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added comment inInterrogation REMAKE (cartoon illustration)
Asked for help
By the way, I'm calling it finished now and moving on to other projects, but I'd still love to hear general impressions and opinions, so please feel free to sincerely let me know what you think! :)
Rose M.
3yr
Hey @Liandro ! Nice work, I think the storytelling reads better in this one! I love the flow of the line work more in this version, and the shoe looks clearer here too. I’m looking forward to seeing more of your artworks in the future!
Hey @Liandro ! This piece is fantastic... the composition, gesture and lighting all work really well! Your use of different line-thickness also helps lead the eye to the important figures in the piece. Overall, I just love how expressive it is. Awesome work!
I think however, that the piece could be improved if the shoe looked more obviously shoe (hope that makes sense) and if the bare-foot of the character was more emphasized so that it's one of the first things you look at within the picture. I think that would help the storytelling aspect of the image read more clearly. Hope that helps!
That said, I'm still quite inexperienced when it comes to draftsmanship, so please take my word with a grain of salt.
Roland Karafa
•
3yr
Asked for help
Hi,here are my comic page layouts,for the first image i used the second page from David's scripts.Here i would choose the second sketch.For the second image i used David's third example script,here i choose the first sketch.For the third image i used my own script,here my choise is the first,or the fourth sketches. Here is my script:
"Anh'blei(not final title)" - Karafa Roland
PAGE 1: Six Panels
Panel One:
We open with an establishing shot of a big kingdom,its surrounded by huge unreachable mountains with only one entrance.The whole kingdom is having a cascading build,the highest place is the main square that is right before the castle.On the middle of the square there is a huge fountain with a statue,the whole square is looking stunning.
Maludrin: Kea'l Siren,the Shield of Erosgul.
Panel Two:
We have a closer look at the Square and the castle with more focus on the square,we can see that there are many people on the square,it is some kind of a festival.This is a human kingdom,but we can see many kind of races on the streets enjoing the event.
Maludrin: The people of Kea'l Siren are enyoing the DARKSTAR FESTIVE...
Panel Three:
The folks are enjoying the festival,some elf girl are dancing in the fountains water,there are also some children playing in the water. There are a couple standing in front of a vendors stand.
Maludrin: And they have no idea...
Panel Four:
Here we have a closer look at the elf girl in the fountain,she is very attractive looking with a smile on her face as she dancing.
Eronil: Let them celebrate, MALUDRIN. They deserve it.
Panel Five:
Now our focus is on the castle,its a huge building built on a big mountain's cliff wall. Its giant structure rises above us.From the square, big stairs leads to the castle entrance. Two guards protecting the entrance.
Maludrin: As they deserve to KNOW that soon Kea'l Siren will PERISH!
Panel Six:
We move closer to the castle's entrance with the guards.
Seredin: Not just Kea'l Siren,but all EROSGUL.
Hey @Roland Karafa ! Good work, not only did you rough-in layouts for three scripts, you even made your own script!
I think you made good choices for the scripts that David provided, I'm excited to see the final versions of these! As for the layouts you made of your own script, I think (1) and (4) are good choices, but I'm a little concerned that (1) might get a little cluttered in the final version. That said, my favourite layout is (3), as I feel that it gives you the best space for the descriptions in your script.
Looking forward to seeing the finalised versions of these! And of course, as I am a beginner, please take my word with a grain of salt.
@monkeyxmonkey
•
3yr
Asked for help
Here are my five passes at laying out the page. I chose the second page that David provided.
My initial thought was to end the page dramatically with the scientist leaving the scene, so with my first attempt I laid things out to lead to that moment.
For attempt 2, i reread the script and realized i missed that the last panel is supposed to be through the lens of the camera. I also changed the angle and sizing of panel five to make it more dramatic.
On attempt 3 I did some editing of the script. We are given a description of the building from the outside, then immediately given a new description of the inside where the scene actually takes place. I decided to cut the outdoor panel to make the page more concise. also changed the angle of the clawed hand again. This new angle allowed me to showcase some violence and action. I think it really energizes the the page. After looking at the page as a whole though, I realized the focus goes straight down the page
On Attempt 4, I went all in on the claw. I feel that choosing to focus on it really gave the page a central moment to work around. I also tried to combine panels 1 and 2 from the script. The idea is to establish the lab in the foreground, and have the proko sign in the background outside a window.
For the last attempt, I decided to do what I was told and bring back the panel of the building.
I personally like either 4 or 5 the most. The one I'd choose to work would depend on the rest of the story. If it's important, or difficult to figure out where the scene takes place, I would pick 5. If not, I would go with 4.
What do you think of my thought process? Are there details that I'm missing or should focus on more? Where do you disagree with me?
Hi there @monkeyxmonkey ! Nice work on the assignment!
My personal pick is (5), since overall it’s the most polished layout-wise and matches the brief the best! I think the establishing shot eases the reader into the scene better than just jumping into the action. That said, I thought that panels 2-4 on version (2) portrays the scientist injecting himself in the most dynamic and dramatic way. Personally, I think that combining the panel layout of (5) with the dynamic actions and poses of panels 2-4 on (2) would look nice.
Good work once again! Of course, feel free to take my word with a grain of salt. While I’ve drawn a few comic pages myself, I’m still very much a beginner!
Greetings Irshad! How do you schedule your time when drawing for 'Orc and Gnome's Mild Adventures'?
•
3yr
That's a really good question, and scheduling in general I think is incredibly important when it comes to anything that requires you to commit to producing content regularly over a long span of time. I mean, obviously scheduling is important - but what I mean is, schedule is *king*. Nothing takes priority over your schedule. If it's a question of putting out something high quality and overshooting your deadline, or putting out something adequate (or even arguably poor) and meeting your deadline, it's the deadline that wins.
