(07-12-2014, 07:53 AM)Cruptic Wrote: What up what up, went through your sketchbook and it's kinda cool, but then realized you haven't been posting since a few months! I'd be awesome to see some recent stuff :)
After reading this comment for the (add number here) i have finally decided that it about time to post now that i have finally get my personal ''unfinish home studio'' and gather enough resource and project idea.It time for me to and add some positive on me. to comment as much as you want.
Great stuff, a lot of line confidence in the later posts! I would recommend you use a center line to make sure your pictures do not become unbalanced, that or a mirror... If you're in photoshop or a similar program you can just flip the image to see if it's leaning to one side as humans we tend to get tunnel vision so working zoomed out may help you see the big picture. Now that I look more closely it may be the scanner's fault that it is a bit at an angle, but just in case its great to keep in mind.
Nice to see you posting some more studies. You should try and apply these and come up with your own character designs using what you've learned. Keep it up!
(05-23-2015, 12:33 AM)Adam Lina Wrote: Nice to see you posting some more studies. You should try and apply these and come up with your own character designs using what you've learned. Keep it up!
It the next stage of course.Thank you for commenting
So you might be able to learn a bit about design commonalities from drawing pokemon heads but it'd probably be more productive to take a pokemon you like or design elements you enjoy from one and do something of your own with it. It's fun to draw pokemon, I know, but a good question to ask yourself when copying something is "Am I learning something from this?" and then "Am I using what I've learned in my own work?"
Copying for the sake of copying is all well and good until you reach a level of skill where it's not an issue anymore, but after that I would argue that it's best to gear your studies towards problems you're struggling with.
(05-27-2015, 11:15 AM)Bearlaser Wrote: So you might be able to learn a bit about design commonalities from drawing pokemon heads but it'd probably be more productive to take a pokemon you like or design elements you enjoy from one and do something of your own with it. It's fun to draw pokemon, I know, but a good question to ask yourself when copying something is "Am I learning something from this?" and then "Am I using what I've learned in my own work?"
Copying for the sake of copying is all well and good until you reach a level of skill where it's not an issue anymore, but after that I would argue that it's best to gear your studies towards problems you're struggling with.
Good luck.
I am paying tribute to the first 150 pokemon that pretty much what i do posting all my result in here and if i am learn anything from doing it is that it important to have construction line.I am putting effort in doing quality linework but i am not at the level that satisfy my standard.I am not copying for the sake of copying i am copying to improve my curve and linequality and also to train my observation.
I am paying tribute to the first 150 pokemon that pretty much what i do posting all my result in here and if i am learn anything from doing it is that it important to have construction line.I am putting effort in doing quality linework but i am not at the level that satisfy my standard.I am not copying for the sake of copying i am copying to improve my curve and linequality and also to train my observation.
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Gotcha. It won't come up in pokemon probably but a lot of expressiveness concerning lines has to do with using "thick to thin" or "thin to thick" lines. You can see this in many old master drawings; sometimes they'll just wrap lines of varying thickness around a form to define it without using any "shading"
For Leonardo, line was a way of capturing movement. He was obsessed with the movements of water; particularly water's effect on stone over time. That thinking carried over into much of his linework; most notably in his renditions of human hair.
Aside from describing "movement"(or gesture, if you will), line also has emotionally expressive qualities. You can also learn a lot from examining how artists have used line as an expressive device. Botticelli did a series of silverpoint drawings(you could actually recreate this medium by drawing with jeweler's wire, anyway it's similar to pen and ink in some ways) for Dante's Divine Comedy that demonstrate very precise and expressive linework. Many of his forms are not anatomically or technically correct but his linework is intuitive and beautiful still. I wasn't able to find an adequately large file to demonstrate what I'm talking about but you should really look them up if you haven't seen them. They were kind of like an early form of animation in that you can see Virgil and Dante going through sequential scenes but within the same panel.
In terms of observational drawing once you learn to copy abstract shapes(what angles and whatnot make up the pokemon you're looking at) you can then start to worry about edge definition(how "soft" or "hard" is a gradation or edge) and value. The Bargue Drawing Course is a good series of plates to study from if you're wanting to get better at that. You might find it helpful to try drawing a couple of pokemon upside down in order to help see the angles and intersections of lines in a more objective fashion; it's counter-intuitive but I've found it useful.
Crosshatching and smooth shading are on my list on thing to learn .The plate from the bargue drawing course seem like a great place to start.I will also try to remember to flip my sketchbook more often to check imperfection.
and add some positive 
on me.
to comment as much as you want.
