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Crap posted:pick one I pick the one where you post anything that's not directly insulting. maybe you could attempt to be a human being that isn't just deliberately hateful towards whatever you currently don't like. You basically just shitpost everytime you come in here. go away.
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Oct 8, 2016 04:04
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InevitableCheese posted:Does anyone do drawing on a phone or tablet? I just got an iPhone 6S+ and realized what I can do with a stylus. Any recommended apps? I think there's a mobile version of Procreate available last I've heard.
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Oct 8, 2016 04:14
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Colon Semicolon posted:I pick the one where you post anything that's not directly insulting. maybe you could attempt to be a human being that isn't just deliberately hateful towards whatever you currently don't like. she posts content and is cool and my friend
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Oct 8, 2016 04:24
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Troposphere posted:she posts content and is cool and my friend I'll rephrase: she posts art sometimes and then spends the rest of the thread openly insulting everything without rationale and shuts ears to everyone, and then plays pet cat for you. does that sound better? It's a shame she has awful opinions cuz the art's not bad
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Oct 8, 2016 04:36
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I like how this thread is a sort of clubhouse where our art is our membership card. I just wish the points we made weren't the same basic ones made by not-artists.
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Oct 8, 2016 05:19
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Internet Kraken posted:I guess this would be a good opportunity to ask what kind of exercises you guys would recommend for a very rough artist? From a few pages back, but from one amateur artist to another: drawing a whole lot. There's no magic to it, unfortunately. I sit down with a cup of cocoa in the morning and have a number of completed sketches of X that I want to finish by the end of the day, and I gradually increase the number as I start to feel more and more comfortable with the subject matter. As long as you're drawing with an eye towards understanding the three-dimensional structure of an object, rather than copying what you're looking at, you'll see gradual improvement over time. This is part of the reason people recommend not using photographs, because the natural tendency is to want to copy the lines as you see them on the page (since it's a 2D -> 2D transfer, rather than 3D -> 2D, as in life drawing) instead of attempting to grasp the "true" volume of the object in the photograph.* Drawing really is just a habit like any other, and the more you cultivate it, the easier it'll become to do. Set aside a small period of time in the day - even just 5-10 minutes - for quicksketching, and then add a few minutes on as you grow more comfortable with it. *For what it's worth, I've done almost 100% of my study of the human face and body from photographs, and I'm getting to the stage after 2~ years where I can reasonably draw the human figure from imagination. I'd say my progress would've been improved dramatically with life drawing, however, so if you don't have weird health complications like myself, try and fit it in where you can. Vermain fucked around with this message at 06:37 on Oct 8, 2016 |
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Oct 8, 2016 06:34
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Internet Kraken posted:
That's not awful, it makes a lot of sense and a lot of people go through that. It's a pretty normal reaction especially if you are just starting out. However, for that very reason I'd strongly recommend life drawing and I'll tell you why. If you are in a situation in which the model is doing very short poses, like 30 seconds, 1 min, 2 min, etc you really have no choice but to go for it. You won't be completing many drawings most likely but that's not expected. Instead you'll just be getting what information you can on some cheap disposable paper with some cheap disposable charcoal. Sometimes it'll be crap sometimes you'll like a little part of it but hate the rest and sometimes magic will happen. But the thing it will teach you, among many other things, is to be less precious and spend less time fussing over individual marks. You don't have time to hesitate. You'll make so many marks that it wont matter if even half or more are bad. With a good class, and the support of your peers (every class is different but on average people are super supportive in these environments) you'll learn to feel better about making art. If you are making art on your own, even using a website with a timer there is going to be a tendency to cheat cause you want your work to good, but one thing you should learn is that not every piece has to be awesome and you can learn as much from mistakes as you can from success. But becoming more comfortable just making art is going to be a huge boon for you. Like not even getting into the observational skills, learning techniques and anatomy which are good reasons to do it. Just do it to help you feel better about drawing itself. Either find a class or become a regular at some weekly life drawing session. Just use cheap newsprint, cheap charcoal (Generals 4B/6B is great imo but there are plenty of great options) and go for it. JuniperCake fucked around with this message at 07:44 on Oct 8, 2016 |
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Oct 8, 2016 07:37
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TeaMaestro posted:Well, it's a paper doll type concept, so yes. I've started of no clothes first before putting them on, mainly because I was working on for a webcomic and there are scenes where the character in the question doesn't wear uniform. So I make paperdolls concepts, so I can create dozen of variants of clothing without having to redo the whole thing. I been abusing layers to do this a lot. No, all of that makes sense, that's how I work too. It's just something I brought up because someone with a similar problem came to me with a 'how do I improve' a couple years ago whose clothing had a similar paper doll feel (except this was in webcomic pages), and I discovered that she was just straight up not constructing the body even roughly and going straight to fully clothed every single time. The problem with going straight to clothes is that if you don't plan out where the torso/arms/etc. are and how much space they occupy beforehand, it's really easy to find that finish drawings have a lot of issues, like arms not the same length, huge lumpy barrel torsos, the character is just drowning in fabric, their movement is unclear on unnatural looking because it wasn't planned, etc. Knowing that you do have a version of this sans dress, I'd still like to see it when you get the chance because just looking at it, I have a number of questions about the anatomy underneath. I'm not at my computer right now because I'm about to sit down and knock out today's inktober, but when I'm on it later, I kind of want to sit down and figure out what I think is going on under there with a redline, if that's alright with you? I don't want to step on toes, so I'm definitely asking first.
