Peter N
Peter N
Earth
Activity Feed
Peter N
Asked for help
Did some more and it seems I need to push the motion more. Hopefully the demo will have some good pointers for that
Fabio Caccavale
It seems to me that your drawings show a lot of rhythm and fluidity in the linework. My drawings look much more rigid
Peter N
Asked for help
I forgot to keep the time limit, so my line economy suffered, but some turned out okay. All critiques welcome!
@artfeedback
I asked proko this but not sure if he will answer. When he says a thin piece of the side plane can be seen from the front, does that mean the side plane isn't totally flat, but curves a bit toward the front? Or does that mean when seen from the top, it is tilted kinda like the first image? In that case, in a profile view, wouldn't the side plane be slightly to the front of the head instead of right in the middle? Or am I misunderstanding something?
Peter N
1yr
What Thieum said. Additionally to answer the other question, yes, the profile would not be two concentric circles. The inner circle would be slightly elliptic and slightly towards the face. No need to overthink it though. It is a simplification after all :)
Peter N
Here are some that felt like they turned out better. Hopefully at least one hit the mark.
Peter N
Seeing you miss some proportions and grumble over it makes the demo rather comforting. It really hammers home the idea that everyone is allowed to make mistakes regardless of skill level
Peter N
For my first attempt I choose the mangaka Ryoko Kui, whose character designs I have been in love with for years. I did cheat a bit by first doing a fixed weight trace of the image and turning it into an exercise similar to the rhino one, but it made it much easier to focus on the linework. Even though I ahve many artist I appreciate, I never paid much attention to their linework specifically. This exercise really opened my eyes to their nuances. Excited to do similar studies for others as well.
Alexis Riviere
Your work is so clean! Nicely done. Also that was a great masterwork choice.
Peter N
Surprised how much harder this turned out to be compared to basing the line weight on hierarchy
Peter N
This is easily my favourite assignment yet. I always struggled to understand what makes one line art feel better than another, even though I read up on it in many places. Doing this exercise really pulled those pieces together for me. Thank you!
Peter N
Hey @Stan Prokopenko Is there any chance you could do a short intro to setting up digital brushes for sketching? General opinions are mixed on what kind of brush beginners should use when learning digital art and I'm having a hard time finding one that feels right. I know the brush itself doesn't matter in the big picture, but I am just a bit afraid of getting bad habits from using the wrong one. A few tips on things like what should be pressure controlled, what size/opacity should a brush be, etc., would help a lot. I randomly realized just now, that even though we got a great introduction to traditional tools, you didn't talk about digital ones much.
Jon Neimeister
Hey, Peter! IMO, it does and it doesn't matter. "What brush do you use?" is almost a meme at this point, but brushes do make a difference- and I think it mainly comes down to experimentation and feeling. Like some artists prefer charcoal pencils, others prefer charcoal sticks, neither is better but one may just feel better for you and you'll get more out of it. Generally speaking, you won't develop bad habits from using the wrong brush. Bad habits just come from process, cutting corners, using shortcuts instead of learning fundamentals, etc. I think focusing on specifics like what brush, what size/opacity, etc. isn't super important. What's more helpful is to set a goal and experiment with brushes to get there. Like if you want to get better at more painterly styles, do some painting studies and try out some textural brushes to see what you can do. If you want to get better at hyper rendered splash art style, you can try a study with just hard/soft round brushes and see if you can nail that hyper-render feeling. So my general advice would be: - Set some goals on what kind of markmaking you're trying to achieve - Get some free/paid brushes from artists that will help you get there, or make your own - Try out your new brushes and organize them. Keep the ones you like, delete the ones you don't like. Having a massive, disorganized brush library is a nightmare. - Learn your software's brush engine. Being able to make your own brushes helps a lot, and it will help you understand why some brushes work for you and others don't. And you can even edit brushes that "almost" work for you to make them perfect.
Sophia Neishtoot
As a long time digital artist, I'll try to help. First of all, whether you have a pressure-sensitive device or using the mouse is a huge difference. Don't expect amazing results with a mouse (though I started with a mouse for a very long time). I suggest you pressure control size. And move opacity away from 100% to whichever feels the least stressful to you. You can reduce both flow and opacity. What you SHOULDN'T do is make your brush blurry because this is cheap teen photoshop right away. And change the brush shape and settings meaningfully. For example: blurry brush for out of focus background, crisp brush for close features. As you learn tools more - start looking closely at professional digital drawings (make sure it's not AI) - and try to reverse-engineer what they did there. Have a crisp idea in your head of which medium you want to mimic with your digital art: oil? Pastels? Pencils? Then you know in which direction to look for tutorials and examples online. Because though everyone goes "Google it" and "Go watch Youtube" - they're not helpful if you're overwhelmed and have no idea where to begin and where you're going.
Peter N
Super grateful you don't overedit these demo videos. Hearing all your small ramblings actually add a lot of context to some of your thoughts which might not come fully across in the "proper" lecture videos. Especially since you elaborate on things right when you run into them.
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