/int/ – No shittings during wörktime
„There is no place like home“

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No. 14407
906 kB, 1836 × 3264
Recently, Kazahstan poster had an interesting idea about thread dedicated not to random pics, but for drawing and paiting and other kind of original content. He sadly not created one, but I think this is neat idea - when you learn how to draw and paint it always awesome to have help and critique, and I think with earnstchan quality of posting we can get very good reasults in help each other mastering our skils.

On op-pic I place my night fast drawing because it only thing I have on my phone right now that replated. Please, share with us your creations and ask questions.
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No. 14470
234 kB, 1536 × 1536
I drew this.
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No. 14508
>>14470
Do you have tablet, or you doing this just like by mouse?
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No. 14510
>>14508
I have an Ipad
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No. 14570
248 kB, 898 × 1197
This picture started in a small sketchpad before I cleaned it up and added color using my tablet. Drawing right now is slow and awkward, but not impossible.
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No. 14598
>>14510
How confort to draw on one of this things? I use Wacoom Bambo tablet.

>>14570
It is self-portrait?
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No. 14600
>>14598
I have an apple pencil for it so it's fairly easy to draw on. I don't find it any harder than paper really.
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No. 14627
301 kB, 1018 × 1272
>>14598
>It is self-portrait?
Yes, it’s kind of an avatar-me. I might keep tinkering with it to make the details more accurate. The muscles should be much bigger x:D.
Here I am vacationing in Paris
>Wacoom Bambo tablet
>>14600
>apple pencil
I’m using the Galaxy Tab A, with S pen, but also have a small Wacom which I'm still getting used to.
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No. 14640
597 kB, 2000 × 3000
>>14627
Nice caricature-cartoony style. Simple, but indeed finished character.
I, in comperacing, often starting drawing something overcompicated for my skill level and often never managed to fisih it. Like I made some scetch, but don't know if I have enough skill not even to paint it or start background, but if I'll be able to finish sketch peoperly.
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No. 14682
>>14640
>drawing something overcompicated for my skill level and often never managed to fisih it.
I have a similar problem. While I can finish cartoons like the above, I struggle in more "advanced" styles. In most of the oversized stuff I usually work on, I erase so much I almost go through the paper. I almost never finish them, but draw until I'm certain the next line will make it worse. It's a tradeoff; do I want to finish something, or do I want to get better? There's no better way to learn than getting in over your head, even if that means drawing a foreshortened face wrong twenty times in a row.
It's strange talking about finishing drawings, since the picture I posted is the first thing I've actually finished in over a month. The sling really restricts everything past my wrist, which obviously slows me down. It should be coming off soon.
>I made some scetch
You have a lot of impressive details in there already. Even if you don't have enough skill to properly finish it, go as far as you can, learn and, if you have to, move on to the next one.
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No. 14778 Kontra
I failed miserably, it was even worse than last time... I won't post it here.
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No. 14824
36 kB, 367 × 489
189 kB, 700 × 700
>>14778
>I failed miserably, it was even worse than last time
>failed miserably
>failed
Not yet, Ernst. Not until you give up.

I didn't know what to draw today, so I just started sketching from my collection of photo references. I did a few others before I decided this one deserved more attention. I kind of like how the loose linework turned out.
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No. 14851
306 kB, 1536 × 1536
This one turned out better at least.
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No. 14873
9 kB, 300 × 300
>>14851
Are you making buildig of general shape before doing draw? If not, I recommend doing it and also add general line of body and pose before moving to detail, it can improve shape of your drawing.
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No. 14904
1,0 MB, 1235 × 1325
583 kB, 1123 × 1123
>>14851
That's good to hear.

>>14873
Sometimes I try to get away with skipping steps, but my anatomy always suffers when I do.

This picture turned out better than I thought it would. The coloring definitely helped cover my mistakes, and the background added some visual interest. I also did a series of in process pics while I was working, so I'll post those too.
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No. 14905
>>14904
Sadly my picture still in process so I have nothing to post.

Are you trase or just keep pic as refference?
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No. 14907
434 kB, 1000 × 1468
>>14873
Yes, but usually it's light, particularly in this case I was drawing from a reference. I had the line of the body down, a line for the hips, shoulders and waist.
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No. 14909
>>14905
>Are you trase or just keep pic as refference?
I just use the photo as a reference. I know the result isn't as accurate, but I think tracing would limit my ability to interpret anatomy and keep me from developing my own style.
Don't worry about not having something ready yet. You can post whenever you're finished.
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No. 14910
324 kB, 1366 × 768
342 kB, 1366 × 768
Note to self: figure out how the hell I not only guessed my hand dealt, but guessed the exact order of cards on the flop Jack three seven and roughly matching suit. Also how I guessed the spin would land $50,000. I can't even tell if this is intuition from playing so much I just can guess the algorithm or if it's just being in the zone so much I can do precog stuff again. Most importantly, how to apply things to practical uses like making money.
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No. 15050
213 kB, 700 × 700
Woman with an axe, version...10, probably.
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No. 15110
330 kB, 857 × 1024
1,7 MB, 1096 × 1506
I wish I was cool like Francis Bacon, playing with the human form and make schizo paintings, and make it look GOOD instead of just unfinished.

