No.7812 [Last50 Posts]
Because we should not have to make new threads or post in draw threads with our fundamental exercises.
Feel free to post even the smallest exercise you have done to show you are still trying, do not give up, make someone proud.
RESIZE YOUR IMAGES TO ~1000 PIXELS LONGEST SIDE
Pick a reference image from:
Bargue Drawing Course (https://ia601200.us.archive.org/14/items/C.BargueDrawingCourse/C.%20Bargue%20-%20Drawing%20Course.pdf), Croquis Cafe (http://www.onairvideo.com/photo-archive.html), or images.google.com to find something you want to draw-just make sure to post your picture reference alongside your work
See 4chan /ic/'s unofficial sticky: https://docs.google.com/document/d/1uwaXKU7ev6Tw_or__o8ARpUb6r2rCZYJGqwSFV9AD98/edit
and the /loomis/ Resource Hub for more information
Previous Thread: >>5415
____________________________
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No.7843
>beg
Fucking why?
Do we really need a million practice threads on a board with about 10 people browsing it?
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No.7846
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No.7854
>>7843
I understand where you're coming from and there is significant overlap between these threads, but they are a little different.
IMHO:
>The drawing thread is for mediocre artists like myself and above to post semi-completed work and get feedback to push it towards a better result
>the /beg/ thread is for people that just picked up a pencil the other day to post semi-completed work and get feedback and advice on how to proceed.
>The practice thread is for both to basically spam their anatomy/perspective/quick sketch figure drawings, process and other studies in.
Ideally there should be many posts in the practice thread every day from multiple users; the other threads should mostly be work with more conceptual intent behind it, but the /beg/ thread will naturally be an extension of the practice thread in some ways just because of the total beginner's inherent limitations.
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No.7857
are feet studies welcome in this thread or should i just start a footfag thread for everyone to conveniently ignore?
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No.7858
>>7857
Have you considered uhm…drawing other stuff too? It might help take a little bit of the heat off of you if you didn't
JUST
post feet every time. Experiment with other stuff and break it up a little, you know?
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No.7859
>>7858
I'm doing 100 feet for the "draw 100 video". This starting in the first BEG thread.
https://www.ctrlpaint.com/videos/draw-100
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No.7861
>>7859
That's fine, however if you were doing it as described in the video you'd have been done a long time ago, man.
What you've been doing more than anything is practicing rendering and that's fine, but the subject is mostly immaterial when you're spending the plurality of the time coloring and only focusing on its contours/outline.
For that Draw 100 challenge you should be focusing on the anatomy, construction, proportions and masses of the feet so you better understand them as a gestalt-the colors should be a far lesser concern if they're even present at all. You've essentially been doing still lives but without really focusing on the relevant fundamentals for still lives until recently when you stopped tracing and started coloring.
All that said, this latest piece of yours is "getting there" at least; I don't want to beat you up too much, but just recognize what you've been doing is practicing the observation of negative space and how to use color-you've only kind of been drawing feet in that context, especially since you've been tracing most of that time. In either case, keep practicing but just try and recognize what you're getting out of what you're doing and adjust as necessary.
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No.7862
YouTube embed. Click thumbnail to play.
>>7861
Where should I focus next, then? I stopped copying when you guys called me out on being a lazy cunt, I started coming back to pieces over multiple days when you guys called me out on being a lazy cunt, and on that last one I specifically avoided any amount of grey and went with what felt like waaay too much saturation since I got a lot of "it looks muddy" feedback.
I feel like I've got the gestalt of feet down, which is why I'm not doing that video exactly 100% as described. "when in doubt, do 100 of something" well, I'm in doubt of my abilities to render as well as proportion (I think those are my two worst areas atm, but I'm welcome to more feedback).
>just recognize what you've been doing is practicing the observation of negative space and how to use color
Both seem necessary to me at this stage. Is there a major component I'm missing? I'm not super concerned with, say, composition at this point (CLOSE CROP FTW).
Should I be drawing in B&W and coming back to add color later, so that I focus on tone, shading, rendering, etc and worry about coloring later?
Should I avoid line and just skip to color blobs like embed?
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No.7863
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No.7864
>>7857
>or should i just start a footfag thread for everyone to conveniently ignore?
I'm wondering why you didn't do that when the other thread hit bump limit.
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No.7881
I've been trying to convince myself to not give up for a long time. Now I realize I already gave up years ago and have just been pretending to go through the motions. How do I reignite basal interest once more, starting from nothing?
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No.7882
>tfw finally see myself slowly improving
One day I'll actually use my drawing tablet or blank pages instead of scribbling on a notebook.
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No.7883
>>7882
The pics are somewhat in order btw.
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No.7885
>>7882
>>7883
Get a cheap clip board and use printer paper fambino (make sure to leave at least a couple pages underneath the page you're working on for padding). It's literally cheaper to use real paper than that.
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No.7886
>>7881
>How do I reignite basal interest once more, starting from nothing?
You have to want it. You have to desire the outcome, the art that comes out the other end. Make what you would consume, then you're never bored.
my footfaggotry will keep me making art years after others have given up, bored with drawing flowers and vases and shit
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No.7889
>>7885
I do have one of these, but it's under a pile of stuff I need to organize, so I end up never using it.
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No.7891
>>7889
…a drill powered meat grinder?!
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No.7892
>>7891
As you can see it works well, too well, in fact.
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No.7894
>tfw just learned that the first muscle of an 8 pack is located in front of the rib cage, not under it
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No.7900
Where would one find a copy of photoshop for zero shekels while not containing a bitcoin miner?
I've been using GIMP for years but I'd like to try photoshop again to see how it goes now.
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No.7901
>>7900
What version?
Torrent sites usually are trustworthy if you know what you're doing.
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No.7902
>>7901
I don't care. Whatevers current year so tutorials I read in magazines will work.
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No.7903
>>7902
https://www.thepiratebay.org/torrent/16201212/Adobe_Photoshop_CC_2017_18.0_x64 seems good enough.
Here's the hash if you live in a shit country:
magnet:?xt=urn:btih:fef9f711f82e7a4b9c296a8c595c5b2ebf633c64&dn=Adobe+Photoshop+CC+2017+18.0+x64&tr=udp%3A%2F%2Ftracker.leechers-paradise.org%3A6969&tr=udp%3A%2F%2Fzer0day.ch%3A1337&tr=udp%3A%2F%2Fopen.demonii.com%3A1337&tr=udp%3A%2F%2Ftracker.coppersurfer.tk%3A6969&tr=udp%3A%2F%2Fexodus.desync.com%3A6969
1. Double click Set-up.exe, Login in Creative Cloud and press Continue button. In this time Photoshop is installing
2. After installation complete press Sing In in next window, then Accept and when "Photoshop CC 2017 Trial" window appears, just close it.
3. Crack instructions: Jump to Photoshop folder C:Program FilesAdobeAdobe Photoshop CC 2017 and Search amtlib.dll . There is only one .dll file so you don't need to worry about that.
4. Jump to torrent root folder that you just download ( root folder is where Set-up.exe is ) and copy that amtlib.dll file in Adobe Photoshop CC 2017 folder. Confirm replacement when windows ask you.
5. That's it, now you have Photoshop cracked and free to use :-)
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No.7904
>>7903
I don't trust pirate bay not to have a virus in the exe.
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No.7905
>>7904
There's this version over at 1337x, but I haven't used the site much before. Piratebay is usually fine if you stick to the VIP or trusted uploaders.
http://1337x.to/torrent/2569115/Adobe-Photoshop-CC-2018-v19-0-0-24821-Crack-CracksNow/
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No.7907
>>7903
Decided to give it a go but it runs like a dog. I have an upper midrange PC. 16 gig of ram. Basic image editing shouldn't be a problem yet adobe stuff just runs like a whore after Tyrones finished with her.
What the hell happened to photoshop to become this clunky?
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No.7911
Pirate photoshop cs6 if anything
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No.7963
I want to learn how to draw for fun but it scares me.
I just keep drawing till I git gud, right?
I'm going to lurk some and read the stuff that's linked.
I'm bad at learning things that aren't concrete and/or don't have one set of instructions, but I'll try for a few days and then give up like I always do.
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No.7967
>>7963
Yeah, you just gotta draw your little heart out anon.
>for a few days and then give up like I always do.
If that's how you think I suggest you don't bother even starting my man.
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No.7999
would starting a comic be too ambitious to use for practice?
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No.8001
cube
>>7999
I did some thumbnails for a comic I plan on making after I am proficient enough.
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No.8002
>>7999
Might be a good idea. One of our own has seen marked improvement in their work over the past year through the pursuit of his comic project-he is also practicing on the side somewhat as well, but as far as I'm aware his comic comes first
Compare the first pages to the more recent ones
http://endgamewastaken.the-comic.org/comics/first
You could consider beginning your comic project while setting aside some time for study as well. I think a personal mistake I'd made is that I haven't been able to accept the level I'm at and have been pensive about making personal work. The problem with this "never good enough" mindset is that I frequently get burnt out and take long breaks from drawing in general so I've ironically stagnated and drawn comparably less despite being more focused on improvement than anything else.
By all means get started on something now and then you'll have something to look back on and see how far you've come later.
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No.8004
>>7999
Go for it. It pushes you to use angles and compositions you would think to practice otherwise. Best to use a disposable idea or very short plots, though, as you'll be wanting to start over as your skills improve. (checked)
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No.8006
>>8004
>you'll be wanting to start over as your skills improve.
I know that feel, and I know it hard.
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No.8012
I've bought an Intuos draw. What is good software to use it with?
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No.8014
>>8012
>Intuos Draw
You've made a terrible mistake, but www.krita.org
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No.8016
>>8014
>terrible mistake
Why?
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No.8017
>>8016
Sorry I said anything actually, I don't want to discourage you, but check out the tablet thread some time.
Krita. 4.0 will be coming out within a week or two from what I've heard but the current version is definitely adequate assuming your computer can handle it.
