been working on a colored pencil drawing of my family's dog for my mother
[img]https://scontent-a-iad.xx.fbcdn.net/hphotos-frc3/t1.0-9/q83/s720x720/10151344_831493970197626_2095465875_n.jpg[/img]
i freehanded the flowers so i'll probably end up changing them
[QUOTE=ChestyMcGee;44375060]i like that you can kinda guess the personalities/environments of some of the tribes
[editline]27th March 2014[/editline]
also i went on your portfolio and i have a couple of recommendations:
have a home button on every page (this is a really bad mistake)
also probably have your email address somewhere on every page even it's just size 10 font in the corner - it can make all the difference[/QUOTE]
the gallery software i use doesn't allow additional links to be added, which gets annoying, but next time i update it i'll try to hardcoding a home link in there somewhere. thanks for the feedback!
I was flipping my canvas around in SAI and it looked like she was dancing
[IMG]http://i.imgur.com/RP27DZ3.gif[/IMG]
Angry, tiny dancer
[QUOTE=The Inzuki;44375999]
i freehanded the flowers so i'll probably end up changing them[/QUOTE]
Freehanded as opposed to?
[QUOTE=MakoSkyDub;44377725]Freehanded as opposed to?[/QUOTE]
woops i meant without using a reference. i don't know why that word came to my head
Alright I looked up some painting tutorials and I think I am getting the hang of it
[IMG]http://i.imgur.com/hHkD1Y2.png[/IMG]
Am I doing anything wrong?
[quote] The Peaks of London
Raining. It felt like it was always raining in London. It has often been said that a bad day in London is far better than a good day anywhere else. But whilst this sentiment may be true from a jingoistic and (far more importantly) wealthy Englishman's point of view, it was unfortunately far from the opinion held by a particularly gaunt faced figure sat alone in a smart-looking Bentley. Studiously doing his best to ignore the onset of what was promising to be a horrible day, Joe Reacher carefully flicked through his newspaper with the measured flippance only a weathered reader could muster. No matter what society might tell us, it is always hard being the small fish in a big pond. He was a young man and in another life with different opportunities might even have made something of himself had he been given the opportunity. But opportunities are curious things; often either kept from those whom might benefit the most from them or left in disguise and allowed to slip away. Today totally unbeknownst to the gloomy Mr. Reacher, an opportunity was about to reveal itself.
Whilst reading about the latest doom and gloom stories in the Times, Joe kept a watchful eye upon the door he was sat patiently outside. It was the second morning in a row he was sat outside this particular house and this alone had made him unique amongst the other drivers of the company. The mysterious Mr. Shilling had systematically worked through each of them one by one- requesting a different driver for weeks- until he had finally settled upon Joe. [/quote]
The first paragraph and a bit in a book I am working on. I have the rest of the chapter but don't want to spam this thread with loads of words. Any constructive criticism? I'm unsure about the last part of the first paragraph.
"He was sat/stood" as opposed to sitting or standing is too informal, and may look just plain incorrect to readers outside of the UK. Also be careful of undue repetition. You might not realise because it takes longer to write something than to read it but you used sat in that way like a dozen times on less than a page of text. Also opportunity four times in three sentences - you may have been going for reinforcement of term there but you went one use too far imo. The first of those sentences runs slightly uncomfortably long and trips over itself a bit. Read what you write aloud to get pacing right. You should be able to read almost any sentence on the first look with the correct emphasis, ghost commas or breaths or whatever gives the best delivery. Where you describe Joe, I don't think "particularly" works very well there, you would usually use it like that if gaunt men had been the topic of the paragraph - plus "gaunt-faced-figure" gives the first impression of an older man. Since he's a young man I would be inclined to pair that bit of information with the gaunt descriptor, as they're an unusual match.
Ignoring the flaws it's not a bad bit of work, I would read a second paragraph.
