No.6581 [View All]
New Friends edition
Old Thread: >>5706
Resource Reminder: https://8ch.net/loomis/hub.html
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No.7253
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No.7254
>>7253
That's the one, thanks!
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No.7255
Today, I had went ahead and worked on redesigning a character of mine. I was going for a girl that is shy, lethargic, and sarcastic, which is reflected in the little vision board I had made for the character.
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No.7256
Perspective, I hate this shit as much I want to be actually good at it.
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No.7257
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No.7258
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No.7259
>>7256
the face is pretty unappealing, and the shape of her overall doesn't convey this.
Look at the girls you're talking about, they all have very round, beanish, almost circular, soft features to them.
And you're using hard angles to the point where her chin is a corner, and in turn using a triangle as her primary shape.
Sharp chins, like that, are usually used to convey things like "cunning" or, pardon the pun, "sharpness." It's an aggressive shape that implies a level of trickery and deceit, which doesn't really blend well with the facial aesthetic you've chosen. My advice would be to try and use more soft features, and shapes that convey a sense of approachableness, and internal dread. By "dread" I mean like how Lain always looks on the verge of just breaking down, as an example.
>>7256
If you haven't practiced perspective much, I'd suggest practicing with linework, as you aren't able to trick your brain into thinking there's more depth than there is, like you can with form rendering.
Of particular note is conveying perspective, without the use of lineweight. It's possible, but more difficult. Really though all you need to know is geometric forms, and being able to envision a 3D space. Start with basic blocks if you have to, before moving on to making more complex things, as humans are one of the hardest things to draw.
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No.7262
>>7259
I had tried again using much rounder shapes, attempting to achieve my intention much better. Do these designs work more or no?
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No.7263
>>7262
Getting there, yeah. I'd say something like the top center's face, with the bottom left's head shape, would work.
At this point you can also go a step further, and start thinking about how the consequences of having that type of personality, would make her look. You're already on the right track with the tired eyes, but things like messy hair, and a slightly smug, but still visibly tired, expression would potentially add to the appearance of someone "shy, lethargic, and sarcastic."
Really it all comes down to thinking about how a person would display the results of that mentality, in the first place. The most obvious one being "she's cynical, and has a sardonic sense of humor" and then thinking about the results. So like, "she doesn't care about doing her hair up" or "she doesn't wear make up" and maybe even "she likes to belittle others, to cover up her own insecurities." etc.
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No.7284
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No.7285
>>7263
Here is what I had came up with based on what you had advised me to do anon.
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No.7287
>>7249
Youve made spme significant improvements so far.
The face still needs to be adjusted however. Her left (viewers right) eye is too spaced out
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No.7292
>>7285
The idea is generally there, but now the face lacks a lot of structure, which is jarring because you had it before.
I'd say if you took some time to make a drawing of this general design, but took your time, she'd be what you're after. Because as it stands now, the asymmetry to the eyes, and generally flat lineweight, leads to her looking weird in a way you didn't have initially.
As a mild aside, I'd advise you to avoid the "one eyebrow raised" thing, since that's the most common way people attempt to show "whit" or "cleverness" like, I don't know really feel like explaining it since I think you know what I mean if I just say "dreamworks face."
You can pick and mix parts of the various "baseline" emotions, to convey the same one you're probably trying to go for, but in a more natural way.
Good work, though. Most people will just buckle under criticism like this, instead of just coming back.
It goes without saying, but if I don't bring something up, that generally means you've done well on it.
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No.7296
>>7292
The kind sentiments, good advice, and the emotional expression chart are very much appreciated. This is what I had created today based on what you had told me.
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No.7302
>>7296
Yeah, I'd say that's basically it.
At this point what holds her back is just the obvious, fundamental stuff.
You know the stuff. "Perspective, construction, proportions" etc.
Work on the foundation, and with your newfound knowledge, you'll do well.
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No.7304
>>6885
Naw that was me.
But I didnt draw any burping that was someone else. our artsyles arent even similiar
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No.7306
Been busy with life, but found time to do some commissioned work. This one was commissioned by an old friend with the parameters to just "draw him as I perceived him". Told me not to look at a picture of him and to make it gross. I think I did okay.
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No.7320
new page.
We're getting more information on how「Burning」works.
This one's important because it establishes the biggest restriction on this, and futher deepens the "blood" parallels.
Specifically "bloodloss." Though I should make one thing clear here, since I may forget to down the line, but it's important to know, like bloodloss, if you just wait a few days, you'll regain the lost blood.
「Burning」works that way, too. You can go beyond what's safe, but if you take time to recover, you'll regain it.
There's further stuff you can extrapolate from that, like if that's not enough to leave him "Burnt" (ie "suffering lasting damage from using too much") then what exactly does that say about Enders in general?
Thanks for taking the time to read this. I'll obvious take any feedback posted here, but for the pages, catch you next week.
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No.7353
Body looking fine?
Nothing that screams "genetic nightmare"?
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No.7373
>>7353
The arms. And the shoulder width seems weird, given how they aren't really aligning with the perspective.
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No.7374
He's supposed to be the half human half 'bold test subject that came out of the chamber, but it doesn't seem that way.
