Napp: Ugh, I'm with you on the foreshortening. I've checked the pose in a mirror a half dozen times, and it seems to be pretty well matched, but for some reason it just looks kind of wrong. I need to get a camera, or a mirror in my study so I can ref these poses as I do them instead of trying to debug them after the fact.
Godfather: Certainly I agree with you, but I'm also finding the anatomical studies are actually helping out quite a bit in understanding the underlying structure that dictates the form. While I may not retain all of the specifics of the flexors and extensors, I'm starting to understand which ones flex with which pose, how they twist, and where they connect to the bone.
The chief problem is that all of my figure studies are from photograph since I don't have access to live models, and for some reason I have a really hard getting a lot of useful information about the subtle nature of the figure. Having a better understanding of whats going on under the skin will help out a lot. I'm obsessed with streamlining, too, so I'm always trying to be conscious of how each muscle group contributes to the flow of the figure.
This is dumb. I don't understand why human bodies have to be so complicated.
It's cool, Napp. I appreciate the feedback a lot. I may keep tweaking it to see if I can get it to look right, or I might scrap it in favor of doing more observation and practice until I know why it looks wrong.
Godfather: Certainly I agree with you, but I'm also finding the anatomical studies are actually helping out quite a bit in understanding the underlying structure that dictates the form. While I may not retain all of the specifics of the flexors and extensors, I'm starting to understand which ones flex with which pose, how they twist, and where they connect to the bone.
The chief problem is that all of my figure studies are from photograph since I don't have access to live models, and for some reason I have a really hard getting a lot of useful information about the subtle nature of the figure. Having a better understanding of whats going on under the skin will help out a lot. I'm obsessed with streamlining, too, so I'm always trying to be conscious of how each muscle group contributes to the flow of the figure.
Here's something that could help you out to see what i'm referring towards
Everything just flows from one to the next. Doing these kind of studies helped my understanding tremendously, because as an animator i'm already supposed to "gel" features together to create a stremline effect.
You've done everything right so far, so at the level you're at now have a little fun with it!
If you haven't seen it already, I would strongly recommend watching the 1994 Street Fighter movie. Aside from having an amazing bad-guy monologue about halfway through, it is one of the best terrible video-game movies next to the Super Mario Bros.
Everything in Minecraft is, which makes it really fun to do fan art for it.
RE: Pens. For the main inks I use this, which I find a decent stand-in for an actual dip-brush. For thick lettering I use either a sharpie or a Faber-Castell Pitt artist pen. Regular lettering/borders/miscellaneous are done with a 05 Micron pen.
RE: Pens. For the main inks I use this, which I find a decent stand-in for an actual dip-brush. For thick lettering I use either a sharpie or a Faber-Castell Pitt artist pen. Regular lettering/borders/miscellaneous are done with a 05 Micron pen.
Oh my goodness, I use that pen for everything! I love how it controls!
I mean, I can really only draw them if I get an idea that makes me laugh, and I get a few of those a month.
I know that if I started churning them out just for the sake of putting something up there would be a sharp decline in quality, and also I would just start feeling like shit and hating it.
At least this way I know one person is chuckling at it.
I used to think I could only draw two funny comics a month too. But if you push yourself to thinking for an hour then something witty should come up sooner or later. Though that was when I was 11, back then I was a funny guy.
This isn't constructive, or criticism, but I seriously wish I had the money to pay you to draw something that I had written. I love your style and can't wait to see your work evolve even more.
Steve: If it makes you feel any better, so do I! Thanks, though. I'm trying to be a little more conscious of stylistic consistency, but with everything I'm learning it's jumping around a lot.
Aumni: I checked the skeleton overlay and a bunch of stuff got shifted when I started painting. Also tried to get the hands to feel a little more rooted as per Mynt's suggestion, but I think it will probably help when I put in the ground shadow. Hopefully the anatomy is a little more believable!