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No.8034
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No.8035
>>8034
She's got a long torso but very short legs.
Try sitting on your butt on the ground and pulling your knees up to your chest (while leaving your feet on the gound of course), your knees should peak out close to the top of your chest/clavicle area like mine do.
If this character were to do that her knees would probably end up beneath her belly button!
Keep practicing
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No.8036
>>8035
Thanks for the advice. I just realized I draw the legs too short pretty often when drawing intuitively. I hope not to make an habit out of it.
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No.8037
>>8035
>>8036
There are few drawings from imagination I've done where I didn't imitate the pose with my body to understand it better, not counting extremely generic sitting/standing poses or torso shots.
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No.8124
memes
(USER WAS BANNED FOR THIS POST) Disclaimer: this post and the subject matter and contents thereof - text, media, or otherwise - do not necessarily reflect the views of the 8kun administration.
No.8125
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No.8144
What's the best way to learn this thing? I'm a symbol drawing tier hands drawer.
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No.8145
>>8124
>(USER WAS BANNED FOR THIS POST)
THE TRUTH WILL NOT BE SILENCED
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No.8146
>>8144
Start with the bones. Like draw the tits off of them
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No.8147
>>8145
You have no power here, old man!
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No.8148
>>8147
but I like Vilppu more than Loomis
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No.8149
>>8148
Wow, just wow! I l*terally can't even rn.
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No.8150
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No.8153
>>8148
I've heard a lot of stories about Vilppu from people that have taken some irl courses he has given and he's a fucking kook. He shits on anyone doing academic art and is completely ignorant about the topic.
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No.8154
>>8153
[citation needed]
LEAVE VILPPU ALONE!
Leave that senile old man alone…
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No.8155
>>8153
If you're talking about New York style "academic art" that shit deserves to be shit on, to do so is pretty redundant though since it's very often made of shit i.e. Chris "Ofecalphiliac" Ofili.
All those schools that try and convince ignorant kids that they're going to be the latest "art celebrity" making hundreds of thousands of dollars for their shitty drip paintings should be not only rejected by the public but also razed to the ground if possible
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No.8156
>>8155
Nonono, this is what I'm talking about. He shits on this. I know he brought up an example from this very school. He's in his little cult, just like Watts is in his little cult where they have this ridiculous view of art that is extremely local to certain American artists.
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No.8159
>>8156
Okay, I think I see what the problem is. Vilppu aside there's like this underground street rivalry between academic art lineages. "Comparative measurement" vs "Sight-Size". Frankly I'm surprised a full on turf war between the two hasn't started yet.
I'd like to know exactly what he said specifically, having attended a Sight-Size lineage atelier myself I understand its limitations; I don't think I'd consider myself in that camp but I do respect it. Vilppu worked as an animator for a long time before teaching so I guess I'm not surprised that he isn't the biggest fan of a super formal methodology, probably of either sort (Watts is a comparative measurement guy) as a rigid process would conflict with his own "No Rules, Just Tools" philosophy.
>tfw Vilppu is a crab
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No.8162
>>8146
It makes sense, but all the anatomy books I got explain the bone structure just briefly, I mean a couple of illustrations and that's it. They focus more on form and proportions. What do you think of Burne Hogarth's book on the topic?
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No.8163
>>8159
Anyone that thinks there's a big debate around sight size and comparative doesn't know much of either. If you're doing sight size and can't draw just as well without it you're doing sight size wrong. If anyone tells you there's a big divide between the two camps and there's some kind of rivalry or hostility, they're completely full of shit. It's a meme that I think to a large degree was started because the founders of S.A.R.A. wanted to be special and "rebel" against the Florence Academy.
All sight size is, is drawing or painting your subject exactly how you see it (this including making it the same size as seen from the viewing position). That's it. All this "measuring" stuff is just personal preference in how you do something and any student should learn how to use every method of measuring possible to find out for themselves what works best. There are some people that set up very careful arrangements to do this more easily but that's their particular setup and not representative or sight size as a whole.
If you're in a school and all you do is use a string or brush to measure your subject and transfer it to your drawing or canvas and consider that "truth" you're probably in a crappy school. You don't take your measurements as "true". They're just quick approximations and checks because there's a lot of room for error when measuring, so what you should be learning his to rely on your judgment of the shapes and forms you see to see if your drawing or painting is correct.
This debate didn't exist 200 years ago. It's such a common thing where people today lean of an approach used in the past and then they build an entire cult around it as if the painters of the past were dogmatic. They weren't. It's like the people that learn of "cartoons" made for oil paintings and think that's the foundation of drawing, so they make black shadows in their pencil drawings with sharp transitions between light and dark. That stuff was made as a practical tool for mapping out the shadow colors of a painting, but if you look at their drawings that were made as "drawings" and not cartoons for paintings and you don't ever find these sharp transitions.
This is the kind of thing Americans do. They find some little thing done in the past and build a cult around it with a dogma. I see Vilppu and Watts as much more dogmatic than any of the European academies. There's a saying that has spread across a lot of academies and ateliers and it is "there is no one true way".
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No.8164
>>8162
Hogarth is an interesting character. He's one of the least literal of any author outside of Bridgman and he goes in the exact opposite direction Bridgman does. Where Bridgman scribbles shit out and you can't really even tell what the hell is going on 99% of the time (not a fan in the least), Hogarth loads his figures up with interpretive detail that looks almost completely alien to a real real human and appears more like stone golems made in man's image engaged in some kind of ritualistic performance than anything else.
If you look closely though the musculature is basically all there, just in very "futurist" geometric forms. I like his "arrow" plumb lines too. I'm really not sure what to think of the guy but trying to draw his goofy stuff is fun.
https://www.youtube.com/watch?v=G65pvuTFR_A
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No.8165
>>8164
Well, I'm reading Drawing Dynamic Hands anyway because it's the most detailed book I can find. It's damn time for me to stop drawing crabby hands.
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No.8186
>>8155
>>8156
>>8159
>Vilppu is a crab
Fuck I never knew; I just learned better from some of his methods of drawing as opposed to Loomis. I like Loomis, but I get too much tunnel-vision if I try to be too constructive in my drawings and paintings. While I'm at it anyone have any reading material to recommend for helping you keep the big picture in mind?
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No.8194
>Vilppu is a crab now
You guys are just salty you can't feel the pose.
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No.8195
>>8194
IT'S JUST A PRANK, BRO
except maybe to this anon >>8163
>Regards, "Guy That Has Literally Never Heard Either Watts Nor Vilppu Say Anything Remotely Crabby", esquire.
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No.8276
Can you guys recommend me a few GREAT books on how to use color pleasantly? I've just drawn with a pencil and that's it. But I need to know how to make colors look pleasant for my game.
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No.8320
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No.8356
I have been doing 3 pages of line exercises, a page of circle exercises, 60 gesture drawings, and reference per day for the past week, and it is now a habit.
What else do you suggest I try to implement into these retinue?
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No.8357
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No.8358
>>8356
>What else do you suggest I try to implement into these retinue?
Mannequins with blocks (one block for the head, one for the ribcage and one for the pelvis). The basic idea is trying to bend, twist and rotate each block in a different direction. Same thing as the first exercise in this video plus head and limbs: https://www.youtube.com/watch?v=0mkDmLB6r1g
My problem is the other way around. I never practiced gesture drawing so my figures always end up stiff and boring.
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No.8481
Mistakes were made, but at least they're quite obvious.
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No.8482
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No.8491
How to draw female torso
I keep trying and they always end up lookin like tube people
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No.8492
>>8491
If you don't know what something looks like, look at it. Don't waste your time trying to figure out something it just takes a second to look up. If you're drawing bird wings and don't know how the feathers are layered, don't make something up, look into it.
Now if you can't draw a female torso in a specific pose, look up what it looks like in that pose and draw it.
If you do all of that and it still doesn't work, your problem is probably just not being very good at drawing what you see and at that point it's useless to draw what you don't see.
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No.8496
>>8492
I think the main problem is the pose i was trying to do was kinda wack (Doing sit ups upside down from the rafters) so that's probably what fucked me up
Thanks for the advice anyway
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No.8499
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No.8500
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No.8805
I've been drawing with a random ballpoint pen. What're some good resources that focus almost exclusively on that sort of drawing? Should I buy any actual materials besides a uni-ball and printer paper?
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No.8808
>>8805
I think there's a book called "rendering in pen and ink" you could look into. I sort of doubt a $00.10 bic ballpoint pen is desirable for artistic purposes but some pens can get retarded expensive on the other hand. I'd look for pens in the $1-$2 each range and never pursue anything more than that. I think the "Staedtler" brand makes some good, modestly priced felt tip pens, though I've had bad experiences with some of their other products
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No.8809
>>8808
> rendering in pen and ink
Can't find that online. Know where I could find it for """free"""?
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No.8817
>>8809
I don't, but it's also the only book I know that focuses on that specifically. For what it's worth "Keys to Drawing" is itself drawn very sloppily in pen so that might serve as an example of sorts but I don't think it discusses the ink medium itself too much.
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No.8899
Recently started to study loomis. Is it a good idea to copy the same pose over and over until you can draw it from memory?
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No.8901
>>8899
Same pose and reference or same generic pose from different references?
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No.8902
>>8901
This is from loomis sketches
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No.8909
>>8902
I guess it all depends on your goal. If you wanna draw comics or mangos you have to get used to draw people in all kinds of poses and from different POVs, foreshortened, etc. If you need to memorize those poses? I don't think so. You should focus more on the construction method itself.
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No.8910
I've been trying to nail that blacksmithed feeling for the texture, but unless you go close to see it it looks like dog shit. (also ignoring everything else much worse with the drawing)
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No.8920
>>8899
>>8902
it says right there, draw the boxes and use it plus the reference to get the right proportions. you made his legs, shoulder and tricep look weird because you're still symbol drawing.
