@taz
@taz
Earth
@taz
Trying to gain some more experience on detailed painting. Should the planes around the nose be dark enough? I was doing soft and hard edges for my painting/rendering practice so any feedback would be appreciated!
@taz
2yr
I drew the new model of the postal service car
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Liandro
Hey, @taz! Hope I’m not too late to catch up with your post and share some thoughts. I like your sketch and the idea - western American saloons seem like a fun theme to explore. Since you’re looking for feedback specifically on perspective, here’s what I notice: your painting is actually in 2-point perspective (not in 1-point). And not only that, the buildings are unaligned, which means each of them has their own pair of VPs (vanishing points) - a total of 4 VPs overall in the whole picture. That's not a bad thing, it's actually a more complex situation than a 1-point view. But there are a few misplacements of the angled lines, yes. So, on the first image I’m attaching, I did a drawing over your artwork with a diagram of the perspective and how the angles should look in order for the lines to meet where the VPs are. In this first draw-over, I tried to change things minimally in order to keep as much as possible of what you seemed to have originally in terms of perspective - I just attempted to correct the angles based on the location of the VPs. And notice, by the lines in green, that the front plane of the buildings are indeed on different depth levels - it’s like the “Goodsprings General Store” building is a bit farther behind. I also did a couple other versions showing more possibilities. If you really wanted this to be a 1-point perspective (and, along with that, have the buildings aligned at the same depth plane, like they’re across the street from one another), it would be key to do three things: one, draw their front planes under the same alignment; two, make all converging lines vanish to the same point in the center of the frame; and three, keep all the horizontal edges of the buildings really horizontal, parallel to the horizon line (in other words, they wouldn’t go to a vanishing point at all). This is what I did in the draw-over “2a” (second image, on the left). However, such a strict 1-point perspective doesn’t always feel visually natural. The thing is: if we’re able to see two different planes of the “box”, it’s already technically a 2-point - it’s just that, sometimes, with one of the vanishing points so centered in the view, the other points would get so far away off the page that it may be okay to just ignore them and draw all the horizontals as parallel lines to simplify things. But if we ever feel it looks strange and need things to look just a little bit more natural without having to do all the vanishing-point-tracking work, we can do a little cheat (a.k.a. "optical adjustment") and make the so-called parallel lines angle just a bit towards the horizon. Often times, there’s no need to be very rigid about tracking the vanishing points in this case, just a little bit of inclination is enough to convince our eyes that these lines would eventually meet somewhere, which makes the perspective feel more realistic. This “optical adjustment” is what I did in draw-over “2b” (second image, on the right). That’s it! Hope it helps. In written words, it might sound like too much complexity, but, hopefully, the drawings will make it clearer to understand. Please let me know in case yo have any questions or would like to discuss anything further. If you need material to study perspective from, here’s a few that I like and recommend: . CtrlPaint’s “Perspective Sketching 1” course - https://ctrlpaint.myshopify.com/collections/foundation-skills/products/perspective-sketching-1-the-basics . Marshall Vandruff’s "1994 Perspective series" - https://marshallart.com/SHOP/all-products/all-videos/1994-perspective-drawing-series/ . “Perspective made easy”, book by Ernest Norling; . “Perspective without pain”, book by Phil Metzger; . "Stress-free perspective sketching" course by Sheldon Borenstein at New Masters Academy - https://www.nma.art/v3/course-catalog/courses/677610/ Good studies, best regards!
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@taz
2yr
Thank you very much!
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@taz
2yr
Here is my warmups for today. I did some blind contour drawings (one minute each) on mostly the outlines of legs!
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@taz
For me, it would be Yoshitaka Amano. I love his use of coloring and character design in the Final Fantasy illustrations.
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John Harper
So, it looks like you've tried a 1-point perspective. Is that right? This is a fun drawing. I think the 1-point perspective gives the whole painting a fish-bowl effect. Very interesting. I'll make a very quick attempt and put some comments on my drawing. Look for that later.
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@taz
2yr
Thank you. The original rough draft of my drawing was One point perspective but I later used an uphill slope perspective later in another attempt at this drawing.
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@taz
2yr
Hello! Recently I been trying to improve on my perspective and I finished this drawing recently of two saloons based loosely on the Goodsprings, Nevada saloons. Any feedback would be appreciated! Thank you.
Dominik Zeillinger
Hi @taz there is one thing I want to point out: Your characters have nice variety in clothing. But nearly all of them have the same hight and body-shape. I think you should try to include also some smaller, taller, thicker and thinner charakters.
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@taz
2yr
Thank you! I will take this into note when I get around to redesigning them.
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@taz
Hello! I have been working on a webcomic project for a while and I finally got the chance on working on some character designs for minor characters. I worked on those first so I could find a way to make the main characters stick out from the ones I posted. Anyways, I was wondering if anyone could reply with some helpful feedback and tips on handling character designs and silhouettes... Thank you very much!
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