I like smooth newsprint too (rough newsprint is the devil, not even good for wiping your butt IMO ) but I'd say your mileage with that paper will vary depending on what kind of pencils you're using it with. There's a reason that in Proko's videos he's using the same pencil that Jeff Watts uses, which is the Conte 1710 "Pierre Noir" pencil, either B or 2B in hardness (I like B for most cases.) And they use the pencil with the tip sharpened like Proko shows here:
That pencil is sort of like a regular old charcoal pencil but has a smoother, softer feel to it. No charcoal pencil I've used can come close to it for ease of use in my opinion. Regular charcoal just feels rough and gross in comparison, and I just can't get smooth tones out of it, although I probably just suck and don't know how to use them. Plus, a lot of charcoal pencils just break as soon as I start to sharpen them up, seemingly no matter how careful I am The reason you sharpen your pencil that way is because it gives you the ability to use the edge to lay down broad, clean tones, like Proko shows in that video.
If you're just gonna use any old pencil, I'd say stick with a different kind of paper (a regular old sketchbook from any crafts or art supplies store would be good). Newsprint doesn't take graphite very well, you'll usually wind up with shiny, smudgy marks, if you don't rip the paper with the pencil tip first. At least that's my experience. I'd be curious to know if Bacon disagrees with any of that
I agree with Bacon on smudging and blending, it's not the end of the world, and can be a legitimate technique, even if I generally think it usually gives an ugly artificial look to drawings. I wouldn't encourage it though, if only because you'll learn more by building up your tones and soft edges using your medium intentionally, again as Bacon said.
@Angel_of_Bacon
Thank you so much for all that information, you're right I'm using rough newsprint, I'll try and pick up some smooth newsprint when I go back to the Art Store. As for the highlight info, that helps me tons. Today I'm going to try my best to draw up a cylinder and see if I can capture it. It's a spray can, so it has several different surfaces in one shape, which will hopefully prove to be difficult but at the same time it's nothing too complex that I'll get lost in the little nuances of it. Thanks again for everything
The top of the can looks pretty well observed, good job! The bottom ellipse, however, kind of flattens the form. It depends on the perspective, I guess, but I'd assume that with it sitting right in front of you, the bottom ellipse should probably have a slightly deeper curve than the top, but in this case you've done the opposite.
To piggyback on what Acadia is syaing, when you draw a cylinder, don't just eyeball the curves. Construct the cylinder in perspective. Think of how the elippses of the top and bottom would appear based on your viewing angle. And, this is very important, DRAW THROUGH your forms when constructing them.
See how the bottom edge is actually more curved than the top? Now compare that to your drawing, where you've done the opposite.
Also, it's a fine study, definitely a step in the right direction, but I would not put too much focus on highly reflective surfaces like a metal can for studying. Much of the information that describes the form (the highlight, midtones, core shadow, reflected light, etc) is difficult to observe because it's obscured by high-contrast reflections in the metallic surface. Matte surface (such as objects dipped in paint, like Iruka was describing on the previous page) are going to be a better for mastering those crucial concepts .
I like smooth newsprint too (rough newsprint is the devil, not even good for wiping your butt IMO ) but I'd say your mileage with that paper will vary depending on what kind of pencils you're using it with. There's a reason that in Proko's videos he's using the same pencil that Jeff Watts uses, which is the Conte 1710 "Pierre Noir" pencil, either B or 2B in hardness (I like B for most cases.) And they use the pencil with the tip sharpened like Proko shows here:
That pencil is sort of like a regular old charcoal pencil but has a smoother, softer feel to it. No charcoal pencil I've used can come close to it for ease of use in my opinion. Regular charcoal just feels rough and gross in comparison, and I just can't get smooth tones out of it, although I probably just suck and don't know how to use them. Plus, a lot of charcoal pencils just break as soon as I start to sharpen them up, seemingly no matter how careful I am The reason you sharpen your pencil that way is because it gives you the ability to use the edge to lay down broad, clean tones, like Proko shows in that video.
