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@fluffybuttss
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3mo
added comment inProject - Line Master Studies
Asked for help
The artist I used for my master study is Nagabe. 1st image: Reference. 2nd image: 1st attempt, it was bad and I was rushing it. 3rd image: I traced over the original to fully understand his decision making without getting caught up in the proportions. 4th image: 2nd attempt, came out a lot better than the first
Alan Massey
3mo
I got a bad habit of rushing it too. Talking through my lines really has helped me (though I might look like a lunatic, oh well), telling myself to slow down and things like "yes that angle is sharp, and that one shorter than that, it tapers off here and gets darker there".
I agree with Melanie. Tracing can help a lot with proportional work. The eyes, for me, are always smaller than they seem.
Anyways, great work. Really interesting illustration there. Kinda freaky.
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3mo
I think tracing is a good tool to include in the toolkit. It can be used incorrectly of course, but in this case you had a goal (understanding decision-making for line/shapes), executed it, and then redrew another on your own to apply what you learned. Great process and I think your study looks great!
@fluffybuttss
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3mo
Asked for help
1st image: Hierarchy of importance. (Learned: I should vary my line weight even on the thick lines just to make them more interesting). 2nd image: Light and Shadow. (Learned: I can give higher line weight to the lines that are in light, just to make the contrast clear, as long as it’s lighter than the shadows). 3rd image: Another attempt on the 2nd image using what I learned, I stopped once I thought I understood it.
My favorite of yours is the second. I love the contrast. But I wouldn't use such a long line to suggest the head on the right side. I think I really thin line which runs parallel to the horns would suffice. Having it go all the way up to the ear seems strange.
Anyways, great work!
@fluffybuttss
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4mo
When I worked on my version, I never thought that I was "allowed" to give variety to the lines, and so all my lines (even though they had different thicknesses) had no variety on their own and were very linear. Going from thick to thin as the contours go into the inside seems very interesting too, I'll be doing that next time I use this method.
I ended up trapping myself by thinking "make contours thick, and the rest thin". Looking at the reference as I was working would have helped a lot with discerning what is important, rather than just making the contours thick. By not looking at the reference, everything else within the contours becomes "just less important details".
Asked for help
Critique my work if possible! I believe my drawings are sorta clean, but with the penguin I ended up having to erase a bit around the belly because it ended up being too chaotic and unreadable
All readable. My only critique is the hand. I feel like you got to caught up in being technical with it, and tried to match contour
@fluffybuttss
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4mo
Asked for help
I think I got a better hang of it once I got to the boot on the right. Let me know if there’s anything of note!
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4mo
You handled the laces on the boots very well! Nice job. The toe box looks a bit small on both boots. If you really simplify them to the most basic shape, both boots make an "L" shape because the toe box is not only the closest part of the boot coming towards us in the reference image, but facing out as the boots are turned at a 45 degree angle on either side. Hope that helps :)
@fluffybuttss
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5mo
Asked for help
The first is before the demo, the second is after, I struggled to find the “Core Shadow” mentioned. And after seeing that I simplified the first a lot, I tried finding more interesting shapes, but I may have started seeing shapes that weren’t there in the second. Please provide any critique you have
