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Author Topic: Curious for critique.  (Read 6812 times)

Offline Zodiac

Curious for critique.
«: October 24, 2009, 08:31:33 PM»
I'm a bit curious for some critiques, so I've picked out some drawings to see what people think I could improve on or what I am already doing well in. I'm going to post more than one, hopefully to get a variety of input on things overall with combined info and shit. Pick one, or do all if you feel like it, and lemme know which one you've done in your post. :P Say what you want without holding back, I'm open to everything you have to say. I'll post pricing if it was a commission, I'd like to hear opinions if the pricing is both fair to the commissioner and myself if you could. Redlining is okay if you feel the need, as well.

I've added some notes to them, explaining some things I am aware are not right or could be done better in them, but please don't let that deter you from any more input. I'm just making it clear that I'm not under the impression that these are perfect by any means. :)

Also keep in mind, that I consider all of these pieces finished and I won't be going back to work on them, but whatever help I get here I will be keeping in mind in the future.

Some things to know: This is a colored sketch and the line art has intentionally been left in sketch form. Not to say you should not have any input about the lining, please do. The commission was for a colored sketch, at a price of 3500L.. Which is about $13.81 to purchase in SL, and after I convert it from L to $ comes out to less than that - so consider the price adjusted as per SL transaction fees.. In paypal only, I'd say I'd charge $10-$12 for one of these.

Personal drawing.

Another personal drawing, done during a really rough moment in time - but I still feel I did a bit better than normal with anatomy here, and I'd like to see what others think of it. Feel free to cover anything else you would like to in it, though.
« Last Edit: October 24, 2009, 08:36:20 PM by Turquoise »


Offline binkari

Re: Curious for critique.
«Reply #1: October 25, 2009, 12:54:25 AM»
I'd say you're off to a good start, but your figures still have issues that make them appear stiff, floating, and a little "off." I would have to say that the third picture is the weakest of the three, if only because the proportions are obviously off. Her arms are too long, her torso appears too thin for her head, and the length of her lower legs is inaccurate (try sitting on your feet and you'll notice that your ankles and heels don't make it past your butt-- in fact, they sit right at your hips). Some general pointers:

Be aware of bones and how they play a role in the way things look. In the second picture, her elbow appears noodle-like because it's bending at a "U"-shape. At certain, very specific angles, the joint may look like that, but usually you can still tell that there is a bone there based on shading or other muscle/bone interactions. Look for "landmarks" on the joints: the point of the elbow, the bumps in a knee and wrist. Adding those in can add a considerable amount of life to a figure-- just don't over do it.

In addition to bones, pay attention to how flesh falls, or "weight distribution." Unflexed muscles are pretty pliable and will conform to the shapes of different surfaces, whether those surfaces are part of the figure or the environment. Accurate weight distribution helps ground your character in their environment, preventing the feeling that they're somehow floating in a vacuum (though of course if that's the look you're going for, that's fine).

Below are two examples from one of my favorite concept artists, Daryl Mandryk. These poses are actually fairly simple (in that they aren't greatly complicated by foreshortening or crazy amounts of extension/compression), but I wanted to share them to illustrate the little things that need to be noticed to help improve your understanding of and ability to render anatomy.

http://mandrykart.files.wordpress.com/2009/09/sept0609_longpose1.jpg (nude back) -- Here's an example of some top-notch weight distribution in a seated figure: notice how her butt and the palm of her hand is pressed against the platform. if I whited out the background, you'd probably still get the very clear impression that she is sitting on something.

http://mandrykart.files.wordpress.com/2009/06/june28life1.jpg (nude male, but no genitalia) -- Another, albeit more subtle demonstration of weight distribution. You can see that, because he is resting against a hard surface (that's covered by a cloth), it causes some of the flesh in his back to be squeezed up and out. Also, notice the way his thigh droops in a gentle curve along the bottom, but appears rather straight on top due to the femur supporting the leg. That's because, when relaxed, the fat and muscles follow the flow of gravity, relaxing against the bones underneath. It gives you the impression that the figure is truly relaxed against something-- almost sinking into the seat.

Finally, some thoughts on technique. The first is to try varying your line weights. By default, lines flatten out your image, which doesn't appear to be what you're going for based on the shading you're trying to put in. The thicker the line, the flatter things get. Varying line widths can help alleviate that aspect of lineart. In general, lines become thinner at the apex of curved points, especially if they are facing the light source. I recommend taking a look at American comic books and seeing how they use lines to establish volume.

Try to go through some of your old lineart and use the eraser or a white paintbrush to rub away the lines to the desired weight. I do this a lot for my own lineart because I find it too cumbersome to worry about line widths AND making sure my figures don't look like lopsided monsters-- and it's sometimes difficult to think about line weights when you even have the entire figure drawn out.

Another strategy is to color the lineart to help it blend in with the piece.