If you're just gonna use any old pencil, I'd say stick with a different kind of paper (a regular old sketchbook from any crafts or art supplies store would be good). Newsprint doesn't take graphite very well, you'll usually wind up with shiny, smudgy marks, if you don't rip the paper with the pencil tip first. At least that's my experience. I'd be curious to know if Bacon disagrees with any of that
I agree with Bacon on smudging and blending, it's not the end of the world, and can be a legitimate technique, even if I generally think it usually gives an ugly artificial look to drawings. I wouldn't encourage it though, if only because you'll learn more by building up your tones and soft edges using your medium intentionally, again as Bacon said.
We posted at the same time, and I didn't see this. Just read it. And I'm currently using charcoal sticks (black and white) not pencil, though I'm eager to try out some of those pencils. The whole laying down tones with the side sounds awesome. I can do that with the charcoal stick but when it comes to getting sharp lines with the top, it's a mess. Thanks for the tip though, I watched that video you posted and it's really cool. Really want to get me some smooth newsprint.
The top of the can looks pretty well observed, good job! The bottom ellipse, however, kind of flattens the form. It depends on the perspective, I guess, but I'd assume that with it sitting right in front of you, the bottom ellipse should probably have a slightly deeper curve than the top, but in this case you've done the opposite.
I felt like it was the whole body of the can that I messed, up. But if it's a perspective thing, maybe this image will help figure out my problem. It's taken from pretty much the same place I was drawing.
To piggyback on what Acadia is syaing, when you draw a cylinder, don't just eyeball the curves. Construct the cylinder in perspective. Think of how the elippses of the top and bottom would appear based on your viewing angle. And, this is very important, DRAW THROUGH your forms when constructing them.
See how the bottom edge is actually more curved than the top? Now compare that to your drawing, where you've done the opposite.
I see, what you mean. I was actually thinking of using cubes before doing anything. That would pretty much solve most of my perspective problems, right? Cause cubes are easier to visualize in terms of perspective, right?
Also, it's a fine study, definitely a step in the right direction, but I would not put too much focus on highly reflective surfaces like a metal can for studying. Much of the information that describes the form (the highlight, midtones, core shadow, reflected light, etc) is difficult to observe because it's obscured by high-contrast reflections in the metallic surface. Matte surface (such as objects dipped in paint, like Iruka was describing on the previous page) are going to be a better for mastering those crucial concepts .
Got it, I just really wanted to take a break from eggs, but seeing as I didn't suck as bad as I thought I would on this study, I'll go back to matte object. Got a local hardware store close by, so I'm thinking I'll go buy some paint or some shapes tomorrow.
Sure, if you know how to draw a cube in perspective, that's one way to construct a cylinder with accurate ellipses. It rests on your understanding of perspective, though. Do you know about basic perspective concepts such as setting up a horizon line with vanishing points?
One less technical way to visualize a cylinder in perspective is to simply understand that an ellipse on a cylinder will look flatter the closer it is to your line of sight (represented here by the horizontal line), and wider (or more circular) the higher or lower it gets.
I recommend just drawing a bunch of cubes in various rotations, see how it goes. Like, a couple a day is fine, a hundred a day is also fine. Once you can "eyeball it", you'll know you're getting better.
Of course, perspective is tedious even if you're good at it. Once your eyes turn into cubes and bleed cube tears, look into 3d modeling software like blender or sketchup for paintovers. But! Drawing cubes really never goes out of style, it always helps, it's like push-ups.
Recently I closed up production on a job and I wanted to get some feedback on both the process and the final images. I tried going a new route based on what everyone mentioned during the summer, by doing research and studies before sitting down and creating the final images I feel like I gained some actual knowledge that I could use for my next project. Below is a breakdown of the process.
The task was to create a clothing line for a sport's wear company. I was given some references to go of but was left to my own devices pretty much from the get go. Noticing that the references provided were very character heavy, I decided to go a similar route but with fully fleshed out characters, rather than characters created simply for the merchandise. I got the green light and began production on what is to become a 5 design clothing collection. This post chronicles the process of the first design.
I began by researching what could be an interesting way to flesh out these characters whilst still making it a wearable design, so I thought it'd be cool if I could tell the story on the actual clothing.
After the story was written, development of one of the characters started, her name is Checyl- The Jewel Thief. Seeing as she's a fox, I sketched up some fox designs.
Quickly I learned that I don't actually know how to draw a fox or anything close to a fox, so I took to google for references. I drew real foxes, other artist's renditions and sometimes just studied dog like creature anatomy.
Once I felt I was happy with what I was drawing, I jumped into actually designing the clothes.
