trying to get out of stuff I am use to do
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    trying to get out of stuff I am use to do

    I actually wanted to create a quite dirty look, but it seems to get more naive and clean and I am not sure if the sketch is the problem or just the way I am starting painting it. I prefer not to get much in many details with my sketch, when I am going to paint over it completely later on.. a bad decission? I would love to hear some oppinions. thank you for taking your time

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    Last edited by GregorKari; August 27th, 2012 at 06:52 AM.
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    TinyBird is offline Why you gotta be an angry burd Level 16 Gladiator: Spartacus' Retiarii
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    The second image is way too large.

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    it should be better now

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    I am not sure about the black outlines. I mean, I want to get some black in because I try to avoid loosing the contrast, but should I keep it at the borders?

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    Well, I guess I am stucking now again in the same style like I always do. I am also not sure, if the skin is still too shiny..

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    Well there should be a lp in her left hand, maybe I got to twist the hand to show it better.

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    well thats it..

    inspired by an old strokes album cover..

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    I'm not sure where the random wobbliness in some of your lines is coming from, or what purpose it serves. Is there a reason why your initial sketch layer was simply turned off, instead of cleaning up the lines, then painting on top of them?

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    do you mean the borderlines and highlights? I am still trying to get more exactly. The reason I did that in the highlights was that I wanted to get some randomness in them - not sure if that is good or not. Do you think, it is just because I am doing my strokes not patiently enaugh or is there any trick to do them better?

    The sketch started confusing me because I did not know how to go on with the face.

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    I'm speaking of the left shoulder, right breast, and left side of the waist to name a few. There are strange and irregular lumps there that do not make sense from an anatomical standpoint. You've shown smoother curves elsewhere in the same picture, so I figured it wasn't a control issue. When dealing with outlines in linework, I don't think randomness in the form of wobbly lines works.

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    Oh... I see. I guess I just did not really think much about it, but now that you say ... What do you think about the reflections and highlights - have you got any advice or thoughts for these too?

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    Where's the lightsource? Generally the lighting is strongest the nearer the bodypart is to the light and that also helps on creating depth, but the whole side of the woman seems to be lit with equal light strength all around. But her light source doesn't seem to be the same as the robot's.
    Overall her lower body looks flat (from this viewpoint you'd see the forms that go around the body but all in this one are borderline flat) and nothing seems to be very convincingly in perspective (like the woman's other shoe doesn't seem to have anything to do with the suggested ground plane).
    This is a hard view to pull off, so did you use references?

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    well the lightsource should quite come from the same direction as the camera looks from, a bit more up.
    I guess I should do a more defined sketch again next time, maybe that can fix the perspective problems. no I did not take any reference. To me it was more important to let it look funny or dynamic than realistic. But I am not sure if that worked (right now I am just confused, because I ve been looking at the picture for too long).

    Sometimes I got the feeling it is just too much at the same time to think about.

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