Reason being, if you don't keep to your schedule, it *will* get away from you - and before long, you'll find yourself easily overwhelmed by the sheer quantity of work that is demanded of you. From there, it's just a hop skip and a jump to either sacrificing your health, or sacrificing your ability to update regularly, when your audience expects it - and neither is acceptable.
My schedule has changed over the course of working on this comic, based on what I knew I could commit to. Right now things are a little scattered because of some flooding in our apartment that forced us out while they repair things, but normally I'll work on the comic on Wednesdays, committing the whole day to hammering out two pages of what is basically black and white. We do have colour illustrations, but because they demand different amounts of time, I squeeze them in on weekends or on other days where I can.
One interesting point is that I discovered that I work faster if I'm working on two pages simultaneously, on the same canvas, than if I work on the pages one at a time - so I started working in "spreads". This made completing two full pages in a day much more feasible, though sometimes it still demands some very late nights. That's... mostly my own fault though, for getting distracted and procrastinating.
Mike Jara
•
4yr
Hello @Mary Verzosa! Great idea to make it easier to reference. I'm adding it to our list of features to possibly work into the site.
Hello everyone!
This is more of a quality of life suggestion, but I was wondering if this site could have a library for all the 3D models you bought access to. I use them as reference for my drawings often (both for class and outside of it), so it would be pretty neat to have them all in one place instead of having to scroll through your lessons to find each one. You could even add them in 'Tools' perhaps? What are your thoughts?
Rose M.
•
4yr
I was wondering about this myself too... if it isn't already a feature, I think it would be a wonderful addition!
Rose M.
•
4yr
Asked for help
Hello everyone! This is my first post here, so I hope I'm doing this correctly... if not, please let me know.
I've finished Figure and I'm currently learning joints in Anatomy. That said, I wanted to revisit mannequinization since the method has been such a big help when drawing from reference or imagination!
I've attached four samples of my work from the exercises, as well as a page where I use mannequins to draw poses from imagination (the last page). During the exercises, I would try to draw the pose myself (Me 1st), then draw while watching Stan (Proko), then try the pose again myself from memory (Me 2nd). Feel free to point out any of my bad habits or consistent errors!
Feedback is welcomed and appreciated! And @Liandro ... I took a cursory look around the site and found your feedback to be very helpful and insightful. If you have time, I would like your opinion too if that's okay!
•
4yr
Very nice work, @Mary Verzosa! I see Jesper gave a ton of great advice already, so I'm mostly gonna add a compliment you for your structured study method - very effective! Also, great presentation of your assignment, clean and clear!
One thing I'd suggest is maybe try exaggerating the poses some more during the gesture stage.
If you allow me to also add some extra thoughts on gesture: one thing I find to be very helpful is to draw a little bit more "from the gut". Since gesture is all about how the pose "feels", I usually approach it with a more intuitive mindset, without thinking about it too much and drawing relatively fast (but not sloppy) and I often notice I'm sort of attempting to feel and sense the pose with my imagination rather than just look at it. It's a completely different (if not opposite) approach to the accuracy training Dorian explores in the videos Jesper recommended, which is grounded on careful observation and slow mark-making. And I believe both approaches are helpful and necessary in art! There's no doubt that observation and accuracy are in the foundation of good draftsmanship, but specifically when it comes to gesture, I feel like a slightly "less rational" and "more sensitive" point of view tends to give me more freedom to experiment and make mistakes, thus find bolder exaggeration possibilities. It also tends to make my lines much messier (and I usually need to clean them up with various iterations later on), but, at least to me and to the type of drawing I like to do, it's worth it even so. Hope this all makes sense, hehe.
Keep up the good work!
•
4yr
Wow Mary! Great work! Doing those 3 steps (you, Stan, you) helps a lot in my experience. Your drawings are nice and I'm impressed by how well you did those figures from imagination. I´ll try to find things to improve to help you further :)
I´m looking for mistakes that were kept from Me 1st to Me 2nd
GESTURE
You have a tendency to straighten things, which hurts the gesture. In the first pose, you draw the pelvis, ribcage and neck, straight on top of eachother, and the c-curve of the neck is too subtle. Pay attention to proportions and alignments. Especially plumb lines, how things align vertically.
But, when focusing on accuracy there is a risk of getting a process with less flow. https://www.youtube.com/watch?v=HMX3K3YMbd8 I recommend doing these accuracy exercises separately, maybe as a daily warm-up, and you'll subconsciously bring what you learn into your figure drawings. 30 min daily for a month helped me a lot. I recommend measuring by eye. Dorian Iten has an accuracy guide if you want to learn more. https://www.dorian-iten.com/accuracy/
Gesture could also be improved further by bending the forms with it. A thigh with a c curve gets a cylinder that is slightly bent.
Or maybe thinking more about gesture, having it as the main focus and daring to exaggerate, is all you have to do.
STRUCTURE
Your structure is good! Your boxes have nice perspective and your ellipse cross contours are wrapping around the form. But the head has some issues. I recommend watching this video https://prokolab.com/course-lesson/how-to-draw-the-head-from-any-angle/discussions if you haven´t already. The main issue I see is how you place the side plane circle. For some time now, always draw the brow line and centerline so that you´re aware of the head's orientation. The ellipse will be perpendicular to the brow line. You could also try drawing the head as a box.
YOUR DRAWINGS FROM IMAGINATION
Try placing the figures in a boxes. It will give you a guide for convergence in extreme angles, and you´ll have a clear ground plane. Whether you're drawing from imagination or not, indicate the ground plane, with either cast shadows or perspective lines. This makes figures look grounded and is a big help when trying to achieve a balanced pose.
Hope this helps! :)