Practicing anatomy style and light in equal measure here I guess, no ref
[img]http://i.gyazo.com/63d47d0022d5dd037e9068b3e0eeee68.png[/img]
Don't have a way to upload it without killing most of the nice texture on there, shame
[url]http://i.gyazo.com/43cf5701e8798089ac27cc7b416a59cc.png[/url]
Sorry dude, really no offence, but she looks like a fried chicken with these skin tones and strokes :(
yeh the lack of differing hues in the skintone, apart from a couple of bits of bounced light, makes it look like you were going for a monochrome thing but it's a bit funny lookin
[QUOTE=red_pharoah;44379841]Alright I looked up some painting tutorials and I think I am getting the hang of it
[IMG]http://i.imgur.com/hHkD1Y2.png[/IMG]
Am I doing anything wrong?[/QUOTE]
Right now it looks like you're using the brush to draw in lines rather than shade the thing. Figure out where your light sources are and shade according to that.
[QUOTE=ChestyMcGee;44382072]yeh the lack of differing hues in the skintone, apart from a couple of bits of bounced light, makes it look like you were going for a monochrome thing but it's a bit funny lookin[/QUOTE]
Hey, I thought it looked great, specially seen as it's done without a reference.
Then again I'm colourblind.. Oh well.
[QUOTE=MakoSkyDub;44381823]Practicing anatomy style and light in equal measure here I guess, no ref
[img]http://i.gyazo.com/63d47d0022d5dd037e9068b3e0eeee68.png[/img]
Don't have a way to upload it without killing most of the nice texture on there, shame
[url]http://i.gyazo.com/43cf5701e8798089ac27cc7b416a59cc.png[/url][/QUOTE]
It might just be me, in which case ignore me, but the legs seem really confusing.
a small bit of a piece that I'm doing
[IMG]http://puu.sh/7MWjM.png[/IMG]
i like it.
[QUOTE=Krinkels;44382574]Right now it looks like you're using the brush to draw in lines rather than shade the thing. Figure out where your light sources are and shade according to that.[/QUOTE]
Well for the cloth on his face I can't tell where to shade, there's the sun coming from his front yet there's the huge shining eye behind the cloth. I have the rest of the thing shaded but the cloth is still a mystery to me.
[QUOTE=MakoSkyDub;44381823]Practicing anatomy style and light in equal measure here I guess, no ref
[img]http://i.gyazo.com/63d47d0022d5dd037e9068b3e0eeee68.png[/img]
Don't have a way to upload it without killing most of the nice texture on there, shame
[url]http://i.gyazo.com/43cf5701e8798089ac27cc7b416a59cc.png[/url][/QUOTE]
Study figures with more realistic lighting. What you're doing right now is called over modeling, where you're over emphasizing certain parts thinking you'll create a more dynamic and volumetric figure, when instead you're flattening her out as a photograph would. You're obviously guesstimating a lot of the anatomy and lighting, which indicates you shouldn't be doing non referenced work, and also the lighting makes no sense, she's lit up from above yet her legs are brighter than her face and her upper torso is very dark. Areas that face the light directly should be lighter than others, otherwise itll look extremely flat overall. I suggest you study a few figure paintings by more modern artists and you'll learn a lot.
[QUOTE=V_Buns;44383515]a small bit of a piece that I'm doing
[IMG]http://puu.sh/7MWjM.png[/IMG]
i like it.[/QUOTE]
I like it too, but the shading is really hard to distinguish and I can't tell where the light's supposed to be coming from since the shadows are very inconsistent.
[QUOTE=Bynine;44383936]I like it too, but the shading is really hard to distinguish and I can't tell where the light's supposed to be coming from since the shadows are very inconsistent.[/QUOTE]
mostly from the top, could you show me the areas that betray that?
experimenting with a no pressure brush and a different style I guess (is style a taboo word here?)
[IMG]http://i.imgur.com/2xlHovV.png[/IMG]
[QUOTE=Tovip;44384199]experimenting with a no pressure brush and a different style I guess (is style a taboo word here?)