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No.7375
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No.7384
>>7374
/tg/ pls stay
>>7375
W'elp. There goes MUH DICK again
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No.7388
>>7374
it's an incredibly generic design, and the lack of defined hands (and presumably feet), coupled with the lackluster art, results in an overall unappealing image.
What exactly are you aiming for in this?
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No.7393
>>7388
It's still work in progress and not the final design, i'm trying to go for a sense of awkardness and unease in this image while still maintaining the cutesy aspect of the character in question.
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No.7395
Couple of doodles from imagination.
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No.7399
>>7393
as it stands, it's basically just a generic /v/-tan type of stickman, minus the hands, and with some triangles bolted to the side of its head.
You gotta try harder, if you want the design to stick.
>>7395
very good lighting, though the poses all sort of blend together, and come across as very samey.
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No.7402
Be sure to leave a thought provoking critique and remember to love thy neighbor, thank you.
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No.7405
>>7399
>though the poses all sort of blend together, and come across as very samey.
Right, and they're stiff and boring. I guess it's because drawing more dynamic poses (and keeping them relatively semirealisc, balanced and all) is hard and takes time, but I always want the thing done in just a couple of minutes. I've read also that stiff poses is common when you learn to draw using the construction method.
Also dynamic poses need a motivation, some story or meaning behind them, and then that's another issue with uncreative people like me.
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No.7406
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No.7410
>>7402
Experiment with hard shadows and a clear light source. It looks very fuzzy.
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No.7415
>>7402
What the hell am I looking at?
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No.7421
>>7410
The fuzz has been a constant struggle for me, thank you for confirming my suspicion.
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No.7430
>>7384
i'm not worthy of /tg/
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No.7431
Trying to git gut at drawing disney characters/faces.
I don't know if I should draw the same character/face until I get it right or draw a bunch of characters/faces until I stop sucking at it.
The answer is probably being stop being a faggot and just draw.
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No.7474
Any rendering tips anyone could throw my way?
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No.7475
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No.7476
New page.
Nothing really to add to this, in this week's comment, other than I didn't forget to line her crotch in the last panel.
I'm not about to draw her shoving it in the viewers face, and make it visually clear.
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No.7482
>>7172
From the front it's difficult to tell how the nose is shaped
>>7230
I like the perspective shot in the last panel. Also cool to see your workflow in >>7247.
>>7228 and >>7233 and more:
Sometimes it's better to abandon a drawing if you keep feeling that you're not getting it right. Quicker to learn that way, I find.
>>7240
These legs can get a little long. If you drew the legs of that 6'3" guy they'd be 2/3 of the length of his body.
>>7244
I think your rendering is collapsing into symbol drawing in parts. The chin is outlined really strongly and separated from the neck by that outline, and the rest of the face looks flat. The clothes sorely lack shadows that give depth especially at the collar. You fix the eye area some in >>7258 but the rest of the face needs it too.
>>7249
It's difficult to tell what shape the jutting elbow plates are intended to be.
>>7255 and >>7262 and >>7285
This may be off-topic to what you're trying to go for but with these girl characters investigate the effect of putting the facial features lower on the face to make them more childish/feminine/cute. Your eyes are often above the halfway line of the head and some of the characters look like men. This is better >>7296
>>7306
Good to see this stuff. Background texture is cool.
>>7353
Pose is stiff, the arms don't look relaxed.
>>7374
Can't tell that he's half-human from the image.
>>7375
Man that's a bendy spine, like a fem evil buu. Good, lewd facial expression.
>>7395
Stomach lacks definition.
>>7402
Study construction.
>>7405
>Also dynamic poses need a motivation, some story or meaning behind them, and then that's another issue with uncreative people like me.
Do sitting poses, then you've doubled your workload.
>>7431
There's construction groundwork that you're missing, and it would be better to practise that than to keep drawing Ariel using the minimal groundwork you have.
>>7474
Pay more attention to secondary sources of light from reflections. Common thread in what you've posted is that you have a main white light source, and/or ambient illumination, but stuff that's illuminated by light sources doesn't shine its own light onto the scene. E.g. the deep violet ball isn't reflecting violet light onto the table when in reality it would, and the fog in the first picture isn't shining bright (take what's happening with that middle guy's lamp and exaggerate it tenfold, extend the cone of illuminated fog).
>>7475
You've improved from >>7353. The placement of the eyes is off though.
>>7476
She's really cute in the third panel.
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No.7494
Anything I need to fix /loomis/?
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No.7495
>>7494
Her clothes.
They're on.
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No.7499
>>7494
The hair look too simplified for my taste.
>drawing bulged inside the underwear
You're a faggot.
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No.7500
>>7495
that a good suggestion
>>7499
Whats the matter boy? couldn't handle little bit of men? :^)
it suppoesed to be a puffy vulva, look like that part need fixing
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No.7504
>>7494
Her leg is too damn short! Too damn short!
i'm serious it's ridiculous.
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No.7512
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No.7513
>>7495
>>7495
It's hotter when the clothes are on, you miscreants!
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No.7515
Can somebody help me out with the concept of doing grayscale studies of photographs. How do I get better at them? What is it meant to teach you exactly?
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No.7518
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No.7524
>>7515
That could teach you different types of edges. I don't see a lot of soft edges in your work, which is something you could work on.
See CTRL+Paint's video on that.
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No.9954
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