Enydimon wrote:Mech's and such are looking good as always! Figures are getting better too.
Be mindful of not just muscle but also bodyfat deposits too! For example, while it might not always be blatantly visible, we tend to have fat deposits underneath the armpit that runs along the same horizontal line as our pectoral muscles. So depending on how much fat a woman has or how she carries it, there might not be a visible fold, but try not to hollow it out so sharply or go straight to the ribcage. Unless someone is really REALLY sickly thin, they're still going to have some form of muscle or fat in the way to give that area some volume.
This applies to just humans in general. It all just depends upon how they carry their fat deposits and how much fat they have.
If you're not already doing it, take some time to just observe the human body and analyze it without it having to be for sitting down and drawing it. I'm sure you already do this with cars and machinery because of your job, it's a similar concept here. You can learn a lot through deliberately studying the figure, but even in your day to day life, getting in the habit of analyzing what you're looking at can help an artist a lot. Get perceptive. If you're watching a live action movie or TV show in your down time don't just passively watch, really look at what you're watching. You might spot things you didn't notice before.
Imbalantus wrote:Very nice! Looks like you've learned a lot. What's the teacher's name?
Enydimon wrote:Nah it's not cheating, dude. It's a great way to test your knowledge of what you already know. People who don't know anatomy so well will usually mess up and misinterpret muscle groups. One of the reasons why I think people should learn the origins and insertions of the muscles is so that their references can be of better use to them. Knowing what you're looking at and understanding it is incredibly useful and will only make even better use of your references.
If you really do want to learn anatomy seriously, though, I think the one thing you're lacking outside all of these studies is having an actual piece to apply it to. If you're going through all this trouble to learn how to draw humans, you might as well get creative with it and find a way to make humanoids fun to draw from a design aspect.
And I hear you on the 3D stuff. I've thought about putting the 2D stuff on a backburner for a month or two just to get back into it fully. Wish there were more hours to just do everything.
Enydimon wrote:Also, since I forgot to say it since I last posted, don't worry so much about cliche designs in general either. Cliche designs, stories, characters, etc... aren't inherently bad things. They're cliches for a reason, they're things that work. How they're executed is way more important imo.
You're always going to need a generic barbarian character or a generic space marine. Not every spaceship or piece of machinery needs to stand out either, it just needs to work. You're always going to need mundane designs, but that doesn't mean they can't be interesting. Not everything calls for something new and interesting and exciting. It's fine to aspire for something outside the box but don't get hung up on it either. Especially if it prevents you from creating.
hincor wrote:I second eny, you have been doing figure for a long time, but I don't see it being applied. Go and draw some people beyond just their figure and anatomy! Put them in the spotlight, no need to put to the side, and add some imagination. Who cares if it looked weird, we are permanoobs anyway! :P
Love your mech stuff, but I really hope you go beyond the figures, and make it fun!
Enydimon wrote:Your anatomical interpretations are betting better, but I would recommend you do some exercises where you have a reference of all the muscles in front of you and then try to place them on the photo. Then once you've done that, create another copy and try to recreate it and see how close you get.
It might feel like cheating to do it that way but it's really not. The goal is for you to be able to memorize these muscle groups, understand what they are, and where they're placed correctly, and sometimes that means you'll have to sit in front of the information you need until you get it. You're still missing some key distinctions between muscles and your colour coding doesn't seem very consistent. If you give more care to those things I think you'll see some good improvement.
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