Hey, @paper, long time! Cool sketches! About the drawing of the guest at the restaurant, I can see how you’d think the hands have become too small. One way I can think of to solve this problem is to bring the drawing into Photoshop and simply increase the sizes of the hands using selection and transforming tools. Not sure if you’re already tried this, but that’s how I’d attempt to solve it. I also think that the character’s head may have become a bit too big, so if you’re going for realistic-ish proportions in this drawing, I’d try reducing his head a bit, too (not that you necessarily need to go for realistic proportions, of course - only if you want to). The quick gestures of arms and hands from Sargent’s work look pretty nice to me! If your goal is to improve proportions though, I’d suggest to develop these sketches one pass further and spend more time doing adjustments based on some careful measuring (rather than leaving them just as quick gestures). I’d also recommend studying hands from photos and - even better - from life, is possible (rather than studying just from other artworks). Concerning the drawing of the waitress by the railing, I believe that practicing the construction of the body with exercises such as the one suggested by @Jesper Axelsson is the best path for you to understand how to solve this kind of foreshortening problem. For example, you could visualize her whole torso as a cylinder and consider how that cylinder would be seen when foreshortened in this perspective - its length, its depth, how much of each plane would be visible. This skill requires some abstract thinking and spatial reasoning, but, given time and practice, it becomes much easier. If you need more information on how to simplify the human body into simpler pieces, make sure to check Stan’s lessons and assignments on the Bean, Robo-Bean and Mannequinization: . @How to Simplify the Motion of the Torso – The Bean . @How to Draw Structure in the Body – Robo Bean . @Mannequinization – Structure of the Human Body Hope this helps!
Hi! :) 1) I think with the examples of Sargent and Repin, my guess is that the figures were placed slightly off-center and the painters utilized the surrounding elements to counterbalance the asymmetry (e.g. the trees, mountain, signature in Repin's). This would maintain the focal importance of the object placed center while still keeping the overall image dynamic and interesting. 2) I don't think the bow detracts from the painting's tone. If anything, I think it makes it more interesting against the setting and creates a more interesting silhouette, but I think this is more of a subjective opinion. On the side, I would also like to ask if you are aiming for something completely realistic or a blend of representational painting mixed with the character's original anime style. I've seen artists do both before, one that comes to mind would be RossDraws, so I'm curious as to what your goal is. A more general tip I would have is to watch the readability of the image, with an eye towards the simplification of values and the readability of the silhouette. With paintings, it always helps to do a small value study beforehand to have as a guide. It's also an incredibly valuable exercise to practice notan studies off the masters, in order to gain an understanding for their composition and control of the image. I included one for the original painting you mentioned along with some notes I hope are useful. I realize your scene is a bit tricky given the blizzard, but the Bama snow painting can too be simplified into basic values so it can be a very useful reference as to how to approach the snow.
