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File 128339642610.jpg - (278.20KB , 1287x800 , slowprogress copy.jpg )
1020 No. 1020 ID: 44484c
I was thinking about how there isn't really a basic help or advice thread here, and that the only other options most people mess with are asking in drawthreads (where honestly it's not nice to nitpick unless asked) or 4chan's /ic/ (which from what I've seen is a cesspool of hate). So, for those who want the opinions of others on a specific work, ask here. For simplicity sake, if you want advice on something you posted in another thread here, just post the link to it instead of changing it to post again, or whatever.

I'm no pro, but I'll try to offer what help I can, and I hope others will do the same. Stay civil of course, and try to be specific and constructive with your advice. If you can't say it in words, I think we should all be fine with you drawing atop the image to make yourself clear. If anyone is shy about going first, tear into this thing I posted. I'm sure I could have used one more pass to sure up anatomy!
Expand all images
>>
No. 1025 ID: d560d6
>I was thinking about how there isn't really a basic help or advice thread here
Uh. >>692 sort of was.
>>
No. 1026 ID: 0fd452
>>1025
I still think OP had a great idea.
>>
No. 1027 ID: 066ae5
File 128345832388.png - (146.35KB , 400x400 , Hazard.png )
1027
I might be able to shell out some help, I'm not perfect though.
>>
No. 1028 ID: 44484c
>>1027
None of us are perfect, but as long as we are all willing to help when we can, we can all get closer to that goal! Glad to have your input, as that's what the thread will need when anyone has some questions.

I think I'll also try to get some tutorials for the guide thread, as that seems like a very worthwhile idea as well.
>>
No. 1036 ID: 78b26b
File 128363855841.jpg - (144.84KB , 960x1280 , Deathleaper and Fangirl Tango.jpg )
1036
Any recommendations as to how I can clean this up?
>>
No. 1038 ID: 44484c
>>1036
Okay, my first suggestion... is this from your scanner? Was it closed? There is so much gray on the right side that (well, everywhere except the top left corner) that my normal methods of adjusting the levels in photoshop (under enhance>brightness/contrast, I'm using photoshop elements) proves pretty much useless. Which means you'd either have to ink the picture, so even the darkest gray can be eliminated OR make a cleaner scan (the much easier method).

My best guess, is that your artpad is laid on top of the scanner, the spiral binding keeping the right side up (does that mean you're left handed?) and the door is not pressed down. For the cleanest look I suggest either removing the page from the artpad so it can lay flat, or at least making sure the door is closed so the paper can be as close to the scanning window as possible. Than your scanning program SHOULD have options for adjusting the highlights, midtones and shadows of the scan. I always turn my shadows to the very darkest, and sometimes my midtones as well (if I did a pretty clean picture AND I'm going to rely on photoshop for shading/coloring. If my shading is by traditional methods I don't darken the midtones as much) sometimes also bringing down the highlights (relying on photoshop level adjustment to fix that after). It seems you are already taking the color out of the scan, which is good (my old drawfag scans are yellowed since I didn't practice that step for some time). That should clean up the line work quite a bit.

As for the actual work itself, looks good. I'd only say the arm proportions are a bit off on her, the elbow being a bit high, but nothing else major. Post the cleaner scan when you have it, I'm eager to see if that all helps.
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No. 1039 ID: 78b26b
>>1038
It's a cellphone picture, just the same as every drawing I've posted for the past couple weeks. I'll have access to a scanner tonight, so I can get a proper scan up then. The upper arm does indeed need to be lengthened, I see. Is the forearm too long or is that just a trick of the short upper arm?
>>
No. 1040 ID: 44484c
>>1039
Actually, starring at it for a while... I think just shorten the forearm (which means changing the angle of the upper arm and drawing a new elbow, mostly). The Upper arm is actually about right as far as I can tell.
>>
No. 1043 ID: a41aaf
>>1038
>photoshop
>brightness/contrast
If you're cleaning up scans or photos of grayscale or monochrome images, 99.999% of the time you should be using Levels (under Adjustments>Levels IIRC). Makes things a heck of a lot easier. This is a more flexible than the very simplified 'highlights/midtones/shadows' settings available in your scanner dialogue, and will produce a higher quality output, so it's better to use the default 'raw' scanner settings and perform levelling in post.
Basically, avoid trying to tweak things to look best on the scanner preview. You can perform as good or better correction after scanning, but you can't UNdo poor 'correction' inherent in most scanning software.
>>
No. 1044 ID: 78b26b
>>1043
I use the curves tool in GIMP.
>>
No. 1056 ID: 44484c
>>1043
Thanks for the tip. It's also saving me time since, no matter how much I think I won't, I am compelled to pass the pic through photoshop before posting even a sketch.
>>
No. 1143 ID: 22038c
>>1043
What is usually a good level to adjust your line art to? I never understood the proper usage of this tool.
>>
No. 1145 ID: a41aaf
>>1143
http://www.unblessed.net/guide/cleaning/level.html
In fact, the whole guide is pretty useful: http://www.unblessed.net/guide/main.html
>>
No. 1204 ID: 922689
Question: Why do my sketches always look better than the supposedly "finished" inking? Is it the "implied" form of the rougher lines, which allows the mind to pick the best proportions?