I knew I wanted a comic in there somehow, I also knew I wanted to illustrate a cover of a children's book. I roughed out the ideas for the 3 illustrations I needed to create, then I started researching poses, clothing and body types.
Once the research was done, I got the the images into Photoshop, made a template of them and printed them.
I went over those images with pencil, creating the final sketches for the illustrations.
Scanned those into Photoshop and painted away.
I tried to focus on the colors for the cover image, tell an interesting story with the comic, and have something that would look cool on the sleeves of the shirt, all whilst still applying the knowledge I gained during the summer, I'm still having trouble with stuff like, cast shadows, and which plane I'm on, but I'm rather happy with the images. Personally I think they are leaps and bounds away from anything I've made in a while.
I really liked the process and seeing that I learned so much while doing it, I decided to carry it on towards my other projects, that way I can both learn while I work and create imagery that I can say I am truly proud of. I look forward to reading your constructive criticism. I want to leave ego behind and learn as much as I can from all the incredible artists in this community.
This is for a clothing line for a sports wear company? I wouldn't have guessed that, from the style and subject, but I maybe missing context. The first page also really doesn't match the other two in terms of style and feel. I'm not really sure what was asked for, so I'm not trying to get too hung up on it, but it seems worth mentioning.
The studies are a step in the right direction. You still need to learn to take it slow. Despite the structure, some of those studies are on the wobbly side. Many of your eyes dip far below where they belong, like the top drawing on this page, for example. The structure lines don't mean anything if you don't use them. All of your lines are also still pretty hairy, you may want to work on making more confident marks.
Overall, I'm really happy that you've come around and want to put the time and work into improving.
This is for a clothing line for a sports wear company? I wouldn't have guessed that, from the style and subject, but I maybe missing context.
/\ This was also my reaction. I'm confused as to how the work here relates to the actual clothing being sold.
Don't get too hung up on it, as they basically hired me to go nuts and just create designs for them. It's an awesome company and they were looking to do some cool stuff with the designs. I didn't post the template as that's what they use for printing, but basically I took those three designs and got them into a template they sent and they're printing the clothes using my designs. Here I just posted the actual designs, as the clothing's part is not on my side, I don't really have any knowledge on that kind of art at the moment.
The studies are a step in the right direction. You still need to learn to take it slow. Despite the structure, some of those studies are on the wobbly side. Many of your eyes dip far below where they belong, like the top drawing on this page, for example. The structure lines don't mean anything if you don't use them. All of your lines are also still pretty hairy, you may want to work on making more confident marks.
Overall, I'm really happy that you've come around and want to put the time and work into improving.
I'm still figuring proportions and placement out but I understand what you mean regarding structure lines. Any tips on getting my lines more confident?
Thanks, really appreciate that. It means a lot coming from you.
Been practicing my lines using the site @Iruka linked me to.
Here's some character design studies done after doing the exercises. I'm digging how the pencil glides over the page, is that how it's supposed to be?.
Lastly I got a gig doing some erotic work, and I've been doing studies of women . I would love some feedback on proportions;at the moment I feel it's my most troublesome area: (a bit NSFW)
I've been a bit busy with work, and haven't had much time to post, but I just wrapped up a piece for a client, and I like the overall idea but I'm not completely happy with it. I would appreciate some feedback on it. Keep in mind that it wasn't a piece with a background, but I was thinking I might had done completely wrong by adding the very shitty shadow on the dinosaur, cause it messes up the light source.
Working on some stuff, just waiting on it to wrap-up so I can post all that stuff here.
I need to post more! Here are compilation of study sketches I did yesterday as well as some simple little things I finished up today for a client. More or less chronological.
Just to note, while we allow for nudity when it comes to life drawing, if is explicit/overtly I have to veto it. Some of those doodles tow the line a bit.
You look like you may also be distracted by the idea of sexy ladies and not really looking at the anatomy in depth. You may want to consider investing in a class, either putting money down on Schoolism, or buying into Prokos video lessons. It seems like some pointed guidance would help you.
Very sorry, I'm actually working on a pornographic animation and I've been doing studies of Erica Campbell (porn actress) if you'd like I can refrain from posting those studies. The sexy ladies bit is just for that animation project, I was trying to capture scenes I could incorporate on the video, haven't really done any actual anatomy studies yet.