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Oct 8, 2016 15:42
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Making the underlying structure is a very versatile method. It lets you dress a character about as easily and methodically as a mannequin. However that's a level of skill that might be a bit much for someone at a stage where their legs are extended from the bottom of a pre-drawn dress. I wouldn't be surprised if the legs and arms and head weren't drawn last. You're actually expecting someone to jump from thinking of something on a 2d surface to its 3d form in a space. Perhaps they should learn about primitive cylinders and spheres first. However, it might serve them well if they're doing a dress up doll type thing. If they start thinking about the underlying structure, they can create different outfits more easily. If you do that demo I'll do a quick fabric rendering tutorial. Anagram of GINGER fucked around with this message at 16:35 on Oct 8, 2016 |
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Oct 8, 2016 16:01
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Elsa posted:Making the underlying structure is a very versatile method. It lets you dress a character about as easily and methodically as a mannequin. However that's a level of skill that might be a bit much for someone at a stage where their legs are extended from the bottom of a pre-drawn dress. I wouldn't be surprised if the legs and arms and head weren't drawn last. You're actually expecting someone to jump from thinking of something on a 2d surface to its 3d form in a space. Perhaps they should learn about primitive cylinders and spheres first. Learning about primitive cylinders and spheres is all well and good in a classroom setting, but I don't really have any illusions that someone in this thread who clearly wants to be drawing webcomics (and possibly is already) is going to drop everything and draw cylinders and spheres over work they actually enjoy. As someone who had zero formal training until college, 32 year old me can absolutely look back and think 'wow, if only I had focused on basic construction in the years before I went to college, how much better at this I would have been at the start', but realistically, 19 year old me would have probably given up on art if I had to replace all of the fun things I was doing with hours and hours of basic construction studies. I do get that there are a lot of poorly drawn webcomics out there, but one of the fastest ways to improve when drawing them is to do them in tandem with learning. I still have miles to go, and I'm not sure I'll ever be satisfied with my work. But, my work from 6 years ago when I first started looks nothing like my work now, and I imagine my work now will look nothing like my work 6 years from now. I rarely have time for things that aren't drawing new pages, which doesn't leave a lot of room for hours of gesture drawings--even character design is something I often do on the fly, because a character needs to make their debut in my story NOW and I didn't have time to hash out a design for them beforehand. It is far from ideal, but I've gotten a lot more out of just drawing comics than I think I would have if I had put them on hold to spend a few years on construction. If I can figure out what's going on under that dress, I can also figure out what the best advice I can give is going forward. It would be really easy to say 'start drawing cylinders and spheres', but without knowing what they're already doing and if/how they're already applying their construction, that advice isn't all that helpful on its own because it doesn't make the connection to how it would be applied in the work that they actually want to be doing. You need that connection, or any general, single statement advice isn't going to make any sense and the person is going to be frustrated and confused about why it isn't really helping, because they can't see how it can be applied to make the things they're already drawing better.
