Playing with line weight

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  1. #1
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    Playing with line weight

    Playing with line weight

    So, I decided to try fooling around with line weights last night, and after an hour of work, this was the result. Pretty happy with it, but I know it could have been better. Any one feel like telling me what to do better with it? Crits are VERY welcome! And yeah, I know I messed up on the joint of the arm, and the toes on the feet but I'm still happy with it.

    Before you ask, think about this...

    Do you think -I- have any idea about what I'm saying half the time?
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    Don't take any of this the wrong way, i'm going to try and analyze it the best i can.
    First off, if you didn't say that you tried to achiece line-weight variation, i never would have noticed it because you made it so subtle. Don't be afraid to get in there and draw the hell out of it, the worst that can happen is you'll have an unsuccessful piece. It's inevitable in the process of learning, more then that, it's crucial to the process. Another thing you need to do is study anatomy, really get in there. You have some basicsdown such as height, size of the head and some other things, but you also make some mistakes, like the entire facial structure, tiny hands, overly long legs, strange feet, and utter abscence of ass The background doesn't do anything for me either, it looks like a mix of fantasy stuff with rocks floating in the air, and sci-fi stuff like technical descriptions floating around her. So, my advice, take various pencils, with different hardness and maybe different lead sizes, and start using them all in one piece. Also, try shading, as generally conveying light and form using solely line-weight is something only masters can do. Keep it up!

    edit;
    This i think will illustrate my point better, note the difference in line in the figures.

    Playing with line weight

    Last edited by dusty imp; November 16th, 2004 at 11:00 AM.
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    Nice crit, Yutani.

    I agree with everything above and would further say that instead of just varying line weights, figure out what your figure is doing and decide where you want the viewer's eye to go. I can't find the thread now, but you can do so much with line weights beyond implying shadow; motion, focus, shape, so much more.

    The key is to get some milage on your pen. Get out there and make mistakes; lots of them. That's a much better way to find out what works than to carefully inch along, fearful of error. Living in fear is no way to live.

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    Thank you! Thank you thank you thank you thank you! This is the type of crits I've been looking for! So helpful! ^___________^ You have now made me happy. I'll try doing some of the things you people suggested tonight. Once again...

    THANK YOU! ^_____^

    Before you ask, think about this...

    Do you think -I- have any idea about what I'm saying half the time?
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    http://www.conceptart.org/forums/showthread.php?t=28090

    This thread should really help you out for line weight, especially with some disciplined practice of it, not just reading the theory.

    Lineweight is definitly worth studying, observing in excellent drawings and experimenting with.

    At the end of the day, its a trick, alot of drawing is about tricks

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    Face, hands and feet... the big three of getting a figure to look like a figure.

    The face- the eyes are on an angular plane in relation to the roundness of a human head. The cheek bone is supposed to go to the lip/ mouth line and yet yours has it going to her nose. Be VERY aware of the hair too; right now it looks as though it's indicated as architectural wood grain. Let me see some light & shadow play on that hair; give me some fluff to it!

    The neck also needs some help. Tha additional line in the neck doesn't need to be there. I'll assume you were thinking of the carotid artery but directionally it's not connecting properly. Make it go to the back of the ear lobe if you're going to indicate it at all.

    The hand needs some believability there. What kind of grip do you have there? Make the hand look as though it's got some flexible fingers capable of movement. Shoot the reference for the hand if you must.

    And the feet. Ouch! If you were to finish drawing through her left foot, it'd be stepping on top of her right foot's toes. Again, this is another incident where some reference shooting would save the drawing.

    As far as the background goes, they don't help the figure any. They're almost a distraction. If you're going to use them as a design element, then design them out to showcase the figure not to be floating disjointed pieces. use proper drafting tools to ink down your circles and rules too.

    Hopefully these hints will help. Keep drawing!

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