Hi @paper, cool drawings. I like the attitude in the characters, and the drawings feel clearer than some I've seen you do before. Since the struggle is about posing the parts of the figure in a convincing way (right proportions and foreshortening for example), I'm going to suggest an exercise: Pick a reference photo of a figure. Draw the figure with clear and simple pieces. Try to get the pose and the proportions of the pieces match the reference. When you've tried the exercise, post your drawing and the reference, then tag me and I'll try to take a look :)
Hello, alongside several drawing I had just posted, I would also like to ask critique for this remake of an old painting I did a year ago (it's here if anyone interested https://www.proko.com/community/topics/hello-i-made-another-fanart-would-like-some-critism) But the original was done with gouache/ acrylic/ watermixable oil on acrylic paper. I frame it behind glass but I realized a year later that the glass wasn't uv protected, meaning it would darken if left exposed to any direct/ indirect sunlight. I wanted to change the glass but the glob of watermixable oil stuck to the glass, meaning it might rip the paper off if I try to dismantle it ;_: So in light of this, I remake my old painting in oil (The medium that I actually wanted to create it in the first place but got afraid because of the toxicity of the solvent) I already mentioned James Bama as one of my influence for this painting in my old post, his thoughtful costume design and his respect for the sitter, to give each of his subject a dignity with their own problem. Even though the character I'm painting isn't real, I want to give them as much humanity Bama does. But also, I don't think I mention Valentin Serov, whose color palette really attract me. This part may be a bit more general than what this post is discussing, but I really want my painting to be as varied in color as Serov does. When I look at James Bama work, even though the thing he is painting varied from painting to painting, and the texture and application is different, I found their color so similar that it started to annoy me. Serov's work are also kinda similar (at least, if you compare him to someone like Jeff Watt or Fechin) but I found there's enough variation to make his body of work interesting. Something I strive for in my work. Speaking of Fechin, this is probably the final artist whose work is most noticeable here. In term of this painting, it probably is the biggest influence, since I wanted to simulate the viewer being in a blizzard and looking at this girl and Fechin's brushstroke I found perfect. Though in term of overall career, I'll probably move away from his work, considering the more I look at it, the more I feel it gimmicky >_< (Also, this may be unrelated, and I'm sure the man I'm tagging is busy- so I'm very sorry about this, but I wonder if Mr @Stan Prokopenko would like this, considering he's a big Fechin fan) Anyway, going back 50 sentences, the 2 biggest critic I would like to know is if the figure of Reimu (the girl in the painting) not being directly in the middle and not being symmetrical annoy the viewer, I try to fix this asymmetry in csp but for the love of me couldn't make it perfectly balance, it always either made the painting boring or when I flip it, it became asymmetrical again. I'm asking because I wonder if this is something I should be worried about or if it's all in my head, I saw John singer Sargent's Lady Agnew (https://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Edinburgh_NGS_Singer_Sargent_Lady_Agnew.JPG/800px-Edinburgh_NGS_Singer_Sargent_Lady_Agnew.JPG) and Ilya Repin's Autumn Bouquet (https://ru.wikipedia.org/wiki/%D0%A0%D0%B5%D0%BF%D0%B8%D0%BD,_%D0%98%D0%BB%D1%8C%D1%8F_%D0%95%D1%84%D0%B8%D0%BC%D0%BE%D0%B2%D0%B8%D1%87#/media/%D0%A4%D0%B0%D0%B9%D0%BB:Repin_bouquet.jpg) And I don't think people care about the fact that both of them are off center (But then again, I don't know how much people notice that or if these painters were still alive today, would they groan at this fact? Would they want to change it if given the opportunity? I wonder) Secondly, I ask if the bow on her head is distracting. I added it there because the original design of Reimu had it there, but I'm starting to wonder if I should downplay it more considering the rest of her outfit is very down to earth, and also not to mention that her expression is so serious, that I ask "will this ruin the tone of the painting? Is this not consistent enough?" I try ridding of it when the oil paint was still wet (hence the thick paint above her bow) but in the end it made the design less interesting and more boring. So since I can't fix it now, I will just ask for some opinions and see if I can 'fix' it for my next painting This post had become too long. I only thank the people who have read this from start to finish and had given their time to write a feedback for my work (thank you a lot >_<) (Oh also, I know this is rare, since I usually only tag you guys once per month, but @Liandro and @Jesper Axelsson any thoughts?)
Hello, I recently did this study from life, I drew this in a restaurant and drew one of the guest there. I only had about 15-20 minutes to draw him, since he and his family ended up leaving early. But what I would like to ask for critique is proportion and foreshortening, When I looked at it, I feel the arm and hands are too small, almost like a child, but when I try to fix it, it kept feeling wrong. I even tried fixing it in digital and I still for the love me couldn't get it to work. After that, I began to try to improve my arm and hands proportion/foreshortening by copying a lot of John Singer Sargent's arm, these were done quickly in pen just to get a feeling of the shape of the arm when foreshortened. The next day, I attempt to do another figure drawing from life, this time of a waitress resting her hand on a railing. I found the arms and hands better, they're not as foreshortened as the first figure, but I still see some subtle foreshortening (particulary on the forearm). But now the body isn't foreshortened correctly! It's driving me nuts! If anyone out there could lend a helping hand in figuring this out, I would really appreciate it. (P.s. I know it's been a while, but @Liandro and @Jesper Axelsson any tips on solving this drawing problem?)
