Hi @Mary Santos. I don’t think you should worry about one type of technique being inherently superior to another. Working with line only is neither more nor less professional than using other techniques, even in the gaming industry. What matters is the quality of your work (cheesy, but true). Also, remember that it is easy to forget that professional illustrators work differently than those starting out. Just because we don’t see lines in the end result doesn’t mean these artists 1) don’t use lines in their process or 2) that they don’t apply the understanding of form and perspective that comes with knowing how to make good lines. Whether your line art is meant to be the entire illustration, a part of it, or not show at all is mostly a matter of style. You’ll find plenty of professional artists that do any or all of these. There are some wonderful digital illustrations used for game art, but that doesn’t leave out line art entirely – just take a look at Hollow Knight, the Tell Tale games, Borderlands, etc. I’m not sure if this is part of your question, but here it goes: Your drawing is of a similar style to what a friend of mine used to do. In her case, whenever she made her drawings neater by erasing the sketch underneath, it became flatter and much less interesting, so she left the sketch in but was never happy because her drawings were never as neat as she wanted. It turned out that her final lines –the ones that were not meant as sketches– did not show what they were meant to show: shape, light, a change of material, movement, etc. The sketch lines carried most of the weight, so erasing them erased the drawing’s most important information. Shape, light, etc. are things shown in the illustration examples you shared, but they are solved in a painterly-language, not in a line-language. Line art can show these things as well, but you have to solve them differently with line than you would with brushes and color. If you are interested in improving your line art, I recommend taking a look at what fine artists or comic artists do. Their lines aren’t always meant to do the same things, but the crucial idea is that they know what they are doing with their lines and why. It’s great to have digital paintings as your end goal, but don’t underestimate line work!
You won't believe it but I'm doing MORE gesture! Ever since I got that fountain pen I've stopped learning anatomy for now and am just chasing after Vilppu's way of drawing. I tried some digital today and MAN is it hard to make good looking 30 second gestures. I keep zooming out because I always make my figure's heads so big. Any ideas on how to fit all ten 30 second ones on one page? As usually, feel free to critique or question anything that's not ordinary.
Asked for help
Haven't dones this exercise in ages. I thought I would do a few to try to get a handle of the concept again.
2021/9/21. Hello everyone. This is a personal interpretation of Elsa from the Disney movie, FROZEN. Before presenting the final version to my illustration course teacher, I would like to hear some of your opinions and possibly some advice on how to improve it. In particular I would like to increase the sense of depth of the background and three-dimensionality of Elsa (Elsa has a very fair complexion and I would not want to exaggerate with the shadows since the light of the ballroom is very strong and diffused). Also I would like to add a halo of brightness to the chandeliers. If you have any useful ideas please post them below. I also add some of the reference pics I used. Thanks for your valuable contribution.
Hello! I've been doing gestures about an hour a night over the past 2 weeks. Struggling to find the spine curve on some especially where the body seems to sit upright (especially twists). Also sometimes I get the proportions pretty close, and sometimes I totally miss. But I don't try to measure too systematically, more just eyeball it. Also curious to hear opinions on whether these are gestural enough. It feels as though some of the arms and legs get too contour-ish. Any additional advice on things I'm missing is much appreciated. Thanks
Hi Jo. Check the twist on the character's chest: it's looking left, while the base of the neck is almost on top of the opposite shoulder and looking right. The base of the neck should line up with the torso, independently of where the head is turning. It seems the character's left shoulder has two things going on: that shoulder, if you follow the arm, ends at the base of where the neck is right now, but at the same time the cape is covering a shoulder that doesn't line up with the arm. Hope this is helpful.
This is my first animal construction. I really felt I did a good job. When I was doing this I really had a hard, hard time looking at this pup🐶 in 3D. What are some tips of how I could represent this better or this is fine? How did I do? Thanks for the Critics🥇🧨🥇
Hey I've been trying to add foreshortening to my mannequins but it's just not working out the way I want it too I have been studying perspective for the past few months and I understand that the closer something is to you the larger it seems and that the further it is the smal.er it gets and I understand that forms overlap when foreshortened yet whenever I try it I can't get it right Should I just stop trying and go back once I learn more about other fundamentals or is there something I'm missing if there any videos sites or anything to help learning this easier I would greatly appreciate any and all help
Hey Guys. This is a full graphite portrait. I feel like I managed to get the likeness pretty well in the block in (after several attempts!) but then lost it a bit in the final render. The strange thing was that after doing a much more complete drawing, but before going to full render, I traced the photo and overlayed it on my drawing and everything matched up almost perfectly, so the differences were, at that point, extremely subtle. I unfortunately didn't take a picture of that part. Any thoughts on how and why I went off track would be really appreciated. I was using Tombow Mono 100 Pencils (4H - 2B) on Canson Mi Tientes paper if anyone is interested. This was a birthday present for a friend.
Does plein air composition strictly depend on the location of the artist’s setup and its limitations (accessibility, rough terrain, etc.)? Are there examples of artists who have managed to find unusual spots or points of view, or who have taken a distinctive approach to plein air composition – doing something beyond what the immediate scenery offered?