I like playing with form and color, but I never manage to construct the work into a coherent message, just aimless noodling on a theme.

Also, I am determined to finish my spoiler image submission before the end of the year, I was just busy doing pointless, thankless errands for my family members. That design work for brother's internet cafe that was demanded of me? Was never used, and he didn't ask about it again. Thanks for wasting my time, dude.

Also, I'm going to compile a list of resources for learning to draw/paint, practicing, etc. probably upload some of my books to a file hosting service, so we could start off the next thread with posting them.

I'm making these promises because expressing intentions is at least a mildly effective way of not abandoning projects (works 30% of the time :-DDDDD).

>>14824
>>15050
I like the fluidity in your drawings, very expressive and "alive". I find it's more important in figure drawing to express the fluidity of human body language than to focus on anatomical correctness. In fact, pursuit of anatomical correctness a lot of times results in stiff figures.
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No. 15112
>>15110
Honestly I actually like your art. You're good at it. As in, better than every single person on here by far.
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No. 15117
>>15112
Well, to be honest, I'm quite insecure about it.

I drank a lot of kool-aid about work ethic and that if you're ever satisfied with anything you do, you have signed a death sentence to your artistic development.

Contentment breeds complacency and all that. So far I can't figure out if such a rigorous philosophy is bullshit, or if I'm just not man enough to power through perpetual dissatisfaction like some nietzchean ubergod.

I hate happy people.

It's amazing how much more productive you can be when you do things that you like, but doing things you like has the downside of knowing that you are pursuing cheap titillation in the form of cheap kitsch illustration, rather than pursuing Meaningful Art(tm) (if only I knew what that is).

I get stuck on the first couple of steps because I start asking existential questions in the vein of "what is it that I'm actually making and what does it mean", and can't come up with an answer. Must be some OCD shit.

It was a lot easier when all of my concern and understanding of art was "I must learn basic anatomy and color theory", instead of thinking about what to actually do with these skills. I could just follow the books and do the exercises back then.

"god what a faggot" - me
t. me
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No. 15121
>>15117
Yeah well it shows. On the flip side you get that
>I hate happy people
thing. It does often seem the mentally ill or so called are much more prone to either extreme, either artistic genius or being fucking horrible at it. I cant do much art. I made I think one thing I was proud of, and several other things I liked, and most of it got thrown in the trash by maintenance because I was an alcoholic and it still feels like a hole in my soul from that.

You have talent imo which is rare. And I'm not just saying that toxic chan culture has made me a hyper critical asshole about everything. It is hard to describe too, I just see "it" when I see you post your art a lot of the time. But I too believe in the Mike Tyson effect. That being, whatever you think you're bad at and not good enough at especially if insecure is what you're most likely to overcompensate in and get really good at, whereas whatever you marked for yourself as "I'm good enough" is probably what you're shit at. Not sure what I'd be good at, but I never think I'm aggressive enough and too trusting and forgiving, and that I have an adequate spiritual insight. Reality of self appraisal is usually the opposite.
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No. 15125
>>15117
Art turns bad when people try to be Deep and Meaningful instead of just doing what they want.

I've forgotten 99% of the high literature I was forced to read in school, but there are many moments from "low-culture" SF novels that will stay with me forever. Not just because of the subtle artistry involved, but because those novels were genuinely fun to read. They had been written to be enjoyed, not to be meditated upon, and they were superior works of art for it.

If a refined and perceptive mind creates something with genuine effort and enthusiasm, some meaning will inevitably bleed into the product. I'd rather look at a drawing that came out of your simple desire to create, than something consciously created from the start to be Meaningful.

In fact, I can't actually think of a single good work of art in any medium that was the result of a conscious attempt to create Fine Art. Every time I've seen a good author try to do that instead of trying to do what they were naturally good at, the attempt fell flat.

also, if you want financial independence you can draw porn for a few hours a day while planning out your actual art. My best friend makes all of his money doing either that or sprite art for video games, and he could make enough money to support himself even in California if he had to.

