everythign is made from these. You can construct anything from these basic shapes. You can practice hatching, light sources, stippling, etc on these basic shapes, too. But start small and work on these fundamentals. Practice them for 30 mins a day at the very least. These are warmups if you intend to do any other complex or 'fun' drawing. Dont do anything else if you arent committed enough to actually practice first. Eventually, you can do studies on plants, birds, insects and other simpler objects. They are all ellipses and cylinders you can block out first and then add contour lines to shape the basic shapes. If you dont know shapes, you dont know how to draw.

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 No.11029

>>11009

so back to square one

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 No.11068

I just noticed one of the problems I have is that my drawings are stiff as shit. How do I go about making softer poses?

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 No.11069

>>11068

The essence of "gesture" is essentially slightly exaggerating the extremities of a pose. Make things push out a bit further, bend a bit more etc.-don't copy the contours themselves.

Truth be told a lot of something being perceived as stiff or loose is in the rendering as well.

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 No.11077

File: d58f32435930eca⋯.png (213.18 KB,1243x937,1243:937,eyes3.png)

should I just keep doing this until I am good at the thing I am drawing?

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 No.11081

File: e8108d42dc5c785⋯.jpg (349.21 KB,1000x800,5:4,benis and bagine.jpg)

>>11077

I feel like you have the right idea even if it isn't exactly as clean cut as that.

I'd say draw specific things in one go until you "understand it" moreso than something as subjective as whether it's good or not-if that makes sense. The skill to make something good will come in time, the knowledge of what a thing is, its general appearance and the parts that make it up is mercifully more achievable in a shorter amount of time-as long as you're honest with yourself.

For too long I'd drawn a couple dozen "x" and think that I had "x" all figured out but really I was only just beginning.

Your ability to record something accurately (making it "good") or at least "appealingly" based on a stylistic choice is tied less, I believe, to the repetition of drawing specific things and more to your experience drawing in general, doing this drawing activity while being mindful of important abstract concepts that aid in that recording like positive/negative space, imagined plumb lines etc.

When I'd moved on to anatomy study I had already developed an adequate (though not proficient) command of drawing from observation which is what I think is necessary to start with. From the beginning you could say I was "good" at the thing I was drawing, but had I committed that thing to memory? Could I picture it at all angles from imagination and reverse engineer a flesh and bones figure around it? Of course not.

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 No.11087

File: 6c072f60303b184⋯.jpg (3.32 MB,2328x3300,194:275,img005.jpg)

What would be the best site for sharing your art, currently? I don't feel you could be taken seriously if you post on instagram, but you'll be torn apart if you do it on tumblr or deviantart.

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 No.11088

>>11087

I personally think twitter is great, it seems like the best way to get noticed, though you have a ways to go before that will be a concern. From where you're at now it may be some years before you're able to earn an audience and any blogging you do may be more of a distraction from your artistic forward momentum than anything.

Good taste in subject though

>regards, guy that's been trying to draw for 5 years because I wanted to do Warhammer 40K fan animations

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 No.11089

File: 62633c7dede4e32⋯.gif (35.71 KB,400x671,400:671,anatomy - basic shapes bod….gif)

File: bd519f0819830a0⋯.jpg (18.2 KB,236x313,236:313,anatomy - basic shapes bod….jpg)

File: 39cb5aacab14c40⋯.jpg (50.5 KB,596x853,596:853,anatomy - basic shapes hea….jpg)

>>11087

Your art isnt worth sharing if that image is indicative of level. You should do something like drawabox or some other basic structured course. Get some basics down and learn to construct objects, plants, animals from simple shapes. Get better line control and learn to differentiate line weight. Usually closer objects have heavier lines. Your wall, for example, has a heavy line at the farthest point away and the close dissection/broken wall part is smudged and faded lines. The alien looking guy on right looks like he i sstanding on the knee of the human and his head is resting on the gun barrel. There's no sense of depth.

Anatomy needs a lot of work. The female's head and neck and broken legs, dislocated hip and an arm reaches to her knee.

