Pastebin: http://pastebin.com/4YDuzW77 (needs updated)
working on update, New parts came in sooner than i anticipated and more or less cased full apathy to do anything, which caused me to delay installing them... yea i know, kind of defeats the purpose... should get them in tonight, and probably work on some more shit to bin based off of last thread, likely going to revise a section or two to better workings.
if people know what the "needs update" specifically means, be my guest to post something that needs to be added, minor grammar corrections are already happening.
with that said, the ass end of the prior thread will be answered here.
check the options menus, it may just be a text option but most painting programs have multiple brush display types... but sai is japanese if i remember right... you may be shit out of luck because of the retarded ways they tend to make programs.
look up the watts 7-8gb video, this will give you a new found appreciation and much needed new perspective for pencil work.
you got any fucking clue how expensive painting is? how fast that shit adds up? there is a reason you start with charcoal/pencils and once you understand values you move on to color.
depends on the person, but usually
fucking with forms
seeing if shit works better this way or that way
than it branches off here on what their end goal is, if its painting they lay in color, if its something with an outline they clean up the line work
from there its usualy base colors and if those are good, the reflected light, shadows, than highlights.
it also depends on how the style, some can forgo alot of work some require autism levels of dedication
not a fucking chance in hell did he use copics, both works predate the product line/company even starting.
for the akira... look at the shadows, wheels, pants, gun, this is watercolor, though just based on how smooth come of the colors are, possibly something else could have been used too.
water colors+gouache use to be the standard for what was used in illustration...
as for memories, i could not tell you, not sure what was popular mediums to use in japan, im honestly getting nothing from the low resolution one you posted and google searches.
painting is easier, the hard part of getting better is knowing colors and value, both of them are a bitch in their own right, but both have a clear way to understand them, while drawing tends to be far more difficult due to the copious amounts of methods and various ways to learn or teach it... i think i need an example...
when you paint something, and im thinking real life. you typically have a reference in front of you, and if you know how to make a color, 90% of all difficulty is now gone from transferring that scene to a piece of paper.
contrast that wil drawing, where you don't get mediums that play well with blocking in and refining areas, you have to know how the human body works, whereas with a painting not so much.
god damn this is hard for me to really explain...
here, watch bob ross, he may not be the best, but he effectively took all the color combining bullshit out of the equation and showed you painting was fairly easy, and even people who never painted could match the results if they followed the steps.
i cant think of a single drawer who could do the same, sure some kids shows did teach perspective and laying in shapes, but the results were never quite like what you could get with painting.
you want to talk about the pinical of each... i would still argue painting is easier just due to the mediums you use, the fact a canvas can dry and you don't have to worry about a smudge anymore, contrast that with graphite or charcoal.
if you fuck up, you can always remove medium (depending on the medium) or paint over the area and get a fiarly good if not un noticeable result, with a drawing the moment you erace, you change how the medium will stick to what you are drawing on, possibly fucking an entire work... also painting you can touch the canvas and the worst that will happen is you need to touch up that area again, with drawing your oil is now on the paper and that spot now just became your new nightmare to work with.
i believe its shit on windows, so many windows users report problems that make the program unusable.
cant say, it just be because of how your eyes focus on one thing than another back and forth often, it could be the lighting, there are so many factors that could be giving you a headache.
let him throw a bitch fit over it, if he really takes you to court i doubt shit would happen unless you made money off the work.
I really like textured brushes, can someone recommend some that can achieve this look? Or are the default photoshop ones good enough.
Has anyone here worked as a caricature artist?
I've been considering trying to get a job doing this, considering the pay seems pretty good and other factors and I have a couple questions about it.
How hard is it to start getting work doing this?
How stressful would you rate it, perhaps in comparison to other art related projects if you have done any?
If a patron was unsatisfied, or even angry about what you drew of them, how would you handle it?
What are some of the best books worth buying in physical form?
I already own, color and light and the ones from scott robertson.
Thank you it's exactly the kind of book I'm looking for, any other recommendations?
It's not a book but it's considered one of the greatest resources on color theory there is. A lot of people recommend James Gurney but his book is more about how you use it than why it happens. If you like the technical, boring side of art then check it out.
Besides Loomis, Scott Robertson, Michael Hampton's book and the various anatomy books (Richer, Bridgman, etc) the rest is really up to whatever works for you. I've had people I look up to recommend books that are basically artsy bullshit, pseudo-science garbage that I wish I could unread but they swear by them.
Besides maybe anatomy you don't really need dozens of different art guide books. With what you have now you're probably good to go. Find artists you love and start buying their art books
That topic about realism and styling got me wondering more about stylizing. Once you have a strong idea on figure drawing, how do you tackle the subject of "stylization". Where do you start?
There are so many approaches that it's impossible to just direct you to a "how to stylize" approach. There are plenty of books around called things like "how to draw in comic book style" or "how to draw manga style' and shit, but I say just study artists you like and account for why you like them. Consider how they're different from more realistic approaches and why that appeals to you, then try to emulate it.
Even when you're doing more traditional figure drawing you'll notice many of the go-to people for instruction approach it really differently. Compare Vilppu to Bridgman to Hampton and you'll see different approaches and different looks.
im noticing when im drawing with the 0.3 staedler pigment liner the ink seems to come out kinda dotty/chalky when im sketching at a pace thats anything other than very slow. i just got it like 3 days ago. im holding it at 90 degrees. am i doing something wrong?
I'm painting in oils but I'm thinking about doing glazing like with renaissance paintings but I'm confused how to do it.
Should I paint with thinned oil paint for the underpainting to be glazed? Would it be too terrible if I used thick oil paint but kept it smooth? And what kind of oil should I use for glazing? I assumed linseed oil could be good to use but I'm not sure.
well, fairly pissed now as my ram upgrade failed for reasons i have no fucking clue, each stick works, each slot works, but i put 4 sticks into the fucker they throw errors like nothing else.
out 33$ unless i can figure this out...
fucking looking forward to haveing 16gb of ram so i don't have to fucking play a resource management game with real life shit.
well, that out of the way.
post an example, i think i know what you are talking about but i want to be sure.
fuck if i know, im on little over 5 months of "ill do it tomorrow" or "starting next month" re teaching myself muscle memory is the biggest hurdle for me and while i want to get good, its really hard to find the will to do it again, big part of it for me is also my hands, in recent years every time i started to get good at something, they fucking stopped me from getting great.
in photoshop, i beleive select airbrush tool, and mess with the jitter, airbrush tool should make areas you go slow get less choppy lines, and areas you go fast get more choppy.
never worked as one, but i know what it entails.
first, find a place to set up shop where people would likely want to sit down, think of this as thing people would do when they are haveing fun not getting shit done. tourist spots would be the best, look into if you need permission to set up shop places and go from there.
stress is all in you have to do this fast because normal people don't want to or wont sit there for a long period of time, you also have to get the characteristics very fast.
id ask for a portion down, satisfied or not they won't get it back, if they are satisfied, awsome, if they aren't, don't charge them, let them walk away and evaluate if you did something wrong, if nothing was wrong, make it a display piece to show others what you can do.
i would say you want to spend no more than 15 minutes a piece, less if possible, look into airbrushes to make coloring go faster.
this is the best part about drawing from life/people watching, you have to get the main shit about them down on paper fast, it will make you look critically at people and force your ass to learn what is and isn't necessary to make them unique.
going from realism to learn to picking up a style can be hard, you see a lot of people struggle with it.
what you want to do is know damn well how everything works in a persons body/real world shit, and than from there you abstract it, you make parts similar, and you push it till you are satisfied with the results.
just got out my microns, went through the whole set at 90 degrees and seen if they had issue...
it sounds like you have a marker thats running out or was dry to begin with.
that said if thats how you usually draw, you may want to look into a rapidograph.
oh fuck no i haven't made it, long story short is i shit whatever skill i had away over the course of 10 years of inactivity, and in that time my hands got shit, and a bit of fear comes to mind when i do draw that the moment i start liking what i draw, that will be when my hands come in, kick me down and tell me yer another thing i cant do.
as for earlier than that, i went to a fairly good high school whose art program had me use a little of everything, and due to my living situation, i sit at a computer most day and sue to school can answer most questions, not to mention the plethora of texts i read to try to get good a few years back, i also know some resources to push you along the way.
my skill do draw may have went away, but my knowledge thankfully hasn't.
Saw this on the lewd thread a few days back. I've seen other drawings where the crotch area is slanted down aswell but I can't think of them off the top of my head.
