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  1. #1
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    help a brother out!

    well er, sister actually.

    I fancy colouring this for some practice but I want to get the sketch right first (rather than charging in there with the knowledge that the anatomy looks pretty wank).

    the weight of the girl on the left is particularly bugging me. any help, pretty please?

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    What an overwhelming lesson to all artists! Be not afraid of absurdity; do not shrink from the fantastic. Within a dilemma, choose the most unheard-of, the most dangerous, solution. Be brave, be brave! - Isak Dinesen
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  3. #2
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    The general body movement and shapes are ok (although if you meant for the guy to sit on the platform behind him, it should be lower, or his pelvis - higher). I like the dynamism you achieved, especially with the guy. The main problem here I think is that it's not really clear what they're doing, especially with their hands. If whatever it is they're holding between them is important to understand the interaction, maybe make it a little bigger and clearer.

    The guy's arm that's closer to us is a little too long; we should be able to see where the forearm begins. I'm not sure if the thing coming from around his neck is his other arm or a scarf...

    The girl's forearm is pretty long too, and I don't know if I'd cover her face seeing as she's one of 2 characters interacting so "close to the camera", unless there's some meaning to her being hidden.

    Regarding weight and composition: since the guy is a heavier object than the girl, I'd move him closer to the edge and move the girl slightly more to the center. Just a tad, to balance them out a little.

    One last thing - I don't know your method, but occasionally it looks like you draw the clothes without first sketching (or thinking about) the body underneath them. It's quite obvious in the guy's legs and in the girl's arm: the folds create shapes that make the limbs look very twisted, like a ragdoll. I suggest first lightly sketching the body with all its masses and shapes, and then "laying" the clothes on top of it, taking the body's structure into consideration when drawing the folds.

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  5. #3
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    thanks a lot Chate Noire! the weight and compostion helped a lot, and I fixed up their arms a bit (also moved the girl's arm closest to us down, I was thinking it made her balance weird)

    he's not meant to be sitting on the platform behind him so I figure I'll move it further towards the edge to avoid this, since I'm probably going to redo the background completely.

    and I've noticed I have a tendency to do that with clothes! it just reinforces the fact that I need to stop meself and slow down (they definitely still need some work)

    and I'm hoping the glasses on a string look a bit more clear now. I'm going to have to properly define that when I colour it

    cheers again

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    Last edited by gutss; January 12th, 2009 at 02:44 PM. Reason: moved his arm even further forward!
    What an overwhelming lesson to all artists! Be not afraid of absurdity; do not shrink from the fantastic. Within a dilemma, choose the most unheard-of, the most dangerous, solution. Be brave, be brave! - Isak Dinesen
    Reply With Quote Reply With Quote

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