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Thread: This is a trade with someone else, I cannot let him down

  1. #1
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    This is a trade with someone else, I cannot let him down

    hi, I'm new into this place and by no means a pro, I just happen to like to draw, some guy in second life asked me to put a new spin on his character thus making it the wolf centaur you see there, I'll proceed it to shading it if none finds a major defect (which I doubt)

    and I also have been going thought a bad crops period meaning that I'm very eager to draw but nothing is good enough.
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  3. #2
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    Unfortunately there are some major anatomy issues here. My first suggestion would be brushing up on the basics of drawing. A good book for that is andrew loomis' "fun with a pencil" which you can get here

    But since it sounds like you really want to finish this soon I suggest looking at pictures of humans, wolves and horses for reference to guide you in construction. Don't try to copy them mind you, just pay attention to the important shapes involved in each.
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    I will have to tell you that, I'm very sorry to say, pretty much the entire drawing is a major defect in all possible areas. However, and I'm sure that this will also remedy your art block, you can fix it all quite easily by just doing some studies. Studies that will sure enough take time but they will pay off tremendously in the end.

    Seeing as this is a humanoid-wolf/horse hybrid, I would suggest you look up skeletons of horses, wolves and people, observe them, copy them and when you have gathered enough knowledge of them, try to combine them to make the creature you're going for. Your drawing is lacking in the very fundamentals. All of the basics are there and the limbs connect in the right places, but I doubt that you know how the leg and body of a horse (or human for that matter) are built up on the inside. To make your picture more convincing and generally appealing, it is rather vital that you learn this. You don't start with the outer shell, you start with the basic structure and then flesh it out.

    Regardless I do take it you're looking to finish this piece, so I suppose my advise is more for future reference. I did draw you a redline to maybe help you out a bit. Do note however that the legs in my redline are a tad too long (or otherwise disproportioned). I had to rush it a bit.

    This is a trade with someone else, I cannot let him down
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  6. #4
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    I knew I was bad... and thank you for the correction. Lhune, that is the kind of human-to-horse junction I wanted to achieve I'll put it on my files.

    I still feel embarrassed for showing up here :/
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    Since you seem largely interested in the anthro side of things, I'd add a good animal drawing book or two along with the Loomis that Wooden Mango suggested. I'm especially fond of The Art Of Animal Drawing by Ken Hultgren, but others may have their own recommendations.

    The things you really need to learn the most are:


    • Drawing three-dimensionally (that is, creating solid volumes rather than flat shapes on a flat page)
    • Construction (such as what Lhune did, working from general interior shapes first and developing the image from that)
    • Perspective (how to ground the feet so it looks like the figure is standing on something, whether you can see the top or bottom of body structures, etc.)
    • Anatomy (both human and animal)


    As others have recognized, this all takes a long time so it probably won't help this piece much, but if you're serious about getting better it's more than worth it. And then you'll have the satisfaction of seeing future pieces get better and better.
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    what's the best way to start practicing I read all the stuff and I feel overwhelmed by it.

    does being a chemistry student helps?
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    It is a bit overwhelming, isn't it? Drawing, let alone painting, is a much bigger thing than a lot of people expect.

    Getting started is pretty straightforward though, you take the same approach as drawing itself. Simplify, and build from there. In your case, I'd say start with the basics, learning to work with basic volumes (not shapes) and drawing loosely, with confidence.

    Here are some links to stuff you can use to get started:

    Karmatoons (aimed at animators, but the solid drawing skills are the same)
    Preston Blair, that one's a gold mine in itself
    Simplified anatomy
    How to hold a pencil
    Perspective 101

    That should be more than enough to get a good solid start. Otherwise, draw real things as much as you can (stuff on your desk, stuffed animals, people, pets, etc.) and just plain draw a lot. Preferably on real paper with a pencil. Keep at it, and you'll definitely get better.
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    "Skill is the result of trying again and again, applying our ability and proving our knowledge as we gain it. Let us get used to throwing away the unsuccessful effort and doing the job over. Let us consider obstacles as something to be expected in any endeavor; then they won't seem quite so insurmountable or so defeating." - Andrew Loomis
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    here, something I amassed so far I used to be better thaI am now, it seems that without guidance I get rusted
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    Not a bad start, given where you're at. One thing, try to avoid that straight-up-and-down thing you've got going on in the left. I'm not 100% sure you want the lower anatomy to be horse, but since it's got hooves I'll run with that. So looking up skeletal anatomy of the critter in question I get this image. Note how the bones themselves have a bit of a curve, as does the muscle over it. You want to shoot for that when you can.

    As a general rule of thumb, curved lines of action (see that Preston Blair link I gave you for more on that) are way more dynamic than straight. You want to think in C's and S's, rather than I's.

    Also think about how that skeleton is put together. The leg bones join about a quarter of the way down the ribcage, so the leg can support that big mass like a pillar supporting a building. A slightly springy pillar, mind, so there's some shock absorption going on. The back legs are the power, so you've not only got those really strong muscles back near the rump, but the bones are sturdier than the front to handle pushing out all that force.

    It's all got a reason, and the better you understand it, the better you'll be able to put it together in your art, or adapt it to fit your needs. For instance, look at that strong shoulder bone on the horse. Why, that could double as the pelvis for the upper half, how handy! Remember that the pelvis and ribcage on a human are tilted in opposite directions on a human. That's the sort of thing you're keeping an eye on at this stage.

    Keep at it!
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    "Skill is the result of trying again and again, applying our ability and proving our knowledge as we gain it. Let us get used to throwing away the unsuccessful effort and doing the job over. Let us consider obstacles as something to be expected in any endeavor; then they won't seem quite so insurmountable or so defeating." - Andrew Loomis
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    well I agree with you, about the stiffness of this particular figure, I never tried to make it fluid I want to pose like it was a ref sheet just to show my new frame for my centauroids different to the old one which was just a bunch of sticks.

    one I pull that one off properly I will start making it more dynamic, such as running, walking or being uppercutted,
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  13. #11
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    Apart from the great anatomy advice all ready mentioned, when you do get to the painting stage I would use a background that is not white. Right now half of the creature just melds into the Background making it hard to see the full anatomy.
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    here, I gave the whole assembly some movement, and placed it in a 2 point perspective, it was a small foil so I had no idea where the vanishing points are exactly
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    Hey, that's pretty good! It's a huge improvement over what you were doing since you're now building the character out of simple shapes and putting him in a space. You don't need vanishing points for that though. Ideally you want to learn how to draw a perfect box in perspective, freehand without vanishing points, and apply that knowledge to the box forms of his rib cage, pelvis, and head.

    Also draw the nude figure from reference every day.
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