It's not completely terrible and there's promise for poses if it's not from a reference. The positioning/gestures they convey shows promise, but lengths of arms and legs and necks and so on are all out of whack. Even if you dont want to learn to draw realistically, knowing a head's shape and basic positioning of eyes, nose and mouth, position of arms, torso and legs relative to head size and constructing them from ellipses and basic shapes. Lay out the body like the images attached. Warhammer has exaggerated proportions, but is consistent with those exaggerations. They are wider and taller than normal, but obey similar construction. The body is just ellipses, cylinders and cubes. You dont need a ruler or to be exact, but general positioning and sizes will be easier to see if you layout the body properly first. Add details once you get the basic form down. Layout with a 2H or other light pencil first, then come in with a heavier line for details - always start from the lightest lead and work to the darkest. Your shading is fairly decent for gradient, but weak on blending. A Q-tip or piece of tissue paper can be a cheap blending stump. This can be used to push the graphite into the white spaces of your shading. Layer in the shading too - start with say HB and blend it. Then come in with 2B and blend. Work towards the darkest tones. You can also layer a dark section and blend the dark outwards gradually (say a pupil in the eye - probably 6B; the iris isnt perfect colour band, it has black in it and lines. you could pull from the pupil to add tone and lines coming outward).

You have the basics of this and you can see how you tried to have planes of rock in the background. If you do basic blending, combined with your grasp of the shading, you could make some drastic improvements in that regard. Blend in opposite direction of your line directions.

Also, try to shade in one direction. You get scratchy and different directions at time.

tldr - work on basic shapes and proportions. dont need to spend months studying bones and muscle to get goign, but a simple grasp of laying out your figures before details would help. you have good shading/grasp of lighting, but lack technique. Alphonso Dunn has an inking channel on youtube, but most of his work applies to pencil work, too.

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 No.11090

>>11087

Instagram is fine, comparatively I get more attention there than anywhere else if that's what you're looking for. Or you could have a dedicated art twitter. You can sort your art through your own tag on tumblr if you just want a place to keep all your shit without the clutter of other posts.

Take>>11088 's advice and don't hope for/expect an audience, even if you were better it doesn't guarantee people will pay attention to you. However talking to/interacting with other people helps.

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 No.11093

>>11090

Yeah; I know very good artists with very mediocre online presences. At this >>11087 level you might get a few bots or nice people that follow anybody who draws but that's about all you can expect. It's mostly a waste of time. Get the idea of making money or even crude notoriety off of your work out of your head for a while, years even, it's best to direct your attention towards general improvement.

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 No.11095

>>11093

>>11088

>>11089

>>11090

Thanks for the recommendations, and more importantly, thanks for the tutorials and ways I can improve. I hope I won't disappoint in time.

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 No.11143

File: 52711516b6cd049⋯.jpeg (169.18 KB,1200x927,400:309,a843014bb8a02fc6685e85916….jpeg)

Anyone know who this artist is? Pretty sure he used to post here.

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 No.11144

>>11143

I don't think he ever posted a blog but maybe he's still lurking

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 No.11145

>>11143

It's signed Besthetz. Googling brings up his twitter, DA, HF 'n' sheit.

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 No.11146

>>11145

I didn't see that tiny signature.

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 No.11206

File: b03d72c2f7469c3⋯.jpg (1.64 KB,212x53,4:1,staedtlerBend.jpg)

I have a very, very slight bend in the tip of one of my staedtler 0.5mm pencils. The graphite comes out without issue, but the slight bend makes it annoying when rotating it to keep the sharp edge as the pressure isnt consistent for lineweight anymore. It's approximately like the image attached. It's a staedtler 925 0.5mm blue from jpn.

I have a few others to use, but have never had issues before. Would it be possible to use pliers to bend this back into position or is it fucked?

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 No.11208

Anybody have some progression charts of books to read? I clearly remember there being a Loomis one on like start here and went down to ending on X book?

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 No.11209

File: c174802df095de3⋯.jpg (285.66 KB,720x2127,240:709,icList.jpg)

>>11208

here's a list of some and an old graphic.

Loomis Figure drawing

Loomis Fun with the Pencil

Stahnfeld Drawn to life

Vlippu Drawing Manual

Hampton Figure Drawing Design and Invention

Patrick J.Jones The Anatomy of Style

Marcus Mateu-Mestre Framed Ink: Drawing and Compositon for Visual Storytellers

Design Process, Styling, Inspiration and Methodology

Ernest W Watson The Art of Pencil Drawing

Ernest W Watson Creative Perspective

My personal favourites

Anatomy for the artist: The dynamics of the human form by Peter Ed. Stanyer

Drawing Perspective: How to See It and How to Apply It by Matthew Brehm

How to Draw: drawing and sketching objects and environments from your imagination by Scott Robertson, Thomas Bertling

And architecture books by Francis D. K. Ching (Architectural Graphics, Architecture: Form, Space, and Order and one or two others).