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No.8921
>>8920
Drawing something inaccurately from memory or observation and symbol drawing are two very different things. What he did is actually a pretty good attempt at a difficult pose for what I assume his level is, but yes he neglected to portray the deltoid wedging into the rest of the arm properly.
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No.8926
Not sure about the serratus anterior origin at the ribs.
>>8910
I got a couple of books about that the other day but haven't read them yet cause I'm trying into anatomy. If you wanna check them out:
- Owen Demers - Digital Texturing and Painting
- Diane Cardaci - Drawing Made Easy: Realistic Textures
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No.8931
>>8926
That looks really spooky
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No.8933
>>8931
Stop skinny shaming please.
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No.8939
>>7900
honestly m8 if you want to get a painting software with not shit brushes, get Paintstorm studio
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No.8941
>>8939
Not him but just trying it out I kind of like it. The interface is kind of "busy" but it has the best pencil brush (brushes) I think I've ever used. Some problems I'm running into: can't scroll down on the brush menu (lol).
I might legit buy it just because of the pencil brush, not sure (haven't checked the price, for one lol)
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No.8969
I stopped practicing years ago, but it seems a crying shame to leave the skill in the dirt. I picked up a lot of bad habits from weeb friends in highschool. I take way more enjoyment in character design than I do the actual execution of producing the art, which makes me extremely vulnerable to being an ideas guy, so it's hard to convince myself to practice at all. I often design something like a set of armor one limb at a time and then lose all motivation to ever draw it assembled.
What's the most glaring error you see in this image? A dear friend said it lacks the illusion of depth, which I can definitely see, but I was curious if anyone else had anything else to say. I know my face is janked, for the record.
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No.8970
>>8969
The clothing design is nice. I feel like his legs are quite a bit too short but it's hard to tell when you save the image at almost three times the size in height a typical monitor is able to display. You did a good job translating the pattern on the pant cuff on the leg on our left onto its opposite on the right.
The face is messed up. His eyes are enormous and the bottom plane of his nose is at a completely different angle to the rest of the features of his head. The nose is too long and the mouth is a bit too far down from the nose, too. Keep practicing
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No.8971
>>8970
>post on /loomis/
>get helpful response within moments
Truly an auspicious event. Thanks for the specific points, Anon. I'll work on faces.
My command of facial anatomy was so bad in highschool that I drew a character with an emo haircut before it was a thing because it let me hide half the face, because I couldn't manage symmetry to save my life.
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No.8972
>>8971
One of the things that really helps drawing faces is drawing actual skulls. None of the abstractions you'll read from books whether it's the loomis method, reilly method etc. will do much without that kind of an understanding. What I suggest is swinging over to the practice thread and looking into the "3D models for 2D artists" pastebin for resources as far as that goes.
Of course, those aforementioned abstractions are actually pretty helpful to understand too so look into them as well!
Unfortunately, like the rest of us, you've got a lot of work to do-but kick the studying thing's ass now and you'll thank yourself later (instead of wanting to kill yourself later like me)
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No.8973
>>8971
>get helpful response within moments
Also I wouldn't count on that necessarily. This is a very slow board (average 8-10 posts a day I think), so the odds of any given pair of users just bumping into eachother like this is pretty low. I'd say it's best to check it maybe a couple times a day but don't sit here and refresh the page constantly. When it comes to an art board it's actually good to be a little dead, the more you're posting the less you're drawing, after all.
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Post last edited at
No.8974
>>8969
His left arm just kinda disappears. Looks like a scarf in the front and cape in the back, but the outside line of the cape becomes the inner line of the scarf.
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No.8980
How long does it take to actually get good at drawing
t. someone who doesn't have a lot of time left
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No.8981
>>8980
Depends on you. Some people will get more and better practice in than others in a shorter amount of time. If you want to be proficient in just a few years it's unfortunately a pretty uphill battle.
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No.8989
>>8972
Cheers, Anon. I'll try some skulls. This is what I've managed after one sitting's repeated tries with some Loomis examples.
>>8973
That's kinda why I called it out as notable, yeah. I wasn't expecting a response until the next day at soonest.
>>8974
Hue, I caught that shortly after scanning it. I fixed it, but didn't bother to re-scan.
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No.8990
Holy shit, how do I not suck so bad? Everything I make is fucking terrible. I tried simple tank sketches with perspective as well as simple animu girls to at least get something humanoid. Yet it's all shit. Is there any simple book or guide that teaches you to not suck?
At least my perspective practice cubes aren't complete garbage.
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No.8991
>>8990
Yes. It's the board name.
LOOMIS
There's a free online repository of all his books in pdf format, I believe linked in an OP around here somewhere.
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No.8992
>>8989
Not a bad attempt; can you see some of the flaws yourself, after the fact? If so, keep them in mind next time you draw something similar and correct them.
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No.8996
>>8980
Depends on what you mean by "good". You could probably get good enough to make good money on it in a year but that's assuming sort of optimal conditions. Most people never get good enough to make money on their work and there are a lot of different reasons for it. I think primarily it's that people don't know what to do and we can see that the common advice online isn't very good considering the extremely high rate of failure.
If you take this stuff seriously I can always help out and this goes for anyone here, you just have to ask. I've taught people that do portrait oil-painting and people that do gay furry commissions so I have decent range when it comes to what I can help out with. I'd just limit myself to those who want to be professionals, not to be a dick, I just think that I'd rather help someone that "needs" help rather than someone that just wants help to have fun.
I've had some crappy experiences helping people online, It could maybe be interesting for those of you that consider yourself a beginner to hear some of the bad experiences of someone that has taught intermediate artists.
This one time I really invested in this one guy that was sort of intermediate, could earn a little when it came to commissions but he had basically hit a brick wall when it came to improving, so he never got to that point where he could pay his bills from art. So I help him out and I give him this one exercise to do, super simple, I go over it in detail, I show examples of it being done both from when I was at the academy I studied at but also I showed him paintings from the 1600's where the thing I was explaining was being done. I gave him mental tools to use, I warned him of the common pitfalls and so on. I was setting him up to do this well.
Anyway the next day he comes back with what he did and he did poorly. I expected this, you often have to have your own work "fixed" to un-fuck your brain and "get" what's being taught on a deeper level (you don't always need someone else to un-fuck your work, you can do it yourself too but it's often easier to have help with it), so I helped him. So I showed him how to un-fuck his work, I gave him additional "tools" to help prevent this mistake from happening again. I also pushed him to make things more accurate and I really helped him out to understand how he without my help could run through these "checks" by himself to check if his drawing was accurate, to sort of give him the ability to self correct more easily.
So then the next day the same thing happens. I've often fucked up the same way several times even after being corrected because things didn't "click" the first time, That's normal. So I go over it again but change my explanations to maybe see if a different approach to the same ideas would help it click. This happens again the next day but this time after I correct him he gets really upset, says something to the affect of "I know what you're telling me is probably much more effective but I want to go back to what I was doing before". So that kinda sucked because he had invested I think 5 years just into learning and he didn't really improve since he started, so going back to that was just easier for him to deal with. So he didn't really complete one exercise before going back to his comfort zone. I think we often do the thing that is the most comfortable and allows us to get away with confronting our problems.
Let me know if you want more stories, I have a few weird ones.
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No.9001
>>8996
I'm not the one you replied, but what was the exercise you gave to that guy?
Please, go on if you have more stories to tell. Good stories really strike the core, and reading about that guy gave me a boost to keep pushing. Hopefully someone else feels the same way.
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No.9003
>>9001
So the guy had real issues with line and I figured that rather than make step 1 "get clean lines" plus all the other stuff I wanted him to do, I figured it's best to build off from what he's comfortable with into new things. So I wanted him to draw/paint a small part of a Ribot painting. The reason I chose the Ribot painting was because it was very extreme in it's depiction of light and shadow shapes with practically no halftones so the entire image rested upon drawing/painting those two values correctly. There was no room to do anything else, so it was an easy way to focus his attention on what was important without getting distracted.
So he'd work digitally and a problems he'd get into was for example he started making hatch marks and he told me it was for the "form". Well those hatch marks didn't exist in the ribot painting so I told him to get rid of them and to only paint the light and shadow shape exactly as he sees it, and if he does that correctly, the form will work. He'd also come back having used the smudge tool to blur the contours in parts that weren't blurry in the image, added ridiculous textures here and there for no real reason.
The biggest problem overall was just that he didn't focus on getting the drawing accurate and because he'd then look at the image and be disappointed by it, instead of correcting the accuracy he'd just try to add more stuff to it. I should mention, I went through with him carefully how to draw accurately, showed him many ways to correct himself and how to solve common problems you get yourself into. He just wasn't interested in that.
I wouldn't suggest just finding a Ribot painting and doing this exercise. It was specifically made for this person with a specific image in mind along side a lot of example images and explanations. There's no real point in me suggesting a specific exercise, the important part is the information to be applied in the exercise and having someone correct you, explain the problems and explain the solution the give you tools to be able to do this on your own, and then repeat this. You sort of need to be introduced to these things slowly, bit by bit and then go back to strengthen each part until you can independently go out on your own and continue to learn without aid. Kinda like, giving you a strong foundation to understand drawing and painting so you can build upwards on something solid and to fall back on something that always works. It's of course not the only way but it's what I think works best for most people.
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No.9013
Some imagined 3d cube mutilation, gestures and drawing by eye (chimney)
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No.9014
>>9013
also attempts at cartoon winged dinosaur and a rose
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No.9015
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No.9016
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No.9019
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No.9020
>>9019
Pillar on the right is noticeably thinner than the one on the left and also more narrow at both the base and the top, sort of implying that it's further away while still being attached to the same surface as the one on the left. Looking pretty cool so far, though.
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No.9023
>>9016
these are my firsts tries at shadow
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No.9024
>>9020
You are right, i forgot to check the whole thing unzoomed. I also decided to upscale the size and push inward with the top triangle, so these are the current plans.
Once finished with that i also want to draw some long grass and roots into the side of the mountain.
