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@johnercek
@johnercek
Torrance
Freelance Production Artist in comicbooks and more
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@johnercek
short answer- the way you drew the red lines is "correct". I don't understand why you slanted the coned roof- and the longer answer involves understanding the limitations of linear perspective (which- gasp! isn't perfect). can you show the construction lines you used and why you angled the roof?
Charline B.R.
I was pessimistic, I only deleted the old inking, not sure this constructions lines are going to help you understand what I did wrong, as you can see it's messy
Charline B.R.
I don't think I kept them :( but I will look when I'm in front of my desk. After seeing the end result, I already decided to redraw everything and was pretty pissed with myself, I may had have an emotional vengeful delete action ^^". The way I proceeded is : I tried to draw 3 big cubes on top of each others, but using a tips I found to "calculate" a true square in perspective (and I most probably didn't understand it correctly). At some point I remember I had trouble to figure out where was the center of each and how to have smaller cube, which is propably why nothing is aligned actually. I didn't used a center line to draw the tower, but the outer side of the first cube on the floor... Thank you for your time and reply :)
@johnercek
it's easier to give feedback if we can see your construction lines. if you aren't using construction lines then your contour line work is pretty good. one thing that stands out to me is the way the hamstrings connect to the fibula and it's proximity to the kneecap. when you understand that relationship- you'll be able to make the knees look more dimensional
@johnercek
the drawing is beautiful and fun, but the rendering is interfering with your representation of your anatomy knowledge. For example, how do you see the sartorius working on the viewer left leg? because you've done such a good job rendering it, it's hard to see what you are thinking or "have learned". from what I can see here- 1) the "ledge" above the knee on the viewer left leg as it transitions into the quad is more extreme than what's seen in the photo. 2) the transition from the bicep into the brachioradialis muscles in the viewer right arm looks segmented. Maybe the bicep is popping forward too much with it's lightness and needs to be a tad darker- maybe the brachioradialis muscles need to come a little higher up the arm. 3) the first phalange in the big toe on the viewer left foot needs to be longer (toes are too short) . But all those observations are helping you to copy an image and not really understand anatomy, but i hope you find it helpful.
@mschaffter
I get what you're saying. In the past I'd never got dark enough to show contrast and form, so I might have over compensated in this drawing. I never want my art to look flat. I really appreciate the feedback! To be honest the foot was scary since I usually avoid them, but it was in the forefront so I knew I had to do something with it.
@johnercek
i like following diego lucia on instagram @Diego Lucia -- @diluc on instagram- check him out
Elson sunshine
thanks
@johnercek
it's pretty and fun. 1) your clouds are pretty cotton candyish. that's a style thing- so 50/50 on that. 2) going to have to reverse the light on the moon, (or else you are in a system with two suns... but that still doesn't work because the light that is hitting the scene would still be hitting the moon in the background) 3) I'm not seeing enough temperature change in the shadows on the grass in the foreground- and the hills in the background need more atmosphere perspective turning them grey like the sky in the horizon. - did you have any reference for the color palette on this? Without one, this is mostly subjective and it will be hard to get it "right"
Alessandro Dalponte
Hey there, thanks for the feedback! I didn't have any reference, this one I tried to simply paint everything by imagination. I think I'll need to use cooler and more saturated colors on the shadows when I paint sunny day scenes. Now that you mentioned, the background is really green, I need to work better on that and other points too in my next one. Thanks again!
@johnercek
similar to what samuel eli said, since you have angles on that rear tibia, there is foreshortening in every orthographic projection- there is no way to improve upon this without using a 3d model. All that being said- it looks great! you should move forward
@johnercek
that reference is a challenging piece to pull anatomy from. They aren't showing bones (or even landmarks like the spine of the scapula or the PSIS) and they are grouping some of the muscles together. Frankly, I'm impressed by your effort of getting the simplified skeleton in there (seriously! that's a challenge). It's difficult to critique this because I don't know where you are on your anatomy journey but my impression is that you need to find references that show both the bones and the muscles and focus on smaller muscle groups before attacking the whole back.
Donny Shields
Thanks, I've actually done basically all the anatomy assignments (except for the premium ones because I have no money). I'm rewatching to refresh myself.
@johnercek
these gestures look really solid. You are at a point now where you need to do more of the longer drawings and see how your gestures helped/hindered your construction process- once you have that information, you will be able to go back "improve" how you do your gestures for the sake of using them as construction lines for yourself. (for example- you haven't really touched on making your pelvis's 3d boxes or using landmarks, although your use of the collar bones at this stage is excellent!) Every artist ends up developing their own approach so you'll notice how your gestures differ from other artists.
Pat
3yr
Thanks, that's helpful advice!
@johnercek
I've helped out a few people with their books before, I'm game for an occasional chat if you like. FWIW- massive information dumps are usually not the best way to get the ball rolling. Have you solidified your pitch yet?
H H
Hey Matt! I haven’t gotten to that part yet, but I’m pretty sure you could do it in any medium. I think it’s a great idea to render it like you would a comic, since it’s more relevant to your goal. I’m not sure what style comic you draw in but here’s a few David Finch videos : https://www.proko.com/lesson/how-to-cross-hatch-for-comics-david-finch/discussions https://www.youtube.com/watch?v=okQfa98uLlQ Other good ressources: Robert Marzullo and How to Draw Comics . NET on Youtube and this video by page Page One Comics https://www.youtube.com/watch?v=VxNe6jqiTDk (it’s a long video - he starts rendering anatomy around 27 minutes in) I hope this will be of some help!
@johnercek
3yr
I really like this response and I wanted to add to it just a bit. 1) one simple way to approximate graphite and brush is to use your graphite shavings and smear it on your paper with a paper towel. This works better with 6b lead than it does with 6h- but it should be enough to get the essence of the exercise. 2) even though comic book land has a historical preference for crosshatching for the sake of being inked later- the whole landscape is changing. Still- for the sake of the aesthetic (and dave finch is great for that!) you should check out how ryan benjamin uses blocks of value to describe form before coming back and doing line work around it. https://www.youtube.com/watch?v=70Z8iY0Q2Gw it's a more unique approach that other comic artists don't offer a tutorial around and it has more crossover with the value studies you get from proko's courses.
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