Previous thread(s) >>6753 >>2437
As before, this is a thread for anything you make. Drawings, paintings, sculpture, crafts, (no, it does not have to be bara related) either just to show off, or to ask for criticism.
Remember to always keep conversation civil and polite. We're here to share ideas and help each other.
>>8380>fuck my shit up anon.
Good luck eon!
I'm still encouraging you to budget your lines more thoughtfully. However, I do see that your lines are getting tighter so props to you on that.
Line details on the face is making the design look overworked. There is also a point where the details starts calling attention away from the focal point to themselves.
Right now, I want to highlight the mohawk guy as there is little benefit in putting that much work on the hair. People won't be zooming in to scrutinize every detail at an extreme close-up and all these details will be lost if you have plans to scale down the image. My down to earth answer right now is when viewed from a reasonable distance the buzzed hair looks like a darker skin tone with compression artifacts dotting the scalp.
On the flip side the quality of the hair on the second guy looks good. Intentional or not the black shade hides the scratchy quality of the line and it makes it look sharper.
Just life drawings. Yes, still. And more of it. Quick 30 second bursts. You need to start implementing long confident strokes and a time restriction will teach you to be more economical with your lines. This is becoming a cause of concern for me you see.
Dip into caricature. You've drawn enough that the same face is coming through from different characters. Study and draw caricatures to get a hand on different facial shapes and topographies.
I'll focus on the middle one for now. First off, the next time you draw try counting every line you make. Cuz it's a lot…. try to make a drawing using as few lines as possible, it will help your brain teach you proper contours. Also don't bother drawing each hair, even professional artists who draw in great detail don't even do that(even though it looks like they do, they don't) all it's doing is adding a lot of time to your drawing…..
Anyway, I took the original image and used the lasso tool to fix some of the big problems I noticed right away. The ears are just flat pancakes so I added form. The eyes were just an artistic choice that I chose to change…. but the jaw line is rather formless, so I tried to fix that.
Also, the hair is way too flat, it makes it look like the top of his head was chopped in half.
Then I drew him in my style for fun….
McRee is golden but hanzo has a few deformities to deal with.
I tried to move things around to try and fix the form…. sorry its a little rough.
A bit of shading on Hanzo now.>>8385
Ah, it's not immediately obvious because of the lack of reference points but I'm using a corner of a fish-eye perspective on this one. Hopefully, once I draw in the waves and ripples, it will make it more apparent by creating a grid on the surface of the water. I also have Hanzo in a more slouched recline.
Silhouette-wise it would probably look more readable and less deformed with just 2 or 3 point perspective but my poses are starting to feel too staged and fake so I'm putting some camera anomalies by warping the lens.
However, I wasn't too in love with how boxy his tattooed arm is making his body so I moved it a bit. Made some very small edits on his abs.
Thanks for the notice!
Lol point taken. I think I can shift his trapezius forward and shift the base of his neck and compensate by making his headrest thicker on my next edit.
All done. Hopefully the back doesn't look too bad now. Unfortunately it is still hard to distinguish the perspective with this scene. Oh well.>>8393
Good lord how does he make it all fit?!
He's Snatch Bandercat he's got room for everyone.
The anatomy looks a lot better on Hanzo now.
Pocket Ass-mension? lol
Is that the final art? Looks awesome, Imma gonna set it as my phone wallpaper.
I'm trying to work towards a line-less style that you see some artists do but there isn't actually a guide on how to go from line to no line, I actually just colored in the sketch layer with these ones using a multiply. I'll be the first to tell you, the hair did take a long time and definitely needs to change.>>8384
While I agree with you on a lot of the suggestions like the ears and the top of the head (also lines again end my suffering), I don't agree with a lot of the physiological changes as it fundamentally changes the appearance of the character by giving him a square-er jaw line, bold eye brows and smaller nose. I think the one you did from scratch looks a lot better as you had more agency. Is there a way to do what you said but for a character with a round face and a vaguely pointed chin? The character is supposed to be kind of unattractive and out of shape.