At the moment I'm a bit tied for cash, had some issues with a music video I was working on and I had to drop the project (I did some background work for it, that I'm particularly proud of, would anyone be interested in seeing those drawings?) I was thinking of hiring a model this week and the next so I could get some studies. But perhaps my money would be better spend in classes?
I've also been going through my art books collection and actually reading/studying them. I've been getting a couple of animation gigs lately so I've been mostly studying animation, but I finish that book soon and I'm gonna dive into Drawing on the Right Side of the Brain. Any suggestion on the mentality I should have when studying that book?
Ah makes sense. I don't have a personal issue with erotic work, but unfortunately I have abide by the overall rules of the forum. I would save those studies and post some less erotic ones when you have them.
I think that you need some more structure in your studies, otherwise it maybe hard for you to actually prioritize the information you need. Proko would give you a good foundation to then take to something like a live model session. I think that's going to be way more worth your time.
I still see a lot of forms (like the chairs, and the books) that are weirdly slanted, keep working to solidify your forms.
No problem, thanks for clearing things up. It actually makes me happy that they were recognizable enough to raise a concern, I'm always scared my sketches only make sense to me.
I can't spend much money right now, but I'll add the Proko free videos to my daily studying schedule, hopefully once I'm done with that I'll be able to spend money on those classes.
I understand what you mean, but I'm not sure how to work on it. Should I perhaps measure things better? I'm doing it all by eye at the moment but perhaps more measuring would help me solidify them better?
---
Would linking to the erotic animation when it's done, for acting/motion feedback be a full no-no?
Sure, measure them out. Use a ruler, whatever you have to do. Making lines strait is about as mechanical of a skill as you can get when it comes to art. I can't really get much more conceptual about it, which is why doing things like drawing cubes is so important. It's like trying to teach someone to throw a ball, you can explain it to them all you want, but what it comes down to is practicing throwing it until you understand the reflex.
The beauty of drawing things like cubes is you should be able to perceive if they are correct or not as you draw them. This sort of in the moment self correction will be part of what you use to measure figures as well. Try not to skimp out on intensity when you are working on drawing simple objects like books, its valuable study time.
Would linking to the erotic animation when it's done, for acting/motion feedback be a full no-no?
@Mabelma That would be a safe assumption. As this forum serves an audience of people under 18 years old, posting or linking outright pornography is certainly not allowed.
Took what you said into consideration and I added some simple shape practice, I'm still working on getting my lines to be confidence and precise so no much shading and such. Here are yesterday's sketches,doodles, etc. Censored what needed to be censored.
Listening to Proko's anatomy video but still haven't done any of the exercises.
You're finally starting to break down your problems into parts. That's a huge step forward and I'm really excited to see you keep doing that. Everything is still pretty shaky, but it looks like you are trying to focus.
Remember to try to apply everything you are working on. Your lines looked like they are starting to calm down a bit in the simple exercises, but try not to stroke over them so much on your figures, too. That bottom perspective drawing is a hot mess, lines everywhere. That try being slower and more deliberate imagine the line you want to make and try doing it in one smooth motion. It's something you have to make a conscious effort to practice.
My work used to have a similarly scribbly footprint, and I still slip back into accidently when I'm rushing and not actually thinking about whats going onto the paper. Be more present in the process.
Something that might help break you from the scribbles would be to occasionally do a drawing in just ink. Have your idea of what you want to draw or your reference so that you know what you want the result to be, and try to do a nice finished drawing with a ballpoint pen, start to finish. When you can't erase or change a line, you think more carefully about where you want it to be, and have to try your best to draw it nicely the first time. It only hurts a little :P and it helps you stay more deliberate even when you go back to sketching loosely.
You're finally starting to break down your problems into parts. That's a huge step forward and I'm really excited to see you keep doing that. Everything is still pretty shaky, but it looks like you are trying to focus.
Remember to try to apply everything you are working on. Your lines looked like they are starting to calm down a bit in the simple exercises, but try not to stroke over them so much on your figures, too. That bottom perspective drawing is a hot mess, lines everywhere. That try being slower and more deliberate imagine the line you want to make and try doing it in one smooth motion. It's something you have to make a conscious effort to practice.
My work used to have a similarly scribbly footprint, and I still slip back into accidently when I'm rushing and not actually thinking about whats going onto the paper. Be more present in the process.