How much fine motor skill is necessary for drawing? I've been suffering from essential tremor since childhood and attributed my godawful handwriting and just as bad drawing skills to it, but I wouldn't mind a second opinion about the topic. It's not so severe that people think I have Parkinson, but I can't thread a needle for example.
oh, thats what you meant... ok, you see this alot when people want to make the model curved like they are laying down but leaning to get up where the chest and pelvis is simplified in this way.
i think its more of a lewd/porn thing where you see it more, but in this context, i think its more just this person style and how they visualize it easiest.
don't touch the paper by whatever means necessary.
explain the tremors, where are they located, is it full arm tremor or more wrist?
How can I record myself painting with photoshop and then edit the video and upload it to youtube? What programs should I use? I'm new to this.
When I'm painting a face, usually my mind deforms it and makes me think it's very wrong and weird, how can I look it with fresh eyes? I've flipped horizontally so much that it's not working anymore.
How important is figure drawing if I want to learn anatomy?
I've watched a good amount of villpus lessons, and went to 7 6-hour sessions / classes for figure drawing.
Is it not more important to get form and advanced perspective down so that it comes naturally and I don't make mistakes, and then afterwards learn how to properly construct the human body?
Then naturally use real life for reference about it.
It can, but it can also be any distance between the viewer and the closest object. That distance will determine the size of the picture plane, so you can have a small glass pane in front of the viewer, or a large glass plane before the nearest object, and the apparent size of the picture plane to the viewer remains constant.
well villpu is great but if you don't compare what you learned from him to actual body, then it's really pointless. Anatomy is there to help you understand what you see when doing live drawing. Then with that combined try to draw from imagination. But if you only construct with your knowledge of anatomie, you'll end up having character that aren't very human but more écorché stick figures.
Do you think you could provide me of some type example? I feel I have an understanding of that basic parts of perspective, yet when it comes to the picture plane I can form an idea of it's exact rules.
Going through Loomis, Heads and Hands.
At plate one at the moment. I dont understand the proportions of the constructions, I get that the spacing between the top of the head, hairline, bottom of nose, and chin is the same. The problem arises when it comes to the part you cut off on the sides.
>How do you decide how much to cut off?
So, what order?
Some of my artist friends told me to do more gesture drawing before learning anatomy, but I feel like it's bad advice.
Should I just have some fun with perspective, anatomy and occesional figure drawing?
Well the thing is there is no order. As best as you can you need to to all three at the same time so to speak. perspective will inform your visualisation in space, anatomie your understansting of constructing the form and help you understand what you see while doing figures. Figure will give you everything else, from proportion, gesture to get a pose down to the actual way thing look in real life as opposed to the idealized idea you get from knowing anatomie.
But get good at any of those and you'll improve in the other two. They aren't separate things they all inform each other.
The picture plane is just your drawing surface. It's best to think of it as a glass plane that's always perpendicular to your line of sight. What you see on the picture plane is what gets translated exactly to your canvas.
Lets say you're looking at a car. You could have the picture plane be a very large vertical glass that touches the car at the point closest to you. You could then use a marker on a stick to trace the car, and what you have on the picture plane can be scaled down and translated to your canvas.
You could also have the picture plane be a small window that's attached to your head (still vertical if you're looking forward). Looking at the car, you could trace it again and end up with the exact same drawing, except now it's smaller.
If you wanted, you could have rays running from each corner of the original large glass pane to your eye. Any new glass (with the same proportions) could be placed between you and that original large glass, and as long as all 4 corners touch those 4 rays from earlier, then you functionally have the exact same picture plane but physically smaller. All of this is to get to the original point that the picture plane does not need to touch the nearest object - you can set it at any distance and achieve the same end results.
There are systems for mechanical drawing that use a fixed picture plane, fixed viewing angle, and fixed groundline. There the groundline is where the picture plane touches the ground, and it's placement is determined by what field of view you want in your drawing. 60 degrees is generally considered standard, but you could go bigger or smaller to simulate wide and long lenses.
So what you are saying is the active size in which I draw on my Art program is my Picture Plane?
Sorry if I seem dense. I'm on Part 3 of Perspective with Erik Olson and I've gotten everything down from finding 30s, 45s, 90s and 60s
Ive also figured out how to plot the cone of vision and measuring but this one concept eludes me due to the fact that I never truly got it in the first place.
I've also heard multiple time that the Picture plane is also on the Eye level and Horizon line in perspective which is either me misinterpreting or something else
Hi,im struggling with cast shadow projection on curved/irregular surface,more specifically on human body,also im having trouble translating volume from the anatomy studies i did to an actual illustration, any tips?
>So what you are saying is the active size in which I draw on my Art program is my Picture Plane?
In can be. The canvas you're drawing on could also be a smaller crop from a larger picture plane.
>I've also heard multiple time that the Picture plane is also on the Eye level and Horizon line in perspective which is either me misinterpreting or something else
That's the Ground Line. Looking straight ahead has the Eye Level and Horizon match. The Ground Line is also horizontal, but some distance below the Eye Level. It's placement is a set percentage of the distance from the Center of Vision to the Station Point. That proportion is a fixed number derived through assuming you have a 60 degree Cone of Vision.
>Ive also figured out how to plot the cone of vision
I haven't followed Olson's series, but it sounds a lot like Robertson's in that he doesn't use a precise placement for the Picture Plane. If you're curious about finding the Ground Line, draw your circle for your 60 degree cone of vision, then draw a square around that circle sized so that their edges touch. The bottom line of that square is also the Ground Line, and you just derived it from a 60 degree Cone of Vision (assuming I'm remembering everything correctly).
Currently presentation in each lesson is like this, and it is actually quite due able. Most of the concepts have very set definitions that are easy to memorize.
The only one I ever had a large amount of trouble with was Station Point but as soon as I realized what it meant I quickly grasped at that as well.
My current understand in basic terms is
SP= The further down it is the further away you are. The closer it is the closes you are to the object or Plane I guess?
C.O.V a range of vision that followers the human eye everywhere. Things outside of its range begin to distort and disappear.
But the one thing that eludes me is the pure basic knowledge of Picture plane that I can easily and fully grasp and state. The only thing I do have is "Closest Object is where the picture plane starts."
I'm guessing in the later lessons he will begin talking to me about projecting picture planes
But its weird I don't feel like I don't have a full grasp on things so its making me weary
And then this thing. Excuse the crappiness and visibility
I want to know how you get past the drawing what you know instead of drawing what you see phase. I've been practicing drawing from photos, real life, stuff on television. But my drawings still look stiff or flat, or not like the referance I'm using. Is it just a matter of practicing a lot? Or do I need some guidance in what I'm doing wrong? I would like to draw anime inspired webcomics someday, but you need to know how real life stuff works before drawing more cartoony things.
>SP= The further down it is the further away you are. The closer it is the closes you are to the object or Plane I guess?
I find it easier to think of the image you attached here as a standard model that will fit to any scene. If you are looking forward, then the eye level drawn matches the horizon, but if the head's orientation changes then the horizon changes. SP is really just a tool to find your vanishing points and have each pair along the eye level relate to each other consistently.
For example, if you have one cube on the ground that's rotated 15 degrees to the right, and another cube on the ground nearby that's rotated 40 degrees to the right, you can use the SP to find each pair of Vanishing Points, and it will keep the distortion between the two boxes consistent. For the first box you'd use a 15 degree to the right and 75 degree to the left vanishing points (adding up to 90 degrees). For the second box you'd use a 40 degree vanishing point to the right and a 50 degree vanishing point to the left (adding up to 90 again).
The SP and Eye Level can be thought of as a standard model that maps over any scene. Scale in turn is determined by what you set. You can define a meter in the scene to be an inch on your scale, or you could define a mile in the scene to be an inch on your scale. Using the scale you can figure out how far away any object you plant will be, and how large it should be on your canvas.
>The only thing I do have is "Closest Object is where the picture plane starts."
If that framework works best for you, then you can stick with it for now. My original point was that the picture plane didn't HAVE to start there. This is apparent when you don't want your nearest object to touch the bottom of your canvas.
If it helps for the above scenario, you can place an invisible or temporary object (probably a box) at a point closer to you than your nearest visible object.
Im doing my GCSE's and im not happy with my coursework. Even my favourite piece i dont feel like its good enough and i would really appreciate some suggestions for how to make it better regarding shape and tone.