You know, guys, by reading your comments, I can’t help but get thoughts popping all over. I’m comparing the AI phenomenon with the invention of photography back in the late 1800s. Until then, only artists could make images, and they had literally no other way but to go through the hard path of dedicating their entire lives to learn, practice and hone their craft. But once it was possible for basically anyone to record an image within seconds through the click of a button, what was the point of painting anyway? This is the premise that triggered modern art and launched visual languages to unprecedent levels. Although representational painting was out of museums, it eventually found a new fruitful territory in the entertainment industry. And artists eventually found, in photography, a handy tool to help them do their work. Now, with AI, it feels like another historical roadblock. It gets me thinking: what exactly does it mean to be creative? What’s the difference between a human and AI when it comes to being creative? ChatGPT tells me that AI “can generate outputs that mimic creative elements", but it "struggles to generate truly original and unique work” and "lacks the intuitive leaps and inspiration that come naturally to humans". It says that the difference lies in the fact that humans have intuition, a personal bias, subjective experiences, emotional judgements and unique perspectives based on their particular life histories. Is this the time to embrace, strengthen and value our singular selves? Not just be creative, but be creative in such a way that only I (and you, and anyone individually) can be? Embrace each one’s originality with all their unique sets of biases, limitations, judgements, flaws and insights? Maybe. There is a real threat AI is bringing upon artists (and several other jobs) on a macro, social level in our “money-must-come-first” economy. But is AI enough to alienate humans from making art altogether? I truly doubt it. I believe art in the core of our species existence. Whether by rejecting AI or by integrating it somehow, I think humans will always want to make and experience art.
Hello @Dudts Draws, sounds like a neat idea! I don't post much of my studies on instagram (Though feel free to look if you're interested :D https://instagram.com/confusepainting/) but I do know some that you may like, here's a selection from my saved post (mostly students of Watts Atelier since that's where I got most of my study) https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.instagram.com/cheeky_monkey_travis/%3Fhl%3Den&ved=2ahUKEwiIxv79q4KAAxV6yzgGHUoHB_EQFnoECA8QAQ&usg=AOvVaw2Oqypf1wTB4EUlSpNM8Mka Instagram https://www.instagram.com › kierac... Kiera Coyle (@kieracoyleart) • Instagram photos and videos https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.instagram.com/brianknoxart/%3Fhl%3Den&ved=2ahUKEwj_w67YrIKAAxVe9zgGHfBEDE4QFnoECBIQAQ&usg=AOvVaw1Y7RpXL0h2_PiJyZM25kcv https://www.instagram.com/jtown755/?hl=en hopefully these would proof satisfactory >_<
Not really just because I feel like it make my improv skill worse. I learn Bashing your brain for 10 hours to make the perfect punchline is a nice exercise and give contrast compare to having to make a joke in a convesation and having about 30 seconds to either land the punchline or having awkward silence all around you. I feel like using chatgpt is just going to end up being a clutch for when I can't make a joke and at some point probably use it more than what a normal person do. I also have a fear that it would probably just create something that's already done. An A.I.'s job is basically just taking everything that had been done and repackaged it. The only way someone is going to make something new is (or atleast for me) when you're so exhaused that you start getting delirium and don't care if the idea is good or not and just write it down. And I don't know if I can reach that point with A.I. , since it would probably be too easy.