I'm trying my best but to be honest I've been slacking off a bit lately, and I haven't gotten much figure drawing practice down. I did try to keep what you mentioned about being more present in the process in the simpler stuff, but with the figure drawing stuff, I still can't get my lines the way I want them so I end up drawing ten lines cause I messed up the first 9 but I'll keep practicing. Thanks for your feedback.
Something that might help break you from the scribbles would be to occasionally do a drawing in just ink. Have your idea of what you want to draw or your reference so that you know what you want the result to be, and try to do a nice finished drawing with a ballpoint pen, start to finish. When you can't erase or change a line, you think more carefully about where you want it to be, and have to try your best to draw it nicely the first time. It only hurts a little :P and it helps you stay more deliberate even when you go back to sketching loosely.
I'm actually doing everything in ink but I do understand what you mean I tried to do it with the cogs but that only helped to show me how much more I need to practice. I'll keep at it though. Thank you very much for your feedback.
Here are the past 3 days of studies/sketches/doodles
EncA Fool with CompassionPronouns: He, Him, HisRegistered Userregular
I'm seeing a lot of good construction on your practice sketches but it doesn't seem like those skills are being used in your cartoon drawings. Are you first starting with your construction references when drawing those?
Thank you for your comment Enc. Those were actually done before the practice sketches. I posted them there to keep track of the work I finished, on most of those I'm only happy with the gestures and the colors. Though to answer your question, I usually start with construction references, but at that time I wasn't constructing things correctly. Below I post the latest stuff, most of it deals with what's been mentioned before about my scribbling lines, I kicked it up a notch on the line control exercises and the primitive shapes exercises. Hopefully these sketches/doodles show some improvement.
I managed to draw a relatively convincing person "the super hero character" all from memory, which is something I've never done before.
Hey Man. Things look like they are moving forward. I would focus and put some more time in the shapes, the ones at the bottom of the page are looking much better. Keep pushing.
I notice way less hairy lines everywhere, that's an accomplishment in itself. You'll need to learn how to confidently take those basic shapes and use it to construct things, which means you'll need to be able to draw them consistently from many angles. Some of those faces, notably the guy with the glasses, look a little weak, not enough time measuring and setting things up, the features are sliding around on you. The lady with the nose is actually pretty nice, though her ear is small, even for a caricature
Posts
That pencil is sort of like a regular old charcoal pencil but has a smoother, softer feel to it. No charcoal pencil I've used can come close to it for ease of use in my opinion. Regular charcoal just feels rough and gross in comparison, and I just can't get smooth tones out of it, although I probably just suck and don't know how to use them. Plus, a lot of charcoal pencils just break as soon as I start to sharpen them up, seemingly no matter how careful I am The reason you sharpen your pencil that way is because it gives you the ability to use the edge to lay down broad, clean tones, like Proko shows in that video.
If you're just gonna use any old pencil, I'd say stick with a different kind of paper (a regular old sketchbook from any crafts or art supplies store would be good). Newsprint doesn't take graphite very well, you'll usually wind up with shiny, smudgy marks, if you don't rip the paper with the pencil tip first. At least that's my experience. I'd be curious to know if Bacon disagrees with any of that
I agree with Bacon on smudging and blending, it's not the end of the world, and can be a legitimate technique, even if I generally think it usually gives an ugly artificial look to drawings. I wouldn't encourage it though, if only because you'll learn more by building up your tones and soft edges using your medium intentionally, again as Bacon said.
Thank you so much for all that information, you're right I'm using rough newsprint, I'll try and pick up some smooth newsprint when I go back to the Art Store. As for the highlight info, that helps me tons. Today I'm going to try my best to draw up a cylinder and see if I can capture it. It's a spray can, so it has several different surfaces in one shape, which will hopefully prove to be difficult but at the same time it's nothing too complex that I'll get lost in the little nuances of it. Thanks again for everything
Jajajaja fixed it, sorry about that.
See how the bottom edge is actually more curved than the top? Now compare that to your drawing, where you've done the opposite.
We posted at the same time, and I didn't see this. Just read it. And I'm currently using charcoal sticks (black and white) not pencil, though I'm eager to try out some of those pencils. The whole laying down tones with the side sounds awesome. I can do that with the charcoal stick but when it comes to getting sharp lines with the top, it's a mess. Thanks for the tip though, I watched that video you posted and it's really cool. Really want to get me some smooth newsprint.