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Oct 8, 2016 16:38
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hey shitpost pm me your blog if you want I really like all your posts and would like to subscribe to your newsletter
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Oct 8, 2016 16:47
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shitpostmodern posted:No, all of that makes sense, that's how I work too. It's just something I brought up because someone with a similar problem came to me with a 'how do I improve' a couple years ago whose clothing had a similar paper doll feel (except this was in webcomic pages), and I discovered that she was just straight up not constructing the body even roughly and going straight to fully clothed every single time. The problem with going straight to clothes is that if you don't plan out where the torso/arms/etc. are and how much space they occupy beforehand, it's really easy to find that finish drawings have a lot of issues, like arms not the same length, huge lumpy barrel torsos, the character is just drowning in fabric, their movement is unclear on unnatural looking because it wasn't planned, etc. Well here's the structure and the stages that I've went through at the time. Be warned, I've just realised today her anatomy is close to being a barbie doll and I was so tempted to fix it, but I gotta be honest and show my warts and all, with what I've got. https://66.media.tumblr.com/f465d63142178714fedc209eb68da378/tumblr_oeqjm8ApfH1rkik9do5_1280.jpg https://67.media.tumblr.com/61689e4599d9255fd1956f99f67a3690/tumblr_oeqjm8ApfH1rkik9do1_1280.jpg https://66.media.tumblr.com/5fefe48144bfd6014b1dddf94057dfcd/tumblr_oeqjm8ApfH1rkik9do2_1280.jpg https://67.media.tumblr.com/48ee1d877b88c1e7103db734242ed7a6/tumblr_oeqjm8ApfH1rkik9do3_1280.jpg https://66.media.tumblr.com/2b654e8842cdc5f5dbaad4f6504f56e4/tumblr_oeqjm8ApfH1rkik9do4_1280.jpg https://66.media.tumblr.com/86729b4754570e7458e1485d38272702/tumblr_oeqjm8ApfH1rkik9do6_r1_1280.jpg https://66.media.tumblr.com/b0242221a82172e732a3d451baf98e71/tumblr_oeqjm8ApfH1rkik9do7_r1_1280.jpg Feel free to use the red marker on what I should fix, etc. Elsa posted:Making the underlying structure is a very versatile method. It lets you dress a character about as easily and methodically as a mannequin. However that's a level of skill that might be a bit much for someone at a stage where their legs are extended from the bottom of a pre-drawn dress. I wouldn't be surprised if the legs and arms and head weren't drawn last. You're actually expecting someone to jump from thinking of something on a 2d surface to its 3d form in a space. Perhaps they should learn about primitive cylinders and spheres first. I do think of the 3D structure, but I got to be honest it wasn't on my mind a lot, as I was a bit too focus on other things. Maybe now it's probably a good time for me to do so, if I want to be a decent webcomic artist.
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Oct 8, 2016 17:04
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shitpostmodern posted:Learning about primitive cylinders and spheres is all well and good in a classroom setting, but I don't really have any illusions that someone in this thread who clearly wants to be drawing webcomics (and possibly is already) is going to drop everything and draw cylinders and spheres over work they actually enjoy. As someone who had zero formal training until college, 32 year old me can absolutely look back and think 'wow, if only I had focused on basic construction in the years before I went to college, how much better at this I would have been at the start', but realistically, 19 year old me would have probably given up on art if I had to replace all of the fun things I was doing with hours and hours of basic construction studies. What I mean is a person can only comprehend one step beyond their current skill and understanding. If you try to show them something beyond that, it will fall on glassy eyes. You are making a case for showing someone everything you know, when you should limit the scope of your crit to one step beyond what they know. A better thing to show someone in this case is how to make their fabric look cooler, or some other thing that will help them stay motivated, that they can incorporate into their art today.
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Oct 8, 2016 17:24
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TeaMaestro posted:Well here's the structure and the stages that I've went through at the time. Be warned, I've just realised today her anatomy is close to being a barbie doll and I was so tempted to fix it, but I gotta be honest and show my warts and all, with what I've got. oh check that out you're doing the body structure thing already. I have a good how-to for you now that I've seen that. Give me several hours though. I'm doing yard work right now. laying 20 pieces of sod and I'm about half way through.
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Oct 8, 2016 17:28
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Elsa posted:oh check that out you're doing the body structure thing already. I have a good how-to for you now that I've seen that. No worries, I'm heading to bed anyway, since it's really late here and I shouldn't be staying up reading on FATAL and Friends' take on Guide to Technocracy.