Or do I just suck at inking?

How about yours?
>>
No. 1205 ID: a41aaf
>>1204
Kinda hard to tell without an example.
>>
No. 1277 ID: 28f7a2
I bring to you the biggest secret of them all:

Draw more.
>>
No. 1279 ID: ee5df6
>>1204

You're not alone, trust me. In fact, in both The Character Animation Crash Course and the Animator's Survival Kit books, the authors mention how frequently people's work seems to loose life during cleanup, the 2D animation equivalent of inking. This is because in an effort to make the image clean, it's entirely too easy to keep the same pressure on your line, which of course keeps it the same thickness. That mechanical effect just sucks the life and visual interest out of a drawing. The trick is to loosen up just a bit, so you get variety in your line. The same thing can happen in drawings that aren't even inked, as when you put the same attention in shading over the whole drawing you loose emphasis on the important parts.

Of course, it's easier said than done, and now I need to go take my own advice and loosen up in my inking and in my life drawing. ^^;
>>
No. 1341 ID: 7f5cd9
File 128696660296.png - (391.44KB , 700x900 , cbee-inking.png )
1341
Inking is tedious and takes as much practice as drawing to do well.
>>
No. 1368 ID: dad664
File 128729283227.jpg - (164.43KB , 800x600 , thingthinglol.jpg )
1368
I guess I could post this here.
>>
No. 1437 ID: 5c501f
Sometimes, I catch myself drawing a very small face (~ thumbnail-sized) with rather exaggerated features. Then I copy, insert into another layer and enlarge it. Then I draw another, more detailed face with less exaggerated features on top of it.

It tends to work quite well, especially if I go for a cartoonish/anime-like style.

I do not possess much knowledge about drawing methods or the like, so if this is a commonly known technique, just ignore this.
>>
No. 1462 ID: 49d6d7
File 128802169144.jpg - (267.71KB , 800x900 , 1288021219065.jpg )
1462
This handy chart provided by 2ch.
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No. 1463 ID: 49d6d7
File 128802176955.jpg - (317.65KB , 1856x1534 , 1281831149590.jpg )
1463
Another of relevance.
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No. 1464 ID: 49d6d7
File 128802181286.jpg - (2.36MB , 985x3816 , 11017678.jpg )
1464
Why not this too.
>>
No. 1468 ID: 1854db
>>1462
Those dicks look rather unrealistic actually.
>>
No. 1470 ID: 2563d4
>>1468
Anime.
>>
No. 1471 ID: dad664
File 128806028332.jpg - (34.99KB , 600x334 , ENEMEI.jpg )
1471
>>1470
>>
No. 1518 ID: 78b6fc
File 128867020435.jpg - (1.30MB , 700x5000 , 1260696355194.jpg )
1518
Some helpful sheets I have saved.
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No. 1519 ID: 78b6fc
File 128867024863.jpg - (1.00MB , 700x4000 , Abdomination_by_Coelasquid.jpg )
1519
>>
No. 1520 ID: 78b6fc
File 128867030048.png - (1.08MB , 1000x4826 , 1260696319807.png )
1520
>>
No. 1523 ID: 2563d4
>>1518
>>1519
These seem pretty good.
>>
No. 1544 ID: 5832ec
File 128889635266.jpg - (1.24MB , 900x5860 , Quick_and_Dirty_Color_Theory_by_DarlingMionette.jpg )
1544
Color Theory: Very important.

Also, here, have some good miscellaneous art tips.


1.) Gesture drawings: Yeah, I know, it's one of the most annoying criticisms you'll get "you need to do more gesture drawings!" Stifle your reflex to kick them into a volcano and do it. Your art will be better for it. Try to set aside at least 15 minutes a day for gesture drawing.

2.) Draw from life: If you've been drawing or painting for any significant amount of time, you've probably heard this one too. Second verse, same as the first. Do it, your art will be better for it. Observational skills are KEY to representational art and the more you hone them, the more skilled you will become. Try to imprint on things you see around you; think of life as like a big How To catalog.

