No.80 [Last50 Posts]
Draw shit.
Draw it a lot.
Git gud.
Maybe.
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No.81
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No.82
Not very good at these yet…
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No.83
Kind of a fun little exercise, give it a shot
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No.86
I think this image makes it apparent that not only do I not know what leaves look like, but I probably wouldn't take the time to render them in any sort of detail if I did.
>tfw lazy faggot
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No.100
>>86Ya dun goofd, shoulda crossed out leaves and just written moss!
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No.102
>>100My nigga, you're absolutely right.
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No.105
not exactly practice tho
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No.108
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No.111
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No.114
>>105>not exactly practice thoHow do you mean?
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No.115
>>114From the thread it seemed that it was more about posting several faces/poses/textures/etc instead of a full scene
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No.117
>>115Practice can mean a whole lot of things. If that's a piece you're looking to finish though it wouldn't be out of place in the draw thread either. Either way, keep it up!
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No.123
>tfw try to draw anime and get Frozen instead
what le fug
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No.126
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No.127
>>123No mystery here. Anime/manga style was born of Disney influence on Tezuka.
If you want anime, try to simplify the details in eyes/lips and work more on detailed linework.
If you want Disney, you are doing k then
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No.129
>>127I suppose you're right, I was just trying to do it off of imagination but I don't know how I expected to be able to mimic a style I've never really "studied". Goddamn I'm lazy, I barely drew today. I think I need to try and practice with traditional medias more so I'm not as distracted.
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No.130
>>129You do it by failing at it constantly until you know what pitfalls to avoid.
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No.131
>>130>You do it by failing at it constantly until you know what pitfalls to avoid.>failing constantlyI'm glad to hear that, now I know I'm in my element! I just have to work up that willpower to fail properly I guess.
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No.132
>>131fail without fear, for it is the beggning to getting shit done.
Also, my drawing of today
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No.133
>>132I like it.
>fearIt seems silly but that is definitely an aspect that still needs to be overcome for me. Why would someone be terrified of their results when they make a drawing they're not even going to show anybody? Fug.
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No.134
>>133Fear is natural bro. From the shittiest fag doing sonic recolors to Awesome Mc Cooldudes like nebezial, fear is something that is hard to avoid, but must be overcome.
Have sum Orc girl
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No.135
>No tablet
>Office have scanner though
>Only use it when nobody's looking
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No.136
>>134Y-you too…
>>135Nice work man, keep it up!
>dem planes doe 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.151
One page a day. Hands, those bloody hands.
>>83Going try this one out.
>>136Th-thanks man. Y-you too.
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No.153
>>123Chinese girl cartoons.
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No.158
>>133
>It seems silly but that is definitely an aspect that still needs to be overcome for me. >Why would someone be terrified of their results when they make a drawing they're not even going to show anybody? Fug.Because maybe someone might f-f-find it, and know that I s-suck!
Maybe I might die tomorrow and everyone will see my shit tier embarrassing art.
Failing is also frustrating, because you know what you want to draw, and you just can't. Drawing then becomes a chore and it discourages you.
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No.163
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No.200
>>163Today's practice. I'm trying to get realism stuff right
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No.203
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No.205
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No.206
>>205What software is that? I like the interface! Nice work too!
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No.207
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No.210
>>200I think I'm going to stick with cartoony looking stuff for now ;-;
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No.235
>>80Question here.
I haven't drawn in a looong time, and am trying to get back into it, despite how busy my life is right now.
The thing is, I always used to obseess over little things in my art, so as to make it as good as possible. Now that I've forgotten these things, can I get you anons' help on what little details to keep in mind.
For example, back in the day, I always kept in mind that the male had an Adam's apple while a female didn't.
Any little details you always like to keep in mind?
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No.236
>>235Damn, the site's been acting up for a while.
There are a lot of rules out there and I'm barely conscious of them myself. Like how a "realistic" idealized woman is 2 heads wide whereas a man is 2 1/3, how a woman's navel is a bit below the waistline whereas a man's is basically even with it.
It's all so much to take in.
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No.290
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No.291
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No.300
>>235That's not little details
and male adams apple can vanish depending on style
there is no other way around memorizing every bit once you have the basic skillset (lightning, lines, shapes ) under control.
the only solution is to draw a lot, if you are the right kind of busy you can still draw alot for example I Gained my experience in classes
standing or driving/riding a bus might make it more difficult, but you get the gist, spaced repetition with a good schedule works WONDERS
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No.311
Not very proud of this, but I wanted to practice profiles. The profile looking way better ironically
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No.315
>>311You did a pretty good job making sure that the details from one of your depictions of the head was placed correctly relative to the next for the most part! Pretty close!
In the side profile view it looks like her chin is jutting out a little farther than it should be:
http://tinyurl.com/n6lhz4dAlso I know it's hard but you've got to try and make sure that the details are symmetrical; on the front view the pupils and iris of the eyes are both a bit different. I know this is just a quick sketch but the more often you're working towards making things look their best the better you'll get!
Keep at it!
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No.324
Gesture @ work
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No.327
Don't know what I'm doing lel
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No.332
Fug
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No.333
>>315That's really solid advice anon. thanks a lot!
Anyway, the drawing of today
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No.334
>>333>tfw no bespectacled gfNice work
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No.335
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No.337
Thoughts or advice?
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No.338
>>337Stage left arm looks noticeably larger than his other arm. Also, you'll have to start drawing hands eventually so no time like the present!
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No.339
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No.352
>>339I feel like my gestures are "wrong" but I'm not sure how to articulate it.
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No.436
trying to draw heads loomis style, I think I have problems feeling form. top left is old, bottom right is new
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No.437
>>436A lot of your problems stem from not following the guidelines well enough. You're definitely on the right track with your output though. Here's a video that might help in which the author sort of summarizes Loomis' method. Sometimes it's easier to learn something when it's explained to you in words and video than it is from a book, for some reason.
https://www.youtube.com/watch?v=1EPNYWeEf1U 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.443
>>436It's all about those initial guidelines brah. You gotta feel how they wrap around the larger form of the skull and how the smaller forms of the features relate to them. You're doing a great job with how prolific you're being all the same. I think what you may be doing is focusing too intently on one feature and too little on how they make a whole, hence how on some of the pictures the features themselves look close to correct more or less but in order to fit them on the page you had to scrunch them up or distort them, this is most apparent in some of your pictures in the bottom left side. Start large, loose and light so you know what general area you're limited to, and then finish small with darker lines. Some of your heads look pretty good though aside from some flaws.
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No.561
Fug I need to draw from imagination more.
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No.666
>>339AWAKEN_MY_MASTERS.png
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No.667
YouTube embed. Click thumbnail to play.
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No.890
I wish this thing didn't break on my ass like a week after I got it.
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No.891
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No.903
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No.924
There's got to be more than a hundred hands in this book.
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No.929
doodling things from imagination while listening to art videos on youtube
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No.932
>>929Awesome work bruv. I can't draw from my imagination worth balls ;-;
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No.933
>>929this is really nice anon!
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No.936
I don't really like how "gestural" Bridgman's hands are. They're great drawings but I can't really interpret them too well a lot of the time. Maybe I'll try and mimic the position of the hands in the book with my own hand and draw that instead of working directly from the book itself.
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No.938
It's too hard to keep my hand still and draw at the same time lol
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No.942
I really need to be more productive holy shit
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No.1048
Still not doing great with gestures. When I watch Vilppu do it it's almost hypnotic watching his flowing "armature" lines effortlessly transition into forms, when I do it it's…not quite as pleasant.
https://www.youtube.com/watch?v=DqxMMEUvtJc&feature=youtu.be
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No.1050
>>1048
How big are you drawing these? If Vilppu is who you want to emulate, try to draw them as big on your screen as possible. Besides that, pick up a more textured brush, and draw with either lower opacity or flow in the brush, or both.
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No.1051
>>1050
Thanks for the advice, I use 3840x2160 canvas, I just shrunk them down for the sake of the image. They're awful either way. He draws them from like the inside out; it's a mystery to me no matter how many times I watch him do it
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No.1123
I need to draw more heads.
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No.1124
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No.1238
>>163
I'd love to see some M.D. Geist fanart, if you get a chance.
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No.1281
>>1048
Watching Vilppu after doodling god-awful gestures for an hour is like looking at someone perform witchcraft.
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No.1282
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No.1305
I was drawing since I was 6 years old, but I never took it seriously, and just repeated what was confortable for me all my life.