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Oct 8, 2016 17:37
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Elsa posted:What I mean is a person can only comprehend one step beyond their current skill and understanding. If you try to show them something beyond that, it will fall on glassy eyes. You are making a case for showing someone everything you know, when you should limit the scope of your crit to one step beyond what they know. and Elsa posted:I have a good how-to for you now that I've seen that. I...wanted to see those for basically the same reason, though? I didn't want to give any one piece of advice until I knew what they were doing in regards to the process that was used to make this picture. I'm not talking about telling people all of the things *I* know as much as I am talking about figuring out what they need to know and what they want to get out of it and then tailoring a response with some resources made specifically for them, since that's generally more helpful than generalized art 101 statements like 'draw thee some shapes' and helps forge a connection between those art 101 statements and their current work versus just leaving those statements in a vacuum. I'm fairly certain we're both on the same page here, but you misunderstood my intent. 
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Oct 8, 2016 17:47
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I would call you out on backtracking after that story about 32 year old you vs 19 year old you but I don't think you can handle that without deciding to make me your mortal enemy so I won't.
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Oct 8, 2016 17:56
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I guess that's what happens when it comes to communicating via chat or forum posts. Somewhere along the way, it got lost. Still, that doesn't mean I'll take just one advice. I tend to listen them all and see what I can cobber up together. That's why I have dozen of books and tutorial posts over the years. Speaking of which, when I was back in University, I used to buy FX Imagine almost monthly due to the tutorials and tips. Almost, because sometimes they promote certain stuff or teaching some things that I'm not interested in. One day, a classmate told me that the magazine was kinda full of rubbish, as it focus more on promoting and less about art tips. I can see where my classmate is coming from, but I still brought it sometimes, if I had the chance to go downtown. Since it a magazine about Digital Art, what your thoughts on it? TeaMaestro fucked around with this message at 18:13 on Oct 8, 2016 |
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Oct 8, 2016 18:07
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 I honestly don't remember if I was taught this method of handling figures in perspective or if I just figured it out on my own. I think it was the latter maybe? I've only done it 3 or 4 times, but it proves incredibly effective.
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Oct 8, 2016 18:22
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Elsa posted:I would call you out on backtracking after that story about 32 year old you vs 19 year old you but I don't think you can handle that without deciding to make me your mortal enemy so I won't. I'm not entirely sure how a personal anecdote about how 19 year old me would have been disinterested in art on the whole if I had been forced to stop doing fun art so that I could repetitively draw circles and do light studies on 3d objects instead of continuing to do what I like while learning and applying fundamentals as I went is contrary to anything I said in my response to you, which was basically an elaboration on my previous anecdote in where I attempted to clarify that I absolutely think fundamentals are important, especially now, and that we are on the same page in regards to that. I think fundamentals are extremely important, but I also wanted to acknowledge that telling someone to just stop drawing stylized art until they've got all of this down perfect is a recipe for being completely ignored, especially when most people who make webcomics have stories that they're itching to tell. Webcomics don't have a great track record for actually finishing, so when you're suggesting to someone who wants to, or is making them already, that they should put a pin in it until they can draw better, you see the panic set in really quickly because a lot of the time putting a pin in it for even a few weeks is enough to derail a comic completely and set it into infinite hiatus state, and no one telling a story ever really wants to do that. As for the mortal enemy statement, I'm going to assume you're talking about scribblehatch (feel free to correct me if I'm wrong!), in which case he sent me a PM and we were both very civil. You'll note I haven't said a single thing to him in response to any of the residual bickering and finger pointing going on in this thread since the 6th, which was two days ago. I am aware that the way I type sometimes causes people to think I'm angry with them, but 99% of the time that's definitely not the case, and I can say with certainty that I'm not enraged by your posts--I'm not even annoyed by them? I really don't understand why you think I'm angry.