Her arm does still looks a little out of line with its respective shoulder blade; what's bothering me more is the folds on her cloak don't seem to have any weight to them, or relation to the body underneath. There's no indication of her left shoulder, and cloak around her right shoulder / armpit area isn't really following the curve of the breast or the line of the shoulder. (The neckline of the cloak also seems to be wider on her right than her left, but could just be a result of the angle of her pose). I get that you're going for the big flowing cloak explosion effect, I just think it could be anchored a little more around the shoulders / chest area to help clear up some of the anatomy / pose confusion we get from much of her body being obscured.
This crit notwithstanding, I really like your work!
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Godfather: Certainly I agree with you, but I'm also finding the anatomical studies are actually helping out quite a bit in understanding the underlying structure that dictates the form. While I may not retain all of the specifics of the flexors and extensors, I'm starting to understand which ones flex with which pose, how they twist, and where they connect to the bone.
The chief problem is that all of my figure studies are from photograph since I don't have access to live models, and for some reason I have a really hard getting a lot of useful information about the subtle nature of the figure. Having a better understanding of whats going on under the skin will help out a lot. I'm obsessed with streamlining, too, so I'm always trying to be conscious of how each muscle group contributes to the flow of the figure.
Thanks for the crits, guys.
I wish I had my tablet here so I do a quick (and crappy) draw over for you.
It's cool, Napp. I appreciate the feedback a lot. I may keep tweaking it to see if I can get it to look right, or I might scrap it in favor of doing more observation and practice until I know why it looks wrong.
Here's something that could help you out to see what i'm referring towards
http://bp1.blogger.com/_ctnBmTVj5x8/SAnZH02L8rI/AAAAAAAAAZ8/Wy7dKLtUKAg/s1600-h/Analytical+Week+9+-+Demo+6.jpg
Everything just flows from one to the next. Doing these kind of studies helped my understanding tremendously, because as an animator i'm already supposed to "gel" features together to create a stremline effect.
You've done everything right so far, so at the level you're at now have a little fun with it!
So, nice job.
Tried to incorporate more of what Godfather was talking about into my studies.
Lousy comic based off another dream
So not lousy.
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edit: Fug, I don't know if you've said before, but what sort of pens are you using when you make your comics?
Everything in Minecraft is, which makes it really fun to do fan art for it.
RE: Pens. For the main inks I use this, which I find a decent stand-in for an actual dip-brush. For thick lettering I use either a sharpie or a Faber-Castell Pitt artist pen. Regular lettering/borders/miscellaneous are done with a 05 Micron pen.
gonna order some of those when I'm not broke
Minecraft looks interesting, kinda wanna play now
stupid school
Oh my goodness, I use that pen for everything! I love how it controls!
I'd say my hands are way too unsteady to get the kind of versatility out of it that some artists do, but I love the aesthetic. It's just so... organic
The results are worth it, and it doesn't crap out on me like a lot of the other cheaper brush pens i've used before.
Keep awesome.
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Thanks, can't come up with more than 2 a month, though.
That sounds like a great solution to me :P
I know that if I started churning them out just for the sake of putting something up there would be a sharp decline in quality, and also I would just start feeling like shit and hating it.
At least this way I know one person is chuckling at it.
Tried my hand at using some of the tips I've picked up doing these environment studies.
Yet more anatomy
And some attempts at putting those into practice. I know her legs are a little stumpy.
Setting a dangerous precedent doing two of these in a row
Ugh why is it so hot in this room.
Riding hood WIP. Still not satisfied with the hand holding the blade.
Her left [our right] arm seems to be coming out from her neck maybe try rrawing the forearm coming from the right more?
Aumni: I checked the skeleton overlay and a bunch of stuff got shifted when I started painting. Also tried to get the hands to feel a little more rooted as per Mynt's suggestion, but I think it will probably help when I put in the ground shadow. Hopefully the anatomy is a little more believable!
Update
Looking great though!
This crit notwithstanding, I really like your work!