I forgot to link the previous thread in the OP. Here it is >>43800
I'll start drawing again once I move out to start working and have some privacy. That is if there will be enough time and energy left.
Sometimes the topic chosen helps the drawing processhttps://theoatmeal.com/comics/angler
you're good. maybe you could do one of those videos where you draw from start to finish? those are fun
I really like this one, good job.
Pro tip: downsize your pictures, especially 3000x2000 photos.
nice, i love the second one in particular.
Nice job, wiz. You are a talented man.
I very much enjoy your Knight drawing. You do faces well, anon.
I want to post my shitty paint.exe drawings here, but I feel ashamed compared to all the good art here.
There's no pressure, feel free to post your drawings and doodles. If you're learning art, it's sometimes helpful to put your art out for other people to see because it brings positive feedback and it motivates you to learn and practice more.
It looks like one of those movie cover pósters
can't get tablet working on penguin
(drawn in windows)>>48671
Nice. If that's what you can pull of improvising without even using an eraser you probably make masterpieces when planing things out
I have an itch to draw little furry witch kids but not the skills to scratch it>>49024
Really great progress. The thatched shading definitely has more impact than the former.
How do I quit drawing?
It's like a bad habit I can't drop which makes me feel awful every time.
Draw a fetish hypocritical succubi will martirize you for, even though you post it in a website that allows it, no, welcomes it with open arms..
Draw more furry wizards!
Still a cute wolf. It's nice to see one portrayed out of their natural beauty rather than…prejudicial discrimination.
>>49057>It's nice to see one portrayed out of their natural beauty rather than…prejudicial discrimination.
What does that mean?
Show a succubus "Perihelion" by Nick Cross when they're "moody" https://m.youtube.com/watch?v=Xnm19--Ic9E
and they'll show you this.
I like them.
They're like little hallucinations you get when you've smoked a lot of shrooms.
>tfw ywn have talent
that is really cute!
very nice. good work! original artwork? >>48460
good work! perspective is hard.. keep it on
Reminds me of Benkei
That's really cute and well done. For a second there I thought it was one of those pre-production concept arts or frames that are colored in pencil to an anime I've never watched. Really cool.
can you please do more?
If it's anime/cartoon faces you want to get good at, the best way is to expose yourself to a constant stream of character illustrations and get a sense of the size of the facial features, how they are distanced from eachother, and how they scale in comparison to the head as a whole. Observe the whole face consciously and take mental measurements. There are no guidelines for what's objectively good or bad, but artists of both Eastern and Western styles have reached an equilibrium of proportions based on universally established tastes through decades of drawing all styles. Whether it has realistic feature sizes or is a cartoon with blown-out proportions, there's a sweet spot of size and placement that can only be reached via thorough exposure to works similar to that which you wish to produce. Basically, just look at character illustrations from artists who's work you enjoy and take mental notes. Constantly. That's not to say you should strive for mediocrity and just copy others, it just means that if the characteristics you've drawn don't match your own tastes for what looks good, you'll have trouble reproducing it and probably won't want to anyway, so it's better to aim for what you know looks good, understand WHY it looks good, and then deviate from that gradually until you have something of your own that you appreciate and understand enough to replicate reliably.
If that is your drawing, then I'd say you're on the right track to drawing anime style faces should that be your goal. I say this because the face you've drawn looks good to me on a subconscious level, and when I observe the image consciously, I can see that it is proportionate and overall lands within the established "status quo" equilibrium that popular illustrators draw within. While the illustration as a whole is simple, nothing about it juts out as having been drawn without a knowledge of general proportions, nor without a style you've purposely aimed for based on your developed preferences.
If it's realistic faces you want, with lifelike shading and no shortcuts or simplifications related to animating or rapid drawing, then I have no lengthy experience. It's probably the same as stylized works; just look at photos and study from life, making conscious notes of the sizes and distances of features, while also observing the curves of the silhouette from multiple angles and developing an understanding of the geometry. Deduce a face to a simple topological model and then smooth it out to suit your taste. Do this all while realizing what you already subconsciously recognize as "looks good" and then rationalize what it is about a good looking face that makes it look good to you personally, then apply those good looks on to what you have come to learn is a realistic head model. Above all, having an understanding of perspective, basic musculature and bone structures, compositing, and all the other basics helps a bunch for realism.>>49662
I'm glad you like it. I had fun playing with color like that. I recommend anyone who draws digitally to do a quick sketch every now and then and just play around and experiment with different ways to color it in. It's quite therapeutic.