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Oct 8, 2016 18:32
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It's probably due to this thread that has everyone on edge or it's less relaxing than it should be. But let's not start over again with whatever hostilities coming out of the woodwork, because I said something that might be a faux pas that I'm not aware of yet. I'm just spit balling like a doofus. Anyway, the comic I was working on won't be out until next year, because I've been going back and forth with the script and the editing process. So I have a bit more time to polish things up. TeaMaestro fucked around with this message at 18:53 on Oct 8, 2016 |
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Oct 8, 2016 18:42
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Imagine FX is a platform for career artists to promote themselves. By buying the magazine you are giving the editors more money to sponsor more artists. Article quality is whatever you get out of it, who cares what someone else thinks. Someday you might want to submit to Imagine FX for yourself; it's a helpful bullet for a visual artist to have on their resume. I'd have no clue as to what the generic 'promotion' comment was about, but yes, they're advertising services to a certain audience, whether it's tutorials or the best paper or cool inks or whatever. Some other magazines in this vein are Spectrum Fantastic Art, Communication Arts, PRINT, and High Fructose. To call these publications 'fluff' is a little demeaning because that implies the artwork and artists being submitted and shown within are also not valuable, regardless of whether the tutorial or writing quality is up to the same standards as the art. Kind of an unhealthy attitude to have if you're aspiring to be a career digital artist, although I'm sure there are many people posting in this thread who are entirely powered by self-loathing. :|
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Oct 8, 2016 18:57
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Okay I'm done. But the last ting I'll say is that all i wanted is a thread where people can express there opinions without feeling attacked. Where you can say something offends you personal, they apologize and life can move on. I'm sorry for contributing to the shitshow. now, mutant zombies   and a silent hill?  I'm thinking of doing more of these this month, Its fun to draw ugly stuff 
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Oct 8, 2016 19:03
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GreatJob posted:Imagine FX is a platform for career artists to promote themselves. By buying the magazine you are giving the editors more money to sponsor more artists. Article quality is whatever you get out of it, who cares what someone else thinks. Someday you might want to submit to Imagine FX for yourself; it's a helpful bullet for a visual artist to have on their resume. I'd have no clue as to what the generic 'promotion' comment was about, but yes, they're advertising services to a certain audience, whether it's tutorials or the best paper or cool inks or whatever. That's very good point, the whole supporting artist thing. Well then, I'll be getting the next issue on Monday then! It would be nice if FX Imagine did publish a bit of my art, but at this rate and style, I've doubt it. But that's alright, I can live with that. Still, it's good to catch up with the latest news, especially with conceptual art in the games industry. In my own honest opinions, I don't think FX Imagine was bad. I do enjoy reading them, but I just tend to skip any monthly issues if they gush on certain game developers too much, because I had some bad memories about them. Not their fault though. Just some personal bad experiences, that's all.
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Oct 8, 2016 19:09
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I spent some odd 7 years from like 16 to 23 trying desperately to understand the things I was learning and finally apply them, but I simply couldn't get it. I have tons of art reference books from the time where I read them, understood them, but couldn't get ANYTHING to come out as intended. It's very easy to just lose track of everything you've learned if you don't take the time to do stuff for yourself. I'd say it can be good to try using new pieces as learning tools, and incorporate new stuff as you go along that way.
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Oct 8, 2016 19:17
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shitpostmodern posted:I'm not entirely sure how a personal anecdote about how 19 year old me would have been disinterested in art on the whole if I had been forced to stop doing fun art so that I could repetitively draw circles and do light studies on 3d objects instead of continuing to do what I like while learning and applying fundamentals as I went is contrary to anything I said in my response to you, which was basically an elaboration on my previous anecdote in where I attempted to clarify that I absolutely think fundamentals are important, especially now, and that we are on the same page in regards to that. I actually distrust you for the exaggerations you posted, and that kind of thing doesn't change overnight. If you put expectations on someone for something like underlying structure when you think they don't do it already, that is exactly what you describe as a cause for growing disinterested. shitpostmodern posted:I think fundamentals are extremely important, but I also wanted to acknowledge that telling someone to just stop drawing stylized art until they've got all of this down perfect is a recipe for being completely ignored again you're exaggerating here and I also think you know that's exactly what you were doing, and that's why you are trying to backtrack so hard.
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Oct 8, 2016 19:26
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Elsa pls don't we just got things back on track. It's hard to know what an artist is doing until you see the construction method, cuz percieved understanding of it can be far from the actual structure used. it's hard to talk about art without eventually leading into personal anecdotes, each artist grows and learns very differently, and what we end up creating almost always ends up with personal experiences and learning curves affecting how we do things, and even the sort of clientelle we work with later as well. Diabetes Forecast fucked around with this message at 19:35 on Oct 8, 2016 |
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Oct 8, 2016 19:30
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One of my other artist friends introduced me to Pinterest as a resource. I have a ton of anatomy references, guides, and tutorials if anyone is interested https://www.pinterest.com/vultdude/anatomy-tips/
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Oct 8, 2016 19:31
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OmanyteJackson posted:One of my other artist friends introduced me to Pinterest as a resource. I have a ton of anatomy references, guides, and tutorials if anyone is interested pinterest is awesome. Browse before trying to draw without a particular motivation. There's always something that catches the eye
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Oct 8, 2016 19:58
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I've been browsing this site for the past week collecting a bunch of the stuff he's got on there: http://fucktonofanatomyreferencesreborn.tumblr.com The url isn't a lie, there is a fuckton there.