I swallowed my pride tonight, printed "Fun with a pencil" and started drawing shit and planning to really learn to draw this time.
Just when I finish this book, I'll get the money for a graphics tablet, not before.
Sorry for the blogpost.
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No.1306
>>1305
May loomis be with you!
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No.1307
>>1306
Thanks for the encouragement, anon.
May his blessing be with you as well.
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No.1309
>>1305
You're doing pretty good, buddy. Keep it up. Might I recommend taking part in Peter Han's "Dynamic Sketching" course. You look like you have pretty decent control of your marks as it is but if you grind this video enough you will have masterful control of your lines, arcs and so on, giving you complete control of the size and volumes of your shapes.
http://youtu.be/wgDNDOKnArk
Regardless, keep going man!
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No.1310
>>1309
I constantly rewatch Peter Han's and Proko's videos. It's kinda hard to start using my whole arm, but I'm getting used to it.
Thanks for the encouragement, bros.
I'll do my best so in the future I can draw lewds with you.
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No.1311
>>1310
Keep it up man, it really does wonders. You want those shoulder and elbow muscles tight son.
>I'll do my best so in the future I can draw lewds with you.
W-We're all gonna make it bruh
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No.1315
>>1310
>I'll do my best so in the future I can draw lewds with you.
A righteous cause.
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No.1331
>>1309
>pic related.
I'm actually following his video, and my arm is a bit sore from the exercises, but I'm feeling it getting stronger and with a better grip.
Fuck you, based Peter Han.
Thanks
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No.1332
>>1331
Keep goin' bruh. I've had to fill in sketchbooks entirely with circles and lines before I got there. I'm doing it in digital now and it's hard as shit.
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No.1334
Been practicing hands recently but something is off and I can't figure out what, any thoughts?
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No.1360
>>1334
Looks exactly like when I (try to) draw hands. I don't know what's up with it either though.
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No.1362
>>1334
The thumbs are too short.
remember that the thumb should always come up to the first knuckle on the index finger.
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No.1368
So I've started Loomising a few days ago. I've just finished the female heads and now am working on the body. I was wondering if you guys think I'm going in the right direction?
I also wanted to know how do you guys do studies and get better at getting a better flow?
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No.1369
>>1368
You're absolutely on the right track. Keep going; when it comes to studies it helps to watch videos from Watts atelier, Proko and other artist's channels to see how they do it so you develop a good work flow and habits.
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No.1374
how many hours should I put in a day? I never feel as my stuff gets any better.
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No.1375
>>206
Not him but looks like Manga Studio to me.
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No.1376
>>1374
It's not the number of hours, it's the quality of hours. You're better off spending 30 minutes working and studying intensely on something you're specifically trying to improve than five hours going over what you already know or doodling at random.
Try making a list of goals. List what you want to improve, then what you'll need to learn and practice to improve those things. If you don't know what you'll need to learn, then it's time to read a book on the topic to figure it out.
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No.1393
Why do people rush to buy graphic tablets? I'm in situation like this anon >>1305
, but don't feel any need for tablet
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No.1394
>>1393
It's easier to share stuff online.
People also probably delude themselves into thinking the tool makes the artists, it's not that uncommon.
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No.1395
>>1394
>People also probably delude themselves into thinking the tool makes the artists, it's not that uncommon.
Guilty!
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No.1411
>>1393
it's a pain in the ass to deal with paper and sharpening pencils and erasing all the time. plus no ctrl z. not to mention you end up with a shit ton of waste paper with toddler level doodles all over it that someone might find.
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No.1412
>>1393
Makes coloring a lot less of a hassle.
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No.1413
>>1411
To be honest you can make marks a lot better on paper usually I recommend practicing on paper a lot.
>not to mention you end up with a shit ton of waste paper with toddler level doodles all over it that someone might find.
Tell me about it, I would draw at work and people would start trying to see what I was doing and I'd be like
STEP OFF NIGGA!
gotta keep the gesture drawings and ugly personal work on the d/l gnomesaiyan?
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No.1421
>>1411
Draw in pen, problem solved.
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No.1422
>>1421
That only solved one of the problems tho
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No.1424
>>1422
>That only solved one of the problems tho
1. No need to sharpen a pen
2. No need to worry about erasing, you can't!
3. You won't miss ctrl+z, you'll forget all about the luxury of a redo (just like life, no redos only regrets)
4. If someone comments your toddler doodles look like shit just say, "Well it was in pen so I had to start over."
In all seriousness, I like drawing with ballpoint pen on copy paper. You can draw light for construction and it can still go dark. And people who know much more about drawing than me say it teaches you to think ahead and line confidence.
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No.1425
>>1424
Felt-tip pen is a pretty good practicing tool because of a lot of the qualities you mentioned. Too many beginners fall in love with everything they draw and spend too much time erasing and trying to naively make it look good when they simply don't have the perceptive eye or motor skills yet
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No.1426
>>1425
As an example https://www.youtube.com/watch?v=wgDNDOKnArk&feature=youtu.be
Personally I prefer mechanical pencil though because it's basically the same thing but far cheaper.
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No.1433
Daily reminder to practice, anons!
Be passionate and constant, bros!
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No.1436
>>1433
I'm doin' it bruh, most of it is on physical media and I'm too lazy to take pictures. Here's my current failure-in-progress
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No.1438
>>1436
It's flat, boring. Give it some depth and angle, try to have him be swinging his punch instead.
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No.1439
>>1433
Tryin' to brush up on muscle anatomy. How'd I do?
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No.1440
YouTube embed. Click thumbnail to play.
>>1439
At this stage of the game you should definitely rely on reference. If you're anything like me you really want to be able to draw stuff from imagination right away (I want to be an animator) but it's just not possible without putting in a lot of observational work. Consider taking still frames from bodybuilding competitions and tracing them, drawing that same frame/pose from observation and then trying to draw the pose from memory. This is a methodology that Proko recommends in this videos.
https://www.youtube.com/user/ProkoTV
Carefully observe every indentation and ripple because they're all a muscle.
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No.1441
>>1440
Shiet, I didn't think of looking up bodybuilding contests. Only went through workout videos. Contests should definitely give me a wider range of muscle to go through. Thanks for the material and the advice.
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No.1442
>>1438
Thanks for the advice. I'm kind of going for an "iconic" look (it's for a poster) so I don't know, I'm probably going to stick with it. Partially because my deadline is getting pretty close and I don't have much time to be picky. I'll definitely consider your words for my next piece though.
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No.1453
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No.1455
>>1453
I feel like the angle of the head changed. It's pointing downwards in the ref and upwards in your study.
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No.1456
>>1453
Note the subtle discrepancies in the angle between the reference's jaw line and that of the figure in the piece. Look also at how the clavicle sits beneath the left-hand side of the reference's chin whereas it's on the stage-right side on your piece. The eyes mostly look correct (though they're slightly too big) you're doing pretty good but there's just subtle things you may want to address. Keep it up famalam.
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No.1471
>>1453
>>1453
thanks for the advices
alright here's another study
I'll try harder to discipline myself into drawing more/completing it, will try to finish this after taking a break
(also sorry if I double post, 8ch isn't taking my posts)
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No.1472
>>1471
8ch has been very frustrating to post on the last couple days.
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No.1473
>>1471
It's great that you're drawing bud; try and solve some of the problems with this sketch before continuing if you can; I know it's not easy to catch a lot of this stuff yourself so I'll spell a few out for you..
Watch that stage-left leg; the knee is in close to the right place but note how his leg and calf end very close to where the contour of his butt does.
His head is quite a bit too big; I bet if you use the lasso tool and crop it down by 5-10% it will be very close; if you do that you will have to fix the ear which is close to being correct as-is.
Correcting for the big head, you made his body and shoulders a bit too low. Look at the stage-left shoulder and how close it is to his visible ear.
His arms are too short and the can of paint is much too big (as is his hand holding it), Keep an eye on the "negative space" contours between his stage-right arm, chest area etc.
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No.1478
is animu allowed
I studied poses and constructing mannequins from proko but I still fuck up the lower body when drawing from imagination
does anyone have tips
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No.1480
>>1478
Yes anime is fine
>I studied poses and constructing mannequins from proko but I still fuck up the lower body when drawing from imagination
Giving characters "weight" to their poses is one of my biggest problems; wish I could help.
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No.1483
doing something for /baphomet/ and /christian/ well maybe just baph.
Anything that you can spot.
