So your first was refd on that Henry Rollins photo... I must say you haven't learned to see things well. Practically every feature is way different than the original, making your drawing a dull face and the original was so interesting and had a very different expression.
Practice, I guess. It doesn't matter how long you drew faces, you need to practice them much more.
You need quicker, bolder strokes as well and you need to draw a lot in order to get there as well.
And you do something strange with hair. It's hanging from the head, flowing strangely, random, uncertain, the opposite of good cartoon hair. If you don't know how to draw hair, look at some good reference.
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Though it's more towards the sort of Disney style you're not interested in, you should check out Rad How To - it's a great resource on how to apply structural knowledge in an energetic, cartoony way This post in particular makes a strong point.
You mention Pendleton Ward and Kate Beaton as examples. Well, a lot of the appeal of their art comes from a strong sense of design, expressiveness, energy... they're all somewhat nebulous concepts, as is appeal itself. Kate Beaton especially makes fantastic use of line, flow, gesture (though maybe not in the sense you'd normally think of it)... Their work is simplified to the point where it makes the most impact and, as Grunler points out, your work right now is missing that impact.
Last edited by Revidescent; May 7th, 2012 at 06:33 PM.
Reason: I accidentally some words
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Kate Beaton's great because she's really funny. Part of it is in her writing, part of it is in her off-the-wall history-and-literature-nerd ideas and part of it is in her ability to communicate story and emotion through drawing. She's a lot better technically that you seem to realize.
Originally Posted by TheDonQuixotic
If you want to improve as a cartoonist, draw some comics (and post them online for feedback). The story, and how you tell it, is the important thing. Once you actually start telling stories visually rather than just drawing heads, it will be immediately apparent what areas you need to be working on.
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That's a good point. And I actually do think she is good, I'm just trying to understand why I think that.
Originally Posted by Giacomo
Having the context of story etc is important. I think you make a good point.
Thank, I'll check it out. I'm also going to try and understand what I can do to improve my line stuff.
Originally Posted by Revidescent
Thanks Grunler. The paint overs help a lot. Thats a lot of what I'm having trouble is visualizing the differences people are talking about. There are a lot of little points I'm forgetting, and I think that having them pointed out to me helps. They all add up in the end.
Originally Posted by Grunler
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