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Author Topic: Redline?  (Read 1278 times)

Offline Anu

«: July 08, 2010, 12:22:17 PM»
Could someone redline this for me? I'm practicing drawing bodies and it would be really helpful.



Offline Grumpyskunk

Re: Redline?
«Reply #1: July 08, 2010, 01:18:28 PM»
What the hay, why not.


This is just how I would do it, but my anatomy is definitely not perfect by any means.  If I was doing it, I would turn the body a little bit too but I didn't change your pose :)

Hope that helps!

Offline Anu

Re: Redline?
«Reply #2: July 08, 2010, 01:29:24 PM»
Thanks! The help is really helpful. xD

Offline Zim

Re: Redline?
«Reply #3: July 08, 2010, 05:48:46 PM»
I can't really tell what gender it is so I kind of went androgynous: http://i27.tinypic.com/t87p8j.png


STOP STOP STOP STOP STOP drawing the outline first! While you're learning (and even when you're experienced), the best way is to break down the body into shapes. Go study some anatomical photographs. DA has plenty of artistic nudes for you to look at and learn to break into shapes. You should also learn to draw realistically before you stylize; having a grasp of proper anatomy before skewing it will make you a MUCH better artist.


Incoming Matter copypasta:

Quote from: Matter
You need to stop drawing anime.

This isn't something you have a choice in. If you are truly serious about your artistic improvement, you need to stop drawing anime. You can go back to it later once you've learned the basics, but until you have a firm grasp of anatomy, value/light, perspective, color theory, composition, etc. you are not ready to stylize in *any* capacity. Being an artist is fucking hard, and you cannot cut corners just because you don't want to spend time learning the boring things. Very few people want to actually draw photorealism, but you have to know *how*. Simplifying forms, in a way, is much, much harder than drawing things as they are.

Realism is not a style, but a foundation upon which all other art forms are based. Every truly successful artist learned to draw from life before he stylized his artwork. Even abstraction is grounded in life (albeit further removed than some other forms); an abstract artist still needs to know how to use symbols to connote feelings and represent complex forms. He has to know what a real person looks like to be able to create a symbol which registers as "human" to the viewer. He has to know how colors and shapes and their arrangement subtly affect the human mind in order to invoke the desired emotion within the painting. All of these things apply to anime/manga artists as well.

A realistic painter, an abstract artist and a mangaka (I feel gay saying this but I don't want to repeat "___ artist" again) all draw the same thing: the human form. Each artist does so in a different manner, but fundamentally, they are representing the same exact thing. Each of these artists learn, or at least should learn, how to draw the human form in the same way -- they start with what they see, and only after that has been mastered do they move onto exaggerating and altering the anatomy and form in favor of something more aethestically pleasing or appropriate for the piece's mood and context. You cannot start drawing things stylized to begin with, or your learnings are fundamentally flawed from the beginning; instead of consciously stylizing things in a way to make them more appealing, you end up languishing in ignorance, further and further distorting the form until it's so far gone it's not even recognizably human -- you're stylizing something that is already a stylization. It just doesn't work. You have to have that foundation, something you can return to in order to understand what makes something human and what makes something not look human, or you will be completely blind to your errors.

Tracing the footsteps of an artist you admire is always more productive than blindly copying his final works. And I will reiterate, yet again, what exactly every single successful artist in history has done: he learned from life. He drew what he saw, he studied anatomy, he carefully watched how light behaved, and he supplemented his observations with textbook knowledge that was not drawn by 13 year old girls on DevianTART. Yes, even anime/manga artists. Amuria and Ramy are not people you should aspire to.

Picture related. It's by Pablo Picasso, one of the most famous abstract artists of all time. Even he knew how to make a realistic painting; it was his solid foundation in the basics of art that made his subsequent foray into the abstract arts so successful.

I would recommend starting with the book "Drawing on the Right Side of the Brain". You should be able to find a download on [somewhere on the internet]. It's essentially the introductory book to learning to drawn; it teaches you how to draw what you see, and this is the second most fundamental skill to drawing next to possessing a set of eyes. Until you learn how to draw what you see (and subsequently get away from the brain's tendency to simplify everything into symbols), you will have very little success with any other lesson or tutorial.

As far as anatomy books go, get "Anatomy for the Artist"; every artist should have this book. In a more instructional vein, Andrew Loomis's books are a good starter. Google his name and you can find all of his books for free download; "Figure Drawing for All It's Worth" is his most notable, though the rest are worth reading. He gives good tips for proportion -- how body parts relate to one another and how to remember them. Just remember that his proportions are obviously a guideline, not a rigid set of rules -- you should learn how to draw the default, but relatively small deviations from it are always acceptable and necessary for staying away from sameface-samebody syndrome. You can try Bridgman and Hogarth's books as well, the latter of which I wouldn't recommend until you are more familiar with a more standard figure.

"The Structure of Man" is a series video tutorials on the human body. While highly critized for good reason (terrible quality video, repetitive, unrehearsed, etc), it can be helpful if you like a more formulaic method of approaching the human body. It's not worth paying money for, but if you can grab a torrent of it on piratebay, give it a try.

"Perspective Made Easy" is a very good book on linear perspective. As it title so aptly implies, it explains perspective in an easy to understand manner. You should be able to find this for free on the internet on Google, as well.

http://www.posemaniacs.com/ is fucking great for pose inspiration. Check out both the random pose viewer and the 30 second drawings; this website can serve as a ghetto gesture drawing source if you can't get a real life drawing class (which I highly, highly recommend you look into).

http://www.itchstudios.com/psg/art_tut.htm is relatively helpful, especially with rendering light and edges. How light falls on form is extremely hard to explain in words; you will need to rely more on your own observations in this area than any other.

http://shii.org/2ch/art.html has a bunch of other random tutorials, though the list is old and has some broken links.

Offline binkari

Re: Redline?
«Reply #4: July 08, 2010, 10:40:45 PM»
Here goes.

First off: avoid asking for general, holistic redlines. The point of redlines is to help pinpoint and illustrate particular problem areas, not redraw the entire picture for you (which I realize is what I did, but for future reference).

Please look at reference photos (or, even better, your own body) and try to figure out how improve your accuracy before asking for redlines. A big part of improvement is having keen observation skills and figuring out what goes where and why. Glaring errors like the placement of her belly button and the lines around her groin are evidence of a lack of research. The belly button is located just slightly south of waist, the narrowest part of the torso. The creases of the thigh around the groin are generally wide-set for females. The skull is inaccurate, especially around the back of the cranium and along the jawline.

Oh, and here's the redline if it's female: