No.8908 [View All]
Insufficient Memory edition
old thread: >>7517
264 posts and 167 image replies omitted. Click [Open thread] to view. ____________________________
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No.10276
i've finally got myself a new tablet , drew some shit and a man with a gigantic hand, he uses it to catch all the dead pigeons that drop head and eats them raw by the instant, he also uses said hand to do the hand thing
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No.10277
>>10276
I fucking love that expression 10/10
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No.10279
>>10276
wew forgot to post this furfag garbage i'm never bothering to finish
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No.10280
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No.10281
>>10276
What was your old tablet and what one did you get?
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No.10282
I'm getting more comfortable with drawing weird poses, in extreme perspective. Noticing a panel in an unreleased page looks a lot like something Imaishi drew, motivated me to try this out.
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No.10283
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No.10285
>>10281
Used the smallest, entry level intuos model from circa 2013, was my first tablet and recieved a good beating but it was too small in the long run, now i use a Huion H950P, great for the price but jesus fuck those drivers, had to re-install them a number of times until they worked. i thought i got chinked, but hey if you're a poorfag like me it's an improvement
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No.10287
>>10282
No offense man but I don't know what to tell you:
Even by ignoring that leg positioning, that pose is not really in perspective. I saw that it's kinda of a constant in your works, just making one limb really big, and another really small, but that's not how it always works. There are other things that peeves me in your works, but i don't understand if you want criticism or if you just want to show your work.
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No.10288
>>10287
Not him, but I would be interested to see your take on a similar pose. I think his "reads" okay as a fisheye style perspective even if it isn't academically accurate per se. I think the simplicity of the design works in favor of something like this-but perspective and foreshortening are among the most difficult individual subjects in the field; I do think most of us are going to be throwing shit at the wall and seeing what sticks for some time to come as far as that goes so anyone should be open to suggestions.
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No.10289
>>10288
Fisheye perspective? than it's completely off,it doesn't read as a fisheye. And as i prefaced, the fact that it's not academically correct has nothing to do with it. I'd say the opposite, since it's just a simple scribble and you're using so few lines, the errors sticks out much more. If you're going with "yeah but it's my style" than we can end it here and i'll shut up, since there's noting anyone can say that is going to be accepted. Perspective it's not a "style" it's perspective.
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No.10291
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No.10292
>>10289
>muh style
I didn't draw it tho.
I'm not sure if that came across as snarky or whatever but I was being sincere-I'm really not sure how anon could improve that piece and I'm interested to know. I think for fun I'm going to try it and see what happens but I'm not too optimistic. I'll probably have to draw it from profile a few times first to try and plan it out and help me rotate it
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No.10293
Fuck me; speaking of thick I made his legs and butt 2 joocy fml
https://youtu.be/9UMhKEP7DcI
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No.10294
>>10292
That "you" wasn't meant to be personal. It's a you referred to anyone who's reading the thread and wanted to partecipate in the discussion.
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No.10295
>>10294
D-does that include little ol' me?
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No.10296
I posted >>4915 a bit more than a year ago. We can all make it my dudes.
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No.10297
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No.10298
>>10296
Push your darks more
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No.10299
>>10298
Pushing darks is scary lmoa
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No.10300
>>10299
It's always scary trying new things, but you can do it bubby
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No.10305
>>10299
You could just shove them gently at first.
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No.10306
>>10305
You can't even look darks in the face without them getting agitated, I don't think that's going to work either
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No.10315
Rate my gentoo girls, I'm not used to cell shading and the work is still not finish. Its gonna take awhile to be honest.
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No.10318
>>10287
I do want criticism, yes.
But with that being said, I figured the backgrounds in my comic would have tipped you off to the fact that I'm deliberately just warping symbol drawing. Think what you will, but the "flatness" is indeed deliberate on my part. I can explain why I've chosen that, too, if you want.
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No.10319
>>10315
The shading isn't necessarily the problem here but may be tangentially related to it. For example I think the purple girl's hair is fairly well done from a pure "shading" perspective. However the figures themselves lack dimension which is both a line and shading problem. It's like their limbs are just being stuck to the canvas with little relation to one another or the body to which they're attached-like skin colored silhouettes. Don't fret though, dimension and form are things that will come with practice. Just make sure you practice them to begin with.