3.) Variation: Very, very few things in life are perfectly smooth and uni-textured. Variation is a major aspect of realism. Take fur for example: there is a fair amount of variation in one single strand of fur and even more from strand to strand. If you observe the world around you, you will see this to be true. However, don’t just start throwing in random noise, variation is most often dictated by rules. Try to discern what those rules are. Variation is key but so is the logic behind it.

4.) Anatomy: Anatomy is one of the easiest things to get wrong and one of the hardest things to get right. We are preprogrammed as humans to recognize anatomy and our eyes often shoot straight towards the anatomy mistakes in a painting with sniper-like precision. Conversely, if you're an artist who has been slaving over a painting for 50 hours, you may become blind to anatomy mistakes or you may even convince yourself a mistake is not really so bad and continue working around it. DO NOT DO NOT DO NOT. The longer you work around a mistake, the more glaring it will become and the harder it will be to fix later on. Make sure the anatomy is as correct as you can get it before you start advancing too far. I recommend keeping a few good anatomy guides on hand including photographic, artistic, medical, and any combination thereof.

5.) Inspiration and motivation: Yet another great difficulty is getting up the inspiration and motivation to do art. Different things work for different people. I like perusing other artists’ work; that rarely fails to get me motivated and inspired but if it does, that usually means I’ve burned out and need a vacation from art for a few days. You need to find something that works consistently and adequately for you. Some artists listen to music, play video games, hike, dive, read, fap, read while fapping; whatever. Getting properly inspired and motivated is very important because exactly how inspired and motivated you are will reflect in your work. Ideally, you should refrain from tackling an artistic endeavor without the proper motivation and inspiration. However, practically, there are deadlines to contend with. This is why it is important to find things that work consistently and adequately to motivate and inspire you. This is not just some cheesy self-help suggestion, it is an absolute must, in my opinion.

6.) Strive to be multi-disciplined and experiment: Always, always, always, always, always, try new things and avoid pigeonholing yourself. The day you stop experimenting and trying new things is the day you cease to be an artist and become a copy-machine. It is not at all a bad idea to specialize and become skilled at one discipline, but don’t limit yourself to that. Practice cartooning, try 3D, get into traditional media, try different programs, experiment with dramatically different approaches. Dabbling in various media will affect and possibly improve your main discipline in ways you can’t foresee.

7.) Don’t force it: Hopelessly naïve idealists will say stupid crap like “never give up!” To which I say “bullshit.” Recognize your limitations and be practical. If you’ve been trying and failing miserably at something for a significant period of time, take a break from it, try a different approach, or just move on. As an artist, you will have to square with the fact that you can’t do everything. I’m not saying hang up your hat on a whim, no; give it your all and develop a “back to the lab again,” attitude but be prepared to admit defeat because it will happen sometimes. You have your strengths and your weaknesses; try to capitalize on the former, try to minimize the latter, and learn when to throw in the towel because the fact is, there ARE subjects out there that will kick your ass in like a steel-toed boot conveyor belt. Besides, you can always come back to whatever it is at a later date. I totally bombed things a year ago that I’ve got down pat today.

8.) Hard lessons: Buffer your ass because there will be many of them. One of the first things I learned the hard way is that no one owes me anything; I am not owed pageviews, I am not owed comments, and I am not owed favorites no matter how much time or effort I put into something. A 13 year old Pixiestick-addict can slap together a piece of MS Paint cocksmut that will get more love and attention than the Rembrandtean masterpiece you spent 50 hours slaving over; deal with it, it is a fact of life. Most people won’t give a shit about your “artistic breakthrough” piece or your “new style experiment” and if you expect them to, you will be thoroughly disappointed. In fact, don’t expect anything of anyone. There are a slew of artists infinitely better than you and at least one of them will be some punkass little 19 year old; fact. People don’t like change, they will gripe at you if you try something different; ignore them as hard as you can. Graciously thank the complements you get, heed the critiques, and ignore the trolls. If you figure out how to do that last one there, let me know.

9.) Nuance: People like nuance. They like things that keep their eyes traveling around the composition. People especially like to see hands, eyes, water, reflections, ornature, and anything hinting at complexity of the universe contained within a painting. To depict nuance, one must understand the subject. Take a baseball for example; ‘round, white, and red braided seams’ are the first things that come to mind. Nuance; a faint, smudged, brown finger print, dimples, a few stray threads from the braiding, uneven wear on the surface, uneven specularity consistent with the aforementioned, a slight dent. ‘Round, white, and red braided seams’ may suffice in many instances, but if you’re looking for realism, nuance is vital.