Also small stick figures for size comparison to human height.
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No.9035
>>9024
update. Thinking about starting texturing, because otherwise i would spend even more on drawing outlines.
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No.9096
>>9035
I feel that given the perspective the viewer should be able to see the bottom of the columns' capital.
As of now it looks like they're at eye-level.
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No.9104
>>9096
That's a damn good observation and something I'm ashamed I missed with my earlier critique.
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No.9131
Bodies, how do they work?
>Kill me now
What's the first and most obviously glaringly wrong thing to specifically work on there? I'm doing simple gestures and general linework practice and am going to start working on individual body parts day by day, but what's *most strikingly bad* here?
I'm pretty sure I got the tits straight up wrong, the legs are too long and thin, and the lines are too messy to tell whats going on with the muscles and where ~ That about right?
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No.9134
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No.9135
>>9131
No, you didn't get them right.
The first I'd say that is wrong is your form. Dont just study anatomy – muscle here bone there – apply it in a real setting, i.e figure drawing from real life. It will give you a much better idea of the form, the rendering, and perspective.
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No.9139
>>9138
looks like an 8chan bug
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No.9143
>>9135
Is this essentially the kind of practice you meant?
+ Hands practice. I think they look human enough, though a couple on the right are odd when I tried twisting my wrist and drawing it.
Also now that I look I can see the myriad of issues with (this) drawing, and I dunno why but different perspectives on feet and sometimes hands really just kills me. Guess I'll just have to keep practising them til I can remember them right. .
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No.9156
>>9143
I absolutely dont know anything about anatomy and am a beginner so take this with salt, and this is probably too cluttered to help.
Anyway, notice how the red outline and green lines go on the picture and your drawing? The front leg looks a bit too extended, like it's deliberately stretched out. Try to pose the same way as the model. Most of the weight will be on your back leg allowing your front leg to bend and turn at the hip, knee and ankle. Also try drawing a straight line through the hip where the legs connect and knee in the middle of the leg on the picture and your drawing and notice how it leaves the rest of the leg in the picture with a turn of the lower leg while yours sticks to that straight line more or less.
Looking at the feet is where the dark blue lines come in also. Look at how the front leg turns. While the upper leg is turned it turns the restof the leg but notice how the feet isn't turned away from the viewer that much, only making you see part of the heel less defined as part of the silouette that defines the shape of those lines. also notice how the back leg's heel seems to be raised slightly and turning towards the front foot and is more flatter than it seems.
Light blue is to indicate which direction the body seems to turn. Look at how the back arches and makes the top third turn away, middle forward and bottom third in opposite direction than the 1/3. The body is kind of twisting as well as swinging to the side.
The purple line is just for general measure. The model, when imagined standing on a qube seems steady and balanced. Try to imagine your drawings on a cube not much larger than them and try to balance them on it as steady as you can.
Also notice the exact invisible line between the armpit and the hip, making the upper torso kind of feel squished a little bit. Try looking for these invisible measure/help lines to help you out.
What you might want to try is print pictures of what you want to draw and have the pictures a glace away from your paper and draw them side by side looking at the lines or just the outlines as close to the picture's lines as you can. always try to relate the lines first, and make sketches with pencils before until you are satisfied, but try to get as close as possible with each individual line to the picture. no shit sherlock
I also tried (though it's digital so much easier) and didn't quite get the lines correctly (or at all)
look at the generalish shape of the leg and compare/contrast yours.
For the record, i believe i went too slim on the upper front leg and bent the front of the lower leg too much inward.
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No.9157
>>9156
Oh as soon as I finished I noticed these problems (and more), the main reason for posting was asking if that's the kind of practice that was recommended, but thanks for the pretty in depth perspective,
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No.9161
>>9104
>>9096
Update. I drew some horizontal lines to help with perspective for the pillars.
Not satisfied, but it'll do as i want to texture everything which will take considerably more time, but thanks for the advice.
Also a closeup on textured+shadowed pillar.
For the most part the rock/marble texture is sufficient, though i want to experiment with more whiter lines cutting acrosd the pillar to really get that marble like feeling.
I feel like the lighter and darker parts are too "smooth textured" (meaning no grayscale fluctuation like real marble, similar to midgray parts that has that kind of rougher marble/dotted old style tiles feel.
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No.9168
I started to use the curve tool in Clip Studio Paint for my construction and it massively saved me tons of time when cranking out the general proportions of my drawings before I start filling them in.
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No.9409
>>8992
I have a hard time singling out individual issues, though I can see the broader problem of an unconvincing rendition. I'm currently trying to make myself go through some basic exercises and read Drawing on the Right Side of the Brain. I've been drawing since I was a literal infant, but I've had little to no actual training or instruction, so I've got a lot of naturally developed bad habits.
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No.9412
>>9409
The most glaring problem is the skull. Your features aren't terrible and you have "the right idea" but the back of his head is deflated. That's not to say that there are no other problems, just that that is the most glaring one. His eyes are a little big and higher up than they should be as well, but just by adding a little bit of volume to the back of the guy's had you'd improve the picture quite a bit.
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No.9425
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No.9427
>>9425
Activate pressure sensitivity fgt
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No.9428
>>9427
I don't know if the pencil is broken or I have no idea how to activate it, but it doesn't work.
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No.9429
>>9428
>>9427
For fuck's sake, I don't even know what happens after I 'ink' the fucking drawing.
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No.9430
>>9428
what software are you using fgt
heh
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No.9431
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No.9432
>>9431
do u hav either of dese activated?
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No.9433
>>9432
Yeah, it looks like there is an incompatibility. I guess I'll have to practice more.
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No.9434
>>9433
Are you using a wacom tablet? Try installing the previous driver
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No.9444
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No.9449
Has anyone switched hands they draw with? I have some RSI on my right hand and the /ic/ guide linked in OP tells you to switch hands because the skill is in the brain. But I can't find much about people actually doing it.
I already can't draw shit so doing the change early would be good but I basically don't have any control on my left hand, I only use it for keyboard.
Drawing itself requires time and I get that but I'm not sure about becoming ambidextrous. I think ZUN also draws with his non-dominant hand but his art doesn't exactly give enough motivation.
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No.9450
>>9449
Things like changing the hand you paint with is a very modern idea and just something cute people do in shitty art schools. There's no real reason to do it. Drawing is hard enough as it is, you don't need to make it harder for yourself by setting up weird obstacles in your way.
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No.9477
>>9444
loomis's has a thing for old men
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No.9754
What's a good lesson plan to follow to get good or at least decent at art?
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No.10447
Currently going through drawabox exercises. So far I've done all the homework from lesson 1, though I'll probably do the rotated boxes (exercise 9) again. About to do the 250 box challenge. I know this is the beginning and is on fundamentals, but this is starting to get tedious and boring. And while I'll probably stick to this tutorial, from what I've heard drawabox isn't perfect and I'll eventually need to start learning from other sources. So I'm wondering how I should pace myself. Should I:
>Only focus on the 250 box challenge, and keep doing only drawabox lessons for a while till I get the fundamentals
<Start working on another tutorial while I'm doing the 250 box challenge, and start learning things such as anatomy, shading, color?
>Start trying to draw things beyond boxes, even if they require later lessons?
While I do want to start drawing other things, I have a feeling that until I start doing lesson 2 and more fundamentals, the drawings won't be anything more than tracing. I feel like I can only trace things (that aren't boxes) instead of draw them from a different perspective, and looking ahead the later lessons seem to be teaching that.
On a completely unrelated note, there is webm floating around where an artist tries to teach people about drawing memory and keeps messing it up. Does anyone have it.
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No.10448
>>10447
There's no perfect tutorial and no perfect way to learn. For example, it's very difficult to shade things if you don't have a grasp of 3D shapes, thus "you should learn to draw shapes first". However, shading can help you sculpt and understand 3D shapes better. I couldn't tell you what's the right way to go about it.
IMO you should try to feel on your own what you find useful to you, but then again some people get lost if nobody is telling them what to do. My philosophy on everything has always been "listen to everyone but believe no one", it's much more useful to find my own understanding of things in my own way than believe/follow a thing someone else gave me. You can always go back and forth to whatever exercises and tutorials you think you need at any time, and take a break to try different things when you feel like it.
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No.10456
This is unironically the best thing I've drawn.
I can't wait to wake up tomorrow, look at this again and go "what the fuck, this is shit!" like usual.
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No.10457
>>10456
It's okay. I'll just post that for you, now.
What the FUCK is this shit!?
It looks like you're beginning to understand form to a degree; you did a good job giving the eye a sense of depth into into its socket. You screwed up the nose a bit, looks to be angled way down, and for all of our sake I'm glad you didn't finish that mouth. It's okay though, we all had to start somewhere, keep practicing bubbi
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No.10461
>>10457
Just woke up, surprisingly not as disappointed as I thought I'd be. It's probably the only jaw I've drawn that wasn't either creepy fat fuck tier or ayy lmao, the center part of the nsoe was also decent enough, but yeah, I just can't seem to figure out how to draw nostrils and my mouths always end up being nigger tier.
I have no idea how to draw non-nigger mouths with line art alone, I guess I could just stick to that animay line mouth until I go into color/shading.
>What the FUCK is this shit!?
It's an affirmation, not a question.
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No.10469
>>9754
http://drawabox.com/lesson/1
Learn to make lines, ellipses, basic shapes, 3d shapes and use of perspective. This is arguably the best beginner lesson I've seen put together by someone - video tutorials, lessons, exercises and homework for each lesson. Should help you get better if you actually do the practice and spend time on each lesson instead of doing one example/reading and moving on without actually learning.
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No.10483
I don't even know anymore…
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No.10484
>>10483
That's not all that bad, she just doesn't have a neck is all. Also what the hell is going on with that foot. Come on lad, step it up!
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No.10485
>>10484
That foot represents all the inability humanity has against their most feared feelings and anxieties.