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No.10320
>>10315
11/10
I bet those girls could install Gentoo in the blink of an eye.
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No.10321
>>10318
That's not the drawing i was analizyng, but besides that, why would you want to do something deliberately bad?
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No.10322
>>10272
that's just an establishing shot, why would anyone think about that page in particular?
>>10318
>I'm getting comfortable in extreme perspective
>I'm deliberately just warping symbol drawing
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No.10323
>>10287
>but i don't understand if you want criticism or if you just want to show your work.
I think both options are neat. It's motivating to see people post their work, especially over such a long period of time, and people should do it more often.
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No.10324
In fairness we can think about artists like Stephen Silver, Mike Mignola or Chris Battle who probably don't even know what perspective is lol. I wouldn't say their work is "deliberately bad", you could argue that it's not coming from a position of perfect information but perhaps anecdotally it would lose something in the process if it did (not necessarily saying anon's work wouldn't benefit from a more informed approach with perspective for the record). I doubt anon fully understands the rules of perspective to a rigid degree like the absolute madlads Alex Ross or Moebius if he does have even more than a cursory understanding of one, two and/or three point, but I guess what I'm asking though is how he could improve that pose you're talking about and others using perspective because I don't know either.
Like I said, realistic foreshortening of organic forms is "real nigga" shit but something like what anon did looks kind of cool to me too-I just want to know how he could make something like that "right" if that makes sense. That's just my request as a third party to the discussion I suppose, I'm just trying to move it along because at the moment it seems destined to get stuck in a relatively unproductive semantic loop otherwise.
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No.10326
>>10324
If you want to draw like Stephen Silver or Chris Battle then sure, go ahead, but at that point there's nothing much to talk about. You can brush off almost anything, since it will boil down to just personal preference, but you need to keep in mind that those styles are more suited for animations. When they're "still" you need to make them easily readable. In yours you either lost the line of action, or you didn't follow it correctly. The eyes gets lost and the flow stops. You either redraw it trying to follow it without distractions, or if you really don't want to change the pose, i'd say at least correct the legs. His right leg is the closest to the camera, but it's being pushed way back. His left one, the farthest, not only it's really close in perspective, but faces outside, ends with the foot facing forward again, almost overarching the right one. Leaving it like this, it looks like he tripped.
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No.10330
>>10321
The short answer is because I suck at construction drawing, and don't have the time to properly use it in the comic. Sketching an individual panel would easily go from 5 minutes at the most, to twenty-thirty minutes per panel, easily. And in turn, I've done what I can to make it interesting, using things that only work when the characters are literally flat, like the shape of Burning, and their hair.
And whether you care to hear it or not, drawing something standalone like that is a rarity for me, and when I do so they're entirely "for fun." So by proxy, I default to what I know already, which is symbol drawing.
That being said
>>10322
>>10326
Honestly I don't know what you (or "you guys" if you're more than one Anon) expect from me. Given I'm aware of my flaws, and taking steps to correct them. Like I said in this post, though, I don't have the time and energy to be grinding out nothing but the basics, even though I know I need it. But despite that, just go look at the practice thread, I'm the one taking photos of the big pads of newsprint. You'll see I am indeed practicing what I've been criticized for, in this thread.
Also I reposted the background of that page's first panel, because I wanted to show to back up what I'm saying now. I do actually understand perspective, but my brain shits itself when it comes to constructing figures, and not inorganic forms, so I've spent my time sketching the comic, learning how to cut corners, while at the same time "lie" effectively enough that the characters don't ever break the perspective of the background.
If that's not enough, I'm not the only one to think about this property. As >>10324 pointed out,aggressive manipulation of size of parts of a figure, can still convey depth and perspective, and ultimately the drawing still remains cohesive, despite the numerous flaws and faults in it.
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No.10339
I tried paying more attention to the perspective of this, during the process.
Second one was done by a friend, since he wanted to see how it'd look if it was actually blocked in.