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Oct 8, 2016 21:04
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Elsa posted:I actually distrust you for the exaggerations you posted, and that kind of thing doesn't change overnight. If you put expectations on someone for something like underlying structure when you think they don't do it already, that is exactly what you describe as a cause for growing disinterested. Again, I have no idea what I did to earn that distrust. Clarifying something because I think that you took something I said the wrong way isn't 'backtracking', it is clarifying. I also don't feel like anything I said about younger cartoonists and illustrators being told to stop stylizing art until they can draw realistically is in any way a dangerous exaggeration--I have given that exact advice, in those exact words, enough times over the years to people who specifically asked me for feedback to know that, more often than not, the response I'll get it "Yeah, that sounds like a lot of work. I'll think about it" in a tone that suggests that they've already decided to just not do it. I went to college for classical animation right in the tail end of the mid 2000's anime fever, and you wouldn't believe how many people I met in my course who would listen to a professor say "We're doing simple character design, and I want all of you to avoid this japanese anime stuff, because it's a little more advanced looking than what I'm asking for this assignment, and you're not going to be able to animate complicated clothing or hair at this point. It will look bad," nod along with them and then the second the professor is out of earshot, proceed to pull a "gently caress that guy, he just doesn't like anime, what a loving art snob." Those people had a lot of trouble actually learning anything with that attitude, and I was one of them. In fact, my art stagnated right on through until I dropped out because it was too hard (note, it wasn't actually too hard, the problem was that my attitude was too poo poo, and I was doing bad because I wasn't loving listening, and was failing to grasp art fundamentals that would have made my life a lot easier), and it continued to stagnate for a few years after that until I did a brutal assessment of my own work, my own attitude and my own limits and forced myself to make learning those fundamentals right alongside whatever else I was doing at the time a priority. I was in a pretty good place when I started my webcomic, and since then I've had several other self assessment sessions and my art has continued to improve. I will probably never be satisfied with it, but that isn't a bad thing. My point is that I have to wonder if lovely 19 year old me would have had an easier time if my professors, instead of just saying 'don't do this anime poo poo' had said 'I see you want to do this anime poo poo--I do not personally like it and have made myself pretty clear on this point, but if that's what you want to do despite the fact that there's no industry for it here, I guess I can at least instruct you on how to apply what I am teaching to it so it's not ultra poo poo.' I fully understand that that would have been unreasonable of me to expect, then and now, but when younger cartoonists ask me how they can improve now, in my personal experience, the best approach is to see what they are doing and figure out where to go from there. Rather than telling people to stop doing what they're doing until they're at a certain level of expertise and divorcing those fundamentals from how they apply to the kind of work they want to be doing, it's easier to keep people interested in improving by instead teaching them how to apply what you were going to teach them anyways to the work they are interested in. It's like putting art fundamentals in a big shiny webcomic box--same stuff, different packaging. Elsa posted:If you put expectations on someone for something like underlying structure when you think they don't do it already, that is exactly what you describe as a cause for growing disinterested. For the record, I straight up have no idea what you are talking about here--I had zero expectations at that point in time, and I didn't think that they weren't building from structure because it honestly could have gone either way, which is why I asked. My exact words were: quote:If you're just going straight to clothing, the obvious solution is to do construction before that, but if you are doing construction, it's less of a simple additional step that needs work. I'd be interested to see the sketch before it was inked, I guess. I had zero ulterior motives in trying to figure out how someone works so that I could figure out what advice I thought would help help them. Pelting them with resources that didn't actually have anything to do with the issue they were having would have been a waste of my time and theirs, so I asked and briefly mentioned that I thought the issue was either that they weren't starting with structure or that they were having issues with the structure they were laying down. I still have NO idea what I did to earn your distrust since, reading back, everything I posted can be summed up as "hi, I see you are having a problem but I am not sure what is causing it, can you show me some sketches that I can scratch my head over and see if I can figure something out that might help you?' until you jumped in and started pointing fingers. I spent an unreasonable amount of time just now responding to you that I could have spent actually doing some redlines and looking at their structure/process, and now I have to go cook some pies for Canadian Thanksgiving dinner and will have to do that later. If I'm going to have you drop in and poo poo all over me for trying to be helpful every time I post from here on out, I can just...not post in this thread, I guess? I wanted to post in here because I really like talking about and creating digital art, and like helping other people figure things out, but if I'm guaranteed four pages of angry accusations every time something I typed was not clear enough as to your specifications, I can go elsewhere to get my 'enjoy talking about drawing' fix, I guess. I've got poo poo to do, and while I don't mind making time to include helping people out in here into my scant free time, I'm not really interested in setting aside time in where I need to write three goddamn essays to try and explain to someone that I mostly agree with them. Anyhow, TeaMaestro: I'm actually really impressed that you have so many stages of your workflow catalogued! My file sizes usually end up so large that it'll get to a point where they're over a GB and adobe bridge refuses to load their thumbnails, so I end up deleting construction and sketch folders to knock the file size down so I can see what files are without actually opening them. I'll sit down with them a bit later and see what I can whip up, just as soon as my pies are in the oven. Sorry for the derail--looking at them really did help and I have a better idea of where to focus when I can finally sit down with my laptop instead of my phone.