Id also appreciate any suggestions for supplies (pencil, pens and inks)
have you tried the overhand grip? there are a ton of different ways to do this, but it would for the most part take out the use of the fingers for movements and instead focus on elbow and shoulder, you may not get extremely fine detail this way, but you can still go VERY far.
and worse come to worse, you do the base in real life, and you do the fine details digitally
in this context i believe so, if the person wanted to imagine sculpting down the angles into forms i think they decided it was easier if they had a diamond like shape to work with instead of a square... if that makes sense.
there are reasons to do it like that, but looking at the construction to what they made, it seems more about style than anything else.
get a program that takes a full screen video, than have it use the lagarith lossless codec, i use this and dxtory for recording games, it records lossless video at 30fps at about 500mb per minute at 720p and 1.5gb for 1080p
the program you use should instead of 30 fps probably be 1-4fps if you just want to do a speed painting, that way it saves space and cuts out the frames you are never going to use anyway, or if you want to make a video where you demo shit, 1080p60
the codec, because its largely lossless, uses damn near no processing power, but compared to a direct capture lossless, it uses about 1/20th the space, maybe up to 1/100th the space.
you could also have a program take a screenshot of your screen every second or so, but you may feel the impact of that more than if you took video.
also do some faces of people everyone knows, president, celebrities, that thing to show off what you can do.
some sandbags, pvc pipe and black cloth are all you should need to set up shop, look into how tents are made and how they handle wind for an idea of the angles you want to have things at.
depends on how you do the figure drawing, you should use it as a reference, but be constructing from imagination to match the reference be it real person or image.
advanced perspective? i have in the paste bin my views on perspective, just know how it is and works in 1 2 and 3 point and be able to put shit down without it looking off, from there its better to eyeball it outside of a few instances where you need perfect perspective.
gesture gets you to get the feel of a movement, the weight of the position down without going balls out on the drawing, potentially fucking up from the very beginning but only realizing it 2 hours in. id honestly say do gesture as a warm up exercise, take no more than 2 minutes a gesture, maybe no more than 30 seconds.
get a 3d program and dick around with it, set up its lighting and see how it renders the shadows, thats reall the best i can say other than practice more.
either keep practicing, or take a block of time and try to d what you want, at worst it will make you want to practice more at best it turns out pretty ok.
got an example with the reference?
proportions, also, don't do the shading like that, pick one tone and shade that, not to be mean but any more than that and you would be polishing shit.
as for materials, i can only tell you what i use,
prisma color ebony, prismacolor light fast black noir
blick brand soft vine charcoal, (they come out grey and are easy to blend)
blick brand compressed charcoal sticks (let black but harder to blend)
and a cretacolor 8b 18mm thick charcoal chunk thing is great for getting any dilution of detail out of your head when you want to draw the big picture, perfect for beginning gesture
than i got a 24x26 inch drawing board and 18x24 inch newsprint blick brand smooth.
instead of trying to shade a gradient, especially when there appears to be some major proportion issues, pick tone, think of a scale, 1 being white, 10 being black, and pick maybe a 4-6 and shade that one single tone in for the shadows, it comes out looking better while not taking as long to do, if you shade at all, i tell people all the time to just map the shadow, and to my knowledge that is taking the edge of the shadow and drawing it on as if it was a couture itself mainly because its fast and helps you the most, partially because it makes less of a mess than if you went in and made a full tone. and if you really need shade it in, just use one tone for expediency. something in the mid range wont be so dark you need to erase in the shade, and it wont be so dark that if you need to erase it wont come up.
Noted. I'll be using that shading method when I practice for more efficient learning.
Of course, proper blending should be done when I have the capacity to properly execute serious, standalone pieces rather than studies, right?
Do you try to draw from imagination? It's very very important to draw from imagination because it informs you what you really know and it will help you understand how to construct from skratch.
I like to make this analogy. When learning for an exam, you can either read the text. Or you can read the text, then put it away and then try to recall what the paper said. Which one is more effective for actual learning?
no, proper blending can be done at any time, its just when you aren't even passed the first stage of i no longer see my flaws, you are wasting time with it.
quantity pover polish is the way you should work for a long time.
Why practice if you suck, right? Everyone who's good at art didn't practice until they were already good at art, a skill granted by God alone.
Is there any convenient way to manage your brushes?
I'm aware of the preset manager but either I'm missing something or it's retardedly unwieldy. Can only move one brush at a time, can't test them without closing the manager, can only delete one at a time, etc.
Is there not a way to arrange/test/delete/create brushes more intuitively?
I tend to download big brush packs but don't use 95% of them, I want to cut them down but it's such a pain in the ass to do that I never get around to it.
What are you the worst at? What are your goals?
If you're completely new, consult the sticky and start with the standard books, work your way through those as instructed. Post your art for critique in the beginner thread and work on what people tell you you're shit at. If you're more intermediate or you're not getting good feedback, you need to learn to self-assess and set your own goals or you won't get anywhere.
Sounds like you want to learn anatomy, so pick up one of many books on anatomy/figure drawing that constantly float around the sticky/book thread and work your way through it. My recommendation if you're new is to focus on basic construction before you start trying to learn all the details of whatever body part.
Anon if you have this little initiative you're gonna have a hard damn time learning to draw. I don't know what you want to do with your art or where you're at with it right now.
I gave you some examples of things you can do in my post.
Seriously speaking, how important is pencil grip? I've never been really accustomed to the sketching grip and have always used the writing form. Since I'm just starting out, should I just force myself to use the sketching way?
I don't think it's vital but it can help. If you use a pencil grip that's fine, especially with a tablet where you basically have to, but what you do need to be careful of is using your fingers as well as your wrist/arm. It messes up your lines, you should generally be using your elbow/shoulder and keeping your wrists/fingers still except for precise details. The fancier grips just kind of prevent you from using your fingers too much and allow you to use the side of your pencil, which gives you better control of your line thickness.
I watch all these other people drawing in photoshop and i cant fucking seem to find what it is,
they have their opacity, flow everything set to 100% and when they draw they get these semi opaque lines they can work with, but I just get solid colors. It's driving me fucking nuts, i'm watching all these stupid tutorials and reading these books and they're getting me absolutely nowhere at all because i'm not getting the lines i want.
The fuck do I do?
Their brushes most likely already have their own (not global) opacity, flow and other shit setting pressure dependant.
Get any brush bundle, many badass pros share their tools grab anything, doesn't matter what set you get, they all are nice.
The thing is that photo editing software doesn't have shit set up for painting in it.
Unplugged the hdmi cable from my monitor and now I plugged it back and it says "no video imput / enter sleep mode" and the pc doesn't detect it.
What the fuck is going on?? I need to draww
I hate having to press so hard to get the darkest opacity from my brush, I'm 100% sure other people don't have to press as hard and I want to know how, I need help. For some reason I also can't make the Tablet Pressure Tool thing from the sticky work, so that's not a viable solution for me. Instead of helping, it disables my pressure sensitivity and I have to do a lot of shit to get it back.
Good thing I drew for like a decade and a half before jumping into digital drawing! because now I only have to focus on painting, which happens to be a BITCH. Holy fuck it's hard. I have so much more respect for every single digital artist out there now, how do they do what they do? don't answer, I know the specifics of their techniques. But I'm shit at it, shit and impatient. So here's the question, Question Thread:
I want to improve in digital painting. What is the best option? I was thinking either make as many finished pieces as I can, or watch sa many painting tutorials as I can, but I'm not entirely sure which one or if either would actually work to begin with. How do I git gud at painting?
Oh god gestures.
For some reason, it's just an absolute disaster for me to do these things. I've been told to start with Vilppu's Drawing Manual, and I'm consistently struggling with how to execute gestures. It's just really hard for me to separate contour from the action, as well as maintaining believable proportion. I end up making these deformed, worthless scribbles.
Anyone have any advice on this?
>want to draw something good
>can't make something i feel satisfied with
>only me photobashing stuff can make me feel satisfied
>get angry that im not happy with non- study work
>just draw nude figures all day
Anyway i can escape this hellhole and have m sketchbook be filled with something other than nude figures.
okay first off some vocabulary
Gesture=a bunch of lines used to represent the energy of the figure
You probably already know this, but kind of a prerequisite. I saw a good way that might help you is to limit your self to 4-6 lines. Do you have work so i can thoroughly assess your issues?
Sorry for the shit camera quality, but it's not that it matters for something like this. Here's a picture of a typical gesture page (right side has a bit of transparency).
The right side indicates my attempts failing due to over-reliance on contour, and the left is me trying to "loosen up" a bit and the proportions just fly off the handle.
I'm conceptually familiar with things like line of action, and the overall process of doing gesture, it's just that in practice, I get very... lost.
well 1. your line confidence seems a bit weak, so i would suggest you try and improve on that. One great way would be to try drawing straight lines up and down, left and right on paper.
Also, i hate to say it, but your drawings are very crude, some of these i could barely recognize as figures, let alone gestures. I would suggest reading the keys to drawing, you have alot of underlining issues beyond poor gesture.
Thats not much of an /ic/ related question, vaguely i suppose but not much really. Also we don't really know whether or not they want job related presents. If you do want to get them something job related, maybe a wacomb cintiq or a tablet, but if they do this professionally then they probably already have one. I guess you should lean more towards something else non job related.
How do I get fine lines with spraypaint? I am about to paint this poster(afraid to show my mock-up draft here since furry based mixed with absracts) and I keep using a whole layer of masking tape to stencil from and it feels like it makes the whole process slow as fuck.
