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Peas Reset (Peaset)



  • PeasPeas Registered User regular
    edited August 2016
    Thanks for your advice @tapeslinger! I will be also using actual pencils for practice as well, used a mechanical pencil because it's really convenient when I have to move around from place to place

    Really dropped the ball this week, didn't manage to get anything significant worked on. On the plus side I just got myself a bunch of high quality color pencils and they really do look and feel so much better compared to regular ones and it's kinda insane

    21st of August 2016


    Peas on
  • PeasPeas Registered User regular

    How has it been 1 month since I've updated the thread already
    *Looks at sketchbook
    Urrgh i guess i know why....

  • GolemGolem of Sand Saint Joseph, MORegistered User regular
    wow! Im really impressed by the faces I am seeing. Your definitely ahead of me on grasping perspective, proportions, and shape there. I'm Jealous! Keep up the good work!

  • PeasPeas Registered User regular
    edited September 2016
    Just spend like 3 days trying to draw a motorcycle in a pose I wanted but ended up just using the reference photo instead


    Tools used: 0.5 Mechanical pencil, 4B in the beginning, then swapped to B lead on A5 sketchbook

    In chronological order:


    26th of September:




    Well I hope I can do much better next time

    Peas on
  • PeasPeas Registered User regular

  • Angel_of_BaconAngel_of_Bacon Moderator mod
    edited April 2017
    Hey, this is looking pretty good! I've just got a couple of minor thoughts that you may consider going forward on this/for future paintings.

    (rough unpolished PO)

    -The articulation of the anatomy of the pec/shoulder area is a little vague, and could use a little bit more care given to describing how the form is working in those areas.
    -Curved the line indicating the top of the receding arm sleeve/glove thing a bit more- having it be mostly flat works against the foreshortening needed to make it look like the arm is moving back in space, which in turn makes the arm look shorter than it is. Curving the line a bit helps articulate that the form is moving back in space.
    -Took in the contour of the butt a little bit, because it seemed to be implying that the pelvis was going to be twisted a little bit more than it is to get a more profile view of it, which isn't actually the case.
    -Simplified the curves on the torso, to emphasize the overall shape and give less promanance to the wrinkles in the midsection. Having the detail there is good, but too much and you can lose the shape of the body in what appears to be a pretty form-hugging costume.
    -Added a darker area in the sky behind the wing glows- since light is additive, a light glow on a light background tends not to show up, and having areas like the blue of the glow be darker than the background behind it doesn't make sense, physics-wise. Though this is often a thing that gets stylized in games/cartoons because it's not always an easy thing to design around, the more realistic the rendering gets the odder it tends to look.
    -Related, a thing an old painting teacher of mine often brought up in critiques is looking to make sure that each corner of a painting has something going on that's different from the others. While I would hate to apply this as a general rule and there are plenty of great paintings that don't do this, it can still be a helpful thing to think about in trying to make sure your compositions have some interesting variety. With the additions of some subtle darks in the left corners the composition gets a little bit more variety.
    -Tried to break up little areas of symmetry where possible. For example on the forearm I chose to straighten out one side a bit so there is a straight side and a curved side, rather than a symmetrical forearm that is equally curved on both sides. This may been like a very subtle, arbitrary, nitpicky thing at first blush, but the human body is made up of opposed straights and curves, and when you can design to work those principles into your work, it can give a drawing a lot more impact than it would otherwise have.
    -Kicked in a little light from the right to help describe a few forms a little bit more. Though this is kind of a 'cheat' considering the very diffuse look of the initial lighting setup, it is the sort of cheat that you'll see a lot in movie lighting to add impact.
    -Toned down the stark 'white' of the eyes. This happens with a lot of painters in the early days, where they thing of the eye as being 'white' and not a white object that is effected by light like any other object, and as a result will rarely actually be pure white. Again, they may always been cheated to be white in cartoons or comics, but the more realistic the rendering the more out of place it's going to look. I also played up the lashes to give more shape to the eyes.
    -Expanded the mouth a bit- remember the general proportion of finding the mid point of each eye and extending a vertical down the face to find where the corners of the mouth will be. Though depending on the level of stylization intended this may not be spot on, it's still a good thing to keep in mind.
    -I actually didn't do a good job here, but some indication of the anatomical form around the iliac crest/oblique/lower abdominal region is functioning behind the dress would help solidify how the torso is connecting up to the pelvis/leg.
    -Used some Curves adjustment layer magic to get a little bit more red into the skin tones.

    Again, these are all little things that I think you could pursue to push it to the next level- the pose, composition, idea, and figure drawing is pretty solid and has already done a lot of the heavy lifting, so you should feel really good about how far you've gotten already.

    Angel_of_Bacon on
  • PeasPeas Registered User regular
    Thank you so much!

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