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 No.11211

File: 7a3b9643b0343c2⋯.png (15.4 KB,390x140,39:14,DrVEUreUUAAEVX-.png)

Anyone know anything about sprite art?

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 No.11212

>>11206

You run a good risk of out-of-rounding the tip squeezing it with the pliers; I'd ovoid it if you can. Instead, try to find or bore a small hole in hardwood to stick it in and leverage the body to straighten it out. Good luck.

>>11211

I used to know a little.

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 No.11213

>>11212

Do you know any good programs specifically for pixel art that are not proprietary?

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 No.11214

>>11213

I heard good things about Graphics Gale.

>proprietary

IMHO it's best not to be autistic about that sort of thing when it has nothing to do with your works' potential of success or failure

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 No.11215

>>11213

It's been a few years since I had the bright idea to make a videogame, so I'm not current on things. Have you checked the resources on any of those game dev sites like pixelprospector? My dickin' around never got to the animating & making big sprite sheet faze, so I just used my normal image software. [I do have Asesprite on this machine that I know I didn't pay for, though. Wonder if they were giving it away at some point. :^)]

>>11214

Graphics Gale seems to be freeware now, so … I think I might snag it m'self.

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 No.11216

>>11209

>forget about drawing, just read these 70 books, that'll make you a good artist

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 No.11217

>>11216

Perspective Made Easy is good and each one of those books involves drawing but I still cringe whenever I see that picture. Any learning path that starts with something like perspective in lieu of something on observational drawing is a joke

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 No.11219

File: 466d596e5b8339a⋯.jpg (114.05 KB,821x879,821:879,1 point - shapes various.jpg)

File: 858a9ec38845ce3⋯.jpg (182.1 KB,1024x576,16:9,2 point - cityscape skyscr….jpg)

File: bcc4f391526aca7⋯.jpg (72.54 KB,977x457,977:457,Cubes rotation complex sha….jpg)

File: 781c57efdada1a4⋯.jpg (106.98 KB,1500x1336,375:334,rotated cubes.jpg)

>>11216

He asked for the list. I didnt make it nor tell him to read every book.

>>11217

Perspective and basic shapes should be the definitive starting point. Observational drawing when you have no idea how to identify shapes or how perspective alters those shapes is just crippling development from teh start.

Anyone attempting ot learn from observing without understanding those things will be shooting himself in the foot. A major part of learnign is actually being able to see results and understand how things work. "here, draw this still life of textured fruit, curved shapes, complex lighting and shadows with bowls and other shit to consider" leads to people being overwhelmed. if they do it long enough, sure, theyll get there, but they are going to be garbage for al ong time. if they know basic shapes, they can construct ellipses, cylinders for glasses, break a bowl down into a series of cylinders, know how to intersect various shapes and then come back over them with details to complete the drawing. they will have the basics to position each object in perspective and construct them relative to each other. You want people that cant make a circle or draw a cube to do observational drawing first? Pepole will give up in a week when their art all looks like a 5 year old scribbled it out.

You'll need still lifes and things like drapery studies, but as a starting point, that's just asking to frustrate and drive away people without them having learned a damn thing. Perspective is easy and has basic rules that anyone can understand. Draw lines to the vanishing points. Bam, you are making houses, rotating cubes, spheres, cylinders, etc in space, drawing very basic cityscapes, etc. You can learn to add basic hatching or shading to the basic shapes. Understanding planes and light/shadow on these objects is much easier than starting with a drapery or other complex object.

You can then take these basic shapes and teach how to apply to any observed object. Break folds in cloth/drapery into cylinders and cubes. They'll understand how these things work instead of just trying to eyeball outlines and random shading until it 'looks right'. They'll know how its constructed and how to start drawing instead of just looking.

Reading a bunch of books wont accomplish either, but I would never start anyone with 'draw that still life until you get it right'. Classical teaching method is a joke. It was for people that already knew how to draw at a relatively high level. Some people do have the skill to begin observationally, of course, but anyone with the 'i cant draw a stickman' mentality will never achieve results that way. Starting with shapes and perspective and line exercises that build towards applying them to real objects will give them the foundation and confidence they need to actually draw.

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 No.11222

>>11215

I used to make games in love2D, and what I would do for sprites is make an image 3000 X 3000, draw it to the best of my ability, and then shrink it to 64 x 64. Even if it looked like crap when I drew it, it looked pretty good when I shrunk it down. Is there any reason not to do it this way?