Doodled Futo again.
/b/'s new favicon???
I have to check some tutorial on how this thing works. I get lost too easily and fuck up a lot of movements because I don't know how to use the tools at my disposal.>>49697
I'm working on an improved wizard. This one is not even the right colors. We'll see.
what does it have to do with /b?>>49698
You get that pattern effect manually or just by saving a regular gradient in some limited color format?
The following is a bit of a ramblings post but it's still on topic of drawing.
I started taking interest in, and eventually started drawing a couple of years ago, in 2015 or 2016. I know how infinitesimally small the period I've been actively drawing is, it's a craft people can learn for decades and still not have it fully mastered, but the lack of progress is simply killing me inside. That's not to say I didn't improve at all, in fact, if I were to look at drawings I did when I first started they'd be nothing like what I can do now, it's more of an "inner feeling of progress" that I don't have and that, in turn, may ultimately be the true indicator that I haven't improved. I tried to pinpoint what is it I must have, know or do to feel that I'm making progress for a couple of months now. The good news is: I think I found it; the bad news is: I'm not sure if it's even achievable for people like me who don't have a natural predisposition towards art.
The name of the thing in question is perception. Artists perceive the world differently. I read a bunch of articles on the matter and observed some of the behavioral patterns of mine to compare them to what artists do and see "where I went wrong", so to speak.
If I were to sum up everything I'm about to say, artists are more "observant": they perceive the world with little to no "distortion" by the brain, they rely primarily on eyes to gather information about the world around them and they might utilize additional visual clues like color, light and shadow to properly interpret things like distance and depth.
Now, to elaborate.
The "distortion" I was talking about is kind of a filter our brain runs everything we see through to sift away all the unnecessary visual information, or rather to avoid processing it. For example, say we have a pillow that's lying on the bed, if we were to enter this bedroom, look around and notice the pillow we'd simply get the general idea of the color of the pillow and its position and that would probably be it, a simple abstract image or a "marker" onto which we ascribe this general information; the additional details we would discover if we were to look closer, like frills or an ornament, we would perceive rather reluctantly, without looking much into them, opting out instead for a general idea that the pillow is of so and so color with so and so characteristics; and after all that, we wouldn't even pay attention, not once, to its proportions in relation to the bed, its creases and folds, its shape, and that's not to mention its surroundings, even if it's empty space. The biggest takeaway from the example above, is that everything I stressed is something we don't perceive as it's something that isn't necessary, and we seek the most vital data: that what we see is a pillow, its location and some of its general, abstract characteristics, i.e. "it's mostly green, has an ornament and frills"; an artist would take notice of additional details and in a more concrete way, noticing the exact shapes in the ornament, extra colors that aren't dominant, the patterns hidden within the frills and even things like folds, exact position and rotation, the empty spaces within his cone of vision.
Another example: take any object you're used to seeing, tilt it and see if you'll feel uncomfortable, see if you'll try or feel the urge to tilt it back inside your mind. An artist would perceive it as it is, with no discomfort whatsoever.
Artists primarily use their eyes to gather information about the world and focus on visual data. It's related to the first point I was making but it is a different angle of the problem. When you look out your window, do you find yourself concentrating on the things you see, or does your gaze simply glide about, looking somewhere far beyond? If it happens to be the former, you have some artistic predisposition. As for me, my eyes rarely focus on anything, and when I do focus, I have to strain my eyes and it's simply uncomfortable; it's enough for me to run my eyes over the view to get the general idea where the trees are, where the houses are, that sort of thing, I don't feel compelled to focus on them and my eyes seem to have grown weaker because of that.
Another example: the way I navigate around my town, my apartment and pretty much everywhere is through "making paths" and using the simple "left, right, ahead, behind, above, below" thinking.