I use the rule of a characters eyes being halfway down the skull but i am told time and time again that my heads look wrong, send help.
Also please tell my anything I should worry about with my lion head thing before I move on.
Also information overload, here's a page from a thing I'm doing, it has lines, KMS.
If you want to start getting into a lineless style I'd say you need to get into painting and portraiture, then simplify down from there.
Also…. there is so much wrong with that one panel I don't even know where to begin… and I'm not talking about the art……
If the wheels are not supposed to touch the ground either a) it needs to be using energy to hover… or b) use a natural levitation such as opposite polarization of magnets……(artificially created magnetism is also generated with electricity) which would require a sort of "track" that can provide the opposing force. If this track is to be the road then literally all infrastructure everywhere would need to be replaced for these new vehicles to work…..a fairly expensive undertaking…. no doubt utilizing an ungodly amount of recourses…. and they could never deviate from these tracts, lest they be stranded. Though lets say that in this future all surfaces have been coated in a suitable polarizing material for "public use" of hovering transportation in which nothing needs to ever touch the ground and surface to surface contact is entirely superfluous…. the professor should be concerned that there are wheels at all, and not that they touch the ground… because like I said earlier…. something has to touch the ground when it's not in use…. otherwise it's using energy while not in use….. which is not very "efficient"
I wonder what's the white area on the circles meant to?
White boxer brief? Or bandages?
Sorry if it's meant to be lore friendly and all. Not an avid Overwatch player lol
I'm gonna tackle this one since this is the first time I've seen you do sequential art. There are some good in here so he is my good,bad, recommendation.
I don't know if the character on the lower right is the main character but is she suppose to be sad because she is late? Well I made the assumption for a clue on what is going on.>>8428
That is the problem with writing science fiction. Somebody who sees a technical misfire will call you out on it an rightfully so. Heck not even just sci-fi but any inaccurate element that you used in your story. Either write what you know or do some research to get by with story. That or just fill the dialogue with vague scientific platitudes.
I see I see. Makes sense ;)
The hover cars things is an in-joke in Overwatch, they said they were going to have only floating cars in the whole game. When there was a parked car in the uprising event that was touching the ground people made a joke about the game being literally unplayable. I'm sorry, I didn't make the rules.
also ill try to change as much as i can with the speech bubbles and some of the minor elements.
here the next page in advance of me putting in the last bits.
Also I forgot to mention, that looks way better imo. More like Brendon, don't get to see my own characters illustrated back at me often so it feels really cool.
I love your art style! :D
Very very very nice. The only thing I think I can say about this is that the nipples look a little weird. Everything else is immaculate.
While everyone does sorta have different nipple placement, typically 1 its much closer to the armpit than the sternum. And 2 moves up or down depending on the muscle and or fat underneath. Usually fat pushes the nipples up and/or out. Which is how women get that "perky" nipple placement in youth before things start to sag. Muscle however pushes the nipples down. 90 percent of the pectorals are already above the nipples, so the bigger those muscles become the 'lower' the nipples appear. that's why some really ripped bodybuilders sometimes appear to not even have nipples when viewed from different angles. But it does depend a lot on the muscles that they chose to focus on, there are different muscles in the pecs that can be worked out differently. In any case, most usually, at least to some degree, push the nipples further down on the pecs.
All in all though your painting is amazing, proper values and color, all excellent. Keep it up.
Good lord look at head-crushing thighs!
I'm going to be talking not about anatomy but in purely aesthetic taste. If you cover up the rest of his body and isolate everything from his collarbone and up, he looks like a normal guy because his neck's thickness is slightly average (relative to the rest of his body) and his trapezius is a slope instead of a hill. Not to say that guys can't neglect building that area but as I said just a matter of personal aesthetic.
It was probably based on a photo and nipple placement can vary depending on the person.