I felt like it was the whole body of the can that I messed, up. But if it's a perspective thing, maybe this image will help figure out my problem. It's taken from pretty much the same place I was drawing.
* FORGOT THE IMAGE
I see, what you mean. I was actually thinking of using cubes before doing anything. That would pretty much solve most of my perspective problems, right? Cause cubes are easier to visualize in terms of perspective, right?
Got it, I just really wanted to take a break from eggs, but seeing as I didn't suck as bad as I thought I would on this study, I'll go back to matte object. Got a local hardware store close by, so I'm thinking I'll go buy some paint or some shapes tomorrow.
One less technical way to visualize a cylinder in perspective is to simply understand that an ellipse on a cylinder will look flatter the closer it is to your line of sight (represented here by the horizontal line), and wider (or more circular) the higher or lower it gets.
The less technical way also helps, but I plan to draw complex images at some point, so I might as well brush up on perspective.
Of course, perspective is tedious even if you're good at it. Once your eyes turn into cubes and bleed cube tears, look into 3d modeling software like blender or sketchup for paintovers. But! Drawing cubes really never goes out of style, it always helps, it's like push-ups.
Shit, I need to do all of the above.
The task was to create a clothing line for a sport's wear company. I was given some references to go of but was left to my own devices pretty much from the get go. Noticing that the references provided were very character heavy, I decided to go a similar route but with fully fleshed out characters, rather than characters created simply for the merchandise. I got the green light and began production on what is to become a 5 design clothing collection. This post chronicles the process of the first design.
I began by researching what could be an interesting way to flesh out these characters whilst still making it a wearable design, so I thought it'd be cool if I could tell the story on the actual clothing.
After the story was written, development of one of the characters started, her name is Checyl- The Jewel Thief. Seeing as she's a fox, I sketched up some fox designs.
Quickly I learned that I don't actually know how to draw a fox or anything close to a fox, so I took to google for references. I drew real foxes, other artist's renditions and sometimes just studied dog like creature anatomy.
Once I felt I was happy with what I was drawing, I jumped into actually designing the clothes.
I knew I wanted a comic in there somehow, I also knew I wanted to illustrate a cover of a children's book. I roughed out the ideas for the 3 illustrations I needed to create, then I started researching poses, clothing and body types.
Once the research was done, I got the the images into Photoshop, made a template of them and printed them.
I went over those images with pencil, creating the final sketches for the illustrations.
Scanned those into Photoshop and painted away.
I tried to focus on the colors for the cover image, tell an interesting story with the comic, and have something that would look cool on the sleeves of the shirt, all whilst still applying the knowledge I gained during the summer, I'm still having trouble with stuff like, cast shadows, and which plane I'm on, but I'm rather happy with the images. Personally I think they are leaps and bounds away from anything I've made in a while.
I really liked the process and seeing that I learned so much while doing it, I decided to carry it on towards my other projects, that way I can both learn while I work and create imagery that I can say I am truly proud of. I look forward to reading your constructive criticism. I want to leave ego behind and learn as much as I can from all the incredible artists in this community.
The studies are a step in the right direction. You still need to learn to take it slow. Despite the structure, some of those studies are on the wobbly side. Many of your eyes dip far below where they belong, like the top drawing on this page, for example. The structure lines don't mean anything if you don't use them. All of your lines are also still pretty hairy, you may want to work on making more confident marks.
Overall, I'm really happy that you've come around and want to put the time and work into improving.
/\ This was also my reaction. I'm confused as to how the work here relates to the actual clothing being sold.
Twitter
Don't get too hung up on it, as they basically hired me to go nuts and just create designs for them. It's an awesome company and they were looking to do some cool stuff with the designs. I didn't post the template as that's what they use for printing, but basically I took those three designs and got them into a template they sent and they're printing the clothes using my designs. Here I just posted the actual designs, as the clothing's part is not on my side, I don't really have any knowledge on that kind of art at the moment.
I'm still figuring proportions and placement out but I understand what you mean regarding structure lines. Any tips on getting my lines more confident?
Thanks, really appreciate that. It means a lot coming from you.
