Imbalantus wrote:The best sketches so far imo are
http://forums.permanoobs.org/download/file.php?id=71917 (especially this one)
The main reason is that they have a great, natural and dynamic pose. Your lineart is fine, the designs are fine aswell. But too often the pose is either too static, or awkward and unnatural. Note that the very first thing the viewer grasps (long before he understands the nuances of design and lineart) is the pose. And if the pose isn't any good then it doesn't matter if the design or lineart is good or not, the viewer will automatically have a negative attitude toward the drawing. On the other hand, if the figure has a great pose, but the artist made many mistakes in the details, the viewer's attitude will still remain generally positive toward the drawing.
Great sketchbook overall. I'm checking regularly. Your designs are kinda unique and "weird", but in a good way, so I'm really curious to see how you will develop. :)
Enydimon wrote:You're killing it with these designs but I think the only way to really get better at posing is to just observe and draw lots from reference unfortunately.
Regarding the Harpy I think you can push the polish on it a little further:
I'm not gonna comment on the anatomy, but one of the issues that I found was that the values could have been pushed further and the brush strokes were too muddy. To create more of a focal point via value I went over the head, shoulders, and chest with the dodge tool set to midtones. From there I added in some highlights manually so the viewer is more focused on those areas.
I also simplified some of the brush strokes as the colours and shapes were getting too muddy. You either want to avoid using a bunch of tiny brush strokes to blend or you want to use them in a way that is more uniform toward a bigger overall shape. Think of painting as more as using and designing appealing shapes to get the viewer to see things rather than painting just to paint.
Also used an iris blue (photoshop) to lazily push things back a little. There's more you could do to paint over top of those ideas, but that's the most I can do in under 5 min, haha.
Enydimon wrote:Man, I really gotta start doing some building studies. Those environment studies are looking great, though. I think they balance the right amount of detail.
I think regarding your latest personal piece, the silhouettes could be stronger. The contrast between value and colour are also so low in the centre of the piece that it's hard to actually see where the breaks in silhouette are. If you gave the naga lady more space, moving her higher up but making her really lean down into it, it might have helped.
Goodluck with school. Hope it doesn't eat your art time too badly.
Enydimon wrote:Sometimes life has a way of kicking us in the pants. Still good to see you were able to work on something despite all that, though!
For the latest personal piece, the perspective of the background doesn't really line up with it. It's true that perspective doesn't need to be nearly as rigid in forest scenes, but the characters look upright enough that adding that skyline just makes them kind of look like they're awkwardly floating. I would get rid of the horizon entirely and maybe use clumps of tall grass or flowers to create interest rather than the sky. I would also push the values of the legs of the person underneath darker so they don't blend in too much with the person on top. Their legs aren't nearly as important as their faces in this scene, but I would still pay attention to value separation between the two figures.
Also regarding brush stroke management, maybe simplifying values would be a good idea. I think you might just be caught up with trying to blend everything too much. I recently read this article from Dorian Iten that really stuck out to me: http://www.dorian-iten.com/shading-mistakes/
And I suppose this one would be helpful too when it comes to forcing limitations: http://www.dorian-iten.com/value-study/
With digital art it's super easy to just dive into a billion different values and hues and still make everything look too muddy or busy. With traditional painting you simply can't do that without spending a lot of time mixing paints and it keeps you more grounded and thoughtful with your choices. So the way that I see it is that if you can establish everything in your painting with about 5 main values or so, then you're golden. Then you can go in and add more values to create texture or interest if need be.
Hopefully that helps a bit. I'm all learning this shit too!
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