Also, how do I make it look like just the finger tips are going through the hair. I'm thinking maybe drawing bangs are the fingers but the it looks like the fingers are just stubs.
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No.1484
>>1483
You'll have to bring her hair over fingers, right now it looks like the fingers are just stubs because the fingers appear to be over the hair rather than the reverse. Also christ-tan's face looks a little silly because her cheeks are squished but Baph's palm looks to be resting more on the bony side plane portion of her head which wouldn't cause that effect to that extremity; try moving it down just a tiny bit down towards her chin and towards the front of her face. Literally just a few "in image" centimeters will do.
Try and put your own hands on your face in the desired pose and look at yourself in the mirror taking care to note how your hands relate in size to the rest of your head and run your own fingers through your hair (if you have any)
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No.1485
>>1483
Also keep in mind ears are usually just slightly behind the exact center of the skull when seen from the side.
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No.1494
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No.1495
>>1484
So I had to move the thumb and remove some of the exaggeration on the face.
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No.1499
I tried to draw lain, how is it? I tried to use straight lines for everything but shadows and the eyelashes so the shape ended up getting a bit fucked up, but it's one of my 2 not-complete-shit drawings I have now.
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No.1504
>>1499
I'm not really that good at drawing, but what I can tell you is this:
While is the circle is indeed the base for the head, most of the features aren't just put in there. If you look at these pictures, you can probably see what I mean and a picture speaks a thousand words. As you can see, even in heavily stylized art styles (like what you're trying to draw), this is true. Notice how while the top part of the character's skull is round and may be covered by hair, the jaw has a distinct shape. If you have a tablet, or feel daring and willing to use your mouse, you can draw the shape of the skull and jaw on top of the picture. Hell, you can probably see best it in real life: if you have multiple mirrors, just place them around yourself so you can see the shape of your head from multiple angles.
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No.1529
I've been drawing alot which is nice but not practicing
is there anything specific I need to work on more?
hands and arms is a big one for me, but I don't think I'm tackling it properly
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No.1531
>>1529
Your drawings look alright, but come across as somewhat flat. I get the impression that you're relying heavily on reference and that without them you may struggle. The male body in the third image particularly lends credence to this suspicion, in my mind. I would definitely work on the concepts of construction, perspective and definitely don't slouch on anatomy; I feel like you are fairly capable of drawing from observation, but you need more experience so you can incorporate "imagined details" into your work.
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No.1533
>>1531
here's the two of books I'll try rereading
-perspective made easy
-vilipuu's drawing manual
I have a ton of other anatomy books but I'm going to read these first
I-I hope I can learn something
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No.1534
>>1533
Me too, fam, me too
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No.1543
Just fuck me up. How shit are these?
I got more art over at >>>/tophat/
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No.1552
fug I haven't been practicing as I hoped to
Its probably because I forgot/skipped my meds, won't happen again
anyway color practice
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No.1554
>>1552
The torso looks kinda weird and the face looks like it's too skinny but there isn't a protruding cheek bone. don't know shit of anatomy so I might be wrong though
Ears are fluffy/10
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No.1557
Found an old image I drew about a year ago based on a weird dream I had one night.
How terrible is it?
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No.1558
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No.1563
gomen forgot to spoiler
practicing porn
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No.1564
>>1557
You need to study up on your perspective bud. I recommend Scott Robertson's How to Draw in the mega file OR Perspective Made Easy by Norling. Also go to the board page and watch some of the videos on manual dexterity.
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No.1565
>>1552
Don't be afraid to use the soft round brush for shading and blending colors into gradations. It looks like you're just using the hard round brush and it just doesn't work that good for that sort of thing.
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No.1566
I don't know what I'm doing
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No.1569
>>1566
I tried again after a long ass time.
I still can't quite grasp where I should put everything, aside from the eyebrows but it's kinda better. The forehead looks big as fuck because of my potato circle though.
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No.1577
>>1569
It won't look bad if you put hair on it, it actually looks about right; though the features aren't drawn to a very high level they are generally in the right place (the nose and mouth are a little high though). Also keep an eye on the symmetry of the head. I know it's hard but it has to be close to perfect or it will look weird. You will get better at visually measuring these things the more you draw, but you have to draw a lot to improve.
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No.1580
didn't draw crap animu this time
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No.1583
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No.1586
Started with Loomis a few days ago and got the first satisfactory self-portrait ever. Feeling pretty good.
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No.1587
Is this the right place to post a WIP so someone with better knowledge of anatomy and perspective can judge it and point me to how to correct it?
the reason I'm not posting it it's because it's furry and Idk if that's okay here.
Thank you.
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No.1590
>>1587
>furry
Degenerate. But go ahead. If it's porn then spoiler it, if it isn't then just post it.
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No.1591
File: 1449546752374.jpg (Spoiler Image,789.49 KB,1944x2592,3:4,IMG_20151205_241209641.jpg)
>>1590
Not porn but suggestive, and it's M/M. Spoilered anyways.
It's actually the first time that I try to draw from my imagination.
Haven't managed to fix anything yet.
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No.1598
>>1591
Always keep the 8 heads rule in mind
From the top
1st head: top of the head to the chin
2nd head: chin to the base of the pectoralis (chest) muscles
3rd head: base of pectorals to bellybutton
4th head: bellybutton to the all important gooch
5th head: gooch to the middle of the thigh
6th head: middle of thigh to base of the knees
7th head: base of knee to middle of the calves
8th head: middle of calves to base of feet
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No.1599
>>1586
Not a bad job bud, watch those ears though, they should extend roughly to the base of the nose.
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No.1600
>>1598
>8 heads rule
Not him but, is that for male only or both? I remember seeing it some time ago but I forgot where.
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No.1603
>>1600
For women it's very slightly different. Loomis kind of cheats in FDFAIW by adding heels to the female for some reason, to that end you could subtract about 1/3rd of a head throughout the figure-keep in mind that women have slightly smaller heads though too so even if you completely abide by the 8 heads thing they will still be daintier.
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No.1606
>>1598
Thank you, I wasn't keeping that in mind.
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No.1617
>>1580
I'm probably not the right person to say anything considering I'm still trying to git gud myself, but something I learned from community college is you want to just not think and just draw what's in front of you fast. After you get some basic shapes you'll notice yourself going over a few areas in a similar way or certain proportions; this is where you'd use your LOOMIS skills to give it proper form. This way you could make it look more like them and still give decent structure and form.
The reason why I mention this is because it looks like to me that you focused more on getting some LOOMIS in and then build the face around LOOMIS. I used to do this until I was told not to and I think I'd improved from it.
Keep at it though anon, because I think you're getting somewhere.
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No.1661
Definitely need to draw from imagination more.
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No.1669
I've never done loomis or anime drawings. I don't really get the whole"draw a sphere -turn into head" thing. I typically just draw where shadows are first then start from there.
Should I stop this?
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No.1672
>>1669
The head construction process aids in the accurate placement and proportion of the facial features, it's useful for imaginative drawing in particular because it's hard to visualize a completed image in a 'gestalt' without having some sort of armature in place. It's useful for observational drawing too, the ear on your second image is quite a bit farther back than it ought to be. That said I don't necessarily think what you're doing is 'wrong' per se. The construction is just a guide you don't necessarily have to paint or draw every time, rather it's something you should be able to kind of project onto something you're drawing mentally to check your placement and measurements.
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No.1673
>>1672
i've tried to use those methods to ensure proportions work but it seems to do the opposite effect.
I can see that the ear is off quite a bit though. Its too small as well. I do these.. sketches? in a very short amount of time with almost no corrections. I get impatient with correcting things and detailing. I'd rather start all over and find a way to do both perfectly on the first time very quickly. That's probably why I've never been into outlines or … loomis? methods
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No.1683
If I was any more frustrated than I am right now I'd detach from my earthly self and morph into a trans-dimensional sphere made of pure concentrated anger. Tutorials for gesture drawings should have a warning + number for suicide hotline attached to them.
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No.1688
>>1683
Keep trying, figuring out how to make gestures look appealing is very difficult.
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No.1706
Working on a thing for a project. See anything wonky, guys?
>>1583
oh, shit. Hi, nigga
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No.1709
>>1706
The stage-right hand seems a little awkward but I don't really have any advice for that myself. I'm terrible at coming up with natural poses for arms. Looking good overall fam.
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No.1719
>>1709
Thanks, fam. Any better?
Still going to need some detail for the rings and a fun design for a belt buckle, though.