Hello, 2 months ago I uploaded a touhou fancomic here to get some critism. After that I tried to apply what both @Liandro and @jesper axelsson suggest and make the comic more clear. I did several value and color study alla Norman Rockwell (here they are https://docs.google.com/document/d/1j9HC_LP4HLk-0s0LIW_xCnzpZlyBttcBaacOSzUhlOk/edit and https://docs.google.com/document/d/1IkYKK62pNdgvgft5yxZKxmJeqcxUtQrxt-HKbHoMuMI/edit) before doing the comic. I really don't remember who it was I referencing, I think I was looking at this BlogSpot by James Gurney on how Cubist movement effect comic and the first image made me want to try my hand on it (http://gurneyjourney.blogspot.com/2018/05/cubist-nightmares-in-comics.html) And I think I was looking at some Chainsaw man and Bernie Fuchs painting but I really can't remember (I think I also reference some Koishi Komeji's Heart Throbbing adventure for Koishi's design, Koishi is the girl that got kick in the crotch, but that's all). Most of the time I feel I was looking at images of Marissa, Koishi, Satori, Rin, Utsuho and Komachi than any one specific artist. I was just painting what I wanted to paint and that was it. So I don't have much reference here (sorry >_<) I guess like my previous post, I would just like to know if there's any panel/page that can be improve, or if anything jump up as "wrong" (Something even relating to story/character would be good) Anyway thanks as always for the feedback :D (Also here's a google docs if anyone want to read it more fluidly https://docs.google.com/document/d/11dnHuY8YbFtU1wFhqSVG6PgMwgwsITM6w6xdWogfAZI/edit
Hi @paper, cool comic! I would make clarity a top priority in your next comic. In many of these drawings I'm having a hard time understanding what's going on. Clarity is something I'm working on myself. Most of the clarity seems to lie in having a clear silhouette and a clear value structure. As an exercise you might try to do a one page comic using only two values. Try to make everything read clearly. And most importantly, have someone else look at your work, by posting here on Proko for example. That's when you'll know if it reads well or not. I did a drawing that I thought read really well, but when I showed it to someone I realized it didn't. In combination with the two-value comic, do some master studies, using only two values. I think I would recommend studying stills from Disney movies, since they are simplified and well composed. I've attached an image of some of my clarity practice as inspiration. Hope this helps :)
Hey, @paper, thanks for reaching out! I’ll refrain from commenting on color in your work - maybe I didn’t mention this before, but I’m red-green colorblind, so my perception of color is probably different than yours. About the cross-hatching: on page 3, I think it looks fine. It helps define the shape of the face, and it also conveys a vague sense of shading when zoomed out. On page 14, on the other hand, I think it may have gotten a bit too loose - at least to me, it doesn’t look very much like shading, but feels more like ink marks or another sort of indefinite texture on her neck. I agree with @Jesper Axelsson on the matter of clarity, and the exercises he suggested could certainly help! I think it’s pretty awesome that you keep working on your own projects! Alongside with that, I'd recommend seeing if you can also find some space to study and improve on your skills through classes and exercises, as one thing should help complement the other. Hope this helps!
Hello, a couple of weeks ago I made a comic, this is a semi continuation of that comic, I tried making the images more clear according to the feedback I got from the previous post and I would like to know if it works or not. Beside character references, I don't have much artistic reference of what I was going for, I was looking at local Misogynist Dave SIm's Cerebus and I was reading Eichiro Oda one piece, but I was more reading them to match their quality than any sort of any specific technique or mark making. I think I was also looking Takehiko Inoue's Vagabond, Sargent's watercolor, Sorolla's oil painting, Jon J muth's dracula, Zbukvich's painting and Andrew Wyeth's watercolor. But I'm not sure if I can pinpoint what I was trying to get from them, I more did what felt right than to any sort of copying to the artist mention. So I guess I would just like to have any critism on what feels wrong or if anything isn't up to standard. (Though I would point to James Joyce and Cormac Mccarthy for the writting department, but since this is a drawing website, let's ignore this ;^;) Anyway, thanks for reading and the feedback, hope this one is better than before :D
Also here's some references I use 1-3 screen tones references 4 character reference for Marissa (the witch) from my previous fancomic 5 character reference for Rhinnosuke (guy with glasses) 6- character reference for Rumia (the girl who said she's Rumia)