10.) Nobody owns you except you: If you’ve been producing art pro bono for any community long enough, some idiots will inevitably develop the mistaken idea that they own you or that you owe them something. They will make demands, try to shove you in a specific direction, and condescend you if you fail to meet their mightily fucking important expectations. Unless they are paying customers, nobody has a right to expect anything of you. Do what you are going to do and if they don’t like it, they can fuck off.

11.) Bacon.

12.) Autopilot is bad: It can be really easy to drift into autopilot mode when painting; don’t. If you drift into a lull of passively watching yourself paint, this is when you are most likely to make mistakes.

13.) Eyes: The whites of your eyes are NOT made out of some kind of magic, ambient material. Eyes should be spherically shaded and rarely, except under bright light, is the eye-white pure white. Don’t over-vein up the whites unless you’re going for zombie-chic. If the eyes are large enough, try to draw in some reflected lashes. That can be REALLY hard to do but if you do it right, it will significantly increase the realism. Eyes are not flat but spherical. The corners will tend to be slightly darker because they are receding.

14.) Don’t hide things: I have seen this many a time; “I don’t know how to draw such and such so I will cleverly hide it behind (insert obvious attempt to avoid drawing difficult thing-hider here). Don’t do it. It’s usually obvious and you will be called out for it. Even if you get it wrong, at least try; you’ll probably be called out for that too but at least it’s a step towards getting it right.

15.) Gold: Gold metal picks up a significant amount of color from its environment and thus will rarely ever be the bright yellow people often depict it as. If you want to paint realistic gold, you’re going to have to reconcile with the fact that there will usually be less of the metal’s namesake color involved than colors from the environment.

16.) Mind v reality: When we draw or paint, we have a tendency to rely way too heavily on what we think something should look like and not on what it actually looks like. Don’t guess when there is an abundance of answers all around you. The only time you should guess is when the thing you’re depicting can’t be captured with a photo or referenced from reality.

17.) Big to small: Don’t start noodling early on. Work from big to small. A lot of people have a tendency to noodle the eyes in before everything else is even beyond the block in stage. DON’T. Try to bring everything up at a fairly consistent level. Otherwise, your painting might turn out with uneven patches of detail and the overall quality will suffer. Consistency usually breeds consistency; work from big to small and bring everything up evenly.

18.) Torso first: When drawing figures, a lot of people make the mistake of drawing the head first. Instead, draw the torso first. The torso dictates the direction of all the limbs and the head. To put it simply, starting with the head is like building a pyramid in reverse… except that the results in the latter would be a bit more catastrophic. XD The torso is the hub and if you draw anything else but the hub first, you risk wrongtastic looking anatomy issues later down the line.

19.) Don’t be an asshole when critiquing: There is a difference between critiquing someone because you want to help them and being an asshole. Unless someone specifically ASKS you to tear their work apart, be polite, be positive, and be encouraging. Point out flaws as well as success so the artist knows both what they did right and wrong. Be careful when criticizing stylistic choices because those ARE opinion based whereas assessments of technical issues are not.

20.) Plan: It’s annoying, I know, but the more you plan, the better the outcome will be, usually. You might think “oh, I don’t need to plan,” believe me I know, I used to think the same way. But since I’ve started planning things out, my art has improved dramatically. Even if you don’t sketch or thumbnail, at least try to have a clear idea of where you want the piece to go and what you want the final result to look like. Otherwise, you may find yourself stuck midstream with no direction and a lot of confusion about what to do next.

21.) Progress: Artistic progress is never a steady incline. You will have surges, backslides, triumphs, failures, plateaus, bumps, burnouts, washouts, rough patches, winning streaks, blackholes, blocks, highs, lows, and everything in between. Don’t expect everything to go smoothly in a progressive upward arc. As you experiment, try new programs, new media, new methods, practice, study, implement newly discovered knowledge, and refine your talents, you will notice backslides, changes, and surges in skill. Inevitably, some little retard will come along and tell you that your older stuff looks better than your newer stuff. This will almost always be some bitter, talentless hack with an axe to grind and a chip on his shoulder. Ignore em. Anyone who expects you to progress in a perfect upward arc is an asshole who knows nothing about artistic growth. Strive to better yourself but don’t be discouraged if you do backslide a little. Keep moving forward, don’t dwell on failures too much, don’t celebrate successes too much either, and pay no heed to the assholes who want to tear you down to satisfy their own ineptitude.

22.) More bacon.