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No.1722
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No.1725
>>1669
You're likely on a good track as you're thinking about the form instead of the lines. I think that you'll have no difficulty adjusting to construction since you already think in 3D.
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No.1729
>>1719
Not him
>Any better?
Yeah. Just to comment on hands, there isn't anything wrong with what you're doing at all, personally I'd have him leaning back more for more of a "swagger" look to him and the arms out more.
But that's just personal preference for exaggerated shit, this is absolutely top notch.
As far as the belt buckle, you could just go with some orc symbol/logo from Warhammer.
Maybe make it symmetrical so it isn't exactly the same if you're trying to distinguish it.
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No.1771
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No.1784
>>1729
Thanks a lot, man. I definitely should've exaggerated the pose a bit more, I'll make sure to do that next time. Looking good?
Also, the anon on his own practice thread is an inspiration and he reminded me I don't do shapes often enough.
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No.1796
>>80
I don't get why the circle on the side of the head is there for the first two faces. And I feel like I should know this to not be shit. Yet I'm just not seeing any reason for that circle to be there.
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No.1797
File: 1451544835583.jpg (1.38 MB,2572x1293,2572:1293,Stan Prokopenko - How to D….jpg)
>>1796
The head isn't a sphere, it's almost more like a cheese wheel; it helps to delineate the side planes of the head from the front and back.
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No.1859
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No.1892
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No.1893
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No.1910
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No.1918
So, I'm brand fucking new to drawing. These are the first two things I've drawn in a very, very, *VERY* long time. I could say these are my first actual attempts at producing something.
First image is purely from imagination, second one I used a reference. Any tips? Like brush type and how to improve shading to make things more 3d?
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No.1919
>>1918
While the safe pose and rendering contribute to an adequately 3 dimensional appearance (for an on-model cartoon drawing), it is nonetheless compromised by some of the inconsistencies like the discrepancies in the size and shape of the fingers, the feet and asymmetry of the hair (the hair also stands alone as lacking any kind of black outline and, because of the thickness of those lines it creates quite a jarring contrast), and the very thick black outlines throughout. Try using thinner lines and definitely look into the concept of 'construction' which you can learn about in a variety of books. "Fun with a Pencil" being a popular one in that regard.
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No.1926
>>1919
I honestly can't really understand what you're trying to say other than my symmetry is off.
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No.1927
>>1926
Sorry, I read your sentence 'how to improve shading to make things look more 3D' to 'how to…make things look more 3D', the answer to which is looking into construction. For what it's worth construction and understanding of 3d forms and how they work are definitely key to understanding not only solid drawing, but shading as well.
https://www.youtube.com/watch?v=Hi_3HymnpXE&index=5&list=PLmB-nP6ZnEw-1gEtKg8TFx6j0XMQw1P_D
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No.1928
>>1918
I know that you want a direct answer for this, but you have to think in 3d by thinking about shadows and light projection.
You can train your mind to think in 3d by drawing from 3D shapes or real subjects from reference.
It's hard to cheat it with brushes and shading without fundamentals because it'll look wrong most of the time.
Here's some videos to get started out:
http://www.ctrlpaint.com/library/
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No.1932
File: 1452154109526.jpg (Spoiler Image,730.86 KB,1242x2000,621:1000,1447895547.wyntersun_doodl….jpg)
>>1927
I should mention that I'm using Paint Tool Sai. I'm not sure it'd change anything but just in case.
>>1928
Thanks, this site is fucking wicked. I've been self teaching because of a lack of good videos on youtube. Eventually I want to be able to draw like one of my friends, pic included. Spoilered for eww furry
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No.1937
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No.1938
>>1932
It's all cool. Figure drawing might be the thing that you're interested in. Scribd is a good site for finding art books.
If you want anatomy like that, then George Bridgman, Burne Hogarth, or Micheal Hampton books could work.
I'm going to give you a George Bridgman book as it's heavy on form (3D shapes) and figure drawing. Just to keep things easy, try copying a few figures multiple times on the pages displayed. It looks complex, but you'll get the grip of it pretty easily.
Drawing the figures becomes easier if you construct the figures with shapes. Don't be too discouraged about being slightly inaccurate, most studies are.
https://www.scribd.com/doc/128809108/George-Bridgman-Complete-Guide-to-Drawing-From-Life
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No.1939
>>1938
Seconding Hogarth if you really want audacious musculature in particular. Keep in mind a ton of material from a lot of the authors you'll hear recommended here and elsewhere are available in the mega file located in the sticky-for now at least.
I'm considering removing any material that wasn't either created for free voluntarily or was produced by a non-living artist. For the record, that would still leave a hell of a lot of material (Loomis, Hogarth, Bridgman, Norling, Speed, Stanchfield).
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No.1941
>>1939
I'm no judge, but you could probably remove the perspective and figure drawing books authored by Hampton, Vilppu, and Scott Robertson.
I think that the animation section might be sparse though.
I think that a better alternative would be to add the personal donation links of modern authors if they all happen to have a link.
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No.1944
>>1941
>I'm no judge, but you could probably remove the perspective and figure drawing books authored by Hampton, Vilppu, and Scott Robertson.
Yeah those are the guys I was thinking of, in particular.
>I think that the animation section might be sparse though.
Yeah, we'd still have the Stanchfield "Drawn to Life" books but we'd lose Williams which is pretty unfortunate.
>donation
That's actually a very good idea. The authors themselves really don't make much from their book sales a lot of the time anyway. Reading this post from one of my favorite animators bummed me out.
http://bitey.com/dashkin-dies-in-the-end/
>I spent all of 2013 writing the A2H book. Writing is one of the hardest things because unless you have a substantial advance from a publisher, you don’t see any money until the royalties start coming in. It was a very difficult year for me because writing A2H was a full time, non-paying, thankless job. I was working on games animation, effects animation, illustration and comics for a handful of separate companies all while trying to stay on schedule with the book. I was pretty miserable most of the time, working 15+ hours a day, 6+ days a week.
>A2H was finally published in November and I was very pleased with the result. I was looking forward to the reaction (not to mention some royalties).
>My first A2H royalty cheque came in the mail recently. I actually earn more money in 3 days of storyboarding. Let’s just say I probably won’t be writing ever again.
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Post last edited at
No.1945
>>1944
I feel bad about it too sometimes, I try to purchase their books whenever I have the chance too.
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No.1946
>>1945
Yeah, I mean, I don't know. I know a lot of-maybe even most-people that pirate stuff wouldn't buy it anyway, but you know there are people that would if they had to and simply choose not to. I personally own a ton of physical copies of these books, myself, but it's just easier to use .pdfs. Maybe I should just leave 'em though, if it wasn't me it'd be someone else, I suppose.
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No.1952
Getting better at memorizing anatomical landmarks and drawing them from imagination; still can't make a pose that makes sense or has any real weight to it though. Lot of work to do in that regard. Definitely have to stop avoiding hands, too.
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No.1957
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No.1960
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No.1992
Rushed this doodle for the Fred thread with a office pen and a piece of paper, but 8chan is being really shitty with me and doesn't show my post with the picture there.
http://i67.tinypic.com/2v1qdc0.png
Any tips for the hands? They are my worst enemy ever when drawing.
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No.1996
>>1992
http://i.imgur.com/xaAHelR.jpg
If the tinypic link is broken, use this one.
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No.1998
>>1960
Sorry for responding late. You have a good grip on form so far. Major props for including shadows on the figures too. You'll gain a decent eye for seeing shadows and treating figures three dimensionally if you do more.
The anatomy and proportions studies are even more useful. They appear complex at first, but they're actually pretty easy.
If you want a lot more bang for your buck, construct with simple shapes that you can remember or use those techniques for 60 second gesture drawings. The latter is a bit tough initially, it luckily becomes smooth later on though.
www.quickposes.com/
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No.2002
First sketch was trying to do >>133 in my style.
The other two are attempts at drawing realistically, though the last one looks more stylized I think. Do anyone have advice on eye placement for realistic models. Because it's always hard for me to get it right as sometimes I put them too far apart that they look like an alien or too close.
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No.2003
>>2002
A rule of thumb for generic features placement is that there's about one eye's length in between each eye, one eye's length between the tearduct of the eye and the "bulb" of the nose which itself is itself roughly a head high and wide.
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No.2023
Does animation practice count?
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No.2025
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No.2035
We need more major-masses for dem programs
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Post last edited at
No.2041
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No.2078
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No.2095
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No.2105
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No.2125
So I figured the posters in this thread might need some art-fuel so bellow is an explanation of two approaches to drawing that are worth thinking about when drawing anything. This is something very fundamental but isn't discussed a lot and would be very helpful for people starting out.