Spraying close will not get detailed enough.
So I would like to get a nice monitor that displays colors accurately and I do not know too much about all that.
What monitors are good (and not extremely expensive) for this?
Hello /ic/, I'm learning to draw so I'm reading Right Side of the Brain, and I just did the inverted Stravinsky drawing exercise.
I feel like I was in a different state of mind while drawing it; despite the fact that I'm not very good, I enjoyed it and I kept going, and I felt like I was thinking in a different way at some parts of it. Thing is, when I finished, the proportions were so messed up. Stravinsky looked like he'd melted.
Is this a positive outcome for this exercise?
Does anyone have a link to the videos Proko hides behind a paywall?
Its normal, assuming you did it upside down, the reason it seemed weird was because the very nature of the excersize is to throw all your pre-conceptions about the figure out the window and require you draw what you see, the reason you struggled was because the symbols you were used to weren't there and you had to actually draw what you saw, which you were not used to.
Fucking up is perfectly fine, and it would actually raise an eyebrow if you didn't. So just keep at it and keep trying.So yes, you producing garabage is a positive outcome.
Also , here is a good video to watch on proportion.
What's a good exercise to help with thinking and drawing in 3 dimensional forms? I'm tired of flat looking drawings.
Currently drawing lots of shapes and trying to integrate them into my drawings, but is there anything else I can do?
1. Thats not too bad an idea, just make sure that when you are drawing these 3-D forms to draw THROUGH the form, draw the lines you wouldn't normally see because they're blocked by the rest of the form.
Also another good way to draw stuff like cubes, pyramids, and even spheres in perspective (though i recommend using cubes IMO)
Do you think you could post your work?
Haven't done anything worth showing in a while, but I just now started working with this old-ish sketch I had lying around. Not sure what was going through my head when picking a brush.
this is really sketchy so its hard to determine anything, but honestly the only really flat figure is the one on the right, however the one on the left does seem like he is floating a bit. Can you show me anything more finished? Even a 10 minute figure drawing would do .
does anyone have that screenshot /ic/ post of what types of art to study first? bc i might be helping teach a life drawing session and i thought i would try to improve their line quality, but i dont know what to do after that. they're college students and basically mostly shit
i had the same problem, google image search 'photoshop painting brush settings' and fiddle around a bit
Fired up pixelovely and did this.
I'm noticing that the arms are both too long, and too low. Also that the (stage) right calf is shit.
As far as 3d forms go it's better than other things I've done in the past, but to me it still looks flat.
Buy both A5 and A4, use whichever one you're most comfortable with. Whatever keeps you drawing. Eventually you may gravitate towards one or the other, or use one size for some things and the other for others. But, when you're starting out, the important thing is that you draw in your sketchbook, not its size.
How do make characters without making them seems like childish mary sue self insert characters?
>think up a character
>interesting abilities, nothing to strong but strong enough for them to have a place in a story revolving around fighting
>try to add some emotional or character flaws
>suddenly its edgy dark ninja 27
Personally I think his writing style is boring as sin, but Brandon Sanderson's old lectures on character should give you a bit of a simple idea: https://www.youtube.com/watch?v=THUaAYjWI-0&list=PL2FCD81A6FE4280AC&index=16
In general, just keep in mind that character flaws should have a point. They should show something, or be something to overcome (though they don't have to be overcome). Flaws for the sake of flaws are annoying. Non-flaws (She's too beautiful, for example) just make your character Mary Sue.
And that's pretty much what I want but for digital. The foundations of art I've got down, but when it comes to painting I still need to get down effective work flows and techniques. I've spent most of my time with inking and character art that I've completely neglected backgrounds and scenery, as well as painterly techniques.
I should mention that I'm also fine when it comes to perspective, it's just effectively using your digital tools to build these things that's becoming a hindrance.
How to stop drooling over your own art?
I'm really slow at drawing because of that.
a small one for carrying around all the time and an a4 one for at home doodlin is what i do
because what you're doing is like trying to add the flavour to a dish after cooking it. the 'flaws' should be there from the start, they're not some seperate thing, they are inherent to the character and their struggle (and possible downfall) from the beginning.
stop thinking about flaws and start thinking about the story. characters should just be wind up dolls in service of story. small slices of humanity put on display to prove a point. what is the point of the story you'd like to share.. what does the character need to do to have a fulfilling life and be a wholer person.. and what in her own head is keeping her from doing so ?
on film making by Alexander Mackendrick, has some good shit about writing tho its more a film book
look at paintings by rembrandt
get distracted by crying at your own inadequacy instead
I remember somebody made a booru for dumping some classical art a few weeks ago. It got a few hundred uploads at least - does anyone have the link?
We should make another thread for that sometime, I think it could be a handy resource if we get a good tagging system going.
Are there any color wheels for Photoshop CC and Windows 10? I used Coolorus for a while, but recently moved to Windows 10, and Coolorus and most other popular color wheels I could find didn't work.
Anyone know of any, or any alternatives?
proportions, most people i notice fuck the proportions of everything they do up and its probably the first god damn thing they should work on.
don't know what to tell you, basic shapes are probably the one thing i'm somewhat still good at. may not be perfect bug good enough. i don't think i ever ground to do them either, i think its one of those things you dont grind unless you absolutely have to, it just comes to you over time.
largely, preference, once you get good the difference in grips is largely personal choice, however, i will always recommend and overhand grip as it has many benefits, and the only downside of not easy to do detail that way, is also a benefit.
post an the image, i don't feel like digging through discs to find the books.
flow or opacity is set to pen pressure.
um... i want to say how are you figure drawing without anatomy, but i'm assuming you mean something different... got an example of what you are asking?
hdmi being a shit way to connect a device to a pc. use either dvi or display port if they are available to you... granted if all you have id vga go hdmi...
restart the computer with shit plugged in and see if that works.
the question should be how good should you be before you take commissions.
the answer is largely whenever you think your ready on either question.
i believe sai and manga studio have settings in the program for custom ramp up
understand how color works is the biggest factor, that way you take almost all the guess work out of how shit will turn out, making the whole process easier.
ok wow... first and foremost learn the cranium measurement system.
second, put a fucking circle down, there you go, you now have a root for everything.
- from here is how i do it -
draw a line for the spine.
now draw the line/s for the arms
now draw the line for the contour of o the body
now do the legs.
here, i opened manga studio so i could show you, and oh god do i remember how bad i suck at digital drawing... fuck i'm bad, but i don't know where my card reader is so i can't do it traditionally, so do make it not suck any more than it had to i loaded the image up inside of manga studio to and drew over it for this example. sometimes getting the contours works better than other for me... this was an awkward angle to do the contours right, so i didn't pressure it. i put a line down after the spine for shoulders and pelvis, if its important, ill make part for the hand too, but this is just quick and an example i made digitally... so that isn't fucking happening.
any way, cranium measurements allows you to use a circle as your base measurement, so no mater the rotation of the head or body, its always a circle, something very easy to put down. to go further, you can add an + on the thing to represent here its looking,
buy card stock, and make some stencils, outside of massive amounts of experience this is your best bet.
you want to look up monitor reviews, but here is something
whatever screen you look at, its going to be ips if you want it for color accuracy,
some monitors are 10bit this is better than others, but i don't know if you need a pro card to output 10bit or not.
when you look at the reviews what you want to take note of is adobergb, you want it as close to 100% as possible, but for under 1000$ you are probably going to be getting 90-95% at best.
find an old game that has a wireframe cheat.
may not be what you are looking for though.
get one to pocket and carry, than get a drawing board and some paper for home. sketchbooks are meant to get ideas down not seriously draw on/in
want a fighting character... ok
here we go, main character, average looking build, no real definition on muscles but they are there. lets also give him shoulder length hair at most because they don't care about looks but care about function and that doesn't get in the way and required very little self maintenance (if you ever cut your hair yourself, you know damn well why you leave it a little longer than you would normal.
as for character flaw, lets make them naive, sense this is a fighting story, they train and thats all they god damn care about to the point social situations are a bit beyond them, that and food, they love to eat, this is why there is little well defined muscle. as for what >>2342766 said about mary sue, its all about how you handle the good trait. if you write a 5 page long glowing critique on how beautiful a person is and how every chick turns into the niagra falls around him and how even guys are thinking they would bend over for him... yes that is mary sue, if you give them good traits that may as well be "yea, they are that too" and its not a focal point, you automatically kill its mary sue potential.
lets say you made this character the hottest thing that ever seen the sun on earth, and with in the first arc, you watch an elbow just completely fuck up their face, and its not treated as "oh god, ma looks, im ruined" it would be an interesting to watch.
the only way you will make an edge lord character is if you let yourself make an edgelord.
get berserk, read through the golden age. thats probably how you would want to handle a character who has tragedy in their life.
no, most people who get good at art either want to be seen as geniuses, hoard the knowledge and never teach for pragmatic reasons, or fail at art so they go into teaching.
there are VERY few people who can do what bob did (he may not be the best painter, but if you followed along with his lesson, you would make something good, getting people to watch you and say i can do that too... thats a fucking skill), and i think the closes we have to a digital bob ross would be andrew price from blender guru.
there is no way in hell someone posting here is good enough to legitimately do this unless they are heavily deluded or narcissistic.
as long as he isn't telling you to stop trying to improve and only draw in a style, its not bad i skimmed it a bit.
there is a bit more to it that what he said in the video, but its not a bad start.
i would say be able to draw objects in perspective (1 2 and 3 point) without needing lines to get it in there good enough.
learn proportions, and learn how to measure them, that important too.
with those two things you would go far... its late and i cant think of more to say.
largely depends what you want to color.
you do humans, i would go skin tones,
you do plant life, i would go greens and common flower colors.
however, and this is coming from me being REALLY fucking cheap,
get the ciao ones first, and fill in what the ciao doesn't give you with the sketch, largely the same marker but different form factor.
if you are willing to try, i would look into watercolor if you only use the markers at home.