23.) Challenge yourself: Paint something against your nature or that you’ve never done before. If you focus on organic things, paint a cityscape. If you focus on robots and buildings, paint the human figure. Try a colorscheme dramatically different than what you usually do. Paint with your other hand if you’re not ambidextrous. Chances are you’ll fail, miserably even. However, you may learn something and you never know, you may succeed and surprise yourself. Don’t let fear of failure stop you from challenging yourself and trying new things. You won’t progress if you don’t challenge yourself at least a little bit.

24.) Fur and cloth: Fur will follow the directionality of form. Don't just draw a bunch of furry strokes going in whatever direction. Cloth will also tend to react to the form beneath it but it is furthermore being acted on by gravity to various degrees, depending on the type of cloth. When inventing cloth folds, try to imagine how the cloth would react to form and gravity.

25.) READ THE *&^!@#$>?*&%$! TEXT!: I have heard distressingly many people admit that they don’t read the text in how to art books and that is just STUPID. If you’re not serious enough about art to read the text in the how to art books you’ve bought… just, fuck, I can’t even think of a funny punchline, you’re retarded. Go flagellate yourself. It’s utter laziness and if you buy how to art books just to stare at the purdy pickturrrs, you might as well not waste your money because there are plenty of purdy pickturrrs online. And if you’re too lazy to read the usually quite scant text in how to art books then you SURE AS FUCK are not going to have enough drive to get anywhere as an artist. R-E-A-D the FUCKING TEXT.

26.) Eraserophilia: Don’t spend more time erasing than drawing. Now of course, sometimes you are going to need to erase, for sure, but don’t second guess every single little stroke. Sometimes you just need to trust in yourself and go forward, within reason of course; if you totally bork something the fuck up, erase that shit and pay attention next time. :P

27.) Woe is me: Don't denigrate yourself! It's fucking annoying, nonconstructive, and pointless. You may very well suck but advertising it won't bring about ANYTHING good. All you will accomplish is to further perpetuate the misery and make everyone within a 5 mile radius want to kill you. Conversely, don't think you're the greatest thing since vibrators unless you're two strokes short of Boris Vallejo or Raphael Lacotse.

28.) Mode: Sometimes, you need to get into a “mode” to accomplish something that you’d otherwise not want to do. I love working on characters and I HATE doing backgrounds. Thus, I force myself to go into “background mode.” It takes some discipline but it has helped me out a great deal.

29.) On the topic of backgrounds: Don't draw a character then just willy-nilly plop them into a background. The character will almost always look disassociated from the background if you do this. Bring the character up in detail along with the background consistently. Also consider the effects of atmospheric perspective. Things will become less sharp, less saturated, and less contrasted as they recede into the distance.

30.) Study: You don’t know everything and if you think you have all the answers, you are severely deluded. It is necessary for you to look outside yourself for answers to artistic quandaries. You should scrutinously scour other artists’ work, read (yes, you heard me, fucking READ OMG WHAT A CONCEPT) how to art books, peruse tutorials, and never become complacent.

31.) Color: Study color theory. It really isn't all that hard and it's kind vital if you want to not suck. Avoid using gray for shadows and white for highlights. Shadows will be cool and highlights will be warm. I'm not saying make the shadows OMG PURPLE and the highlights JESUS LORD HAVE MERCY ORANGE, but you do want there to be some color implied there.

32.) Murder your darlings: This is actually a bit of advice Stephen King gave on writing which I have adapted to my art. Sometimes you will fall in love with an aspect of a painting that just isn't working or doesn't fit for whatever reason. Kill it. It will not be pleasant but it must be done. I like to keep a file of darlings that I've had to murder. Many of these things end up in my sketch dumps.
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No. 1578 ID: 1702fa
File 128920704066.gif - (887.94KB , 2168x1212 , Background-Practice.gif )
1578
I did some arts. I am very new at this :V
>>
No. 1579 ID: 1702fa
File 12892071161.gif - (255.89KB , 1970x2259 , Dragonpractice.gif )
1579
Followed a how-to dragon face tutorial.
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No. 1580 ID: 1702fa
File 128920721148.gif - (30.82KB , 563x800 , Practice2.gif )
1580
Fiona from Vindictus.
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No. 1671 ID: bda8c5
File 129034237521.jpg - (652.72KB , 1603x2713 , i_imgur_com__DbTb0.jpg )
1671
>>
No. 1674 ID: 3416ec
>>1671

I like this.
>>
No. 1675 ID: fa790a
>>1674
Seconding.