So there are two primary approaches to academic drawing. One is based on the objective structure of a subject while the other is based on the visual impression of what you're drawing. While they both may sounds similar because your visual impression is that of a structure/object but the way you go about representing it can be very different.
So we will start with the easiest approach to understand (the drawing to the right). This approach os often referred to as line drawing but it has more to do with form and structure. What this approach is meant to do is to represent the 3D structure of the object. We look for forms and try to represent them with lines. There's not much more to it than that. A contour line of a form is made to represent its edge and you emphasise overlaps and structural form where possible. This approach is very useful for when you want to gain an understanding of your subject and becomes very useful in the study of anatomy and perspective. Figure drawings in this approach aims to explore what the body is doing, the way it is behaving. Light and shade is not necessarily excluded but should be added in a manner that seeks to further describe the forms of the subject.
The second approach (drawing to the left) is often referred to as mass drawing. In this approach you do not consider the structure of your subject but rather what the visual impression of it is (the shapes of value/color hitting your retina). This approach relies on abstracting down your subject into shapes of value and to then be represented as an honest depiction of what you are seeing. In the drawing I have only represented the light and shadow shape of the subject and it is a fair depiction of what we would see if squinting at the subject. This approach is very useful for when you want to make a visual representation of what you are seeing rather than a structural one. You seek to explain what something actually looks like rather than what it might be. This is a less "intellectual" approach because you do not seek to explain anything more than what appears to you.
A notable difference between theses two approaches is the way light is treated. In the structural/line drawing approach it is often treated as a secondary element, used to describe more of the subject's forms. In the mass drawing approach, light and dark is everything. It is purely based on the shapes of light and dark and any structure/form in the drawing is purely a result of what appears visually.
When working with mass drawings you will often encounter a situation where the edge of a form is the same value as the background. Now there are two ways to treat this issue. If you were to work purely visually, you would not indicate that edge at all because it is not part of the visual impression. Another thing you could do would be to move away from mass drawing and define the edge even if it's not visually apparent.
Now both of these approaches are very useful there are gradients between them. It is wise to consider what most appropriate for the drawing you intend on doing before starting on it. I personally prefer mass drawings but line drawing is very important to learn about forms. One approach a lot of artist take is to first do a line drawing and then add visual elements over it so they get a best of both worlds.
Anyway, hope this helps some of you and if you have questions in regards to these two approaches or academic drawing in general, I'll try to get to them as soon as I see them.
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No.2127
>>2125
Thanks for the thorough explanation. I've tried to use these masses as a sort of measurement tool but have never outright drawn/represented them if that makes sense. Maybe practicing that wouldn't be a bad idea, though my focus is largely structural as I'm interested in animation-I don't know if that would have a whole lot of use for me personally. It's certainly worth knowing about and understanding, though.
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No.2128
>>2127
I don't think line drawing is necessarily exclusive to animation. The primary reason line art is used in animation is connivance so that the people adding the color know where the boundaries of shapes are. It's not often that lines are used without having a corresponding value change, and when it does happen it tends to be minor.
From what I've seen (and I'm not an animator, I'm an classical/academic art student) animation uses a hybrid approach. I see a lot of "mass drawing" in series like Evangelion even if lines are used to further express an image. If you squint down at any animated show, the line art disappears and you only see the masses of color and value. So while there is always an underlying structure to these things, it is often represented with a good chunk of "mass drawing" in a theoretical sense. So I'd think you ought to study both. I know that from personal experience, having a good understanding of structure can let you draw using the mass drawing approach and keep the structure in your head rather than on the image. This saves a lot of time and in an industry like animation, time is money :)
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No.2155
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No.2156
Hey Atelier-anon, any advice bruh? I wish I could return the favor but you're pretty much 'the man' around here.
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No.2160
>>2156
Hey, I'll give it a shot ;)
Prepare for a way too long post with a lot typos and no real structure.
There are a few things we can do to help out your drawings that are fairly simple but very valuable. One thing that I'm very interested in is line quality and what you can express in pure line (or line with one or two values). If we imagine that a line is to show a change in value of what we're seeing, we can setup a few different kinds of lines to express some different phenomena. The first would be the value of the line. If we want to say "this is a change in value" with our lines, we can also express how strong that change in value is. So by making a very dark line, we express that the contrast of those two values are very high. Then with a light line we say that the contrast is very low (in some cases where the contrast is almost non-existent we can loose a line entirely). This approach leads to a stronger visual impression in our drawings.
We can also talk about the hardness and softness of lines and what they communicate. A hard line tells us that the change in value is very abrupt while a soft line tells us that the change is rather slow. Commonly you will explore this form of line quality in overlaps and shadow-lines. In shadow lines a sharper line communicates that the form is turning away from the light quickly while a soft line communicates a slow turning form.
Ideally you want to keep your lines very thin in your contour to really express the sharpness of the edge. I tend to keep my pencils ridiculously sharp, like needles with the lead being about an inch long. The way I sharpen my pencils is by using a really sharp blade to cut off the wood and then sharpen it with a block of sandpaper until it tapers evenly to the point that should be sharp enough to break skin if pressed with a little bit of force (I do prick myself sometimes by accident).
(the image I attached is a drawing I did last term that shows these principals in action)
Other things you can do is to block in your subjects. A funny thing about academic art is that students are never allowed to use curved lines. Everything is straight. This can sound really crazy but there is a really good reason for it. If we draw a curve as a series of straight lines, we can actually look at the angle breaks of these lines and adjust them to correspond with our subject. It makes it really easy to work with these lines while curved lines are a lot more difficult to adjust. Another reason to work with straight lines is that it simplified your subject/drawing and allows you to work with a simplified block-in before making something more complex.
Some artists block in a subject to gain those simplification benefits and then over that block in use curved lines to express the elegant curves of a figure. An artist like this would be Harold Speed.
Here's an example of a block in and a drawing done with only straight lines (even if they're difficult to see) http://40.media.tumblr.com/5f24ceabfcb96cabda4cde7dcd1d8ad9/tumblr_mh5v4bgNjm1r0v3zro10_1280.jpg
In your drawings, I don't think you need the bands around the forms. This is an easy way to communicate form but if you remove them, you force yourself to express form through overlaps and structure. It's like removing information in shadows to force yourself to make the light-shape carry the drawing.
If you do accurate block-ins of figures you also study the gesture. Pure "gesture" drawings can often be a cheap way to avoid drawing accurately and studying the figure in-depth so I think you can priorities drawing the figure well. I tend to learn more about gesture from one 3 hour drawing than tons of drawings in 3 hours.
So here's just a list of things from my first term notebook that helped me out.
Abstract everything into the biggest relationships before considering minor shapes.
Everything in a drawing consists of 2D shapes so being able to identify them on the model (a 3D structure) will help you translate them to the drawing.
Don't only look at the model but also the negative shapes around and between forms.
The standing leg (leg carrying the weight of the figure) almost always lifts the hip giving them a tilt down to the resting leg.
Squint to see the visual impression of your subject and also to better abstract the figure.
Always have a goal with each drawing and a way to better the next one.
Take your time just blocking in the figure. Spending 25 minutes to just place the major shapes is fine.
Keep your line work clean, you don't need to use a single pencil-stroke to express everything as long as you are careful.
Rely on what you see, not what you know.
Spend a lot of time looking at the model before making decisions in your drawings.
Man, I ramble a lot. Let me know if there's anything specific you want to know about. Otherwise I just go all over the place.
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No.2165
>>2160
Great post as usual. I can really see how your piece embodies much of what you've discussed.
One problem I have, besides the crippling fear of leaving my comfort zone (which much to my misfortune is drawing the featureless, weightless, low resolution 3D maquettes from posemaniacs.com which is probably stunting my progress considerably) is that I kind of struggle to use the materials themselves effectively. I sharpen my pencil with a safety razor but once I get to a certain point I struggle to make the tip very sharp at all, it ends up with about as angular a tip as a pre-sharpened pencil just with more of the lead exposed, lol. Once it gets to that point I begin to worry about breaking the lead and I'm left with a pencil that to me seems incapable of making the sort of delicate shading you seem rather adept at. Of course, part of this problem might be the cheap type of pencil I'm using, too, not to mention the paper (might I ask what you'd used in creating that piece?). I'm glad you mentioned sand paper because I'd never heard of doing that before.