Thank you for this! Like >>8471
said though that's what the guy in the picture looks like, but I think it's much more important to understand how things work than just copy an image, so thank you for the explanation!>>8470
Thanks! And yeah, that's what he looks like in the picture too, I made him a bit beefier so I should've probably made his neck proportional to that.
I don't mean to be preachy but the thumb of the left hand is a bit too big.
Also the upper back makes him to be a bit hunched(?)
Hey DFK. The first thing to bring up there are a lot of noticeable parallel lines on his back. Parallel lines just flattens the form making it look robotic and not to mention it brings the attention to itself. There are also some mirroring curves with the way his tricep and bicep forms a big circle on his arm. Since his arm is bent, compress his bicep more while the tricep stretches.
Next is the line of action. With the way his torso curves, it looks like he is trying to bring his chest out instead of being hunched over like a big spoon with the compression point on his side instead of his back.
Here is a flour sack of what I think the line of action should be and where the compression would go from the birds eye view.
To keep his upper arm from becoming parallel from his body, bring it out more and it will fix itself.
I also brought his right leg a little bit in so his lower legs won't look too mirrored from each other and it just makes the flow of his gesture less interrupted.
Since you're asking about lighting and shadings, I'm only going to touch the areas affected by it. I'm not the most eager to tackle painterly but here goes.
With the way the form is painted, you're missing some bumps and creases created a toned body. The brow ins't defined by lights and shadows so the eyebrow looks like it's stuck on a smoothed surface.
This part is a bit hard to explain without demonstrating it upfront. Lighting looks like it simply goes from light to dark. There is a very pronounced yellow back light being projected behind him. This will create a very dark core light that rings around the form just before the back light plus a very minute reflected light. The plain white hotspot depends on you unless you want the skin to look more diffused or more oily looking. Also a you can elect to add a subsurface light around the perimeter of his silhouette due to that light if you are willing to add a hint of realism on your style.
My recommendation is to study not just life drawing with a spotlight but also still life painting to get acquainted with how different materials play with lights and shadows.
Is it just me or waifu2x.udp.jp is now dead/nonfunctional?
I keep getting "Error: Invalid Request" when trying to convert.
And can anyone point me to some other alternatives?
If you want something with this level of detail you should probably look for some photo references first. Is not that easy to figure out poses that require gravity on more points of the body than just feet.
This one looks 2d cellshaded but at the same time it feels 3d. senpai teach me how to achieve such effects?
The upper body is great, and the style is so clean and sexy.
The belt area though is a little strange looking to me. The belt doesn't look like it's positioned well. It looks like it's synched tight….. but at the same time it's seated well below the waist and the strap goes right across the buttocks. Meaning as soon as he starts walking, his belt will start walking down to the floor. Even if it's kept loose, it'd probably look more natural if the back of the belt sat at the top of the buttocks, sorta resting there.
Well I just gotta keep looking in that case.
Ever since I had this work on stand-by, I worked on another drawing so here it is.
I guess those highlights and shadows I added weren't sufficient enough then. Always thought this didn't look "as" flat as you say it is, but I suppose I'll have to take your word for it.
Its not a matter of how many shadows and highlights you add. You can fill the whole painting in high contrast with practically all highlights and shadows but if they don't correspond to the shapes of the drawing then it adds no depth at all.
For example… you added shadows under the flare of the collar on the jacket…. no I don't know what it's called… the floppy things on the front where one might pin a boutonniere. You added a rather substantial shadow there. It is one of the most defined shadows in your image. It is one consistent line throughout from the top to the bottom which tells us a lot about the shape of the form that the shadow rests on(his chest)…. in addition to the distance between the floppy thing and that object(again, his chest.) with a shadow that size, I'd guess the floppy thing is floating at about one half to one inch away from the chest…. whereas typically it would rest against the chest unless popped outwards. In addition, since the shadow is a more or less constant thickness from the neck downward, we can also assume that this man has no clavicle. Or pectorals which connect to the clavicle.