Whoever made this seems to be responsible for several other useful things, too.
>>
No. 2179 ID: 2563d4
File 129458138898.png - (18.40KB , 280x220 , Hand1.png )
2179
Found this while collating random /tg/ images from various machines. 'Tisn't great, but it does point out a few things. (Multiple parts.)
>>
No. 2180 ID: 2563d4
File 129458140787.png - (50.82KB , 397x605 , Hand2.png )
2180
>>
No. 2181 ID: 2563d4
File 129458142112.png - (35.15KB , 413x427 , Hand3.png )
2181
>>
No. 2182 ID: 2563d4
File 12945814457.png - (55.76KB , 437x516 , Hand4.png )
2182
The fifth part is just some lacklustre examples so I'll omit it.
>>
No. 2290 ID: 2563d4
File 129536189669.jpg - (1.71MB , 1200x4870 , 1295341707.jpg )
2290
Tracy Butler is good at expressions: http://lackadaisy.foxprints.com/exhibit.php?exhibitid=333

...unfortunately not so great at not breaking links in site re-orgs so uploadan as well.
>>
No. 2294 ID: d50288
File 129536386052.png - (282.54KB , 500x465 , 1295295324180.png )
2294
So gentlemen, where do 'you' fall on the scale?
>>
No. 2298 ID: 7a69ce
>>2294
What. The scale has like a single slightly normal looking one and then eight anime styles.

I refuse to participate.
>>
No. 2299 ID: 15b51b
>>2290
I really like how it says 'practice. a lot.' and then, for emphasis, eighty kitty sketches!
>>
No. 2301 ID: 2563d4
>>2298
This is the sound of a man who has realised he doesn't fit in #1 and is properly embaressed about the situation.
>>
No. 2302 ID: 7a69ce
>>2301
This is the sound of herpa-derpa-derp...
>>
No. 2305 ID: a41aaf
>>2294
Now we need a scale from 1 in the opposite direction, leading towards the "pile of in fighting muscles with a head on top" look (e.g. Liefeld).
>>
No. 2306 ID: 7a69ce
>>2290
Great find, expressions are so important.
A few years ago, my failing grasp of the english language lead me to google the internet for "facials" instead of expressions. I was suprised at the results, but at that age, I didn't really care. In earnest, I don't really care today.
>>
No. 2376 ID: 2563d4
>>1671
Phrix/MiB appear to have found the rest:
http://cedarseed.com/fire/tutorials.html
>>
No. 3410 ID: 2563d4
http://www.youtube.com/watch?v=9MdUodHzfIU
This set of videos is pretty good for understanding the motions of martial arts-y moves, even for static images, since she goes through them slowly at first and points out key body positions and weight distribution.
>>
No. 4036 ID: 2563d4
File 130428081696.png - (269.01KB , 1280x1265 , 1304278026034.png )
4036
>>
No. 4234 ID: eab1be
Just looking over this thread has actually made me decide to pick up the tablet again and see what I can shake out of my brain.

Thanks, strangers.
>>
No. 4890 ID: 3e7ff3
Found something interesting.

http://www.pixelovely.com/gesture/figuredrawing.php

http://www.pixelovely.com/gesture/animalanatomy.php
>>
No. 5196 ID: d0d439
File 130937341524.jpg - (1.27MB , 720x4949 , 1309122847.jpg )
5196
http://lackadaisy.foxprints.com/exhibit.php?exhibitid=356

She did a thing again.
>>
No. 6271 ID: f950bc
Somebody knows why, when you draw something (e.g. a face) and it actually looks okay, but when you mirror it, it turns into an abomination?
>>
No. 6288 ID: bd5a64
>>6271
Uhh...not sure if I'm actually explaining this all that well, but bear with me: You know how if you say a word over and over, it eventually sounds WEIRD AS FUCK to you, because the repetition has deconstructed and alienated the word to your language-comprehending mind? Likewise, if you've been staring at something for god knows how long, you begin to get used to it (the word pre-repetition) on a subconscious level. However, when you flip it (repeat the word), you alienate it to your mind in such a way it's like you left the work for weeks and came back with fresh eyes. And now you see all the horrible, unforgivable mistakes that slipped right under your nose!
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No. 6298 ID: b8ec65
>>6288
Thank you for your answer. It helped me to understand this (also, slipping a picture seems to be a very common technique for checking for perpective errors, which I didn't know).
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No. 6303 ID: 24bbf7
>>6298
Sure thing!

And now for something completely different: Wat do if it seems I can only draw animu eyes, even if drawing from life? I normally like to consider myself in the "not bad" category of drawing from life, but the ONE PERSISTENT MOTHERFUCKER is always animu eyes, constantly following me around. (In terms of the 1-9 picture, even when I'm deliberately trying not to animu, it usually ends up as a 0.5 or 1.)