Another example/Personal anecdote which is related to both the first and the second point: it was (and still is) subconsciously immensely difficult for me to wrap my head around the fact that earth on which I stand "goes up" and converges at the horizon which is basically my eye level, because I know that the surface on which I stand on is flat, I can feel it with my feet, I can touch it, there's no way it can occupy half of my vision! And what do you know, I actually never perceive the surface below me with my eyes, because why would I? I know it's flat, I can feel it, it's all the same ground, the same dirt or concrete pavement, why bother looking at it? This line of thinking I never truly abandoned, and never will, because I'd be forcing myself to think differently. On a somewhat related note, the same principles kind of apply to houses and other things that surround me. I perceive the side that isn't converging towards the horizon and disregard everything else, like in the picture attached, because it gives better representation of what the building is actually like, allowing better navigation.
Now for the additional clues artists use. Whereas we can intuitively understand the height and distance at which things are located, artists use their eyes extensively to confirm that information through additional observation. The way shadows appear on an object when light is cast on it give them an idea about the form of the object, the size of objects in their view, how they overlap, how close they are to the edges of vision and the horizon line give them an idea of how far they're located (like in the picture attached, POV when looking straight ahead), while an average Joe would think of just the overlap, etc.
And I guess I'll throw in a fun fact: certain visual impairments, like conceptual blindness, strabismus and lacking one eye, may aid people in drawing, ironically.
Consequently, it's easier for artists to translate what they're seeing onto a flat, two-dimensional surface, create an illusion of a three-dimensional space and maintain believability throughout.
I am not sure what to do with that information. I know I will never be able to perceive the world as artists do and draw good as a result despite wanting to. It makes me feel bad and I guess I will quit drawing now that I've rationalized these truths more or less. To be honest, I've been telling myself this often lately, but I could never do it, I always doodle when I'm bored, it's a compulsion of sorts, but God do I want it to stop. The idea of bringing your fantasies to life sounds great on paper, but the amount of effort it takes to get there is immense and isn't worth it in the end, I think.
Then again, I'm not seeking to discourage anyone from drawing, I just wanted to share my thoughts and experiences and maybe try to conclude my history of drawing with this post here for good.
Youre selling yourself far too short. What may or not come natural to you should not discourage you from drawing. If you want to draw, draw. Its like if we gave up on flying because we didn’t have wings. Yet if you look up you can see aeroplanes in the sky. If you want to improve, then you can. Im sure its not impossible to train yourself to notice details. Look close at things and really analyse them and you’ll get better over time. Don’t let your mental barriers stop you. It would be a shame if you stopped now because then you would never know if you really could have done it.
I gave up drawing on tablet, I will just draw a page of sketches on paper a day and hopefully that will help and be easier to maintain.
That's what a lot of people end up doing. Drawing with a tablet is incomparable to drawing on paper or with a pen display. There's too much guesswork involved with where your hand has to be to get the stroke you want on screen. Many digital artists just draw on paper, scan in to the PC, curve tool the lines, then use the tablet for coloring and shading which doesn't require pinpoint accuracy.
Good luck with the traditional media
I forgot to add, item 3# is unfinished. There's still some work left to do on that one.
they all look nice and recognizable, you could use the different versions for variety or something
5= Books spread out on the floor(or any surface I guess)
6= Game console
9= Bedside drawer thing
11= Bedside drawer thing with glass panel and something in it
They are fairly easy to recognise but are they not at the wrong angle? I thought RPG maker games were more top down.
1 - Different variations of couches
Of all the variants I personally prefer the 1c one.
2 - Lamp
3 - Bed
4 - Rug/board game (?)
5 - Books
6 - Nintendo Gamecube
7 - Different variations of a TV
Can't say which one I prefer best as the TV must be placed along other things and in a complete scene to see what size would fit better
8 - Different variations of a laptop (?)
Same as the TV, except this time it's about the surface on which the laptop is going to stand
9 - Small cabinet
10 - Chair
11 - Small cabinet with a door made of glass with books inside
12 - Coffee table
Looks really nice. Are you going for a Yume Nikki-esque game?
Thank you. There will be variety of color.>>49833
Those are correct, thanks. You're right, it is top down but I want to give the bedroom this angle instead.>>49834
Thanks. Well, I guess you could say that, but the character never leaves his room to explore surreal environments. I hope it doesn't end up too boring. I want to finish at least one project in my life so bad let's hope I don't fuck this up. Once I have more of a thing you can actually play instead of spreadsheets I'll post about it here.
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The shoulder placement is a bit off but other then that it is quite nice.