I'm shit at doing details and sharp edges, I like doing sketches etc but I struggle to fill in details, sharpen out the lines and so on.
Outside of practicing more, can anyone give me advice on how to improve in that department?
I do not have access to digital drawing
Yeah, that's what I'm beginning to find. I have trouble stomaching five minutes of a usual tutorial, yet I can watch Ross's videos all the way through and feel like a learned something each time. Not only that, but I come away with a better attitude. I guess the challenge is on me to transfer the skills taught for traditional over to digital.
Spraypainting in the winter is such a bitch. The paint doesn't dry fast enough to put my next layer on. I have a hair dryer near the painting as I speak.
So far I've been watching how the guys on youtube spraypaint space backgrounds with planets and shit and I am trying it out for the first time. I tested a piece near on another paper and it came out okay. I hate that I have to do this in a cold garage. The basement furnace would send fumes through the house If I did it down there. I would paint in my bedroom, but spraypainting creates alot of dust.
So that being said, I cut the time in half by not stenciling the background and freehanding it, but I will stencil the figure later.
So for the next posters I will paint, I will use a smaller color pallete until I find the courage to tackle this again.
Anyone have advice towards spraypainting in general?
I just trying to make some posters for when I move into the basement after it's remodeled I'll have art to hang, generally around my interests.
Anyone here use casein?
I got the Shiva basic set a while ago and have been messing around with it, and I'm enjoying it but the Naples Yellow is just horrible. It sticks to any brush so fiercely I have to wash it with soap constantly while painting, and separates from other colours so quickly that often yellow specks even separate on the paper while it dries, pretty much making it useless.
I thought I'd replace it with Golden Ochre and just want to make sure I'm not setting myself up for more of the same.
I've also tried mixing in gouache yellows instead, which worked great and might be a good solution, but gouache is a lot more expensive.
Is it bad to work on fundamentals digitally?
I've been working on fundamentals on my tablet, you know forms and what not, and the bulk of my practice is on the tablet. I've been working with a tablet for three years (but working on fundamentals for a couple of months) so I'm acclimated to it at least and I do attempt to not rely on crutches like erasing and ctrl z.
Is there any particular reason why I shouldn't work digitally? I've been working through some memebooks like FWAP and Vilppu, and was looking into eventually starting Scott Robertson, but I just wanted to make sure it would still be helpful if I work through it digitally.
Does anyone have experience with screen protectors for tablets with a screen?
Does it fuck with the pen any? Is it actually worth using one?
I'm horrified I might scratch my screen with the pen, I haven't to my stand alone tablets but when its actually on your screen it becomes a bit more scary.
How do you make a gesture of someone standing at attention?
How do you practice? Just do it over and over until one day you are good?
>How do you practice
do it over and over again while analyzing what looks bad and what looks good. Don't be afraid to try new things, many great things come from accidents.
>How do you make a gesture of someone standing at attention
triangle or straight lines downward.
>How do you make a gesture of someone standing at attention?
Making gestures of already stiff poses is tricky. A common criticism of poorly done gesture drawings is stiffness, so when you're trying to depict an already stiff figure obviously it's a little tricky. In rhe event you're trying to make things look rigid, I think straight lines and sharp angles is beneficial.
trick question, because given the right circumstances, a person can definitely tick 3 of those conditions simultaneously (because it's humanly impossible to be 15 and 18 at the same time).
When I copy other people art, it just looks way better than when I try to make my own. Not really seeing the secret to it. I was watching vilppu and he says the gesture should show movement and pressure, there is pressure on a figure that is standing still since they are fighting gravity, but how to show that.
either you are not good enough at picking out the small details/creating them from memory and need some assistance, or you are not skilled enough to be able to look at something and know how much you can simplify it.
its not to hard, what you need to look into is the brushes he uses and brushes that cam emulate it, things in the programs that will emulate what he does with the brushes, it wont come out as clean as what he shows but its definitely doable.
instead of spray painting, look into airbrushing.
there are FAR less fumes, so its easy to do anywhere, and if you absolutely need to get rid of them, you can make a simple fume hood.
if you want to emulate spray paint, look into the cheap airbrushes, they are made with shittier parts, but because they have a bigger spray pattern they will cover a wider area.
here. while ill never call this thing good, its good enough for learning.
the pump is fairly silent, but gets hot enough you don't put it on carpet.
the brush it comes with can get some fairly thin lines, but i cant speak much to that as i am mixing my own airbrush paint from acrylic, and im not doing a very good job.
also like i said above, you can mix your own paint, and what i read online, you can use house paint with an airbrush. this is something im going to be looking into because i could get a gallon of black house paint for less than 20$ and if its good, ill get so much use out of it.
you may want to get a better air pump than the amazon link, but this one comes with everything you would need to get started.
look up sculpting hair in z brush, this is what you want to do.
yes and no. its better to get the basics done traditionally than move to digital mostly because of the medium.
do you have the money to buy one and not use it?
than get it and take the pen and draw on the top a bit.
it shouldnt fuck with the pen at all, but it almost always WILL feel different, not worse, just different.
but here is the thing, you are working on something that is 500$ to 3500$, i would say just get a screen protector and get use to it.
the purpose of a gesture is to get rid of the stiffness, if the pose is stiff than a stiff gestures isn't incorrect. but im also thinking those red coat... are they british guards... that are at attention and never flinching, post an example if im thinking of this incorrectly.
on a side note.
i forgot to link the image i used.
>When I copy other people art, it just looks way better than when I try to make my own.
More experienced artists have already done some of the work. When you copy an artist as opposed to copying a photo/from life, the artist (usually) has already made some decisions on what looks appealing, what lines to use, etc.
Even when you look at really simple sketches done by experienced artists, you'll realize there's a real technique to picking and choosing what parts of of a subject to emphasize/depict. Lots of that comes with practice, but there's a lot to be learned from studying the sketches of good artists.
Spraypainter here, I will try to invest into airbrushing, and it sounds like fun shit. The spraypaint fumes don't really bother me(I have a mask but it does bother the rest of the family in the house so it is motivation to look at alternatives). I already have a shitload of spraypaint cans so I won't be leaving it anytime soon.
I would love to do shit in my room again without worrying about fumes. I'll try to keep airbrushing in mind, look at some youtube videos and stuff.
Why must art be so fucking hard?
I feel like I haven't improved in so long
What's the timespan between your "beginner" vs "recent" stuff?
What has your approach been? Personally it strikes me as you're trying to weeb it up too early. I see the very beginnings of trying to construct but you don't take it very far. You need to learn proper construction, drawing a circle and a few lines isn't sufficient.
If you don't have one, get yourself a nice brush pen. The pentel pocket brush is a go-to and I thing it's a lot of fun. It takes a little getting used to but you can get some interesting stuff out of it.
Honestly nearly a year now, but there have been times where I didnt draw for a full month, once was 4 months of real hard time at work, life was work, sleep, work, sleep
So Im going to say 2-3 months of actual dedication, I have a lot more time on my hands now since I broke up with my girlfriend, everything on paper has been since then, I forgot my tablet at her place
I have done my studying of real human anatomy, which definitely did help, drew this same image once a day for a full week, weebing it just fun for me
I really suggest you start looking into basic shapes and learning to construct the body from them. You're doing contour drawings right now and they don't show much form or anything. Also, not to meme at you too hard, but you'd benefit from Loomis or a similar sort of instruction as far as construction goes.