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No.10489
>>10469
Thanks. That looks really interesting. I often draw boxes just because i'm bored and i hope that one day i can draw as good as my grandfather but since my motivation is a big problem i'll try this lesson to get a rhythm into it.
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No.10494
>>10489
It goes beyond boxes - that's just the starting point. Theres dozen or so lessons that go into texture, plants, animals, composition, etc.
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No.10495
>>10469
>>10494
>shilling the terrorist's content on this sequestered board of all places
Gosh could you just like, not? Like wow smh
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No.10671
This thing is surprisingly smug considering how much of a disgrace it is.
Fuck the entire facial structure. I can't draw anything with no skull reference without it looking it either looking like a fucking mongoloid or the flattest animey face.
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No.10673
>>10671
Draw a lot of skulls then, bro. The 3D model in the op is a good reference.
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No.10740
Recently, I started drawing a manga (yes) in order to practice drawing characters from different angles and in various situations. Pics related are 4 pages from the manga. Now, I know that there are problems with perspective and anatomy but it is not what I wanted to ask about (although you can comment on it if you want to). My question is - why does it not look or feel like a manga? I honestly cannot pinpoint what exactly I am doing wrong. It just does not look right. Is it about the lineart? Is it too thin, too thick, not varied enough? Is it about shading/shadows/halftones? Is it about the lack of details in general? I find it even hard to describe what exactly I am talking about but hopefully you get my point.
As an example, I attached the fourth picture - a page from a random manga, I don't even know what its title is. However, despite the fact that the art is nothing special, it looks and feels like a manga. So basically, my question is - what am I doing wrong? How can I make my manga look and feel like a manga?
And again - my question is not about the anatomy or perspective - I know that I suck at it but I'm practicing. I will appreciate all constructive critique, of course, but this time my question is regarding a different subject.
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No.10741
>>10740
It's cute anon. On the 4th page (page 8) I wouldn't just have her upper chest and hair in frame like that while she's running because it doesn't read well. Even if you had dialog like "I am running lol" it still is something that ought to be avoided-especially because her arms are by all appearances at her sides. It just looks like her hair is trying to escape from her head for some reason
There's also a recurring problem where her eyes look flat in 3/4 view because they're the exact same shape with their size changed only slightly with the outer contours being reversed. Look at how the eyes change both size AND shape in the manga you posted and let that sort of thing inform your work better. Keep it up lad.
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No.10747
>>10740
I don’t see anything that screams not manga. I think it just comes down to a matter of skill level, duder.
Your lineart isn’t too thick or too thin, it’s just not as confident. And it looks kinda soft; like darkened pencil instead of ink. Some of your screentones could be applied better. Like the larger element one used in the subway: turn it to 45 degrees if you can. It cuts down on the moire patterning. You’ll notice the “large dot” screentone on the manga page is rotated like this. It also stops short of touching the girls, giving them that nice white outline to separate them from the background.
Keep drawing. Observe what you want to emulate. You’ll get better.
I’m not an expert on nip comix
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No.10753
>keep trying to make animay faces by copying the angles from images
>draw a skull, it looks decent enough
>draw animay, it looks like shit
>try to simplify the skull and draw over it
>it looks decent
Who'd have thunk that actually following the basics would work.
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No.10758
>>10740
I agree that it's mostly skill level all around. I can't recall any examples but I've seen manga that look very similar to yours as far as style goes. mostly shoujo manga for young girls
One thing I'm noticing that's very characteristic to western artists, especially beginners, is the tendency to spend too much effort in small details rather than the overall image. Like adding details that emphasizes anatomical details too much, or timidly implying little wrinkes in clothes. Eastern artists generally have more loosely drawn details and know where to put detail and things flow more smoothly. It's as if western artists hold a smaller part of the drawing in their immediate attention at once. Practice making things flow smoothly and follow a direction, your hair is especially looks like she cut it herself and is frazzled all over.
Props for actually working on a manga, I've been mulling over trying for a long time but never seem to get started.
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No.10762
>>10758
>avoid perfect circle irises
Not him, but why's that?
Actual irises are mostly round, aren't they?
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No.10764
>>10762
>Actual irises are mostly round
They also don't cover half your face, it's a stylistic thing.
I don't know if there's a reason for it, but it'll be hard to find perfectly round irises in anime/manga art. A lot of the eyes, especially the big uguu eyes are not circles, but rather some kind of ovals or rounded rectangles. Even the round ones are usually distorted a little bit, though it's hard to describe what's the "right way" to distort them. Sometimes the lower half is wider, like an egg, but there's no hard rules.
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No.10767
>>10740
Definitely keep working on your overall skill. I recommend finding a handful of manga you really enjoy and emulating everything you see, especially technical details related to inking. One of my issues with your art is how you do the eyes, which are reminiscent of how to manga books. Applying techniques in particular is really important to a good manga since you are telling a story in black and white. You have to work harder to hold someone's attention. Balanced contrast and good composition can sometimes carry a badly drawn comic.
When it comes to contrast, there's just not enough of it here. There's plenty of grey tones but without much going on in the background if you stand back they feel very empty. This is despite there not being much going on in the last example. All the characters have different things going on with their clothes, dark stripes, different tones, gradients, etc. which helps balance this image. And of course by contrast I mean… there must be more black/dark tones spread over the pages.
>>10764
perfect circles are actually quite common in shoujo styles. I'd have to agree that there are few rules, most of them are unwritten which is why it's a good idea to just emulate whatever you like until you get it.
t. mangafag
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No.10768
>>10741
Thank you. I agree, 3/4 view is something that I find hard but that is why I try to avoid using frontal views as often as possible in order to get a bit better.
>>10747
Thank you. I have several ink pens brushes, I'll give them a try. Perhaps that is what was bothering me?
>>10758
That is perfect. Thank you for putting so much work into your reply, I really appreciate it. I never noticed the details aspect but I totally agree. I did it unconsciously but I'll definitely try to improve it.
>>10767
Thank you. One thing that I find particularly difficult is finding when to use the correct shadows (meaning: when to use pitch black, when those shadows made out of lines and when to use gradients). Is there any general guideline when to use which or it a matter of finding/knowing what is best (hopefully it comes with time…)?
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No.10769
>>10768
In my personal experience lighting is really tricky to master and it is something that comes with time. This is coming from a place of experience where every scene i've done thus far has been a night shot. What i've learned is that lighting doesn't need to be consistent with every single shot, but it should be consistent with the kind of mood you're trying to portray.
Your worst enemy in comics is confusion. So with that in mind you need to think about what you can get away with portraying while not detracting from quality or understanding. You mostly just need your reader to understand what's going on and make the panels "readable."
For example, I said every scene has taken place at night. The biggest hurdle to that is, how do I color/portray such a scene without adding heavy shading to every character and object? It sounds pretty puzzling right?
Well looking over various works I made an interesting observation. Characters often portrayed under the cover of night aren't really shaded much at all. In fact, most of the time they're drawn/portrayed the same way as if they were standing in daytime! Or they may have a gradient over them- But somehow it comes across as being natural in these kinds of comics. In fact using very heavy contrast can change the mood to something you may not want. But this is just a personal example.
You may want to take some time to observe the way that shadows are cast in real life and experiment with how it looks on paper. Take an image and up the contrast, change it to black and white, you can see where the darkest parts of an image are that way. This is key when trying to make interesting backgrounds or nice foliage.
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No.10771
>>10741
>It's cute anon. On the 4th page (page 8) I wouldn't just have her upper chest and hair in frame like that while she's running because it doesn't read well. Even if you had dialog like "I am running lol" it still is something that ought to be avoided-especially because her arms are by all appearances at her sides. It just looks like her hair is trying to escape from her head for some reason
A good fix for that would be a different composition. I'd make one or two compositions that silhouette the main character to sort of imply how big and scary school looks to her (ex: have a silhouette of her running towards the school through the gate).
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No.10772
>>10764
>They also don't cover half your face,
Not with that attitude they don't.
>it's a stylistic thing.
I guess, I was just wondering if there was an actual reason for it besides animay.
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No.10773
(the board should be working again finally just for your fyi information lads)
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No.10788
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No.10789
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No.10790
>>10789
>>10788
Pretty interesting as silhouette studies. I love Soul Caliber's character designs (especially Hilde; hubba hubba) I'd love to see you push stuff further.
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No.10796
Please toast and roast me.
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No.10798
>>10796
I'll talk to you about it in the morning. For now, that face will have to haunt my nightmares.
I kid, it could be a hell of a lot worse. That chicken scratch needs work. You did a fairly good job with the jawline, ears and nose but the outlines of just about everything else are all over the place.
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No.10799
>>10740
The biggest reason it doesn't "look like manga" to me is her design. Her head is too round and her eyes are too high. Generally in anime/manga if you want to stray from realistic portions, you give them a big egg head, and then you lower their eyes so they have a huge forehead.
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No.10800
>>10798
I made them sketchy, because the hard lines looked weird to me before I got to coloring. I wanted everything else to look more paint-like I guess, but I don't really know how to go about it.
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No.10801
>>10800
It's okay, I'll try and help you more when I'm not five minutes from passing out, but hopefully other people will chime in, too.
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No.10802
>>10790
These are from kingdom of amalur, but now that you mention it i might as well look into other stuff.
I do these becausr i can shit them out fast and work on them later when i have the time and energy.
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No.10813
>>10796
I made something else while I've been waiting. No scribbles this time.
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No.10814
>>10813
This is a bit better, now work on alternating your line weights in an intelligent way. Ironically the pig girl in op serves as a good example. I notice in this picture and your previous piece as well the skull seems a little oblong. You have the right idea with the general size (a more common problem is to make it far too small relative to the features) it just seems like it's favoring one side over the other more than they should, a little imbalanced
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No.10817
>>10814
Alright I'm studying some heads to see what's fugged. Do you think the facial features line up right? I think one reason it might look "a little oblong" is because when I look at references I fail to notice that their head is slightly tilted.