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No.10340
>>10324
>Stephen Silver, Mike Mignola or Chris Battle who probably don't even know what perspective is lol
Uh oh…
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No.10349
tummies are too fun to render
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No.10355
>>10349
Maybe you should look into ways of having less fun. Draw things you find morally unacceptable for people you don't like, or in a deliberately ugly style that doesn't display any talent or appeal.
Most artists don't have this problem of too much fun, aside from maybe a few beginners.
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No.10356
>>10340
With regards to Stephen Silver, posting life drawn figures and portraits as your best examples of him having an authoritative command of perspective isn't really an argument-no one's saying he isn't good at what he does. Kind of a tangent (though a topical one) but he's said on the record that he actively avoided studying anatomy because he found thinking about it too much caused his figures to become more stiff than he likes. Good point about Chris Battle though, he really is better than I give him credit for. I think Butch Hartman and that generation of "Genndy Tartakovsky" artists is more what I was thinking about and rightly or wrongly lumped him in with them
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No.10358
>>10339
One thing you could consider doing is getting/staying wild with organic forms while making inorganic forms (like that can of spraypaint) follow the rules of perspective more rigidly.
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No.10359
>>10349
Well done. I'm looking forward to seeing you push a rendering further. You've been doing a lot of fast and loose color and value studies (you might say, the gesture of the fineart world ;3); I want to see how thick, solid and tight you can get.
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No.10363
>>10356
>no one's saying he isn't good at what he does
And I just quoted you saying that they don't even know what perspective is. They're industry veterans with decades of experience under their belt, it's more of a leap to say they don't know how to do it. You keep making excuses for your bad art. Stop it.
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No.10365
>>10363
I wouldn't say that his art is necessarily bad but more like, bad attitude? i keep an eye for this thread, the weekly theme and the practice one, and it seems you like to pat yourself on the back a lot, but when someone reprimands you, you have difficult accepting it.
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No.10367
>>10358
There's potential for good contrast there, so I'll have to consider this and experiment with it some. Thanks.
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No.10374
>>10363
>And I just quoted you saying that they don't even know what perspective is.
That was quite obviously hyperbole-but my point still stands. What Stephen Silver is is a highly skilled character designer and caricature artist and no one would question his abilities there. However, I don't think I've ever seen him draw anything remotely perspective heavy and if you doubt that then look for yourself (https://www.silvertoons.com/portfolio). Many career artists are "specialists" and they are more competent in one area than another-and that's okay.
The pictures you posted by Chris Battle are nice too, but as appealing as they are they're also not "real perspective". They are orthographic; there are no consistent vanishing points to be found in either of those images and they are riddled with proportional inconsistencies besides. While they are certainly skillfully done, conceptually they have more in common with what anon has done than anything by Scott Robertson or someone like that-despite the appearance of form through an orthographic "cheat".
Does it matter that much? Not really, they still look pretty rad-and kids love his stuff. That's one moral of the story, the other is that yes, perspective is a good thing to have a strong command of regardless, don't come away from this discussion thinking you are "wrong". That should never be the goal of these kinds of discussions to begin with.
I'm not trying to excuse anon's work one way or another either, rather I would like to see that pose explored from a more informed perspective on uh…perspective, like I'd asked back here >>10289. A fat lady in a neutral position with her hands behind her back facing away from the viewer is nice and all but it doesn't really help anybody come closer to realizing a dynamic pose of any sort that respects the rules of perspective better. That's why I called this a semantic argument at this point.
Anon said he was doing perspective of some sort, and you said he was wrong-the rest of the time has been us all "well acktually"ing each other to death, in which I've obviously been a major offender myself. I just wanted to see a redline bruh!
>You keep making excuses for your bad art. Stop it.
I'm not him tho, my excuses for my bad art are buried in other threads.
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No.10376
>>10374
Also let me stress that the reason I would like to see that pose or a pose like that explored is because I want to see how to use multiple vanishing points correctly.
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No.10403
Haven't posted in a long time.
Been busy with school and all sorts of fun stuff. Tried experimenting with both dip pens and refillable ones, but whenever they explode on me or clog mid-inking it really puts a damper on my motivation.
If ya want updates whenever I get around to actually finishing stuff go here: https://dunkleshreken.tumblr.com/
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No.10410
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No.10418
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No.10430
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No.10446
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