There's nothing inherently wrong with contour drawings, but I think you'll find it'll come far better once you've learned to construct and do lay-ins until you can do it in your head.
the kit i linked you has a review on youtube, the guy got a broken needle with it and fixed it like a moron, yet it still did amazingly well, that was the point where i said this kit would be good enough for me. but remember, look at the cheaper 10-20$ airbrushes, they will likely give you a pattern closer to what a spray paint can will get you,
also, look into getting a plastic storage box, and drilling a hole into it to mount the hair dryer too, keep in the heat, and if it has a warm setting, the moment the environment inside gets heated up switch to that and walk away.
head on full body is usually used to get the character model down, they also remove perspective when doing this too.
ill second what >>2344549 said. depending on how much money you have, a drawing board and some news print, along with vine charcoal and compressed (i got blick brand) along with prismacolor ebony pencils for their thick lead and ability to sharpen to a taper.
hate to break it to you, but if you take time off, you lose skill... never take time off, draw something every day even if you have to force your ass to do it if you want to get good.
on a side note see that colored piece, i'm specifically talking about the center one in recent stuff, that is polishing shit, knock that off if you want to improve faster.
learn a construction method, and learn how to place 3d objects into perspective without needing guidelines, it just needs to look good enough. that will take you far.
also start doing nude studies of real people.
you dont understand form. think really hard when youre drawing about every piece you draw having three dimensions too it. everything you drew in your image looks like i could draw a line directly through across it.
look at your legs for example. legs arent flat like paper, but in your drawing they look very flat. go back in this image and trace over the upper thigh in any of these drawings. trace around it and think of the thigh as a three dimensional cylinder. if you still dont understand what im trying to say after this find photo reference of a real humans thighs(or any limb) and try to trace around them. do this with lots of drawings and actively try to do it when you draw from imagination.
you are improving, try not to worry about that. It might not feel or look like it, but you improve with every single thing you draw. Looks like there's two main things holding you back. Your eyes, and your mileage. Work on improving your observational skills, and draw more. Don't be shy about searching for tips online if you're struggling, and don't be shy about using refs. Even master-pro-gods use refs.
And weeb all you want, it's good to just let loose and have fun with it. Pushing yourself too hard and focusing too much on studies can lead to burn out, depression, anxiety, and/or creative stagnation. Just don't let the weeb take over. That'll lead you to 'muh style' problems, which will really dampen your progress. It's a delicate balance that'll take a long time to learn, so just keep moving forward.
Every drawing I posted was off the top of my head, besides the daily ones, that was off Loomis I think
My main weakness is perspective and depth I think, I may have the very basics of anatomy down
That coloured one was my first attempt at colouring and shading, I figured out I like hard shading better out of that
Oh yeah I got depressed for a while, I didnt get why I felt so shit for a while and I just stopped
>Every drawing I posted was off the top of my head
As much as this board idealizes drawing from imagination, in my opinion I suggest you slog it with some observational drawings for a while. It'll start building your visual library and ideally you'll learn to turn things you see in real life into simple shapes that you can easily draw.
While drawing from imagination does take specific practice at it, some will come intuitively after you've drawn from observation enough. Mix and match a little.
I never did life drawing and OH BOY, I started doing it and it's so fun, I take my sketchbook with me anywhere I go now and draw everything, no shame if it sucks, it's great to focus on something.
I started doing this because I wanna build a big visual library, however I also wanna improve my sense of perspective, I can't stand staring to a monitor 24/7 anymore, holy shit
The real question is:
Am I going to the right way to improve? To develop my own style? (based in reality and not based in someone's work)
Traditional art is so fun and I'm starting to improve my hand-eye coordination, should I keep going this way? Any advice?
Drivers? more like CRASHERS AMIRITE M80S pleaseguysIneedhelpIcan'tstandthisanymore.
>buy Intuos Medium, it arrived on Tuesday
>at least once a day, drivers crash and my sexy lines become thick, solid, rounded pieces of shit
>have to re-install the drivers, reboot computer, and potentially interrumpt many of the things I had open
I'll give a free sketch and an internet hug to the first anon who can help me solve this. Seriously, I just wanted to draw. Forgive me for my inability to fix my own problems.
Well, if it's anything like my Intuos 4 and the old intuos series...
Whenever your pressure sensitivity stops working:
1. Go to your start menu.
2. Go to Devices and Printers
3. Right click on whatever your tablet is named
4. Click Wacom Tablet Preference File Utility
5. Click "Remove" under "All User Preferences"
6. Ta-da, fixed.
Since this will (obviously) remove any settings you had previously set specifically for your pen, tablet, and programs, when your tablet isn't fucked up and you have all of your settings how you like them, click "Backup" under the "My Preferences". It'll save out all of your tablet preferences to a file.
Whenever your drivers get borked, go back to the Tablet Preference File Utility, click "restore" and double click your old settings, and you're set.
Okay, that is working for now. Alright, great! thanks dude, you saved me. Even if they crash again, now I know how to get them back and running in a way easier form. Tell me what you want me to sketch if you still want that, lel (...a-and the internet hug)
Okay, let's say your horrible at drawing and want to get decent for self-satisfaction.
What is the best way to do this ?
Started reading/drawing 'Fun with a pencil' a month ago and made 0 progress.
What's the best job I can get where while working I can also improve at art?
For example, a job where there is a lot of doing nothing, and you just have to make sure shit dosen't burn down.
as others have said before, fuck the pseudoscience and stick to the exercises.
go into administrators tools and event viewer, it may be worth looking through that to see if there is anything else going on.
its not useless, but this should give you time to think "what if i permanently fuck my arm up" and give you some motivation to get that non dominant hand some exercise.
god knows i learned how to play an mmo at a fairly high level with my feet a number of years back in fear of my hands becoming completely useless.
draw studies and figures, fuck the construction for now and worry about proportions, as long as you are thinking why you things are the way they are and not mindlessly copying this will get you decent results along along with some transferable skill for when you do what to learn the construction.
japan does it, and did it for longer... most american schools may have someone working at school in the night but they are not guards.
system administrator. a friend of mine worked as one a while back, and just looked at porn, brought in a playstation, and fucked around 90% of the time, 5% was dealing with calls, 4% was light maintenance of the computer, and 1% was real work.
try downgrading to the non ex version,
other than that you would need to clear out the registry notes and cleanly uninstall the whole damn program, as its likely something is remaining installed even through uninstallations.
you could also install clip studio, apparently the same program different name but should probably have different registry keys and file associations.
How do I practice / get good at drawing with 0 construction?
You learn perspective and sketch all the time. Kim Jung Gi got his practice in the military, drawing lots of vehicles and shit. Those plus figure drawing and very in depth studies of anatomy would help you sketch things out without having to draw what's under it first.
That said, you'll have to do most of your practice with guidelines before you even attempt doing it without them.
Are there any books or videos that go into the hatching techniques and tools used to create artwork like this?
Can anyone recommend me some good speedpaints?
I don't really need tutorials because I know all the standard suggestions, I'm mostly just interested in checking out the workflows of some good artists to see if there's any good ways I can tweak my own approach.
Find pictures, videos, game, books, whatever that motivate you and keep them at the ready for when you want the motivation to draw.
Uhhh. Motherboards can only handle a certain amount of RAM of specific types as well; you may be overdoing it for your mobo and it may be time to rebuild.
Pelvis tilt is something many people are attracted to. Some girls have it, some do not. It seems more prominent in younger girls. But it's more just a characteristic of people.
It makes drawing long straight lines easier, as well as large circles. A little bit more complicated for precise work, though. Up to you to develop the skill; I'm of the personal opinion that you should develop all the skills you can.
Draw the gesture fucking quickly. If you go quickly, you won't have time for contour or construction. Try not lifting your pencil at all, if necessary.
I've already seen those as well, but thanks for the suggestion.
I'm mostly looking for some videos to see people draw something from scratch, rather than instructional material. I find whenever anyone is trying to make a video to teach you something, they filter the content to make it understandable or get the ideal bits across, but I'm mostly just hoping to see people draw something and see what they do differently.
Well, how new to drawing are you?
I've always felt gesture (at least timed gesture) is really more of an intermediate level thing. At a beginner level you don't really have any of the muscle memory that doing gesture requires, and oftentimes you're rushing too hard to be able to analyze anything. Before you get there I think getting a rudimentary understanding of proportion/anatomy/construction is necessary. Do some more deliberate figure drawings. They'll probably be quite stiff - and that's what learning gesture will help fix - but it'll get you half way there.
Watching through vilppus videos and they all just turn into an hour long anatomy lesson.
