Vitor sketchbook

[cgmythology]

Great work with the lines on your latest, looking very crisp and detailed!

[VitorCardoso]

I hope you don't mind me trying a few thing on the artline.One thing i noted is the leak of wrapping on the leg. Mostly what i suggest is that you give a lineweight difference between your shadow and lite side if you ain't going to throw any cast shadow or occlusion shadow.You can note a bit of the different on the shoe on the left side is without directional lineweight and the right one is with all three thing i mentioned SC OCC DIRECTION

Sadly or not you took something with a lot of detail so it must have took away alot of the time toward detailling if you want to practice line art i suggest simply to use primitive no need to do complex drawing this way you can focus 100% on thinking about the principle at play.The beauty of fundamental is that they still do apply to any drawing so even if the subject is boring there plenty of opportunity to play with light and  lineweight.

You did such a great job that i actually couldn't stop myself from wanting to go further and color it.I wanted to try something outside my usual color and had a neon color palette in mind for a while now but my usual subject matter wouldn't allow for it so i thought this would be a great opportunity to try something outside my box.Hope you enjoy.

There is no harmony between the colors because everything is too saturated. Making a neon palette does not mean saturating everything. This makes the image not pleasant to look at.

    I agree about the lack of line weight on this one, however this was my first attempt I didn't know how to use the brushes efficiently but I got better next time, you can see the difference with the top image

[VitorCardoso]

Great work with the lines on your latest, looking very crisp and detailed!

thanks I'm trying some brushes for lines this one is very cool

[Leo Ki]

Inking a realistic drawing is walking so thin a line between obfuscation and contouring but you're navigating it rather well. I agree you would gain from working on line weight, not only about light-shade but also the relative importance of the elements in the image.

[VitorCardoso]

getting used to Ahmed Aldoori's brush for sketching

[VitorCardoso]

line and local color

[VitorCardoso]

some faces on the toned paper, some ended up looking a little weird, the last figure had a bad proportion so I decided to redo it in digital

[VitorCardoso]

I think my digital lines have improved, it took me some time to get the hang of it

[Leo Ki]

Agreed, getting better and better, also a great expressivity and design.

[AChi]

cool, just a small tip in case you dont know it，you can adjust the smoothing percentage for brush strokes to get better line work.

[VitorCardoso]

Agreed, getting better and better, also a great expressivity and design.

thanks i'm trying to applying more design on my figures

[VitorCardoso]

cool, just a small tip in case you dont know it，you can adjust the smoothing percentage for brush strokes to get better line

yeah , i know that but thanks

[VitorCardoso]

time gestures practice (1min , 2min ,5 min and 10 min)

[dimensional-knight]

Been meaning to come here fangirl a bit for a while but I'm always low on energy and you're too prolific! I love your traditional sketches on toned paper at #127, great figures, and that man in the first page... the shapes, shading, and intensity of his stare are great. It's a fine face.

I agree your digital lines improved, they have a good pressure control, very nice when combined with your fluid gestures. Do you know already what sort of digital shading you want to do? Or are you more invested in linework?

[VitorCardoso]

Been meaning to come here fangirl a bit for a while but I'm always low on energy and you're too prolific! I love your traditional sketches on toned paper at #127, great figures, and that man in the first page... the shapes, shading, and intensity of his stare are great. It's a fine face.

I agree your digital lines improved, they have a good pressure control, very nice when combined with your fluid gestures. Do you know already what sort of digital shading you want to do? Or are you more invested in linework?

what I'm focused on improving right now are the lines, hands, faces and design of the figures.I once read somewhere: "people will forgive a bad knee or arm but they won't forgive a weird hand and face" so I always keep drawing faces and now I need to practice more hands too.
   About digital shading I intend to study painting this year but I still don't know when exactly.

[Dominicque]

Lovin' your use of line-weight and flow in your lines. I've really love detail on the girl's Chiney bumps. You draw plump people really well, the fat moves with the pose and doesn't feel stiff. Very gestural. They are paying off.

[VitorCardoso]

Lovin' your use of line-weight and flow in your lines. I've really love detail on the girl's Chiney bumps. You draw plump people really well, the fat  moves with the pose and doesn't feel stiff. Very gestural. They are paying off.

Thanks, the Vilppu course definitely helped me a lot in this

[VitorCardoso]

I started doing a challenge that I've wanted to do for a long time, which is to draw 500 hands. I didn't set a deadline. I'll just do it in my own time.

  Here will be drawings with reference to photos, other artists, sculpture or any reference that I find an interesting hand, I took the opportunity to make a clean line too.

[one_two]

Really like your pencil drawings on toned paper! Well done!

[dimensional-knight]

Ooh, nice hands!

what I'm focused on improving right now are the lines, hands, faces and design of the figures.I once read somewhere: "people will forgive a bad knee or arm but they won't forgive a weird hand and face" so I always keep drawing faces and now I need to practice more hands too.

Absolutely. From my own experience people are even willing to forgive half-assed hands if you give them a good face.

Ok, knowing your goals, I've got a couple of pointers. These aren't mistakes you're making all the time, but since they're cropping here and there, these landmarks could be useful.

When positioning ears consider the ear hole's location first. It's always below the zygomatic bone (green). The final bit where it narrows is actually already temporal, but whatever, it's helpful to think of it as a single structure. With this, if you know your cheekbones you know here the ear is vertically. Horizontally, it's roughly behind the middle of the head.



The mouth area seems to be troubling you the most. Avoid drawing lips as a feature, add the lines after considering the mass of the mouth area. And the chin, more often than not will support that mass, without "retreating" much towards the neck.



I hope this helps!