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Thread: A beginner tryiing to get better please critique!!!!!

  1. #1
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    A beginner tryiing to get better please critique!!!!!

    I trying to learn proper techique and form at the same time develop my own style I'm self taught and really want to get better please help
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    Hi and welcome aboard CA!

    I can give you two pieces of advice on these:

    1) Please post smaller images so people don't have to scroll all around to look at them.

    2) Your poses are all very symmetrical right now. Try giving the right and left sides of the characters a bit more variation in the placement of limbs, and let the hips and torsos lean in slightly opposite directions. These little variations in pose dynamics will go a long way toward giving your characters visual interest.
    As the ego shrinks, so the spirit expands.
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    Can You Give Me An Example In Terms Of Variation

    Do You Know Where Online I Can Get Some Tutorials On Perspective Design?
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    By variation, I simply mean letting the poses be dynamic. If the left arm is raised, the right arm will rarely be raised to an identical height. It should be either significantly higher or lower, or perhaps rotated in or out more than the other one. Same thing goes for leg and foot placement. Organic characters almost never look good to contemporary audiences when they display rigid, symmetrical poses. Today it is all about dynamic action. Check out any of the 5-star sketchbook threads. You will see that the characters almost never look static. They seem to be moving and shifting in their poses.

    As for perspective, try this: http://www.handprint.com/HP/WCL/tech10.html
    As the ego shrinks, so the spirit expands.
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    Pic #1: is he supposed to have tusks growing out of his nostrils?

    Tristan Elwell
    **Finished Work Thread **Process Thread **Edges Tutorial

    "Work is more fun than fun."
    -John Cale

    "Art is supposed to punch you in the brain, and it's supposed to stay punched."
    -Marc Maron
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    what about this one does this have the variation your talking about?
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    Buy Bridgman's Constructive Anatomy books and copy them line for line in your notebooks.
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    Mr. Elwell

    No he is not supposed to kinda messed up on that one
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    what do you mean buy copy them line for line kev?
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    Yes, that last one is much more dynamic and much more interesting than the first batch.
    As the ego shrinks, so the spirit expands.
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    ok Mr. Mephistolv,

    Judging from the first three pic what can I do differetly to make each of them more dynamic
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    The drawings in Bridgman's books are drawn in such a way that they impart an enormous amount of information that doesn't appear in normal "from life" drawings. He draws lines where forms turn corners, and that information is gold when you do lighting! When you copy his stuff, it sorta gets into your head. You have to think about why he is drawing things in a certain way. You will notice how smartly he simplifies everything into blocky interlocking chunks. And as you read the text, it becomes a revelation. Tons of info in there.

    Many many artists have done this little "chore". Its like a pilgrimage to Mecca by now. I've done it and I know many other who have too. The most famous one to do it is Frank Frazetta who I think has some of his Bridgman copies up on his site somewhere. Norman Rockwell studied with Bridgman personally.

    There is no better way to learn lighting and form than by "doing" Bridgman's books and then looking for what he teaches you when you look at life and nature and anatomy. The quicker an artist gets this chore out of the way, and it'll only take a week or so, the quicker that artist will reach his potential.

    kev

    http://www.conceptart.org/forums/sho...d.php?t=101106
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  14. #13
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    I don't want to start giving step-by-step instructions, because it is not my preferred method of teaching. However, just this once, since you asked, I will make an exception...

    There are 5 pics in your first post. If these were mine, here is what I would do:
    On #1, I would lower the character's left arm down to about waist level and rotate it out bit more from the body.
    On #2, I would leave the pose alone because it is just a head shot and the neck twist is already dynamic enough.
    ON #3, I would probably place the character's right hand on the knee, and bend the left arm up at the elbow into an open palm meditation gesture.
    On #4, it is just a head shot again, but his expression tells me that he wants to point a sarcastic, laughing finger at the viewer.
    On #5, I would probably twist the character's right side a bit more toward the viewer and give him a nice wide right leg forward stance.

    Please note that these are just what I see in my mind based on the postures and expressions the characters currently have. Your take on the characters' intentions may be completely different from mine. However, I think giving the poses a bit more action will definitely benefit them.
    As the ego shrinks, so the spirit expands.
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