Tl;dr has anyone gotten rid of their animu eyes and/or is there a general awesome eye tutorial floating around

In b4 "but that's your styyylllle cherish it always"
As someone who simply doesn't like the aesthetic, no.
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No. 6315 ID: 9f4787
File 131403560681.jpg - (70.83KB , 549x768 , 149.jpg )
6315
>>6303
Don't worry, eyes are a bitch.

What helped me were
a)drawing smaller eyes (so small, in fact, they looked too small for the face)
b)hexagons. Forget the organic structure. The eyes begins on one side with a corner, widens in the middle and then another corner. Then an arc aboth that for the second eyelid.
From these non-organic "robot" eyes, work your way to smoother and rounder lines.
c)I'm sorry to sound like a bitch, but by googling "drawing an eye" I found a lot of helpful stuff (simply because eyes are a concern for many drawers).
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No. 6324 ID: 0bd3dc
>>6315
Ah, that's actually a reference picture I was looking for, thank you!

And I get you, but I haven't been able to find anything which specifically tells you how to suck the animu out of your eyes (which, out of the searching I've done (and I may have passed right over something I didn't see, don't get me wrong), I haven't been able to find). Thank you very much anyway!
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No. 7653 ID: 0448b9
File 131828827407.jpg - (241.49KB , 577x901 , img013zzz.jpg )
7653
I am here with a bump of some sort.

This is a cool video that pertains to this thread - http://www.youtube.com/watch?v=hqZAxLqJkzA .
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No. 7670 ID: b0581a
http://www.stanprokopenko.com/blog/

Wowowowow check this guy and his tutorials out, for real
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No. 7673 ID: 503d9e
File 131837170125.jpg - (1.93MB , 800x3667 , 1290095724396.jpg )
7673
OHHHHHH IT'S LIKE MY EVERY CHILDHOOD FANTASY COME TO LIFE

also I was browsin some guy's tumblr and found this
http://reddddddddd.tumblr.com/post/11115816060/surfdog2000-axelssonkatt-amberblade
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No. 7679 ID: 0448b9
File 131838026249.gif - (4.09KB , 112x150 , john_avatar.gif )
7679
>>7673
yay.

Anyway some tip above told me to draw the torso first (but not detailed yet!) and then draw the rest, by habit I usually end up accidentally detailing it or drawing the head first, but it seems to actually help a bit.. now to get used to it.
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No. 7680 ID: a42a1d
>>7679

Strawbia!?
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No. 7986 ID: 0448b9
I FIND GOOD LINK FOR HOW TO HOLD PEN

QUITE INTERESTING http://chiseledrocks.com/main/musings/topics/how_to_hold_the_pencil
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No. 8096 ID: 2d6d07
File 131993400985.jpg - (19.32KB , 363x350 , armedcutebold.jpg )
8096
I feel like I conflated four or five different actions for this guy while drawing it- peeking around a corner, a "fencer" back-hand-up pose, a "come on guys all-clear" wave , and running away. Obviously, this creates a very confused pose.

Is there a nice quick method to avoid the SBaHJ effect (antialiased borders causing color-fill/select to leave edge artifacts)?
[used mouse and GIMP]
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No. 8110 ID: 35bcde
>>7986
Holy shit, I never even knew that I needed to know this. This helps enormously.
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No. 8243 ID: 1a1fd5
File 132057525513.png - (60.70KB , 665x348 , aco.png )
8243
>>8096
Following a single line of action will generally help you avoid the flyswatted look.

The red lines in my shitty diagram represent different lines of action-- how the eye travels through the pose, I guess. Your original pose looks awkward because of the numerous curves that all go in opposing directions, which makes it difficult for the viewer to know where to look. Using fewer curves going toward a common point will help guide the viewer's eye through the pose in a smooth movement.

If you're having trouble expressing multiple things in a single pose then just split what you want to express into multiple panels. It's a clunky solution but it will avoid viewer confusion.

BLAH BLAH BLAH just keep in mind of where you want the viewer to look. decide what the most important thing in the drawing is and make sure that everything else in the drawing points the viewer's eye towards that thing.

http://i.imgur.com/Gxgck.jpg <- This explains the line of action thing more aptly than I ever could so give it a look.
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No. 8245 ID: 1a1fd5
File 132057607156.png - (66.51KB , 1121x695 , turtorialforscrubs.png )
8245
>>8096
Also a way to avoid the white pixeley edge poop that comes from using the bucket tool on antialiased lineart is to not use the bucket tool on antialiased lineart.

Make a separate layer in gimp just for the colours and scoot it under your lines. Bam no more pixel poop.