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No.10821
>>10817
One thing that really helps is to study real skulls something I'm in dire need of myself. Not because you're planning on drawing anything particularly realistic, but it helps to give your drawing a logical base from which to spring off of. You aren't necessarily too far off, your biggest problem with the overall size I feel is the hair volumes slant downwards too sharply on that side of her head.
Granted, this all goes back to that timeless ideal of knowing the real thing first to help inform your cartoon shit later.
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No.10865
My friend and I are working on a low-budget game project and I volunteered to think up some enemy designs.
I dug through my old highschool art class sketch book for inspiration cos I used to doodle in it all the time, but I realised my art skill hasn't improved at all since then.
Pic related is probably the best thing I could find in there.
Where do I start to improve?
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No.10866
>>10865
Is that his dick?
I'd say learn stuff in this order: perspective -> basic 3D shapes -> anatomy -> simplifying anatomy with basic shapes -> color theory/grounding whatever else you want to learn
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No.10887
>>10447
50 boxes in. Only 200 more to go
please end me
Also I just realized the video I was looking for was in the OP.
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No.10889
https://e621.net/post/search?tags=thecon
I've wanted to draw similar to artist such as this guy, where the anatomy is exaggerated, but still retains appeal. Is anatomy a must know for doing stuff like this, or are there certain workarounds with cartooning?
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No.10894
Im new here, dont really know how to color
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No.10895
>>10894
Work dark to light, alternating between hard and soft edged brushes. Try and deconstruct a picture you like
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No.10896
>>10889
>Is anatomy a must know for doing stuff like this
Yes.
Even on his pics you can see a lot of landmarks and whatnot, plus proper breasts, which's usually a problem for artist who exaggerate them.
Drawing cartoonish stuff is mostly about understanding the original object and distorting it in a 'natural' way of sorts. For humans, you need to understand human anatomy to draw them in a exaggerated way, even Loney Tunes' artists had to learn anatomy.
You could just force it through, but then it'd end with some DA tier shit.
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No.10903
>>10889
I suggest you try to draw characters without studying anatomy if you want to, because once you start running into pitfalls you'll understand why you should, and start doing it anyway.
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No.10909
This is probably the last one I'm going to post for awhile. I really need to work some things out. I almost thought this one was sort of alright, but the eyes are definitely fucked. At least the head shape looks alright to me.
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No.10912
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No.10915
>>10909
Is overall not bad. You've got one eye with a "normal" iris, and another with a backwards curve. I know some big-eyed moe-kun suki-detsu animes pull off that concave iris look, but it's on both eyes, yeah?
The bottom lash/eyelids were shaped in the same direction; I mirrored one. And don't add blush with your shading color or purple unless she's some kinda alien.
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No.10923
>>10903
I've studied over refs of anatomy before. Just distorting it is what gets me. Have any tips on properly distorting?
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No.10926
Damn i really need to practice drawing with an actual pencil.
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No.10932
>attempt to mask off portions of tits so when the tunic layer is hidden, the full bare titty can be exposed
>hide tunic layer
>portions of tits are still hidden
>can't merge transparency layer with tunic layer
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No.10933
>>10932
Forgot to add…
Why do I even bother drawfagging anymore?
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No.10935
>>10932
>those tits
Breasts come form the shoulder, not the torso.
Also, what are you trying to do? Couldn't you just make a simple gif?
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No.10936
>>10935
Breasts emerge "floating" off the pectoralis which itself inserts into the shoulder girdle, sternum and arm. Saying the breats themselves come from the shoulder is not accurate though lad.
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No.10939
>>10932
I honestly have no idea how that could possibly be happening.
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No.10941
>>10935
>make a gif
but how
I can't animate to save my dick.
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No.10943
>>10941
>install gimp
>paste frames as layers
>rename each layer with the time in parenthesis if you want variable time, e.g. "layer 1 (500ms)"
>ctr+shift+e to export
>rename image to whatever.gif
>click save as animated
>choose default time for layers without specified time
>???
>profit
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No.10959
>>10943
Jesus, that's terribly convoluted. Just use krita or something.
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No.11007
>>10932
What? Transparency mask for the body and the tunic need to be separate layers because they do separate things.
If I understand what you're trying to do, you can do it in krita with layer groups like pic related.
>>10959
>Jesus, that's terribly convoluted
That describes Gimp pretty well overall.
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No.11040
Why the fuck does this look so awkward?
It's like everything I try to do to fix it only makes it worse, I'm almost sure it's something with the torso, but putting the tits higher didn't work.
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No.11060
>>11040
They look like you took big boobs and just made them smaller, that combined with the fact that the breast isn't lifting with the arm is making it look awkward.
Boobs that small don't have any heft or sag. They're more like perky bumps, which understandably can be hard for people to grasp shape wise so no faulting you there. I also think they're a bit too high up. Pectorals end somewhere around the little cleft in the ribcage and not too much further from it. Pectorals stretch around with the arm's movements, and when the arm is raised, if the boobs are small, the boobs get stretched too. Here's my shitty example.
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No.11062
>>11060
Good post fambinosaurus rex
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No.11096
>>7812
>Step 1 to being a good artist: just draw a fucking swastika on some chick's face
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No.11097
>>11096
It doesn't work as well with a Star of David.
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No.11098
>>11096
Why do you think Hitler was a good artist?
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No.11100
>>11098
>Hitler was a good artist
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No.11103
>>11100
Seems pretty good to me.
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No.11142
>>11100
He was a good artist. Certainly above average by contemporary standards.
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No.11255
So I started to "seriously" learn to draw this week, these are a few hands that I've drawn. The first pic is my very first attempt, and the fourth is my most recent. I feel pleased with how they've progressed, but I wanted to get someone else's opinion. Is drawing hands a good way to ease myself into realistic drawing or should I take a different approach entirely?
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No.11256
>>11255
>>11255
Are you just drawing the outline of hands as you see.them? You have proportion issues. Last image index is huge compared to bent fingers. Not sure pinky reference but its usually a little longer and up just at or little past the ring fingers 2nd knuckle (one just before the nail joint tip). The palm size seems off and you have are drawing fingers flat. Even the thumb. Theres curvature. Not all fingers face forward even when held straight. The nail will curve away. If focus is middle finfer there will be curvature of nails left and right. The finger itself will curve off. You basically wont see the entire top side pointing straight out.
If you arent, try doing some basic construction lines. Hand palm is like a square with a triangle on the end for the thumb. With this 5 sided shape, map out center lines for fingers. This is the minor axis thru each finger. Draw in the 3 knuckles/joints as circles. Connect tissue. Add nails. Then go back over with final linework adding any curvature or skin folds or veins etc.
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No.11259
>>11256
Thank you very much for the advice, anon. I have been doing some basic construction work, but I think I have been going about it in a way that leads to the proportions being off. I would start with a square and then add circles for the knuckles, completing the basic construction for each finger individually.
>Hand palm is like a square with a triangle on the end for the thumb. With this 5 sided shape, map out center lines for fingers. This is the minor axis thru each finger. Draw in the 3 knuckles/joints as circles.
This order makes much more sense compared to what I was doing before. I can easily see how using a 5 sided shape instead will give me a better result, and I think that by mapping the lines for the fingers all at once will make it easier for me to keep the correct proportions. I'll make sure to incorporate this advice into later sketches, and I will post the results here if I can remember. Hopefully I didn't interpret your advice incorrectly
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No.11264
>>11259
Ya, you understood what I was getting at. There's other ways to construct it. Some make the fingers all one block shape and carve out the fingers after. I prefer constructing them with lines and circular joints first and add volume, detail and shape afterwards.
You can find multiple tutorials online with different ways. Choose what one suits you. I just dont recommend drawing what you see - break it down to base form, then reference the hand for detail and shape over top the basic foundation. Any construction method will work and eventually you will find you wont need those construction steps as you get better and more muscle memory for drawing the shapes.
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No.11541
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No.11542
>>11541
The hairstyle is a little weird but oddly enough I think it looks like it's actually sitting on the head to some degree which is more than I can say for when most beginners try it.
Your arm is kind of in a position there where it looks like it's going back and two the sides but it's overlapping the breast somehow at the same time. The nose almost looks like it's being depicted from a profile view despite the 3/4 orientation of the skull, she lacks cheek bones.
Keep trying.
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No.11547
>>11542
I appreciate the critique. at least the eyes were right
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No.11558
Hey guys I'm just starting out drawing and checked out the resources tab here and have been watching the Marc Leone playlist. I asked this question in the /a draw thread but apparently you can get banned for posting a smiley face/sad face (didn't know I mostly lurk on /pol and /christian and don't post often). So my question is, I have slightly shaky hands, just randomly happened sometime in high school, would you guys recommend I start learning through a program/tablet, will it help? Or is it something I can overcome through practice?
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No.11559
>>11558
buy a weight stablizer for pen/pencil. some are just a piece that the pen/pencil/stylus attaches too and some are specially made for parkinsons and other such diseases that cause tremors.
depending on severity, a simple drafting pencil like a staedtler 925 or rotring 600 could be enough weight to help stablize your shakes. they have metal bodys and are significantly heavier than normal pencils/pens.
https://www.amazon.com/HEAVY-Super-Weighted-Tremors-Parkinsons/dp/B01N5O8A0Z
That's $20 on amazon and for tremors and parkinsons. There are various types and obviously pencils variants.
https://www.amazon.com/Kinsman-Enterprises-40011-Universal-Diameter/dp/B001ANRPSQ
Is a basic weight pencils can go in. I imagine there are tablet pens or attachments that fit those if you want to work digitally. Line smoothing and settings might be able to help fix some shake. Working extremely high res and reducing size when finished will eliminate most minor wobble to lines, too.
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No.11568
>>11559
Thanks so much for the useful info!
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No.11671
It took me some time since I do not have that much spare time nowadays but I tried to improve "manga" from >>10740
I applied some of the suggestions that you proposed and this is the effect. I would appreciate any feedback.
