No.7815 [View All]
260 posts and 262 image replies omitted. Click [Open thread] to view. ____________________________
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No.9150
Hello everyone!
Today I repeated the same practice. This time I only drew two figures but on a larger scale. I think I'm doing well.
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No.9151
>>9148
>I am also thinking about starting a daily one panel comic that involves /Loomis/ let me know what you think.
do it
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No.9152
>>9150
Looks good but the head is too small
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No.9153
>>9148
So when someone is first taught how to plumb or measure, they usually measure everything. This in a sense breaks up the drawing into several small drawings that just have to fit together to be "correct". While this may seem like a good thing, this is often done to detriment to the big impression. When you break up the drawing into small parts you're in a sense giving up on your judgment of the whole and when you do that, the sense of design and gesture goes out the window because you're not in a more detail oriented mode.
You've also missed simple things you've already drawn over in your reference. The entire pose has issues because you made a big mistake with the torso. Where her upper torso and hip meet on the left side plums down to her heel, in yours it doesn't. That causes you to push her head further right to conform to the distance between the line of her head and the side of her torso. This causes more and more problems throughout the image (Remember when I said that if you care about accuracy a single mistake multiplies with everything built off it and you have to re-draw a lot to make it accurate again, this is what I'm talking about).
So what I suggest is taking a 5-10 minute break, come back to this, look at it and see what you can find that's wrong. Note them down clearly, just make bold marks or just write them on the side of the page as clear statements "X needs to be fixed" and then you fix them. I also suggest drawing the whole thing with the monitor, paper or canvas away from you and the image (if on a screen) to be no larger than the size of your hand at any time. Comparing small things is easier than comparing large things, this is why artists have always stepped back from their canvases and it's a good lesson for the digital artists to stay zoomed out.
Most good artists aren't good because they make something perfect the first try, they're good because they're really good at fixing their misstakes so with some time away from it, try and come back and see what you can do.
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No.9162
>>9109
>Cool to see someone be curious about different ideas.
Not a very subtle dig at the other Anon, lad. Same goes for how you've started drowning him out.
For as much as you try to teach, you sure can't handle other people.
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No.9163
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No.9164
>>9162
This kind of tit-for-tat is a little unnecessary isn't it? We're all entitled to our opinions, but when we start talking about "drowning people out" over what appears to be no more than two posts up thread following the argument things are getting a little silly and could do for a hard reset before the real shitflinging begins. Let's try and be better than 4chan and use anonymity as the freedom from ego it was intended to be rather than as a weapon wielded on its behalf.
…Or perhaps not, maybe a thread where a couple of guys are just calling each other gay back and forth would be a nice change of pace after all!
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No.9169
block in drawing is still not accurate but I'm starting to like how it looks tho. but for some reason the first picture looks better then the one flipped around horizontally.
for some reason my 2 min gesture drawing looks better then my block drawing, I wonder why?
>>9149
>>9151
glade to see that there are people that are interested in this idea.
for the comic I was thinking that I would first make a scenario that other /Loomis/ anons can direct where the story goes.
So I would first make a simple scenario, goal and character then describe the surrounding area, then anons would give suggestions on what the character does do to progress towards his goals.
>>9153
right I took your advice and make the image smaller but I think it was still too big. and yeah I have to be a lot more careful with following my plumb line. but I have a question. Will doing these block in drawings eventually get me to draw human figures, or will it develop some other skills?
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No.9180
>>9164
Only tangentially related, but sometimes we're not exactly anonymous anymore. Some people's posts are easily distinguishable and are able to be linked together, thus breaking anonymity. This is of course due to art styles being recognizable, but also posting style.
At least we don't have IDs or flags like in some other boards
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No.9190
This block drawing took me about 2-3 hours to do. it might not look great and it might not be perfectly accurate but I loved doing it. constantly erasing redrawing and fixing mistakes, and with each fix it becoming more accurate. time flew by me and an immense sense of euphoria engulfed me.
I now understand that drawing something good takes hours if not days and it involves a near endless cycle of drawing fixing and redrawing.
what have I gotten myself into.
comics are still coming not sure if I should post and start the comic in this thread or start one for it self.
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No.9211
these were 60s
I was watching this video of this dude, and he said you should practice straights lines in only one way.
Is that true?
seem counterintuitive
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No.9212
>>9211
I think he says that because of how artists will turn the digital canvas or piece of paper they're working on to make it more comfortable to draw on. It's true that our arms are simply better at some motions than others, but actually even just going in one direction your control will improve for the other somewhat-it's the same movement and muscles being activated just in reverse.
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No.9220
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No.9221
>>9220
Head too small and low bud
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No.9222
Had to take a break yesterday. How are these looking? I'm only on page 95 of FORCE.
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No.9237
Tried "one of these". I think my imaginative figures are getting better, but still not where they should be. Also I distributed the weight wrong I realized.
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No.9238
I've been having a rough time drawing people in more exaggerated perspective… thinking about using Design Doll for future drawings but I'm worried about it becoming a crutch, but then, if I don't know how to draw it in the first place maybe using design doll for a while as reference will eventually lead to me being able to do it on my own.
I don't know, if anyone has any input on the topic I'd love to hear it. At this point I'm kind of stuck as I need to streamline the whole process for animation yet the basic aspects of making a figure in exaggerated perspective is giving me a run for my money.
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No.9239
>>9238
Design Doll seems fine, I'm debating getting it myself. It's no more a "crutch" than an artists' model would be. I very rarely even use reference myself unless I'm actually studying something, but I don't see the problem with something like that.
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No.9240
>>9239
Then that's what I'll do. I'd just be afraid of becoming reliant on it, but at this point the quality of my art goes way down when in anything other than static perspective.
I may also do some line of action studies as I can't tell if it's the perspective or poses that are making it look bad.