If you want to avoid a bunch of cleanup while colouring just follow my handy tutorial.
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No. 8291 ID: 0307f0
>>8245
Would this work for very complex outlines? Usually what I do if I'm on a time budget is copy the outline layer, pull it under the real one, then bucket it with alternating colors until all that's left are some little dots and bits here and there. Those aren't terrible to hand-color, but all this is just my personal preference, etc.
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No. 8295 ID: de31b1
>>8291
Hmm, what about turning the magic wand tool's tolerance up pretty high, selecting the outside-outline bit, inverting the selection, using the increase/decrease selection thing by 1 pixel? That might work for you.
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No. 8297 ID: 383006
I think it's honestly faster just to color it by hand.
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No. 8302 ID: 2563d4
>>7986
>How to hold the stylus
>All text, no illustrations
>Even though this is a blog post about illustrating
I cannot quite figure out what the "violin" grip is supposed to be.
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No. 8303 ID: 2563d4
Also, yeah. The answer to filling within antialised lines is to not do it. It's a question like "how do I change the shading after I've flattened all my layers"---antialiasing is fundamentally a destructive, output process. Work at a higher resolution with sharp lines then resize down (i.e. supersample) on export rather than trying to work on something that is already half-blended. (If you want, zoom out while you work by the same factor you enlarged the canvas. A decent graphics program should even supersample for zoom so it will look antialiased to work on but the underlying data still maintains crisp line boundaries.)

(What I actually do is use Flash, because delicious vectors. Again, the information on where line boundaries lie is retained, and antialiasing is just a derived effect that only gets irrevocably baked into the image when I hit export.)
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No. 8313 ID: 1444d5
>Best solution
Use a program other than Photoshop that ouputs lines as vectors
>Good solution
Draw your lines as vectors in photoshop/illustrator. May be a pain in the ass with a tablet?
>OK solution
- Keep outlines as a separate layer(s).
- Duplicate this layer (merge together if needed)
- set to greyscale (if outlines are coloured)
- Use Magic wand with high tolerance (~90%) to select all lines
- Shrink selection (by whatever amount is appropriate depending on the resolution you;re working at)
- Invert selection
- Delete
Fill between now thinner, aliased, lines with original outlines on layer(s) above.
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No. 8315 ID: 3bd8ec
>>8302
Knowing how one actually holds a violin bow, I am not really sure why you'd want to hold a pen this way.
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No. 9469 ID: 453e62
File 132440739398.jpg - (72.30KB , 528x768 , 1324337869601.jpg )
9469
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No. 9470 ID: 453e62
File 132440741248.jpg - (323.67KB , 900x1200 , 1324338074395.jpg )
9470
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No. 9471 ID: 453e62
File 132440758831.png - (139.69KB , 1139x1400 , 1324351179044.png )
9471
i know a uncensored version is around, if you find it post it and i'll take down this one
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No. 9475 ID: 2563d4
>>9470
What the fuck is the point of a reference drawn by someone who didn't use a reference or correct the mistakes?
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No. 9487 ID: b738b4
>>9471
The original: http://balak01.deviantart.com/art/How-To-Draw-Boobs-15685540
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No. 9490 ID: b91dd3
I am not sure if this has been posted before, but this little book has been very useful to me. It approaches anatomy less like "Learn every single muscle and bone name ever" and more like "Here, these are some basics you need to know so the people you draw actually look like people"

http://www.mediafire.com/?0741zbau8sw8w8n
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No. 9491 ID: 0448b9
>>9490
Iiiinteresting, thank ye.
Now that I have some idea what I'm doing, this should be helpful!
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No. 9493 ID: 9f75ce
>>9490
Seconding this book. The anatomy part is where it really shines, but the sections prior on gesture and construction are some of the best I've seen in recent times. It really is an excellent resource.
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No. 9505 ID: 8dbd8a
So, this was already posted (I think?), but it's such a nice compilation it deserves to be mentioned again (many things already in this thread).

http://addark.tumblr.com/post/11355154872/handy-art-link-megapost

(take a look at the available books at the end, if some links are down, feel fee to request)
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No. 10092 ID: 1854db
File 132652067099.jpg - (273.10KB , 1200x1200 , dicks.jpg )
10092
It is actually really hard to find tutorials for drawing dicks. Here's one.
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No. 21460 ID: 4a20fa
Interesting action-pose reference material time: video footage of people walking (or trying to) in extreme winds:
https://www.youtube.com/watch?v=rKUipxR3bDc

(You may think that police hi-vis vests in Europe actually double as powered exosuits. You would be mistaken. They are able to withstand the storm due to their MIGHTY BEARDS.)
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