Or is it just using reference of hatching you admire?
i just googled manga studio cursor and this was one of the first autofill results
"manga studio cursor offset"
apparently this is an issue and its fixed, though a different version than 5
to be honest i want to see someone do a perspective grid on his shit so we can see how off he is, it would be a good way to tell people how off they can be and still look amazing.
no, that's a job you take if you are ok with getting robbed.
honestly, this looks like a simpler and less clean way that etchers went about their hatching.
look up old etchings and you will see what i mean.
as for books, cant help you there, cross hatching with ink is all about filling in values, where you can have an absolute black and as white as the paper you use, depending on effort, you can follow the forms with your hatching, this gives a really nice effect, but could be an absolute bitch to do long run. notice the second images hood, an etching style cross hatching would curve the lines around, some using less pressure to get the lighter values, this person only used straight lines and curved how they put the lines down. now note the horses mane, i believe the artist who did this was incapable of making consistent consecutive curved lines, also just above it in the lighter background area, incapable of pulling a longer straight line.
the effect comes out to be impressive, but on closer inspection, you can see the short cuts taken and where skill wasn't able to really put out what they wanted to.
the one thing i can tell you is these were definitely done with nibs, likely the crow quill or whatever the japanese equivalent is.
just looked up who did these... there is a chance they can to better, however they didn't either due to time constraints, or they decided the effect wasn't worth the effort.
if you can deal with with the material, LumiNeko puts up a fuck ton of their 30 minute/45 minute challenge images.
granted its mostly pony with a few pokemon.
nah, i made damn sure mine could take 16gb and that the ram i got was the right kind. apparently i need to force the rams clock down or overvolt it to get it to work, possibly both... going to end up trying that sometime this week.
would love to get in contact with asus, but they put the serial number for the motherboad on the fucking back of the thing, so i would have to remove the clusterfuck of cable management and a gpu that just barely fit in the first time to get at the damn thing and its not worth the risk of i break something.
i would honestly say gesture is the same level as stick figures, and as you get better the stick figures impart more details even with limited lines.
really wish there were more bob rosses.
take lewd pictures of yourself
print them off
plant them on him, in his drawer or something.
Make allegation that he forced you to do those, naughty, naughty things and your innocent 18 year old mind is spoiled for life
they find the pictures and lock him up
its only the right thing to do. Anybody who trusts jazza with anything is fucked up beyond help anyway. A couple years in prison will do him well
I wouldn't bitch at highschool teachers, most of them already hate their jobs. You could mention how jazza is shit at drawing but your opinion will only have weight if you can actually draw.
If this was a college professor you'd have every right to bitch since you are paying for that course and if you wanted to watch some shit youtuber you could have done that for free.
how is that bad? i know jazza isn't a great artist, but how is the skillset he is teaching wrong when its just about animation?
do you have a dresser or some shit? take out the bottom drawer and there will be space there.
if you have a big enough computer case, you could stuff them in the bottom. i know a few people did that with dragon dildos.
you could also buy an ammo case as they can be locked.
if you are asking this, i'm guessing you live with family, so... don't draw porn. nudes sure, and if your family isn't retarded its easily explained, but the moment you have fingers in cunt going to town... no... save that to when you are good enough to make money off the work.
lets go passed skill, one of the main things that gives you a mood in a comic is paneling, i recommend looking at manga that don't overstay their welcome or if you know when the best parts of the manga have happened. lets say boku no hero academia as an example of one that has not overstayed its welcome, to bleach as one that has, though with bleach you get something like 150 chapter of the author really trying before they just stop caring. go to /co/ for western examples of good panneling.
honestly hatching isn't a pain once you learn to control how you put lines down, its methodical, and possibly time consuming, but generally easy process.
here watch this
have it on in the background and turn to it every now and than, this is the style that i would chose to emulate or pick up apposed to hatching fucking everything.
alright I'll try that (this picture was not trying that). Also going slower helps
Whenever I see human photocopiers they always have a square grid and the outline of what they're going to draw on on the paper.
Do they trace over the image they're going to copy and then colour it (realistically) in?
Do they draw a grid, overlay the image they're copying with a grid then colour and finally draw the outlines over their drawn grid?
does anyone else have this problem when exporting from mischief? i get a glitchy mess which looks kinda cool not what i need.
In some other thread there was this process explained. Basically use filters to make a photo look like an image, trace it, put your "image" on the down layer, noise it and apply black so it will be invisible. Then "paint" with white brush revealing what's on the layer below.
Consensus was that if you see speedpainting video, but don't see how a guy picks colors from the palette, then he fakes it.
Also hair always gives us the trace.
In Manga Studio 4, when filling in a selection with tone it would give you a preview while you were in the tone menu. This preview seems to be gone in five and you sort of have to guess what you want from a little box in the menu.
Is there any way to reenable that real time preview in 5?
What's the technical way in drawing a sphere into a cube?
I don't know how to draw (just started recently), but from mathematical point of view a sphere is made from 2 big circles made out of its radius.
What I would do I'd make 2 orthogonal planes inside the cube and write ellipsies into them. Then just construct sphere on those 2 ellipsies.
What are some good anatomy references? I usually have trouble finding specific landmarks even with skinny models.
hi. i started a few days ago and i'm having a hard time visualizing how to draw heads like these in 3d perspective using the circle guideline bullshit, even when i try tracing over it to figure it out i still cant get it right. any tips / help / advice/ redline whatever just pls help me
>What is the main difference between black chalk and charcoal? What are the diferent effects?
>How do I transfer small drawings for a giant cartoon? For example, how did Michelangelo and Da Vinci transferred their plans for the battles of Cascina and Anghiari to a great size cartoon? How did Michelangelo transfer his ideas (https://www.google.com.br/search?q=michelangelo+sistine+chapel+drawings&espv=2&biw=1920&bih=895&source=lnms&tbm=isch&sa=X&ved=0ahUKEwivwdff-qHKAhVKEJAKHTQ3DaYQ_AUIBigB&dpr=1#imgrc=_) for the Sistine to the cartoons that were used as transfering-guides to the ceiling?
>I know what is the technique of fresco, but I do not know what really is the painting technique that Michelangelo used: does anyone know of a book that explains how he obtained his shadows and lights and the sculptural effect of his nudes (well, how he obtained that besides by being a great artist)? For example, when he painted the legs and arms of the figures did he began with the darker parts? And how long he waited to apply the lighter layer? Things like that. I want an extremely accurate guide of Michelangelo painting techniques (in both the Sistine frescoes and the Doni Tondo), if there is something like that. Here, a source to see what I am talking about: http://www.vatican.va/various/cappelle/sistina_vr/
>The name of the painting mode of Michelangelo is Cangiante, but I cant find a good explanation of it online. Anybody can explain to me or point out a source of learning?
>What are the best guides and sources to learn hatching and Cross-hatching (guides that can make one learn how to use it to create works like pic related)?
try looking at them as spheres or cubes instead of just circles, this way it will be easier to you to understand the body as a group of overlaping volumes.
No. Drawing is my "chill-out" hobby. If you're getting stressed doing something difficult, you need to get in the mindset of realising that it is in fact hard.
Just always remember that you're practising to get better, and enjoy art as it is.
If it helps, I did this thing early last year when I was 17. Not sure if the art of other 16/17 year old people looked like this, but I guess so?
What is the "clipping" feature of SAI and MS for?
how will it help the average drawfag?
Sorry for the absolute n00b question
I always have trouble finding the 10th rib on figures. I can't tell if it's below or at the pinch of the hip.
Here is little help. The purpose of gesture is to get rythm of forms. In front pose you can do that by drawing elipses, as they show angles of the forms. I tried to redraw your second gesture, but it's little trickier.
It's actually essential to know how to draw forms. In your case I would go even more back, and focus on getting good lines first. Watch Peter Han and do exercises. Inbetween watch all Vilppu drawing manual videos, go back to first about gesture , spend little time, like day or two, and draw what vilppu does, then go to the next videos, try to learn abut how he build forms. If you feel like, always go back to previous videos, its important. Watch/read other sources, like Hampton/Proko, it always good to have diffrent sources. Experiment on your own. In my case i drew shit ton of faces in diffrent angles, trying out diffrent methods and combining them until i felt that I actually understand how to draw and combine simple forms. I think drawing head works good for that, because you have diffrent simple shapes like ball, rectangle, even half cylinder if you want.
Hampton video about gesture was where i had my "breakthrough". Just think about spine. First curve is in the neck, second is in ribcage, third is between ribcage and hip, fourth follows hip. Try to find where are some repeating lines, like line of belly is same as curve of spine between ribcage and hip.
Any advice for someone who self taught illustration for a few years and needs to show the gap in their resume? I don't even have a portfolio of art anymore because I rage deleted everything and gave up. Is putting just x year self taught illustration along with adobe product proficiency the only thing I can do? Any resume advice would be appreciated.
1. Lie in a CV that you made your own internet start-up and was trying to sell stuff from China/do web design, but ultimately failed. It will show that you aren't lazy piece of shit.
2. Land any job
3. Build your portfolio
4. Don't do stupid mistakes again like burning all bridges.
t. someone who studies engineering 3 years too long and has 0 job experience
>1. Lie in a CV that you made your own internet start-up and was trying to sell stuff from China/do web design, but ultimately failed. It will show that you aren't lazy piece of shit.
