Join 500,000+ artists on ConceptArt.Org.
Its' free and it takes less than 10 seconds!
I've started my latest - yay, seems my drawing vein is back!
I'd like some input on this one. It's still very rough, and I'd love to hear what you think in regard to placement, anatomy, and readability. Or anything else that you notice.
Last edited by GoldSeven; September 15th, 2006 at 05:37 PM.
Nice Sketch. I'm really digging your characters... absolutely loved the piece you posted in "finally finished"! That said, here'r a few little things I noticed...
Very good anatomy and feeling of solid 3D on the horse's head... his ear placement might be a little off. Also his front leg might be a little thin.
The person on the ground looks to me a little too thin and "scrunched" in the shoulders.
hallo, a little germaning:
gefällt mir recht gut, schöne stimmung. dachte zuerst, der reiter hätte ein seltsames bein, bis ich gemerkt habe, dass es der arm des anderen ist. lässt sich vielleicht mit farbe beheben, oder du schiebst das becken des reiters etwas vor. der stehende ist wirklich etwas zu schmal, nicht nur die schultern, auch der brustkorb hat da keinen platz mehr. zeichnest du zu beginn eigentlich ein grobes skelett vor, ich mach das mittlerweile, auch wenn ich früher immer dachte, dass ichs nicht brauche. ich würde beim zeichnen eines oberkörpers vor allem auf die wirbelsäule und die schlüsselbeinknochen achten, somit verliert sich die steifheit (die wirklich nur im oberkörperbereich da ist).
dem bild an sich könntest du noch (keine ahnung, wie der storybezug ist) mehr dynamik verschaffen, wenn du das pferd in eine stärkere schrägstellung (kopf mehr nach links) und den "stehenden" in die andere richtunglehnst (vielleicht sein arm mehr gestreckt). aber das ist nur der gedanke eines action-freaks, vermutlich willst du ja diese ausgeglichene ruhe.
bin gespannt, wies weitergeht!
sorry for this, but my english......
WORKING CLASS HERO
-->visit my sketchbook<--
Thanks for the input, Arne! I'm going to redo Aidan (the guy in front) completely. Normally I do a skeleton first... but sometimes I get carried away fleshing figures out when I shouldn't. Got me. Thanks for the tip about backbone and collarbones!
I'm going to see if I find a way to keep the horse's head turned to our right, maybe lean Aidan to the left - the horse should stay more or less like that; he's shying, not bolting.
Hey man, I really dug you piece in the FF. I can feel this one's gonna be great too. I think I problem for me is with the front character's back being completely turned on us. If you could find a way to show him in mid turn or something I think it would be solid. Did you think of a worms eye view?
Augh - no, I'm not going to try any too aspiring perspectives here. That one-point perspective in my last one was about the extent of what I can handle right now
Normally, I really go out of my way showing all faces in my pics, and in this one, I didn't want to sacrifice credibility just to show all the faces. I guess the best thing I could do would be to convey a sense of urgency in Aidan's (the guy on the ground) pose alone, so we don't need his face.
I've done a few more sketches for his pose, and right now, I think C shows the urgency the most. A is mostly the last version you saw, only with his shoulders broadened.
C is definetely the best. Although it creates a distracting negative space in the lower right. Buuut, that comment is completely irrelevant considering it's not colored or finished and therefore does no one any good..... I apoligize.
The overlap of his right arm over-top the riders left foot is wierd.
Great sketch, I also like how you've opened up the compisition to show the entire head of the rider.
Of this batch I lean toward C... A and B still block the viewer out with Aidan's back... and the hidden arm positions in D seem a bit complex. One minor tweak I'd suggest is to maybe lean Aidan a little more to the left so that his head blocks more of the horse's neck (as you've done in version D). This would give him a stronger left-arm hold on the horse's head as well as giving you the opportunity to open his pose up towards profile just a hair more.
How about this...
**Finished Work Thread **Process Thread **Edges Tutorial
Crash Course for Artists, Illustrators, and Cartoonists, NYC, the 2013 Edition!
"Work is more fun than fun."
"Art is supposed to punch you in the brain, and it's supposed to stay punched."
Hmmmm...! Easy, and effective.
I've tried around with more space between the horse's and Aidan's legs (as in Elwell's version) and my pose C... which I'm growing rather attached to. Problem: A lot of the urgency is lost with Aidan not holding the reins. And if he raises his hand, he hangs there like a monkey.
Edit: Scratch this version. Looks stupid, and nothing is gained by it that wasn't already there in C. I think I'll either go for C or Elwell's idea.
Last edited by GoldSeven; September 12th, 2006 at 11:16 AM.
Elwell beat me too it. The greater horizontal distance between Aiden and the horse helps create more space in the composition, more like a triangle and not so much aligned with Llywelyn's noggin.
Each pose is also saying something different.
A is neutral, "Make sure you find a place to launder your underwear when you get there."
B is similar, but a little more dynamic, "We're going to miss you terribly!"
C is totally different, "You're not taking my horse! You ride your pig!"
D is also different, "Watch the road! There are R.O.U.S.'s and vermicious knids!"
You obviously know what he's saying... act it out and really sell it (make us know).
Looking really nice, though.
"Watch the road! There are R.O.U.S.'s and vermicious knids!"
That would be it.
Although I still think C would fit that too, with an undertone of, "And if you don't leave this instant, I'll throw you home on a catapult!"
Last edited by GoldSeven; September 12th, 2006 at 11:31 AM.
Since you don't seem to mind work-overs, this is what I'd been trying to explain in words earlier.
Darn you Dogfood, now I need to draw some Vermicious Knids.
Ah! Thanks Throm! Yes, I'm a very visual person and I don't mind redlines, ever. Almost ever.
I've pursued both your idea and Elwell's - and this is the result.
My thoughts: I've completely messed up version A. And if Aidan's pose conveys more urgency, the cluttered forms utterly ruin it. The other one is a whole lot easier to read*, the forms are clearer, and I've loosened Aidan up a bit and made his pose less stiff. Tilting his head did the trick for me. What say you?
*And, of course, you see more of that very, very nice horse. He's a strawberry roan - should be fun to paint.
(And, by the way, you've been such a tremendous help already! Gods, am I glad I found this place!)
Last edited by GoldSeven; September 12th, 2006 at 02:47 PM.
So, I went for version B and I'm well into colouring. The shading/colouring isn't halfway done yet, so never mind that.
What I wonder is: I was doing the warmer version on the right and then realized that I had this scene take place at dawn. So I fiddled a bit and want to know: Does the left scene say "dawn" to you? It's not supposed to be the "glory, glory allelujah" sort of dawn, but the "sun creeps up behind hills, draining the world of colour" type.
The orange lighting I've put in on the left pic is a two minute job, just to define a lightsource for the rising sun.
I'm really warming to the dawn version... I've never tried this before, but it looks surprisingly dawny to me.
wow i like it a lot i think i like the darker poic better gives it more of a dramatic feel to it