Last but not least: get bold with your shading. Contrast is everything. Get comfortable with using cast shadows to establish light sources and give a picture more depth by making it seem like elements of the piece are interacting with each other. Familiarize yourself with the way light falls on different shapes-- if you don't want to draw cubes and spheres all day, at least take the time to get some bearings on how light falls on the human figure. Find high-contrast photos of figures and try to render the shadows, always thinking about why a shadow is or isn't there.

http://lolita-art.deviantart.com/art/color-sketches-86196825 (Breasticles) This is an example of the sort of exercise you should try. The bulk of the work is done by the giant blocks of dark and light and the artist could have easily done this using only two shades.

http://artgerm.deviantart.com/art/Pepper-Dance-3-21206819 Here's a more extreme example of how contrast alone can define a shape.

Got a little carried away there, but hopefully this helped. :)

Offline Zodiac

Re: Curious for critique.
«Reply #2: October 25, 2009, 09:07:52 PM»
Ohh thanks much for all the info. I've read it over a couple of times now, and probably will again for the next time I go to practice the things I need to work on. Those links were pretty helpful to get a better idea of HOW to do those things. A lot of it are things I somewhat know I need to do, but haven't quite really grasped how to actually pull them off.

Offline LSD

Re: Curious for critique.
«Reply #3: October 29, 2009, 12:01:56 AM»
u sux

jk. i'm jealous, wish i could draw ... even for peanuts. other half has all that talent..

keep rocking.

Offline binkari

Re: Curious for critique.
«Reply #4: October 29, 2009, 12:42:05 AM»
Ohh thanks much for all the info. I've read it over a couple of times now, and probably will again for the next time I go to practice the things I need to work on. Those links were pretty helpful to get a better idea of HOW to do those things. A lot of it are things I somewhat know I need to do, but haven't quite really grasped how to actually pull them off.

The best way to improve is to just be conscious of what's going on-- that is, knowing why a picture does or doesn't work. If you're people-watching, actively pay attention to how things look, and consider why they look that way. Try to come up with mental shortcuts in addition to reading up on some rules of thumb (e.g. one eye-space between two eyes, or things in the distance become less saturated/lighter in color if the entire scene is well-lit, etc.).

If you notice that you consistently make mistakes or are struggling with trying to get something "just right," try to overcorrect them for awhile. A lot of the times, it's much easier to scale back from the opposite extreme after breaking your comfort zone than trying to inch forward little by little. For example, if you find that you just never get your shadows quite dark enough, go REALLY dark (maybe almost black) for a few pictures, or if you always make your character's legs too long, try drawing them really short for awhile. Both ends will more than likely look like crap, but the exercise is really more about busting up old habits.

Offline jaiex

Re: Curious for critique.
«Reply #5: November 03, 2009, 03:15:07 AM»
I really, really like the first one. The shading of the hair and coloring is gorgeous!

Because I'm a visual person, I redlined some stuff for you in the second and third pic. I figure it's easier than describing in words only. Bear in mind that I didn't read all of the critique before me.

http://img.photobucket.com/albums/v92/jaiex/turq2.jpg - I really didn't have much to say about this, other than the elbow and and she needs more flesh all over. For the elbow, it comes at a sort of curved "point" when bent like in this picture. Like the other poster, it depends on the angle at which you see the elbow, also. She needs some fat in those legs! Girls don't have thin legs, and especially in the thigh area, there is a lot of fat. The legs usually curve outward before coming back in.

The torso could also use some fat as well, and the back should have some extreme curves, especially towards the top. I like the breast, and the only thing I could think of is to add a little bit of light to make it feel more round. I forget where I read it, but someone said to always think of a breast as an orange in a sock. It helps me to think of it when working on them. I adore the shading on the hair and tail especially. Oh--before I forget--make sure to have a light source so that light isn't coming from all directions. What I do is draw a little sun in one of the corners or my page and it helps heaps! Btw, sorry for the crappy quality on this one...accidentally saved it as a lower quality.

http://img.photobucket.com/albums/v92/jaiex/turq3.jpg - In this one, the arm is a tiny bit long in comparison to the rest of the body. The elbow, when the arm is down, should sit next to the bellybutton. The hand should fall next to the upper thigh. The head could be downsized as well. I usually draw in circles for references and then add in a skull/head. I always tell myself when drawing heads that there needs to be room for a brain, so I always draw the outline of the head before adding any hair or features. It helps me a lot. Oh -- and the crazy curves on the back again. I'm not sure how else to describe it, lol.

Also, don't forget to add those protruding bones, like a wrist and ankle. Love the hand, too. I didn't get to write it in, but hands are seriously one of the hardest parts of the body to draw well, and you've got it down pretty good. Nice light source also!

Hope this helped, if even a little!

Offline Zodiac

Re: Curious for critique.
«Reply #6: November 08, 2009, 10:54:33 AM»
The redlines helped with the explanation a lot, I can see what you're saying and where in my brain I was TRYING to do something, and where I went wrong in trying to pull it off.  :D Def keeping these crits, and open to more.