[IMG]http://i.imgur.com/2xlHovV.png[/IMG][/QUOTE]
The word style isn't taboo. Using style as an excuse for making something worse/not improving is taboo.
alright i'm gonna practice shadows more.
[IMG]https://31.media.tumblr.com/4af67c62a5c735c27fc3e097e51a76eb/tumblr_n3604hZ6yf1rzx4geo1_500.png[/IMG]
I love to see you developing and experimenting with new things! You've been doing a well solid job of it too! Not to sound pushy, but any plans to branch out further?
[QUOTE=Biscuit-Boy;44384725]I love to see you developing and experimenting with new things! You've been doing a well solid job of it too! Not to sound pushy, but any plans to branch out further?[/QUOTE]
Thank you! I do have plans to branch out further. I'm currently trying some posing with center of gravity and all that jazz. I'm also experimenting with color palettes.
Ok is this any better?
[IMG]http://i.imgur.com/UpACvjm.png[/IMG]
[editline]29th March 2014[/editline]
Main light is supposedly coming from the slight top-left, The slight outlines on the left are meant to become drop shadows on what's beneath them (I hope, else I will try to remove them)
[B]ART GURUS, HEAR MY CALL![/B]
So lately I've been worried about improving in art (well, mostly illustration). Really worried. I have no idea if I'm improving or stagnating, if my approach to practice is effective or useless, if my improvement is worth the four years it took to get to the point where it is, and why no accomplished practitioners of the arts are able to give me a straight answer on how they got to where they are to begin with (besides "practice every day!" which is about as helpful as a sack of wet, dead, obvious fish). So I'll delve into how I practice and maybe you fellers can give me some tips if I'm doing something wrong.
I draw every day at school during lessons in a plain sketchbook with a mechanical pencil, usually getting two or three hours out of it,although they're mostly drawings from my head as opposed to from life. When I get home, I draw on average for about another hour or so, referencing photographs and studying objects in real life too - pen and pencil for the most part, occasionally digitally. [URL=http://imgur.com/a/LqVj0]Here are a few examples of my daily workflow.[/URL] On rare occasions I try paint and charcoal, to little success.
I worry mostly because I'm so inconsistent. I still have trouble with basic things, like drawing people walking, or reproducing the same image multiple times - in fact, especially that last one. I also don't seem to be able to remember details very well at all, because if I draw something and then try and draw it again the next day without referring to it it'll look wildly different and usually far worse. Whenever I attempt to draw buildings, or chairs, or other such inorganic things, they look hilariously bad.
Diagnose me, art-doctors. Please, I'm begging you. I really want to know how I can better myself, because it's an incredibly important part of my life and soon I won't have half the time I have now to use to improve. Thanks for reading!
What artists really should be telling you is "observe daily!". It makes far more sense. I recommend you sit down in a mall and draw people at a distance. You'll be forced to work fast and barely get a chance to look at the paper - What you draw is pure observation (as translated by your hand). It'll feel odd and awkward at the start, kind of like drawing with a tablet does. You should also throw some long studies in there and really analyze what you see before you. You'll have a lot of shitty results at first with both of these approaches. You're gonna rip paper out of your sketchbook purely due to frustration a few times but believe me, it'll be worth it in the end.
I'll warn you though. I did these things under the supervision of an art teacher and that may make a world of a difference in results. I think you should be fine without a teacher though. The fact you draw so many hours anyway is a great sign that you have discipline!
[QUOTE=Bynine;44385864][B]ART GURUS, HEAR MY CALL![/B]
[/QUOTE]
Practice every day :v:
But seriously, if you already know how proportions and poses work, the rest will come naturally. If you ever see something you can't do (i.e. a very weird pose/angle combo) try looking for a similar drawing. Observe the details and try to imagine what he did, how it differs from what you tried. Go back and try redoing the pose, you will improve and so will your sense of detail (drawing using references from memory is a very effective way for me). For character details, you would probably need to do the same, see where each detail go, but try to draw the characters in your own style.
That's all I can tell you really (the others here are much better than I am, if they tell you otherwise listen to them, I know I will)
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