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 No.11225

File: f64d0064a22b4a7⋯.png (32.4 KB,670x449,670:449,ClipboardImage.png)

>>11222

Other than 3000 not being a power of 2 or even reducing evenly to 64 I don't see what's wrong with it. If you liked the way it looked, it works.

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 No.11238

Question, how could someone able to grasp such high precision and confidence in coloring light tones and dark tones based from where the light projects into the surface? For instance, coloring the hair has a lot more depth especially when you doing it in more diligent way. It gets more harder to imagine how the glitters works on certain part of the area. Is there any rules of thumb instead of just doing it through try and error from your imagination?

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 No.11242

>>11238

https://www.proko.com/how-to-draw-hair/ is a solid break down of highlights, midtones, shadows, etc in relation to hair. Colour works the same way - your gradient will be your shadow to midtones/halftones and light.

Simplest way to consider hair is to take the sphere/egg shape of head and shade it in respect to the light source without any details - just the basic shape and no hair. The hair will have almost identical shading to the sphere with some slight curvature differences. The shadow, midtones, highlights will be pretty much the same spots with some slight variations for groups of hair/hair style.

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 No.11247

Anyone have a working link to How to Draw by Scott Robertson? mega link is dead from other resource thread.

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 No.11267

>>5089

is that the dude from peace walker?

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 No.11271

anyone still have that infographic that shows the difference between short people and children?

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 No.11321

File: ff4ba2d34617a8b⋯.jpg (183.25 KB,831x1038,277:346,487143198618367a9bac5e6828….jpg)

How do people paint like this? I've seen some people painting like they are putting random colors into the canvas and it turns out great. What the fuck?

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 No.11322

What's a good way to learn color theory and shading?

Preferably not with those TL;DR books where a guy spends 30 pages talking about his life and his favorite movie before each bit of useful information.

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 No.11323

File: 35a88de19453aed⋯.jpg (Spoiler Image,120.91 KB,640x514,320:257,DAMAGED.jpg)

>>11322

THERE IS NONE

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 No.11325

File: 260d6b31486699d⋯.jpg (529.27 KB,1920x1536,5:4,shading - color value text….jpg)

File: 98ef6d809cc6f2b⋯.jpg (233.93 KB,1920x1708,480:427,shading - shadows vs light….jpg)

>>11321

Looks like draw anime image, colour it and ink wash over it or similar technique.

>>11322

https://www.youtube.com/watch?v=TfAZt3O0sLY - proko has basic overview. starts like half way through.

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 No.11327

where can I find images that instruct how to draw certain things? like particular artist explain how he draws that thing or something I am struggling with nipples

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 No.11328

>>11327

I don't know why I laughed at this post, I'm sure there's something for you out there anon.

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 No.11333

File: 7eac405f996f8ac⋯.jpg (31.03 KB,486x750,81:125,nipples.jpg)

>>11327

Some porn artists make tutorials or reference sheets, like Doxy. Try searching "how to draw X" on google.

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 No.11335

>>11321

>putting random colors into the canvas

It looks like that because you don't know what's going on in their head. Just like when you look at speedpainting, it looks like random scribbling but every stroke is probably there for a reason, a reason that came to be from years and years of experience.

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 No.11338

>>11328

>I don't know why I laughed at this post,

"I am struggling with nipples" is just inherently funny.

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 No.11347

>>11333

I tried google first that's why I asked.

This sheet isn't very helpful either it just looks like reference on nipple types. I am looking mostly on how to make nipples face any directions I want while looking ok. Because under certain angles it gets tricky.

As I noticed a lot of times when you think it doesn't look ok it's ok because most people wouldn't look for mistakes

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 No.11349

>>11347

Your best bet would be IRL references. Look around softcore porn and plastic surgery websites.

https://timothykatzenmd.com/before-after/

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 No.11350

>>11349

I tried

I know what nipples look like I just can't draw them very sexy

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 No.11351

>>11350

Do you have any artists that draw nipples you like?

If so, look around their works, trace the pictures and try to understand what makes them so good.

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 No.11352

>>11351

I guess it's worth a try, but I doubt copying someones style is very good

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 No.11353

>>11352

It's not just blindly copying, but rather understanding the thought behind the drawing.

Say you wanted to draw puffy girls, then you could try tracing Zankuro's and Doxy's drawings to see how they go about doing it, like putting more fat around the bone or whatever. It's almost like you're making yourself an tutorial by the artist, except without clear instructions.

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 No.11354

>>11350

Post your nipples already. Maybe in the drawthread?