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Oct 8, 2016 21:36
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You're right, the point of whatever we were talking about is lost to me, and I already like you for what you said about having an adult patreon. I'd rather just put whatever this discussion was about behind us. I like this series of model photos for the lighting. It doesn't have a rim light, but it mostly doesn't need it. The key and fill lights produce this awesome effect of a dark, shared horizon. It defines the form with the parts that are facing the viewer. http://artmodelsphoto.tumblr.com/  http://i.imgur.com/xg5gkxI.png
Anagram of GINGER fucked around with this message at 00:26 on Oct 9, 2016 |
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Oct 8, 2016 21:48
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Oh I can add to this a bit. http://imgur.com/a/iExTa
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Oct 9, 2016 03:02
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I try not to skip ahead to color before the linework is done, but I needed to throw myself a bone real quick. Tracer's looking off in the distance and I need to fix that. I haven't got the face right at all really. At times like these when it's supposed to be a well-known character, I might go as far as drawing over a transparent screenshot or something. I might have to... trace her      The greyscale is coming along well. I'll just need to remember to spread full black throughout the image to tie it together. Barbie Doll Barbie Doll Barbie Doll Barbie Doll Barbie Doll Barbie Doll Anagram of GINGER fucked around with this message at 23:28 on Oct 9, 2016 |
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Oct 9, 2016 03:57
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Its lovely but I guess I should post my finished pic since I asked for help on it earlier. It still feels good to finish a long picture though.
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Oct 9, 2016 05:45
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Oct 9, 2016 06:28
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that has pretty good color composition but honestly you gotta get past the box head bullshit I mean what is this the 1940s
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Oct 9, 2016 06:33
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Dude these days I can't tell if you're serious
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Oct 9, 2016 08:14
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shitpostmodern posted:I'm actually really impressed that you have so many stages of your workflow catalogued! My file sizes usually end up so large that it'll get to a point where they're over a GB and adobe bridge refuses to load their thumbnails, so I end up deleting construction and sketch folders to knock the file size down so I can see what files are without actually opening them. I'll sit down with them a bit later and see what I can whip up, just as soon as my pies are in the oven. Sorry for the derail--looking at them really did help and I have a better idea of where to focus when I can finally sit down with my laptop instead of my phone. Don't worry about the derail. it happens. I appreciate the help by the way. I've tend to leave the layers of sketches hidden as I continue working on the file, despite it's a bad idea in the long run. I'm not sure why I've kept them. Probably out of compulsive urged to archive things. Or I was thinking that someday someone might ask me how I done things, so I have something to show. Just like now. Also did some more work today, but I haven't done much because I've been trying to focus on mapping out the story.  
TeaMaestro fucked around with this message at 12:59 on Oct 9, 2016 |
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Oct 9, 2016 12:52
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Elsa posted:Dude these days I can't tell if you're serious I could say it's poo poo but that says nothing positive! E: https://i.gyazo.com/ad01ed445c7533cbfecdb45910373265.png How does Herring even draw things so complicated?? What even is the hair???? I'm starting to wish I drew one of his other characters for his birthday gift like ughh Diabetes Forecast fucked around with this message at 20:40 on Oct 9, 2016 |
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Oct 9, 2016 20:31
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