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July 4th, 2005 #1
Darn That Evil, Immortal Sorceror! (Illustration Activity WIP)
First, the thumbnails. Number 6 was chosen with the adnotation that the dragon should be a familiar, not a mount.
This is the sketch I came up with. Not entirely finished, but I usually add the details when inking.
Picture removed to save bandwidth. See below.
First of all, I'm sure there are errors I didn't notice, so crit away. Second, I'm thinking of attempting full digital on this (without inking and without the lines showing in the end), but I've never done that before, so I have no idea how it'll turn out, especially with me using a mouse. I might ink it anyway, just for the fun of it, but for now, I need to work on the sketch. Fire away!
Last edited by Aremah; August 17th, 2005 at 09:10 AM.
Hide this ad by registering as a memberJuly 4th, 2005 #2
seeing as his left arm is closer to us, shouldnt it appear longer than the right? at the moment were seeing the reverse. his left leg should be a little out to the left to look more natural cause at the moment hes going pidgeon toed. his butt is a little off, too. flying dude seems ok. composition is lacking. youve got a focus point, yes, but its uninteresting. the bad guys in the back are too evenly spaced out. id expect a little more disorder, and perhaps more of them. to add another element and further the predicament the gunner dude is in, why not have a few of the bad guys closing in from behind or an off focus one right up in the foreground? hmm..
July 4th, 2005 #3
The left arm is slightly bent, but then so should be the right one. I'll correct that later today. The butt is wonky, yes, I'll see what I can do. The guys in the back are just to fill up space, I don't want to clutter the picture with them (the theme is the confrontation between the hero and the mage, as per the activity). The leg I'll try to fix.
As for interesting, this is the first time I've thought about it, but it seems to work for me (although I know what I intended, so that may not be the best argument). Namely, my eyes are drawn to the hero first, and then follow the direction he's pointing to find the sorcerer there. Does it work for anyone else?
July 4th, 2005 #4
I'd make the sorcerer a little bit smaller to make it seem like he isn't hovering above the hero's head.
July 4th, 2005 #5
Tried to address the previously mentioned issues (except the smaller sorceror one; I might attempt that later digitally just to see, but I think he's fine as he is) and did a little bit of cleaning up. Update:
Picture removed to save bandwidth. See below.
Last edited by Aremah; August 17th, 2005 at 09:09 AM.
July 4th, 2005 #6
if i were to re do it. i would stress the foreground element to be even closer to the viewer. The creature is very vertical right now, i would have like to seen it in some sorta forced perspective. Also, if you lower the horizon line it may give it some sense of drama that can really affect the piece, the villan would be inthe air with a little upshot view and it would be as if you were behind the hero while hes blastin away. possibility for good piece here.
July 4th, 2005 #7
I would've picked thumb 2 for that very same reason. Still, the 'client' decided that thumbnail six was the one to go for, therefore I am limited in this aspect.
July 6th, 2005 #8
The angle of the sorcerer on the leg was bugging me. Did a quick fix, what do you think? If there are no glaring mistakes in this one, this'll be the last update before digital.
Note: the grey smudging is not pencil, it's the result of 'scanning' with a camera (which catches every single little bend or whatnot in the paper, and it has quite a few of them due to the reworking).
July 7th, 2005 #9
This is looking really good. The modification of the leg was a good call. I can't see any major anatomy errors and I like the composition (with so many lines of action going toward the villain).
One thing that I would like you to do (especially because you're so far ahead of the deadline and it looks like you're very motivated), is to do a little acting. Since you have a digital camera, I'd like to see if you can set up the scene in your mind and then pose as the hero and villain. One key to this is to really overact; just ham it up. Give each a back story that would drive them to high emotions (not necessarily anger) and really drive that forward. Right now, the hero could very well be shooting for the big stuffed Pink Panther next to the mid-sized polar bear stuffy, hoping that this will help him score with his girlfriend after the disasterous hot dog incident earlier; he's sort of stiff, with no body twist and only the raised leg for body interest. In the thumb, it looked as if the villain had just burst forth and our hero pulled both pistols and whipped around on the dastardly guy. The villain, too, doesn't seem to have the energy from the thumb. Originally, he was bursting from nowhere, ready to unleash nasty, sparkly death on this meddlesome dullard. Now, he's got a floaty thing going and is approaching a group of sprinkler-head salesmen at San Fransico airport, hoping they will accept this flower and wondering if they'd like to contribute to the Church of Peace, Universal Love, and Legalized Marijuana.
So, the drawing is pretty good, but I'd like to see you infuse some more emotion into it.
July 7th, 2005 #10
The way I figured is the sorceror has just lifted himself on the ground. He has a calm expression because he's aware of his advantage and is concentrated on what he's doing, at which he's obviously the master. The hero is probably slightly scared (if we could see his face), but he has just drawn his guns and pointed them at the baddie as an immediate reaction, while trying to step up to higher ground.
I see what you're saying, but to tell the truth, I'm not sure I can convey all that with my current skill. I know for a fact that if I try to meddle with the existing picture, I'll ruin it. I'll try to redraw it, however, and we'll see what happens with that.
July 7th, 2005 #11
Yeah, I know what you mean. I could tell you were going for the confident villain (like the ones who tell James Bond the entire polt prior to leaving him to his almost certain doom), and the climbing hero. It's just that there is some much energy in the original thumb. I also know that redrawing can sometimes be worse than the original, but only when you're trying to draw the exact same thing. I find that I learn a lot from a redraw.
The calm face is fine, but look for a little more emotion in the hands (villain). Post a couple just random villain studies; have fun with it and don't get too wrapped up with making it perfect (that's where a lot of the magic happens).
July 7th, 2005 #12
Here's the deal as of right now. I'll try to post a new sketch tomorrow (probably rather rough). I've just learned that I will be leaving for what is probable to be two weeks holiday on the 15th, meaning I have to be done before then, so either that new sketch will work, or I'll just have to work on the current one. I want to get this done.
July 10th, 2005 #13
Not a chance. Some personal shit has happened and I am stripped of any creativity at the moment. I do believe I came up with a better layout, but I've now attempted five times to draw the pic from the ground up, and either it doesn't work in my current situation, or it looks virtually the same.
I now have four days to finish this all the way (not counting today, I have other things to do), so I'll get on the shading tomorrow. I'll keep posting, of course, but meh. Sorry, Dogfood. I was really hyped up on this, but with everything going on, I'll just be forcing myself to finish and hopefully learn something about working under all sorts of pressure.