I would also appreciate two things:
1. Does anyone have any good tutorial on how to draw faces in 3/4 view? I looked through many of them online and offline but I couldn't find any that would be sufficient for me.
2. How does one draw backgrounds? Take for example page 8, first panel. I have no idea how to draw the background. And I am not talking about the horrible perspective. When I draw the background, it stands out too much and if I use thinner lines, it looks terrible instead. I provided also a version without any background if anyone was kind enough to show me what the background would ideally look like.
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No.11672
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No.11673
>>11671
>>11672
I'll definitely give them a once-over when I have time. My first impression is that indeed you've improved them to a degree but, much as you'd admitted, you are struggling with 3/4 view faces in particular. At any rate, keep it up bubbi, it's nice to see you trying.
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No.11674
>>11671
The faces are way better now, as is the composition, almost looks like an amateur mango.
I'd recommend focusing on body anatomy and cloth now.
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No.11689
>>11671
>1. Does anyone have any good tutorial on how to draw faces in 3/4 view?
If you can see the contour of a face, you should able to draw it without a problem. The position of an eye that looks away from POV are narrower than the one that's near. it's all related to perspective and the proportion of a face.
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No.11710
I have huge issues rotating objects especially once they get more complex. I have read up upon most of the beginner stuff and still don’t really understand it. What do I have to look at to learn it? Or do I just work with reference material until I get a feel for it?
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No.11711
>>11710
The latter is probably fine but it sounds like you need to familiarize yourself with perspective
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No.11769
>>11711
Yeah I've gotten better at it, worked out.
Another issue though; Shading basic shapes is not really a problem but I am messing up quite a lot when shading a character for example. I am aware that I have to think of the body as planes but I can't figure out where to put the shadow precisely, and which form it takes. Any input?
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No.11822
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No.12000
drew a body and some babs from imagination
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No.12004
>>12000
You have male abs on a female. Your shoulder to hip ratio is way off for a female. Bellybutton position is for a male on your image. Collar bone lines could be better. Not a horrible job from imagination/no reference though.
Note how in my images how female abs are more subtle and smaller than males in both width and height. They dont bulge as much. Their stomach starts curving back quicker than males. Try to taper ribcage in more. Bellybutton is usually below where waist starts on women/hips start going out.
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No.12006
>>12004
Thanks, i'll keep that in mind, i think i'll do a redraw with what u said in a bit
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No.12008
>>12004
how's this then?
tried to do what ya said
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No.12018
>>12008
That's a lot better to be honest. Not sure how much you want to do, but you can look up Captain Mizuki from One Punch Man for manga style abs on a woman. Most draw a little bit of the center line down the abdomen. Some just do a little bigger tear drop belly button that line follows up abs slightly or broken line up. Others use shading for the definition, but that center line usually is visible somewhat.
Hips could be slightly higher, too. You did better, but still just barley above the belly button. Look at the first 2 girls above - you can see the point the waist starts curving out for the hips. It's a good inch or more above the bellybutton.
Finally, the 'vagina bones'/hip lines could be more defined leading down to the pubic area. You can see the bones slightly on the first two girls, but the two muscular ones really show that line coming down to the groin area. The attached image shows a stylized version of what I'm' talking about for the center line and lines leading to the groin.
If you are just looking for a quick torso with some definition, I think you are pretty close to your goal.
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No.12019
>>12018
Cool, thanks for the tips, dude
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No.12052
I don't know what the fuck I'm doing or how volume or 3D shapes work, so I figured I'd try brute forcing it with animation.
I spent too long fucking around with krita before figuring out krita is shit for animation and working with layers, then exporting as tiff, importing on gimp, and then exporting as giff works better.
I'll add a few more in-betweens in the square animation, fucking mirror it because fuck that, it's just a base, and then use it as a guideline to learn shapes.
I guess I'll just start with skulls, animay faces, and realistic faces since those are the the ones I've drawn the most recently.
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No.12054
>>12052
Why would you ever export anything as .tiff? Krita is goat btw, not sure what you’re struggling with. I like what you’re trying to do conceptually though, keep it up
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No.12059
>>12052
I dont see how you will learn anything with the way you are doing it. That seems like an overly complex and tedious way. Just draw a 3d cube and mark the sides like dice and 'roll' them. rotate them midair and make sure the dots on each side rotate properly. can use colors on each side if thats easier for you.
Make more complex shapes and rotate them as you get better. Can use perspective at some point while rotating, too. You are making it far more complex than you have to.
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No.12060
>>12059
>I don’t see how you will learn volumes by trying to maintain those volumes’ consistency over the course of a few frames of animation rather than just doing essentially the exact same thing across a single page instead
Just because he sucks at it doesn’t necessarily mean it’s that bad of an idea; if you just mean whatever the hell his workflow is though I’ll agree. Adding a new frame is as simple as adding a new layer in krita so I really don’t know what he’s on about there. It has the single most user friendly timeline of any existing animation software, all this “converting file types” shit has me wondering just what the hell he’s trying to do
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No.12062
>>12054
contains more data than .png, and .psd is shite, even photoshops' own devs recommend not to use it.
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No.12063
>>12062
Sounds unimportant bro, just save in .kra and export in .gif, upload to /loomis/ and delete both files on your computer after the fact. Also don't bother making the resolution that big. 1080p isn't necessary-if you're just going to be rotating primitives you'll be fine with a 750x750 resolution or so I'm sure-Krita will run much smoother too
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No.12064
>>12054
Krita does sounds good for complex animation, but not for what I'm doing, which's using previous layers as landmarks and then drawing on top of those on another layer.
It's easier to just export it as tiff (psd wasn't working for some reason) import it in gimp and just export as giff, it's not nearly as complex as it seems.
>>12059
>Just draw a 3d cube and mark the sides like dice and 'roll' them. rotate them midair and make sure the dots on each side rotate properly. can use colors on each side if thats easier for you.
I tried that, but I keep being too autistic and focusing on the landmarks instead of the shape itself, I'm hoping that actually animating it with more in-betweens that what I'd do on paper will help me actually see it as a 3D form.
>>12063
>.kra
Does gimp even recognize .kra?
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No.12066
>>12064
>which's using previous layers as landmarks and then drawing on top of those on another layer.
Couldn't you just use the onion skin?
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No.12067
>>12066
This; I was going to talk about it when I got home but…
Open Krita, find the "dockers" tab and make sure the animation and timeline dockers are active. Right click onto an exposure cel on the timeline and insert a frame, draw on the frame and create another frame the same way when done.
Hit the little "flashlight" icon to activate the onion skin which will render previous frames see-through and dim, you can set their opacity level individually relative to the currently selected exposure.
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No.12070
What's a good way to simplify the human skeleton? I know the important things are the shoulders, ribs, and hips, but i always feel like mine are off
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No.12071
>>12070
Rectangles for the torso are usually the conventional way to simplify the major masses. You should study the real thing though, it helps to know where the muscles originate and insert and shit, fella
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No.12072
>>12071
Yeah, i've been studying them, but i haven't really found any good resources that have 360 views on both the skeleton and muscles
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No.12073
>>12072
Unfortunately the only 3d model resource that has targeted muscles as well as bones I’m aware of is Proko, you can get decent ecorche turnarounds and bones from sketchfab for free in the practice thread though
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No.12074
>>12070
post examples of what you are doing. how simplified are you talking? like are we doing comic/manga art and want some key 'lines', like collar bone, y-shape from the armpit and on the back/shoulder blades, inside 'flinstone ankle bone' higher than outside, and other shortcut style definition/muscle and bone linework?
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No.12075
>>12074
stuff like this, I generally put down the boxes for the generals -> Skeleton -> Muscles -> Actual lines, etc
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No.12076
>>12075
also, i'm really shit at determining porportions on shit, ribs especially, idk why
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No.12077
>>12076
That’s normal, you get better at it, you just have to drill the canon proportions into your head enough that you always have that information at hand and can manipulate them to your liking
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No.12084
>>12072
human.biodigital is decent enough, though it's mean for medicine so there's a bunch of useless stuff you need to sort through.
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No.12088
>>12084
>the virgin human biodigital
>the chad sketchfab
fella pls
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No.12095
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No.12101
Is it okay that every time I want to draw a pose I end up having to look for similar images to figure out how to properly draw it? I can't come up with the exact look of it in my head I guess. I'm fixing it with reference material. It somehow feels dirty though. Like this is not my drawing anymore, I'm just copying something now.
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No.12103
>>12101
As a dumb kid I thought artists drew everything from memory without reference and without construction lines or under drawings. The first line put down was last one. As someone who still has to practically beat his head against a wall before he thinks to look at reference: It's not cheatin', duder. Smart people use reference when they need to. Sometimes I'll try to find illustrations to see how a pose / angle is stylized instead of photo reference. Those anime tiddie boorus are good for that because of the autism-level tagging.
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No.12104
>>12101
Whatever you have to do to put out your best work is exactly what you should do, being able to draw without reference is a high ideal and an achievable one, but there is nothing particularly shameful about using reference in general.
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No.12110
>>12103
>>12104
Thanks guys that gives me some peace of mind at least. Maybe one day ill be able to do it completely from imagination I hope.
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No.12111
>>12110
You can do it today if you gloss over some details. I've never autistically bothered about bad anatomy myself which is probably a bad thing because I work from imagination so much.
At the same time, I've used a lot of references to practice, especially for gesture drawings.
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No.12113
>>12101
reference for things you are unfamiliar with and if youa re going for photo realism. you should just practice posing the body and moving arms, legs and doing random gestures.
https://www.youtube.com/watch?v=S2OU9PQ2KaY
Jim Lee doing cover for Action Comics from start to finish over 5 hour stream. He spends a lot of time explaining the process and showing techniques and other off topic things, but you can skip ahead and watch on 2x speed to get to early parts of laying out his poses before coming back with better lines.