Here's some character design studies done after doing the exercises. I'm digging how the pencil glides over the page, is that how it's supposed to be?.
Lastly I got a gig doing some erotic work, and I've been doing studies of women . I would love some feedback on proportions;at the moment I feel it's my most troublesome area: (a bit NSFW)
*Got it.
I've been a bit busy with work, and haven't had much time to post, but I just wrapped up a piece for a client, and I like the overall idea but I'm not completely happy with it. I would appreciate some feedback on it. Keep in mind that it wasn't a piece with a background, but I was thinking I might had done completely wrong by adding the very shitty shadow on the dinosaur, cause it messes up the light source.
Working on some stuff, just waiting on it to wrap-up so I can post all that stuff here.
You look like you may also be distracted by the idea of sexy ladies and not really looking at the anatomy in depth. You may want to consider investing in a class, either putting money down on Schoolism, or buying into Prokos video lessons. It seems like some pointed guidance would help you.
At the moment I'm a bit tied for cash, had some issues with a music video I was working on and I had to drop the project (I did some background work for it, that I'm particularly proud of, would anyone be interested in seeing those drawings?) I was thinking of hiring a model this week and the next so I could get some studies. But perhaps my money would be better spend in classes?
I've also been going through my art books collection and actually reading/studying them. I've been getting a couple of animation gigs lately so I've been mostly studying animation, but I finish that book soon and I'm gonna dive into Drawing on the Right Side of the Brain. Any suggestion on the mentality I should have when studying that book?
I think that you need some more structure in your studies, otherwise it maybe hard for you to actually prioritize the information you need. Proko would give you a good foundation to then take to something like a live model session. I think that's going to be way more worth your time.
I still see a lot of forms (like the chairs, and the books) that are weirdly slanted, keep working to solidify your forms.
I can't spend much money right now, but I'll add the Proko free videos to my daily studying schedule, hopefully once I'm done with that I'll be able to spend money on those classes.
I understand what you mean, but I'm not sure how to work on it. Should I perhaps measure things better? I'm doing it all by eye at the moment but perhaps more measuring would help me solidify them better?
---
Would linking to the erotic animation when it's done, for acting/motion feedback be a full no-no?
The beauty of drawing things like cubes is you should be able to perceive if they are correct or not as you draw them. This sort of in the moment self correction will be part of what you use to measure figures as well. Try not to skimp out on intensity when you are working on drawing simple objects like books, its valuable study time.
@Mabelma That would be a safe assumption. As this forum serves an audience of people under 18 years old, posting or linking outright pornography is certainly not allowed.
Twitter
Listening to Proko's anatomy video but still haven't done any of the exercises.
Remember to try to apply everything you are working on. Your lines looked like they are starting to calm down a bit in the simple exercises, but try not to stroke over them so much on your figures, too. That bottom perspective drawing is a hot mess, lines everywhere. That try being slower and more deliberate imagine the line you want to make and try doing it in one smooth motion. It's something you have to make a conscious effort to practice.
My work used to have a similarly scribbly footprint, and I still slip back into accidently when I'm rushing and not actually thinking about whats going onto the paper. Be more present in the process.
facebook.com/LauraCatherwoodArt
I'm trying my best but to be honest I've been slacking off a bit lately, and I haven't gotten much figure drawing practice down. I did try to keep what you mentioned about being more present in the process in the simpler stuff, but with the figure drawing stuff, I still can't get my lines the way I want them so I end up drawing ten lines cause I messed up the first 9 but I'll keep practicing. Thanks for your feedback.
I'm actually doing everything in ink but I do understand what you mean I tried to do it with the cogs but that only helped to show me how much more I need to practice. I'll keep at it though. Thank you very much for your feedback.
Here are the past 3 days of studies/sketches/doodles
I managed to draw a relatively convincing person "the super hero character" all from memory, which is something I've never done before.
--- Animation Practice---
http://www.newgrounds.com/dump/item/34a5af0945166b4c176b40b16c171637
I notice way less hairy lines everywhere, that's an accomplishment in itself. You'll need to learn how to confidently take those basic shapes and use it to construct things, which means you'll need to be able to draw them consistently from many angles. Some of those faces, notably the guy with the glasses, look a little weak, not enough time measuring and setting things up, the features are sliding around on you. The lady with the nose is actually pretty nice, though her ear is small, even for a caricature