On the picture I drew the three basic angles for the upper front chest as it should probably be represented with your shading. The current way you have it shaded make the chest look like it's shaped like the second picture… that's why I said it looks flat. It reminds me of those dress shirts that are packaged folded on a cardboard square, but the collar is popping out to keep its shape, while everything else is kept flat.
In any case. You should keep in mind that proper shading is just as important to the form of the drawing as the lines are. If the shadows don't convey the proper shapes, no amount of line work can save you, just like how no amount of proper shading, can fix improper anatomy or structure of an object.
Ah, now I understand my mistakes. In hindsight, I was actually thinking of making a semi big wide shadow in the middle of the jacket where his chest should be, but then I thought it would look more flat and it does appear to be the case as well considering your edits and advice.
Anyway, I appreciate the criticism and I'm hoping to fix this soon since I will be reusing this drawing at some point later again. Thanks.
Woudnt be easier just show an example?
>>8838>Oh, I wish I could but I don't want to.
Oh, well, you suggested the weekly "challenge" after all. The less you could do was at least try to encourage people showing some work of your own. But hey… you do you.
You must be real fun at parties.>>8764
Here is a sloppily painted example of what I was getting at with the flatness. Now my drawing is greatly exaggerated, but you can see how the form of the body is not lost completely when given clothing….a good bit of detail gets lost, but the structure remains. (sort of the same principle to how you can usually still see female breasts even under thick or heavy clothing, there's still some boobs under there)
He isn't wrong though.
It's time again to dubiously place the validity of my self worth on the opinions of strangers on internet image boards.
Another portrait that uses too many lines, and a another comic page that uses a few less.>>8803
I have an honors project that's killing my time atm I'm afraid, but that would be fun in theory. I am secretly dying from lack of people who share my interests IRL and it makes me wish I had the energy to participate.
Wow. Many pronouns, much confused….. what the fire truck is happening?
I've found that for myself, personally, writing the comic out as if it were to be published just as a book by itself, really helps me focus on the proper and concise dialog that needs to be spoken. It also makes it a little easier for me to figure out the choreography because it's written in conjunction with the dialog that it goes with. Then all I have to worry about when doing the layout is the cinematography. It's tough to do all 3 of the things you need to do well enough when you're doing them all at once. When making a comic you're an illustrator, writer, and movie director….. so you should break things down into smaller pieces so you can focus on everything individually and give it the attention it needs.
Woah there, leave some colors for the rest of us.
The colors you've used are all high chromatic…. which you should only ever have one fully chromatic color per image…. sometimes you can break this rule but only sparingly…. aside from this; because you've used so many oversaturated colors, it's impossible to sell the light of the lamp or the phone… since both would naturally have less luminosity than whatever light source is filling the room. I converted your image to greyscale and used some overlays to add more subtle color…. now you can actually imagine that he's in a dimly lit room.
Here's also an example of color selection when it comes to highly saturated colors and why I said what I did about trying to choose only one. Notice how the orange is highly saturated but all of the other colors, especially those that get further away from the color orange, are less saturated. Yet, the landscape still looks naturally colored, with colors other than orange…
>>8929>magic or a light source.
Yes those are usually the most common uses of over saturated colors. And because both of these are very powerful lights and colors, they actually change the color of other things around them, that's why having other saturated colors that are not light sources usually doesn't work well. Take this first image for example. The elf is wearing a rich red armor…but because he's wielding bright green magic the red is pushed darker and less saturated to make sure it still looks natural. If the red in his armor was kept it's orginal red then it would not look realistic…because it would give the effect that it is also a light source (like a glow) and that it exists in a separate dimension from the lighting of the environment.
But this rule also goes for white too…in this other picture she's wearing a very light cloth…either white or close to it. But if it was painted with pure titanium white…it wouldn't look realistic. It would look out of place since everything else is being affected by the blueish grey lighting.
Yeah. Im total shit when it comes to coloring. Thanks for the pointers.
also i sketched this a while back