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No.9241
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No.9242
>>9240
If there's any real harmful "memes" in the online art world it's that things like references are bad. The only situation where I'd agree is if it holds you up. For example, it would have taken me longer to do >>9237 if I'd have to sit there and pose a 3D model I'm pretty certain of that (the result would be more accurate, certainly).
However, placing the "dolls" in eccentric positions making full use of unconventional angles and foreshortening possible would be a great way to practice if not a means to aid in completing an image, both uses of which would be perfectly valid.
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No.9251
>>9242
Gotcha
also, I actually saved your pic for future reference when I stopped in last night. The pose on the left is a bit stiff and the anatomy is kind of boring, but the one on the right is great. It has a lot of flow and the anatomy you did on his back is downright fun to look at.
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No.9253
Noses and eyes. Looking the "big picture" seemed important, as it was really easy to paint eyes in a wrong angle or one of the eyes bigger than the another (not counting asymmetry in the reference).
No. 1 still looks a bit sad and there is something wrong with no. 5's face that I can't put my finger on.
>>9091
The asymmetry in the eyes was obvious, but the nostril was something that I missed completely. I also have to take a second look on the bridge of the nose. Thanks for the critique!
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No.9254
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No.9259
>>9180
That's true, I'd say a little more but I think we're all on the same page as far as this all goes anyway.
>>9251
Thanks, I appreciate the compliment. Yeah I drew the front-facing one second based on the other one and it's definitely lackluster in comparison. I unintentionally made the pose a bit more "reserved". I think I have an easier time with views from the back because the all-important spine is "right there" as opposed to being covered by other anatomy shit (not that that should matter at all, I just get tripped up by superficial stuff at this level).
Another problem is the bent leg in that back-facing view is flawed and that hurt my ability to capture it from the front view accurately. Looking at it now the lower leg should be quite a bit higher up from where I'd put it. If you were to rotate the figure as-is it'd look screwed up because that bent knee would be quite a bit lower than its extended opposite despite the pelvis being raised on that side (even though it shouldn't be, mind) and the leg being bent, besides.
>>9253
>Thanks for the critique!
No problem. There are always little things we might miss in the process.
>No. 1 still looks a bit sad
This is a tough one, the only way to capture the very nuanced "skeptical" (?) expression he has would be extremely careful attention to the features (which I might be able to help with) and the values (which I know little about). Notice in your picture his eye (our right) is opened just a bit more than it ought to be-he's really squinting through that thing in the reference. It might help to delineate his upper eyelid on his other eye (our left) more (right now it's kind of faded into those darker values) and also consider making that eye's pupil a bit smaller
>something wrong with no. 5's face
It's subtle but my first impression was that her face was a little long relative to the size of the eye, or the eyes were small relative to the face. Easy fix, you could either just marquee and move the face up slightly and fix the contours or increase the size of the eyes a small amount.
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No.9264
>>9254
>>9254
60s
till the day my hand stops hurting
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No.9274
did the 1 hour class at
https://line-of-action.com/practice-tools/figure-drawing/
the last one wasn't from that class and it's not accurate but yeah it looked goo enough.
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No.9275
Trying some first person stuff.
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No.9279
This was my practice today.
When you draw the thoracic box and the pelvis, what procedure do you follow?
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No.9280
>>9279
One method I've been experimenting with is starting with a line across the base of the gooch instead of the top of the pelvis-and then coming back up to where I think the top of the pelvis is. It feels a little weird because it's further down but sometimes, especially with female models, it's pretty hard for me to determine where the top of the pelvis is due to the flank fat covering the obliques in certain poses. This method I think gives me a better idea of what's going on under the surface but it's something I'm still getting used to.
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No.9286
So yeah, first time in several days that I've been able to practice.
I'm trying to incorporate more elements of what I'm reading in FORCE, into this. The most obvious one is probably equating the head to a box, instead of a sphere, but I'm unsure of how to incorporate the more advanced stuff I'm reading, like surface lines.
Still, progress is being made.
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No.9311
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No.9315
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No.9317
YouTube embed. Click thumbnail to play.
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No.9320
>>9315
it was a man holding up a woman
when it is a pic with two people, it always fucks me
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No.9332
figure drawings are hard, looks good some times.
>>9286
nice gesture man looking good
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No.9339
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No.9351
Can someone help me with this pose? It is difficult for me to identify the muscles of the back. Even with a guide, in photography I simply lose the way
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No.9352
Blind FORCE, and regular FORCE.
The blind force is abysmal, barring the one in the bottom left, I think.
Regular force is, okay I guess. Better than I thought it'd be after basically having to stop drawing for like 4 or 5 days in a row.
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No.9353
>>9351
Open the picture of the gymnast in your program and trace over it on a new layer. Use that Hampton picture you have there along with a more medically-accurate anatomy book to help you. Use different colors like hampton does. Her muscles are pretty well defined, but as they're pulled and compressed in different directions the forms of the bones and muscles alternate between more prominent and more subdued.
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No.9354
>>9351
Looks like a fun pose, an attempt at a skeleton from memory. I should have taken my own advice and traced and looked for references though. Look at the disservice I did to the angle of her ribcage for example.
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No.9357
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No.9358
>>9354
Here is another picture. Very good work, by the way.
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No.9367
Some scapulae and clavi-…clae
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No.9368
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No.9369
>>9368
Thanks man. I need to do this shit way more (I need to do everything way more)
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No.9382
>>9367
>tfw no scapulae gf
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No.9388
>>9275
I don't know how to do straight lines with Krita's perspective tool, but this should probably visually explain a lot of where you're messing up.
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No.9391
Which one of these has the clearest sense of force?
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No.9399
>>9391
top left cause I can see the S curve clearly
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