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 No.11356

>>11354

why would you ask that, are you gay? I don't judge but i'd rather not post my nips

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 No.11358

>>11356

>he thinks he can get answers in the question thread for free

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 No.11359

I guess i'll draw something later

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 No.11365

File: 0934e4d781a5b06⋯.png (7.94 KB,120x118,60:59,fsjal.png)

>>11359

Oh boy, I hope it's nipples.

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 No.11368

File: 622713fbad8dbbc⋯.jpg (12.74 KB,400x400,1:1,nipple.jpg)

>>11365

Well it looks like i'm onto something

It seems better to shape the nipple with shadows than lines.

I forgot to draw the middle 'hole' thing

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 No.11369

>>11368

You need to draw from life.

>>11350

>I tried

>I know what nipples look like

Try more.

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 No.11370

File: b1cd6731a8a97cc⋯.jpg (6.85 KB,500x500,1:1,sad tits.jpg)

>>11369

this is just sad

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 No.11373

>>11368

>>11370

Like the other anon said, draw more from life.

Studying breast anatomy might also help.

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 No.11402

what makes an anime face appear certain age?

I think children should have smaller mandible and huge eyes old characters have saggy chick and milfs with often have long faces and noses but how do I make a hot muscular 30 yo not milf face?

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 No.11404

>>11402

Look up some images about real people who fit your criteria. Then, take some time to rummage through the infinite number of styles artists use to suit that image you are trying to perfect instead of just one. Building your mental library makes the job easier. it's the difference between making an awful cliche, or drawing a real reflection of a human being.

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 No.11421

>>11402

Draw regular late teen-twenty animoo chicky but give her slightly smaller or weary eyes.

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 No.11439

>>11404

>>11421

thanks

balancing faces is hard and minute differences make a lot of difference

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 No.11522

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 No.11545

it seems this is the most active art board on the site, it that correct?

how would you say this place compares to half /ic/?

is it okay to make your own thread for more personalized feedback?

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 No.11564

>>11522

Thanks anon!

>>11545

I believe its the most active. I havent noticed any other here. ic is more active, but more shitters and lot less useful information and feedback. lot of 'just draw more' and other vague canned responses. you can just post in practice or draw threads. board isnt that fast. not sure how picky mods are with culling threads though.

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 No.11580

Has anyone tried the Famous Artists Course from the Mega? I was thinking about trying it to have some kind of a structure to follow due to lacking focus.

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 No.11609

How can I ease the transition from traditional to digital drawing?

Should I start dexterity exercises from scratch again?

I'm a poorfag and can't afford tablets with display. The inability to look at my hand while drawing has really thrown off hand-eye coordination.

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 No.11615

File: 794ed6aa614efbc⋯.png (271.62 KB,648x629,648:629,is this suppose to be part….png)

File: a9f71f1422d1801⋯.png (864.56 KB,1920x988,480:247,leg3d.png)

What are these two lumps suppose to be?

I'm assuming it's the ass because the body doesn't show the penis (which covers it) unless if the character is a female in which the bottom ass would show. but I'm not sure still

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 No.11656

>>11609

Use a stablizer. Weighted in Krita helped me. The one that gives a circle and the line doesnt start until you reach the edge (you can adjust sizes, etc). I found that the easiest way to keep straight lines (or curved/non-wobbly) and keep on track. Try to make faster strokes, too. Just map undo to the pen and keep going til you get the right curve you wanted. I liked taking line art and inking over top of it for practice on making the lines. You can do some basic straight line, figure eights and other curves as warmups if you want, but taking a brush and inking for weight practice and various curves helped me adjust the quickest.

>>11615

Its the ass cheeks tucking in. you can tell its a male based on the hips and pelvis. No junk is why you see the ass cheeks.

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 No.11657

>>11656

thanks for the help

may good gains come to you

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 No.12587

File: cb6ea26b5de3589⋯.jpeg (125.25 KB,1238x666,619:333,7E9C5A13-0DCC-4D4A-A5E3-1….jpeg)

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 No.13892

File: d025a0f1f1f8edf⋯.png (86.63 KB,519x432,173:144,d025a0f1f1f8edf05b6b5f648c….png)

File: e145a746a89e6a9⋯.png (74.77 KB,519x432,173:144,e145a746a89e6a9fc4e8536401….png)

I was sorting through my drawing related pics and found these.

It makes a good argument about using vectors, but is there any program where you can draw freehand and it translated that into vectors?

Krita sure as fuck doesn't.

>>11615

That's the ass. It's easier to observe on females, but it can show on males depending on the angle or pose.

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