What you can see is how he composes his image and how he starts the basic shapes of bodies and just how much he erases. He probably could have done thumbnails or other things beforehand, but he was streaming and just did it all on the bristol board.
This applies to more than comics, obviously. For example, you should be able to look at a car and draw it in a completely different position. The proportions are relative to tire size usually and rarely change.
If all you do is reference, you'll never be able to work with different perspectives or angles or play with proportions. Foreshortening is a big one that is difficult to find proper references for. You'll spend more time looking for references than actually drawing or change original intentions to match the references.
If you need a reference, get one. But challenge yourself not to use the exact pose. I'm doing work on the Knights Templar and Crusades right now. I collected countless references, of which these are only a few pictures. I have pages of helmets, swords, various orders of knights, cities, architecture, and so on. I look at them to confirm the types of clothing or how the gear looked while drawing pages of different orientations and action poses. I've cribbed stuff from Knightfall tv show, but I dont have exact angles and poses of people when I draw them, despite heavily referencing at the same time.
Sadly, a lot of art you see today is actually traced or photobashed, so maybe I'm the one that is wrong. Comics, manga, digital "painting", concept art, etc are filled with frauds that couldnt draw a straight line without tracing it. You are trying to draw one pose/image. You should study an object and draw it from every angle over and over until you understand it. Not just humans, but birds, bears, cats, dogs, tables, chairs, etc. Reference is for that - referencing details and making sure you are accurate in those details. You are either tracing or simply transposing. There's skill to it, but it's not what referencing is supposed to be nor should it be referred to as such. It just makes people feel better to say they 'reference' instead of copy/trace.
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No.12121
>No easy way to do 50/50 on human biodigital
i just want to see the muscles and skeleton, did all that shit manually, fuckin hell
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No.12133
>>12121
>There's not even a muscle grouping thing, it's just one massive mass of shit
wow this is fucking not useful at all
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No.12150
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No.12152
How soon should I study anatomy? I'm still grinding motor skills, perspective, shadow and light. Should I just concentrate on being able to manipulate basic manikins / figures?
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No.12153
>>12150
is bottom left jerking off?
>>12152
i dont think you have to study anatomy in the sense of knowing every muscle group and bone and drawing them individually over and over. focusing on gestures and basic construction of the body is first step in my opinion. just an understanding of basic proportions of the body and movement ranges of limbs. when you have solid grasp of that, you can focus on some key muscles and how they are depicted and change with movement - knowing every muscle in the arm and drawing each doesnt really do anything if you dont understand how they move. gestures are about capturing movement and are more important in my eyes.
youll learn more doing things like guy above you than drawing every msucle fiber and tendon in a tricep starting out. this hand series is not technically anatomy drawing - theres no muscle at all depicted or other definition. its all about how the hand and wrist work. that would be the next step after gestures if I was teaching. if you understand how something moves, you can draw it from any angle and in any perspective. you can manipulate it for style and preference (blocky characters, manga/comics, abstract or fisheye perspective, etc). take the scythe and spear user images - if I want warcraft bulky shoulders and size, its not much more work to exaggerate that. if I want super deformed, same thing. i know how they move and motions and can go in any direction from that, whether cartoony or realistic.
some might say this is anatomy, too, but, to me, i dont see any reason for skeletons or muscle studies in anatomy until you understand breaking the body into shapes and being able to move those shapes in different poses.
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No.12157
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No.12158
>>12153
>i dont think you have to study anatomy in the sense of knowing every muscle group and bone and drawing them individually over and over. focusing on gestures and basic construction of the body is first step in my opinion.
Until I did the former I spent a lot of time doing what felt like spinning my wheels on the latter. Understanding the real thing in hindsight seems essential to me, but construction as a means of orienting that anatomy in perspective isn't necessarily to be discounted either.
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No.12174
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No.12179
did a muscle thing using sketchfab, much better than with biodigital
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No.12181
>>12179
I really think you should try and draw the whole figure itself; just drawing what the muscles look like in neutral pose isolation like that isn't giving you enough information I feel. It will hopefully help you keep things in proportion as well. The features are looking a bit "elongated". Keep practicing!
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No.12184
>>12179
>>12088
anyone know any particularly good anatomy refs on sketchfab?
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No.12189
>>12184
The pastebin in the Practice thread is the best I've found. There are literally hundreds of them but many of them are shit. If you want the best of the best you have to shell out for Proko
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No.12191
>>12189
I don't think sketchfab has any individual muscle models, for example. Which is shit, unfortunately Proko is literally the only resource for something like that I'm aware of, and, considering most books only have at most 4 views of individual muscle groups, I think it's worth it.
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No.12193
>>12191
(I just checked, they do have some individual muscle models but they all seem to suck balls)
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No.12198
>>12179
continuing this trend, drew more muscle, also listened to what >>12181 said, though i turned the layer off so u can't see it, think it looks a lil better
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No.12209
>>8001
Cubes in perspective do not have parallel edges. In perspective, edges converge to a vanishing point. It's as simple as understanding that things get smaller the farther that are.
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No.12212
Took a stab at figure drawing. I recognized a few mistakes I made, which ultimately made the finished thing look more like an alien. Hopefully I didn't miss any other obvious issues. I am going to try and commit to at least one drawing every other day. I can post them here for critique if that's okay of course
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No.12221
>>12212
> if that's okay of course
That's what the thread's for.
[insert >10 active users, don't expect too much feedback, yada yada here]
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No.12228
>>12212
noodle arms and bean torso but its expected for your first figure, as long as you know what your mistakes are you'll continue improving. I recommend doing more quick drawings daily though, nothing that takes up too much time just a couple of 3 min figure drawings
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No.12229
Still not finished (needs shading and all that), How does the color scheme look? I've been kinda having a hard time with color schemes lately.
Also resizing fucked the quality a little bit
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No.12235
>>12229
you should read up some color theory
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No.12240
>>12235
The color relationships aren’t particularly offensive, but they are completely rudimentary. He needs to improve in just about everything and color theory is probably the least of his problems (no offense bubbi, you’ll improve u just have to practice)
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No.12243
YouTube embed. Click thumbnail to play.
Okay, /loomis/. How does an adult who's NEVER drawn before get into art? What do you buy, where do you begin?
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No.12244
>>12243
Buy pencils and a ream of printer paper, anything more than that will be wasted on you at first
I’ll uh…explain the next step when I get home
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No.12250
>>12243
geb oud a bencil andd draw on sum paper :DDDDD
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No.12251
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No.12252
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No.12253
>>12252
I don't know what that means
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No.12255
>>12243
You'll want to set aside some money for at least 4 x Rotring 800 mechanical pencils with Pentel Ainstein leads for each - HB, 2B, 4B and 4H are good range for this. You'll need a set of french curves, circle and ellipses guides, a t-square, kneaded eraser, a staedtler clutch pen/lead holder and some 2 mm leads to go in it, a staedtler 2mm sharpener, sandpaper, a tombow 2.3mm eraser pen, an eraser shield, q-tips, eraser brush, pads of strathmore 500 bristol pad, set of charcoal pencils, staedtler finer liners (0.1, 0.3, 0.5, 0.7 and a brush pen is a good range), set of triangles, architect's ruler, protractor, artist tape, xacto knife, set of copic markers (or alcohol markers if too cheap to buy copics), staedtler water colors, staedtler triangular color pencils, colorless blender, non-photo blue pencil leads or pencils, large printer/scanner (capable of printing onto up to at least 11 x 17" bristol), a wacom cintiq pen display tablet (huion if too cheap to buy good stuff), photoshop license, clip studio paint license, various paint brushes, various gauche, an inclined artist table/desk, and some welbutrin or zoloft.
these are just minimum requirements for starting obviously.
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No.12256
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No.12258
I did a couple more figures, I like how the first one turned out much better. The most glaring issue to me, for both of them, is that the head and shoulders are off. But I'm not quite sure exactly what is "off"
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No.12259
>>12258
try looking at some anatomical stuff, muscles, etc, and try to highlight the muscles and where they appear or don't appear in your drawing
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No.12260
Anyone have any tips on how to draw from imagination? I find it difficult to draw anything with foreshortening or difficult angles but I can manage pretty mundane poses. Also does anyone have a recommended book / tutorial for drawing cloth/clothes?
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No.12269
>>12258
Did another one today. I made notes of the mistakes that I could recognize. I'm also noting that the head is too small, now that I'm taking a second look at it. If someone sees another glaring mistake that I missed, please let me know.
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No.12270
Tried doing some more body stuff, I think i'm getting kinda better maybe?
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No.12272
>>12269
you are drawing noodle people and then pointing out anatomy and proportion issues. either focus on gestures to get feel for lines of motion or look up how to break the body down into simple shapes and set up some lines for head heights so you can get a proper framework. your not learnign anything. you are pointing out flaws, but ignoring that the entire thing is basically wrong, from proportions to head size to curves and anything else - you could point to any part on that drawing and say there's something wrong. this isnt meant to be mean or make you stop drawing. just slow down and get some fundamentals down first before trying to be an anatomy expert on this level of art.
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No.12273
>>12272
Thank you for your honesty, anon. Do you have an opinion over which I should focus on first, gesture or building the framework?
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No.12277
>>12272
okay so I took another stab at it, but tried to focus more on the lines this time. I feel like the two in the bottom right corner, and the one in the top left corner are steps in the right direction.
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No.12282
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No.12313
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No.12383
Long time lurker here. Finally got a tablet and looking for critique. Don't go easy on it.
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No.12390
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No.12462
>>12383
Pose and the figure dynamic looks awfully bland anon. Outfit looks like shit. It's all shit despite the proportion is moderately alright.
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No.12635
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No.12908
Am at square one and thought I'd try drawing something simple and cute to see where I am before I do anything else.
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No.14589
>>12383
although I'm not sure if it's because of the angle your boots are at, but your legs are a bit too long, always remember that the waist is going act as your center point therefore think of it like; "as above, so below"
sorry if I'm a bit late
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