>I tend to learn more about gesture from one 3 hour drawing than tons of drawings in 3 hours.
I'll have to take these words to heart. I can imagine I'd probably have progressed much farther than I have today if I would actually engage in a serious study at least a couple times a week instead of just brute forcing muddled, low resolution images of 3D models floating in space.
>Man, I ramble a lot.
Good
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No.2173
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No.2174
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No.2175
>>2174
That one towards the middle with the middle finger that looks even in length with the others actually did look like that because it was at a slight angle-I just wasn't sure how to portray it!
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No.2176
Hey /loomis/
I am about to go through "The Complete Famous Artist Course". I downloaded it and am prepared to follow it as if I were taking a real college course. I drew a lot in high school, got started on some college, and then switched to working and starting a life. I am in the very advantageous position of having a supporting wife who is letting me pursue my dreams and that brings me back to art.
So, is there anything I should know before getting started? Is this an appropriate topic to discuss this or should I move elsewhere?
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No.2177
>>2165
Getting out of your comfort zone is difficult but that's how you learn, man. ;)
The materials I use are mostly 2-4B pencils for drawing and something like H-2H for fine details. The image I linked was mostly done just with a 4B. The paper is canson mi tientes. Most pencils work well but I use some that are blue. Don't know the brand but I like them because… blue…
When working traditionally I work standing at a vertical easel. Might want to try it out. It also makes it easier to control your pencil after you've gotten used to it.
—–
Anyway, I figured I'd just post something I did just before bed. Even if I'm in the studio from 8 in the morning to 8 in afternoon, I still try to find just a few minutes to do something digital before ending my day.
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No.2188
>>2177
That's awesome bruh, Your process reminds me of Daarken; another digital painter with a traditional background.
http://enliighten.com/
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No.2242
>>1918
>>1938
It's me again, not sure if you guys are still here or not. Kind of wish this board had ID's.
Anyways I've done a couple drawings and I'm wondering how I can improve my lines so they look natural. My lines always end up looking really bulky and unnatural, like they're laser beams curving around instead of representations of contrast between objects overlapping. I'm told I should use he "peek-a-boo" method more often where lines start and stop without connecting at certain points, and also to make them thin on the ends and thick in the middle. For some reason my tablet pressure makes it really difficult to make lines taper off or start thin unless I go really fast and stretch the line long, any tips?
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No.2248
>>2242
Line weight.
What software are you using and what tool are you using in it fam?
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No.2251
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No.2252
>>2251
As I suspected it looks like you're using a "pencil" brush. Pencil tools typically don't have the pressure sensitivity tools of a "paintbrush" style brush. Try changing your brush.
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No.2253
I've been working on drawing heads, could /loomis/ give some critique? I tried to get a variety of head shapes.
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No.2254
>>2253
While some of them are alright, in some instances you aren't following your own guidelines like the top center-left, a lot of features themselves leave a lot to be desired as well, such as the noses; consider practicing individual features to help alleviate this problem. The overall proportions of the head are off a bit for most of them as well, remember to envision your guide lines "wrapping around" the form of the head and face.
Refresh your memory of the construction with this video and maybe try practicing that a bunch without adding the features.
https://www.youtube.com/watch?v=1EPNYWeEf1U
Also, give yourself enough room to draw, you should try and make your drawings a decent size so you can capture the details. Here's an old picture of mine showing heads I was drawing from pictures on a very small tablet. I think drawing at about that size is probably ideal when you're first starting out.
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No.2258
>>2252
I'm using the marker tool, but I guess that still counts as a pencil brush. The thing is the pressure stuff works, I'm just wondering if there are any tips or tricks to improve at using pressure properly.
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No.2278
>>2258
I said it in the other thread and I'll say it again here. Look at >>2066 and apply it.
Obviously there's the mechanical level of needing to be able to do steady sweeping lines, but there's also the knowledge of where to apply how much pressure once you're there.
In general thickness can indicate either shadow or thickness of the object (eg two circles, one is thicker than the other, the thicker one is either larger or closer) and you want to have them taper as they leave their origin.
Also if you want a sharp corner you can do this.
Also adjust your pressure curve. Using a straight curve like that isn't going to do you any favors. Before you ask, there isn't really a universal setup, I spent about an hour dicking around with tablet setting and this is what I use for example.
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No.2279
Any tips at making good mouths, noses and ears?
I tried just shadowing the nose and mouth in the first two but they are kinda shit. Then I tried actually drawing it in, but it's even worse.
I want to learn how to make them realistic instead of just :^).
Also, how the fuck do I make a proper neck?
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No.2286
>>2279
It's worth looking through real pictures of people and attempting to draw them.
You don't curve the neck immediately, you draw lines before the curve.
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No.2293
>>2279
Draw in shapes (form) instead of lines (symbol drawing). Check out pic related in: >>2125
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No.2302
>>2286
So, just practice more?
>>2293
I'll try, thanks.
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No.2310
Trying out 30 second challenges. This is gonna suck.
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No.2316
Tried to draw shapes before the final linework using Propenko's blog for reference.
The mouth's still nigger-ish but I think it looks better. Is there anything I fucked up badly?
Also, I'm going to start learning about anatomy tomorrow, is learning first about the bones, then muscles and lastly about limbs a good idea?
Going from the bottom up sounds good for me, but I might be wrong.
>tfw pic was supposed to be a chick
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No.2317
>>2316
Alright, let's see. Gonna try to do a little redline of sorts here, I hope you don't mind. Disclaimer, I'm the same drawfag who made Demiurge-chan and Seahawk Harpy, that should tell you all you need to know about my level of skill.
First off, the ears are too high up. They should start around the same height as the eyes, and finish around the nose.
Second, the neck is way too thick. Superhero levels of thick.
Third, the shoulders are way too square, they should be more round than that. The perspective is also wonky, makes it look like the right side of her body is wider than the left side.
Fourth, more worrying than the niglips is how much you defined her philtrum. It almost looked like she had a piercing around her upper lip. You should loosen up around that part.
Fifth, the chin is way too blunt IMO, it even looks like she has a buff guy's cleft. Soften it up a little.
Sixth, if she reminds you of a Skyrim orc is because they had very distinctive noses and brow ridges. I notice you made them stand out a lot, too.
Finally, the hair's shapes are too inorganic. Use curvier lines.
That said, looking forward to see you improve, nigga.
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No.2318
>>2316
>>2317
Both y'all niggas messed up on the ears bad smh tbh
Some of your advice was good but your redline exposes the fact you need a lot of work yourself my man. Don't take it personal btw.
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No.2319
>>2318
nothing personnel, I'm aware of it and I kinda rushed it. Just hope it wasn't bad enough to mislead anon there.
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No.2320
>>2316
Let's bring up a subject I'm fairly interested about when drawing and painting. That would be editing the information we draw/paint. Now I'm not talking about changing proportions or anything like that, rather simplifying things and deciding on what information is the most vital to the visual impression. The primary way to see a more "pure" impression of our subject is to squint so everything becomes much darker and blurry. When doing this, you can pick out the most important general shapes that define the subject. Another approach (often done in combination with squinting) is to look for the areas with the highest contrast. If you let contrast be your guide you will create a lot more "visual" images.
When working in pencil, I tend to let contrast dictate the value of my lines. Low contrast, light line, high contrast, dark line. This would solve your problem of the groove above the lips standing out way too much, or the contour of the bridge of the nose competing with the nostrils and so on. By doing this, you edit out less important information and prioritise the things with high contrast that clearly define your subject. This also applies to drawing from your imagination but it requires you to maybe have a bit of life drawing experience and thinking about what the visual impression of your subject while drawing it.
When drawing women, especially from your imagination, it is important to identify some specific characteristics that define them as separate from men. Just noting things like how their jawline is thinner or how their features are more subtle really help in making it feel like a "person". You can also memorise characteristics that give off specific "feelings" like how narrower mouths and subtle noses makes a girl look cute (pic related).
The Bridgman's books on drawing heads and faces is a great start. John H. Vanderpoel is another author that has written a lot about drawing faces. I think the most important thing to remember when working on portraits is that being careful and methodic really pays off. Now I wasn't very careful in the picture I linked but that's because it's my free time and I didn't feel like spending a lot of time on a quick demo painting ;)
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No.2322
File: 1455222971065.png (397.65 KB,681x2257,681:2257,Doxy - Doxy's Notes; Head ….png)
>>2320
Did Bridgman do a book specifically on faces? One thing I noted when I'd drawn through Constructive Anatomy is that he had very little to say about faces. His manner of constructing the head from a cube I didn't really understand until I saw the process illustrated by "Doxy" and even still it isn't something I'm really used to, the Loomis method seems more intuitive.