Hey, @paper! The Sound of Music is such a great movie. I think this is a pretty sweet gift, I guess your grandmother will love it. I see no problem with the character’s hands being loose. In my point of view, the strokes in the areas you mentioned do look a little bit busy, but not distracting - I see it as part of the global visual style of this piece. Comparing both versions, I definitely prefer the all-traditional one. I believe the reason is because it seems to me that the aspect of the watercolor strokes look more cohesive and harmonious without the digital interventions - the smudgy aspect of the color blending in the digital-tweaked version is what, to me, looks distracting and kind of misfit from the “big picture”. But one digital adjustment I believe could help improve your composition would be to expand the page area in order to leave a more generous margin between the lettering and the borders of the paper. The way it is, there is almost no room for the word “of”, and even the word “music” looks too close to the bottom edge of the paper, which, to me, conveys a feeling of the sentence being cluttered or “claustrophobic” in the composition. Perhaps you could even try digitally erasing the handmade lettering completely and replacing it with a digital typography, have you thought of that? It’s just an idea, but I’m thinking it might give the movie title a better readability. In the Moulin Rouge poster you used as reference, even though Chéret probably drew the words manually (since press media was still sort of in its early days back then), there is a lot of control and technique in the way the letters are drawn, so it feels much less like handwritten words and much more like mechanically printed letters. Nowadays, you could conveniently look up and find a nice digital font to fit harminously with your drawing. Another thing you could try digitally (if you want, or course) is to clean up the sketch lines, which are still visible. That’s all I have in mind now! Hope it helps.
Hello, I did another comic, it's based on the touhou series and when I post this, I would probably already post the comic elsewhere, but I hope to get some criticism so I can do better on my next comic >_< For this comic, I didn't had a specific style in mind, I was looking at Andrew Wyeth's work and Takehiko Inoue but most of the time I was just looking at pictures of Marissa, Rhinosuke and Rumia (the witch, the guy with the glasses and the little girl that cry respectively) and just trying to get their characteristic right, halfway through, I got kinda tired of using Andrew wyeth's palette of mute yellow and green and experiment a bit to see if it could fit the story, I'm not sure if it works and would like to know if the color shift is too abrupt. I also tried using manga screen tones technique, specifically for page 4 and 5 (and also page 14 to an extend), I really like them, since I found the abstract pattern pushes the emotion, but I found it quite hard to integrate them to color work since most of the time I only see them use in black and white manga. (I also tried using crosshatching technique, specifically one page 3 and 14 on Marissa's neck, I would like feedback on both of this to see if they work or not) The writting was inspired by Samuel Beckett and Marcel Proust (I would also add Nabokov and Melville but with the exception of the passage where Rumia spell her name like humbert humbert spelled Lolita, I wasn't consciously thinking about them as much as the first two example), though this part doesn't really have to do with the art, so apologies for making this longer than it should >_< Anyway, other than that, I would also any critism on anything that doesn't work and further suggestion. Thank you for reading my post and thank you for the reply in advance :D (Also @Liandro any thoughts?) P.s. read from right to left
Hello, I wanted to make a painting for my grandmother's birthday, and so I chose to make a poster of her favorite movie, the sound of music. I tried painting it in the style of Jules Cheret mix with my own kinda loose style that was inspired by the watercolor of John singer sargent and Andrew wyeth I would like to know if the strokes at the bottom left and right (the one above the lettering and beside the lady) make the composition too busy and distract from the face. Below I have attached 2 version (picture 1 and 2), the first one done purely traditional in watercolor and the other I try to fix in digital and would like to know which people prefer- I would also like to know if the hands are too loose and I should define it more. (p.s. I have also attached all my photo references at picture 3 to hopefully help more clear at what I'm trying to do Anyway, thank you for reading my post and if you reply, I really appreciate it :D (Also, I know it's kinda redundant at this point but @Liandro , any thoughts?)
Just wanted to say I like your style :) I've never seen Howl's Moving Castle, but I really like the fanart. I especially like how you changed the figures' poses from the reference--having one figure that much higher than the other tells a better emotional story to me. Thanks for sharing your work!