I'm very unlucky, untalented and ugly. I'd never be able to get away with that
>4. Don't do stupid mistakes again like burning all bridges.
I didn't have any bridges in the first place literally no friends and never made a dime off my work.
There's no such thing as talent. In worst case - just be honest that you tried to become illustrator (and were fucked in the head/irresponsible/partied a lot) but failed and now you see that it wasn't the way and want to work in McDonalds.
...and secretly no one will know that you will be rebuilding your portfolio and rendering all those BigMacs in breaks.
Yes I plan on being honest about it I was just curious if any anons like the guys that talk about working at call centers had any advice to fill up art skills on a resume so it doesn't look so bad.
No I'm fine mentally. People I respect even said that I was getting worse over a year even though I was studying everyday, so I'm okay with my dreams being dead it's for the best. Just happy to keep this as a hobby.
How are you getting worse? I'm guessing there's no way to show your work since you trashed it all. Anyways to display your current work. As in, draw something now and show your work?
no interest in posting art anymore and nobody really liked my stuff anyways. for reference I remember people calling me faggot monster head guy because when I wasn't doing portfolio pieces I'd make dumb monsters and post them here but I doubt people remember me board cycles fast. The person who said I was getting worse over 2015 is a professional, so I trust his advice.
anyways just putting self teaching in education to explain absence better then nothing I guess. going to start applying for jobs tomorrow wish me luck.
How to study references?
I have gathered a decent amount of reference pictures (mostly /hr/) and I want to use them and stop drawing from imagination.
So, I have these little questions.
What do you look for while studying references? I know you don't mindlessly trace/redline/copy the picture. I wonder if you anons look for specific landmarks (bones, fat...) or search for an overall simplified form within.
Which approach do you use? Following the contours or a general gesture drawing, simplifying everything into blocks or shapes or any other...
Share the method you use while studying reference pictures. Sorry if it's a silly question, but I don't wanna waste my time doing the wrong shit.
Newb here, why does the ink on my felt tip pen only comes off if I hold it at a 90 degree angle with the paper? It starts getting weak if I hold it a bit inclined and then it just stops if I hold it a bit inclined.
He said in one of his more recent videos he's working on some top secret stuff and it won't come out for a while.
Ink flow on those types of pens is heavily dependent on the paper you're using. When you use them at 90 degrees, after a while the tip gets flatter and becomes more like a cylinder. Very smooth paper will help it be more consistent.
Get a scrap piece of paper and rest your hand on it.
Increase the size of your canvas and draw with an overhand grip like the other anon said. You can draw just fine while barely moving your fingers/wrist. I have a recurring wrist injury and OK with my wrist and most of my fingers in a brace.
You can always open up a high-res color swatch in another tab and sample from it.
Nthing Pentel Brush pens. 2mm lead holders are amazing pencil substitutes. A 0.3mm mechanical pencil is great for fine construction lines. Above all of those I'd recommend an adjustable lamp.
I know a few nurses assistants who work night shifts at nursing homes. You have to deal with some gross stuff, but after you put everyone to bed you have 7pm-12pm mostly free.
Photograph/scan your stuff and put it on an encrypted flash drive.
Sketchup is great for this and has a lot of free documentation. It's the MSpaint of 3d programs.
>How do I transfer small drawings for a giant cartoon?
A grid or just printing it at a higher size. There are programs to split large images into multiple pages to print off very large images.
There is value in any practice. Practicing tracing will help you improve at tracing. You can save a lot of time just printing something off and laying it over carbon paper to put it on a canvas.
Depends on the pen. I've collected most of the common ones, and all of them will start to get a conical shape when used at 90 degrees for a while. I label my 90 degree ones and use the other ones only on smooth marker paper.
>and all of them will start to get a conical shape when used at 90 degrees for a while
Meant to say cylindrical shape. They loose their point.
The problem you describe (only working at 90 degrees) comes from the tip becoming flat after being used at 90 degrees for a while. If you use it more like a pencil on very smooth paper (like Canson marker paper), the tip can last longer than the ink supply (although I never have a gentle enough touch for that to happen). I always label my 90 degree ones with some tape and use them on cheap paper.
Keep in mind that those types of pens have an ink-soaked sponge you can pull out of a pen with a dead tip and put into one that's out of ink but has an OK tip. An 08 Micron used on smooth paper will keep its tip longer than its ink, for example, and you can refill it with sponges from abused 01s.
Technical pens (like Rapidographs) can last a lifetime, but they don't move over paper as smoothly as Microns and they require very smooth (i.e. expensive) paper for the smaller nibs.
I'd recommend you just treat them as disposable and don't worry about it.
I feel like my observational drawing is okay and my manual dexterity is relatively superb, but the fact is I have no idea how to make the kinds of marks I'd like to and that makes things look stupid. Does anyone have anything they can spoon feed me as far as how to use brushes in digital software or even just plain pencil effectively?
If it isn't about your arm dexterity (btw have you tried Peter Han's exercise?) then I think you just need to obverse and study more works from artists you love. See how they really make their marks (in whatever medium) and try to emulate or figure out why they do that. e.g. Wes Burt's pencil value and mark control, Ruan Jia's soft/hard edges, Sargent's tonal shifts, etc.
Just absorb that and see if it works for you.
Not that anon but; If you believe that you will benefit from tracing (I think beginners can practice line confidence and markmaking from tracing), then by all means you should try it out.
There's no definite answer to your question. I don't know what you can do or what you're trying to do. From my limited experience, I think that drawing is more a mental skill than a physical one. Figuring out purely how to replicate lines and marks will probably help you with the physical part.
When you have to ask "Should I do X or Y?", the correct answer is almost always "Yes". Do both. I don't know how much or how often to do X or Y, but try everything you can. Critical thinking and self reflection will tell you more than you'll learn here.
Anybody know any good sources for reference? To be more precise, for downloading bulk reference. Flowers, animals, vehicles, landcapes, cityscapes et cetera.
Also, what do you think of PaigeeWorld? I was invited there and it looks like a Pinterest clone.
Not at all, but I did struggle with the designs and the composition on separate pages for like a whole week, then I was extremely careful about sticking to my plan when drawing the actual thing. Doing those big traditional pieces was hell and I always stopped drawing for like half a month or more after it, specially if I put them up for a contest and I didn't even get an honorable mention.
Why are all question threads filled with the same stupid answers? Have any of you actually took a moment and thought about what you're saying?
Every question thread is stuffed with cliche adviced that either grossly misinterprets a source or plays off of prejudices and fears about creating art.
You anons deserve each other and you're work shows it.
If im getting started with anatomy, what should i study and in what order? I already know the proportions of everything, but i dont know the anatomy and how to simplify it. Thanks in advance
You can always find real life objects parallel to what you need to draw.
If highways are what you're looking for and there aren't any nearby, try support railings and pipes. Or just refer to a photograph.
google vilppu anatomy torrent, should be first result, and get head anatomy too and the drawing manual videos if they don't come with it. i'd go through drawing manual before anatomy
i have 2 of these by 3dtotal, male and female, which helped immensely. it cost me £140 and helps me a ton, but i'd recommend the iphone/ipad app 'L'Ecorché' over it in terms of value for money,
as for real life reference, maybe try searching mma fighters in google images. there's a few pose packs like one from proko that i'm sure is floating around somewhere.
for individual muscles just do an image search on it and study a few of the results(for reliability) on the insertion points
Can someone tell me if this is correct? I'm having trouble picturing how the skeleton fits under the body.
Well, given how... um stylized your drawing is, you could say it's close enough.
Study landmarks mate. There are spots on the surface of the body that give away the position of the bones.
Get some anatomy resources, atlas of human anatomy for the artist or anything similar.
also, this might help:
and this pic
the problem is, there arent absolute definite proportions. every person is different. there are general proportions. watch prokos vid and read "the head and hands" or at least skim it.then practice. even if it seems like you havent improved after the 100th one. i did about 150 before i could make a decent looking one. using "decent" loosely...
fuck im jsut gunna give up. i would be drawing jsut the bone any ways, it will have a booty and pussy on it
I feel stupid for asking this but I have no idea on digital art, currently using Clip Studio
When I plug both the mouse and the tablet I can't draw because it gets all wonky, so if I want to pick a different color I have to unplug the tablet and plug the mouse, if I want to draw I have to unplug the mouse and plug the tablet
I tried to put a hotkey in the palette but as it appears to the edge of the screen I can't touch it with the pen
Does anyone have any idea how to keep things simple?
The examples are more for you to be able to conceive of the theory in a way that's easily understood. You don't actually need to sit on a highway or railroad track looking down it to get one-point perspective, it's just an easy way to portray the idea simply.