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No.2323
>>2317
Your pic still looks a bit orc-ish to me, I'm guessing it's because of the cheeks and the abrupt eye-thing, but it definitively doesn't looks like a mil-tan type of character anymore.
Also, thanks for the tips, I thought all I had fucked up was the ears and the shoulders.
>>2318
What, can't you handle a real Chernobyl woman?
>>2320
The contrast part makes sense, but it's impossible with my non-existing knowledge about anatomy.
Thanks though. I'll study anatomy for now and try to do that once I draw another face.
>>2322
Yup.
https://www.goodreads.com/book/show/477057.Heads_Features_and_Faces
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No.2327
got myself to draw something original than shitty animu fanart (well it's still shitty but it's better to practice being original I guess)
but while that's good and all I have to do more studies and draw actual things
the left is what I usually end up when studying from realism, let's see how long it takes for me to improve
/blog
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No.2328
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No.2329
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No.2346
>>2322
Bridgman clicked with me because his drawings forced me to think in form.
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No.2365
OK, I need some help here. Practicing in order to make a little 3-4 frame running animation, and struggling to make it not look stupid. If anyone could give me some corrections I'd appreciate it.
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No.2366
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No.2367
>>2366
Pretty fucking neat and metal, anon.
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No.2369
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No.2375
>>2365
3-4 frames
You're going to need more frames, man.
Look at how you have his body swinging from one frame to another. Watch some olympic runners and you'll see that, while the torso twists a bit, it remains at roughly the same angle throughout. Don't be afraid to look up something if you're unsure of how it looks. Drawing from reference and animating from reference is how we build the mental library that allows us to forgo reference entirely.
https://www.youtube.com/watch?v=V8dDXwEEPOU
Download "the Human Figure in Motion" as well, it should help a bit even if the images are rather small and kind of blurry.
https://mega.nz/#!K0MyXDja!9eLELbWFRcdTrwlVnhyOolLQKUdGYZ5yaFyENszLUEc
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No.2380
>>2375
I mean, it's just for sprites for a (probably free) game a friend and I are working on on our spare time. I know that "it's supposed to look like shit" isn't a good excuse, but there'll likely be a lot of smaller sprites moving around on screen at the same time. I get the impression it'd be too much effort for something I feel would have diminishing returns.
That said, I still don't want the anatomy to look broken as shit because it's practice nonetheless. Downloaded the materials, will be studying them. Thanks, anon.
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No.2382
>>2365
It's about nine frames total, but it's not too difficult since it's nearly the same as a walk cycle. except that this frame is the comes before the "contact" pose (stylization2).
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No.2438
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No.2500
>>2438
I'd suggest you change up your approach to figure drawing. Whenever you draw something (especially in line drawing) you need to be critical of the information you put down on the paper (or screen in this case). Consider what each mark of the drawing communicates and if is a faithful translation of your subject. An example where this is missed in your drawing is the outline. With an outline, you either communicate a sharp change in value or the end of a form. Either way, this is just about always a sharp line because the form of a subject has a hard stop rather than fading/being soft. This would mean that the line of the outline needs to be sharp and unified. Yours is very scratchy, not properly communicating that a form is ending sharply.
Another thing to try when drawing something is to look at it in the abstract. By abstracting the subject into flat 2D shapes, we can purely focus in getting the drawing accurate rather than having our "understanding" interfere with studying the subject. If we look at the breasts of your drawing, they are a lot fuller than the reference and attach just below the clavicles instead of attaching to the broad surface of the upper torso. This often has to do with a person mentally "understanding" that the form of the breasts are roughly in the shape of a teardrop but this understanding interferes with us being able to properly observe outside of what we already believe our subject to be. So by mentally abstracting things, we remove our preconceived understanding in light of drawing what actually is rather than what we initially believed it to be.
I've attached one of my own life drawings and hopefully you can see how these two things function in practice.
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No.2505
>>2438
Why are you drawing from a censored image on Youtube? That black bar is covering a lot of information that could be used as landmarks in your drawing.
Use Pixelovely ( http://artists.pixelovely.com/ ) or create a reference folder of your own.
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No.2546
I'm trying to learn anatomy now and it's fucking impossible. I'm starting by the skull and I kind of get the general shape, how it's supposed to look and all, but I can't copy it(or anything at all) without marking the fuck out of it(pic) to see where everything fits. I know that thing where you see the angle, make a box and go from there, but just doing that doesn't helps me.
Is this normal for beginners or should I git gud before proceeding with anatomy?
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No.2547
>>2546
Pic related is what came out of it. I spent 15 minutes on it and tried to follow the marks as well as possible, but it still got kinda fucked up and tilted to the right, although not as fucked up as when I try to copy reference.
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No.2550
YouTube embed. Click thumbnail to play.
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No.2589
>>2500
I screencapped your post and will reread it alot
thanks for the in-depth
pic related head looks big because of the puffy hair
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No.2613
>>2550
Isn't that just for line control?
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No.2614
>>2613
That's exactly what it's for and exactly what you need my man.
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No.2622
Does this atleast look somewhat decent guys?
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No.2625
>>2622
Even stylized the proportions are a little wonky, the hips are huge compared to rest of the torso (though you have the right idea, I feel it's a bit more extreme) and the arms are a bit too long. The elbows are typically just above the navel and the wrist begins at the gooch. Keep workin' fam
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No.2627
>>2622
>>2625
Thanks for the tips fam.
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No.2629
how does this look so far
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No.2630
>>2629
I can't explain it because I'm on my tablet but I'll try and help you when I get home
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No.2631
>>2630
gotcha
I fixed the background
but if there's anything else then go ahead
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No.2636
>>2631
A big part of my, now purely hypothetical, crit was the "background" which I misinterpreted as a misunderstanding of how perspective lines work. The second pic looks better, but the body's proportions are kind of inconsistent.
Her body is very small, looks to be under 2 heads altogether, but her legs look relatively normal. You've shortened the forearm relative to her upper arm area to compensate for the gooch being right under the belly button so it would hypothetically be in the "right spot" technically but still looks a bit wonky. Consider lowering the hips and panty line a bit along with the gooch and lengthening the forearm just a tad. Keep it up bruh
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No.2637
>>2627
I forgot to mention, you kind of dropped the ball on that left elbow bruh, it looks like it's below the navel! Looks like an improvement overall though.
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No.2642
>>2636
>>2637
thanks a ton anon!
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No.2643
I know nothing about the human anatomy. Where can i read about it ?
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No.2648
File: 1458530486572.jpg (229.12 KB,1451x571,1451:571,Fun With a Pencil in a Nut….jpg)
>>2643
Consider starting with "Fun With a Pencil" to familiar yourself with the concept of construction, and then move on to formal anatomy (Books like "Figure Drawing for All It's Worth" and "Figure Drawing - Design and Invention) from there.
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No.2655
Drew this a while ago for the /v/ draw thread, how is it? It was supposed to be this guy(http://snk.wikia.com/wiki/Maxima) in front of a computer. Other than a few perspective errors and the armor not being bulky enough, I don't see anything wrong.
Also, what is a good way to learn anatomy?
Should I learn each part individually(E.G. cranium, then the muscles of the head, then the skin and all, and then go to another part) or finish the skeleton before jumping into muscles?
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No.2663
>>2655
Bulky enough isn't necessarily the problem, it's that there's no real bulk whatsoever; it looks more like he's wearing a robe or a cape than armor. Another big problem is that the piece's whole concept is muddled by the angle, we can't really see any of the distinct attributes of the character; it looks like a guy in a neckbrace. Keep practicin' bud.
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No.2670
I wanted to ask you guys who own graphics tablets, if you get insane wrist/elbow/shoulder pain after 2-3 hours? I draw both with pen and paper, and digitally and it just happens with tablets.
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No.2671
>>2670
You should be drawing with your shoulder more than anything, fam.
Get a bigger tablet (ideally the biggest; the Huion Giano).
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No.2692
>>2663
>no real bulk whatsoever
You mean it's to close to the body or that it doesn't look bulky enough? If it's the second one then do you have any tips on how to fix it?
>Another big problem is that the piece's whole concept is muddled by the angle
Yeah, I have seen the basics of how to make shit properly but I didn't how how to go about that one.
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No.2695
>>2692
>You mean it's to close to the body or that it doesn't look bulky enough?
You have to consider the solidity of the character's thick armor and how it's a separate entity from the character itself. Despite the fact that it's fairly "form fitting", it still has a bulk that projects it off from the character like you see in this official character art. In your picture, with the exception of the collar, the armor and his body look more like a reclining chair's backrest with something draped over it than a human character wearing shoulder pads.
With that said, it's very good that you're practicing perspective, but you have a ways to go. Consider using the mechanical pencil you used to create this piece to try Peter Han's manual dexterity exercises (https://www.youtube.com/watch?v=wgDNDOKnArk), and then download "Fun With a Pencil" and draw what you see in the book. By the end of it, hopefully what I'm saying to you now will make more sense.
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No.2957
>>2695
I tried copying the first pic, how is it? I started by drawing a line where his shoulders probably are before drawing the armor to make it look bulky.
I also tried to draw a face but I just couldn't get the angle on the mouth right so I gave up.
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No.2958
Does anyone knows a good source for pictures of naked poses?
I tried posemaniacs.com but I just can't do them properly for some reason, plus the poses seem kinda awkard for some reason and I would rather not have to rely on porn.
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No.2959
>>2958
Why not? Softcore porn sites are a great source of high res photography of scantily clad humans.
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No.2967
>>2959
>Softcore
O-oh yeah, those exist. Thanks
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No.2972
>>2957
Much better, bud. There are still quite a few areas where you've missed the mark of course. One reason you might be getting shoehorned into these 'compromises' is that you simply haven't developed your manual dexterity to a point where you can manipulate your hand, arm and shoulder with the level of subtlety and finesse necessary. Consider following along with the Peter Han Dynamic Sketching videos on youtube; you'll be surprised how quickly your ability to put down certain angles and lines improves (but it won't be easy)
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No.2974
>>2972
>One reason you might be getting shoehorned into these 'compromises' is that you simply haven't developed your manual dexterity to a point where you can manipulate your hand, arm and shoulder with the level of subtlety and finesse necessary
Yeah, I still suck at it and chicken scratch a lot. You can see in the pic that even the lines I drew just for guidance are drawn over multiple times.
>Consider following along with the Peter Han Dynamic Sketching videos on youtube
I already do I get told to watch this video for every post I do.
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No.2979
>>2974
>I get told to watch this video for every post I do.
hahaha, well here's the secret man. I had to do what he does in that video for laround 3 hours every day for months (I wish I was joking) to get to a decent level of control.
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No.3075
ill post my weak studies here just to get input.
i have a weak eye since it's night time for me, but are there any glaring flaws that I could fix quickly?
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No.3132
Fucking everything, how does it work?
I'm trying to git gud at shadows and form but it still looks potato tier. What am I fucking up?
First three are basic forms I did and tried to draw shadow, the other two are human forms I tried to copy.
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No.3133
>>3132
Forgot to spoiler, sorry.
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No.3138
>>3132
Wrong pic in the first one.
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No.3141
>>3133
Don't worry about spoilering nudes on this board man. I can see spoilering gay furry orgy stuff but this is an art board so tasteful nudity is perfectly fine.
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No.3142
So the one on pinkish paper is from a while ago, and the scratchy digital ones are recent. So far I know I am having issues with depth, proportions, straight lines, and cleanliness. Tips beyond practice until I scream?
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No.3143
>>3142
Oh my god…sage for this, I forgot to spoiler. Sorry mods!
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No.3147
File: 1463923707748.png (Spoiler Image,226.6 KB,1074x1343,1074:1343,Elemental Milf Princess.png)
I'm going to kill myself. Seriously? I can't draw hands. The harder I try, the harder I fail.
What kind of book or tutorial is good for a retard like me that struggles with this?
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No.3148
>>3142
>Tips beyond practice until I scream?
Unfortunately that's pretty much all advice broken down to its logical conclusion. Do the Peter Han Dynamic Sketching exercises on youtube to develop a strong ability to place your lines from the get-go. It will take hours a day for weeks to happen, but it will make everything you do better so it's worth it.
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No.7604
>>938
>>936
>>942
You problaby ave become even greater than before,like to see something from current year.
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No.7611
Pretty comfy thread to read. I appreciate the guy who gave it a 9 month bump. I wonder how far the 2014-era posters in this thread have come now.
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No.7616
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No.7619
>>7604
This isn't done but it's the best I have so far. I'm a little ashamed of myself. Someday we'll all make it, boys. Just need to work harder.
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No.7625
Had some colored pens lying around I thought I'd try to put to use. I never use color for the most part, but I felt I needed to branch out and at least give it a try. However, upon giving these a try, I realized they are nuclear colored and don't blend well, and since they looked like vomit, I drew vomit.
But hey, at least I tried something new, even if it didn't work. Guess I'll just have to shill out for proper pens.
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No.7626
Plate 8 of Loomis' Drawing the Head and Hands done. Next come Plates 9 to 11, which are about using flat planes, and Plates 12 to 16 which are about developing a freer variety of forms. I anticipate that these will keep me busy for quite some time.
>>7625
That's a pretty cool experiment and I look forward to seeing more developed colour drawings from you one day. As for why it didn't work so well, I'm reminded of the common digital art mistake of shading by using a darker version of the same hue—makes the colour look dirty and muddy.
>>7619
I've seen this around a lot and always thought it looked pretty cool/cute.
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No.7629
The bottom one on the left's nose looks way off but I swear on my mama that's the angle I saw. Ah well, I must be mistaken.
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No.7630
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No.7632
>>7630
Nice work. Are you using a skull model? I keep meaning to pick one up.
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No.7633
Just a 3D model off of Proko's thing on my second monitor. With that said, Anatomy360.com has a real cheap model with better lighting (and looks to be a great resource besides) if that's something you'd be interested in.
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No.7635
Trying to go outside of my normal comfort zone and paint in new styles and techniques. In this one I let my paint sit on a pizza box for two hours or so before painting. The cardboard absorbed some of the oil leaving the paint much thicker than it is when straight from the tube. I even use Old Holland paint that is already known for being some of the thickest tubed paint you can buy, so the end result was really stiff and interesting to use.
I've been looking for a method to paint very directly and opaquely in small detailed areas and I think this approach would work well. I'm not a big fan of letting my paintings dry before doing something, I'm an alla prima fag so I don't want to have to rely on drying to be able to make a nice painting (although on "real" paintings I work on them for several days, just re-painting whole areas rather than doing some indirect approach). The stiffness of the paint really helped make adjustments feel very sculptural rather than slippery like they would with more medium.
Anyway, more experimentation with this approach needs to be done. Thought you guys may want to see a post on here that isn't digital.
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No.7636
>>7633
Looking good man, the palette is great.
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No.7637
>>7635
Awesome stuff. It almost looks like a cross between the look (saturation?) of pastel, almost watercolor like blending, and the texture of using a brush with oils.
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No.7640
this >>7636 was meant for >>7635 lol
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No.7642
>>7637
Yeah I think stiffer paint opens up more possibilities in texture and blending. A bunch of medium just sort of blends everything together while stiffer paint lets you to both blend things smoothly but also lets you make that dry noisy surface and thicker paint strokes. This was one of the first times I actually used a palette knife to add paint and to adjust the paint on the surface. Will make another study tomorrow, will remove a little less of the paint but I have this transparent iron oxide red (highly recommend having it on your palette) that is very oily. I'll get the same pigment from OH but for now, I'll try and absorb some of it's oil contents until then.
One of my paintings from yesterday has now somewhat dried and it has sunken-in like crazy. This is on an acrylic primed linen canvas (I usually work on oil primed canvases, the difference is that an acrylic primed canvas absorbs some of the oil when working on it and an oil primed one is much less absorbent making the paint flow on it more) and I removed some of the oil from the paint, so when it dried, it comes up as super matte/reflective in the darks. Tried to take pics that show the colors/values how they were when I painted it. (this is one of the reasons you varnish oil paintings, to bring them back to their "wet" appearance"
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No.7678
>>7635
>>7642
It's really cool to hear about and see this stuff.
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No.7686
A critter in thick clothing.
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No.7795
Sorry I couldn't fit it all in the scanner, is it good?
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No.8183
I had a little breakthrough tonight. Instead of drawing small with my hand, holding the pencil the same way that I write, I held it like this and drew larger on an easel pad, and moving my arm to make lines. It worked out a lot better. I think I should do it like this for now on, at least if I want to be a painter. now i see why people hold their pencils like this.
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No.13211
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