And if you do try to break into that business, tell people you live in California or somewhere else expensive, cause they pay people from sovok-land a lot less
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No. 15127 Kontra
>>15125
Continuing on another note, I think the best attitude to take towards yourself and your work is a self-aware egotism. You need to feel genuinely good when you create something good, while still being aware of all the mistakes, and of the fact that you can and should do better. You need to be satisfied by "good-enough" attempts on the path to perfection.

Pure self-assholery only works for people who have a limitless well of energy and confidence. That confidence comes from an insanely inflated ego, from borderline pathological narcissism, and not from any individual work that they create, which is why they are able be so hard on themselves over specific pieces of work. You're taking an attitude towards yourself that only works for "happy" people, and as long as you keep that attitude you're sabotaging yourself.

I'm not a happy person, and I'm aware of many mistakes in the story I posted in the last Today Thread. However, I feel good about what I created, and that motivates me to create more of it, and post more of it online. Hopefully at some point enough to be published.

Speaking of which, is it alright to turn this thread into something about art in general, rather than just drawing or painting? I'd like to post stuff I've written and get feedback on it, but the only other place I could do it is the Today Thread. I don't think anyone else here writes creatively, and it'd be rather narcissistic to make a thread just for myself.
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No. 15131
356 kB, 800 × 960
1,1 MB, 709 × 851
1,1 MB, 709 × 851
>>15110
>I like the fluidity in your drawings, very expressive and "alive".
Thank you. I can slaveishly reproduce anatomy, but those drawings can't equal the energy created in a few well placed gesture lines.
>>15117
I've never had to think about meaning in art, only what I wanted the end product to look like and how I could get there. I suppose I'm still learning, but also that's one advantage of cartoonist/illusrator level art. Since it's end serves a commercial purpose it doesn't need justification beyond that.

I stumbled across this painting and decided to do some editting.
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No. 15139
3,4 MB, 2000 × 3000
>>14640
Hell, what I'am the lazy bastard. Don't have time to properly sit for couple of hourse and just finish this already
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No. 15155
>>15127
>I'd like to post stuff I've written and get feedback on it
While writing may not fit the thread title, it certainly falls within the help and critique subsection of the OP. If you're looking for feedback on creative projects and such this is probably the best spot.

>>15139
Thanks for the update on this one.
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No. 15156
>>15125
I have considered drawing porn, but that'd be an even bigger betrayal of my principles than drawing cringy fantasy and sci fi art that I so like :-DDDD.

But that's the point, right, being overly idealistic is completely infantile, and at some point you have to grow up and do things out of pragmatic necessity, even in art. As a kazakh philosopher once said, "Even if you have to wash a donkey's ass, make a living" :-DDDD.

In fact, I have noticed that when I do things out of necessity (drawing a commission for example), the result turns out... adequate (well, at least finished), because there was a clear cut goal in front of me. When I do stuff for myself, I get lost on the way and drop the project because I have no clear idea of what I want it to be.

So yeah, I guess I have some growing up to do in that regard, chasing butterflies is no way to live.

>>15127
I am afraid of turning into one of those people on deviantart or whatever, who are happy in their mediocrity. I see all these people who enjoy drawing, have found a rut/niche that they are comfortable in, and stay there, because they feel good and people like it. It disgusts me to imagine myself turning out that way.

On another hand, being happy in one's mediocrity seems like a tempting alternative to being miserable in one's mediocrity, which is where I am now :-DDDDD.
_

Regarding posting your writing, I actually think this thread could be redefined neatly into a hobby/craft thread to fill a bigger niche. I bet there's a lot of stuff ernsts would like to share, but don't have a proper context. Like photography, writings, hell even gardening and origami.

So go ahead, it'll be interesting.
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No. 15165
>>15156
>I am afraid of turning into one of those people on deviantart or whatever, who are happy in their mediocrity
I think the main problem is their underlying mediocrity. They don't have great ambitions or high standards, and so inevitably their talent rots.

You don't sound like that kind of person, but you can only find out if you try. Draw for commission, draw what is fun for you. And feel good about yourself, develop an ego, acknowledge your talent, because that will give you the motivation to work and to improve yourself. You've already got the self-awareness in spades, and you don't have anything to fear so long as you make a conscious effort to retain it.

>but that'd be an even bigger betrayal of my principles than drawing cringy fantasy and sci fi art that I so like
The most important thing you can do is to stop looking at fantasy and SF as cringy and meaningless. It sounds like you like the idea of making high art, but that you don't actually like doing it. That's probably a sign that you shouldn't try to make high art.

Genre and fantasy and SF don't degrade the artistic quality of a work, nor do they even fundamentally reduce the ability of a work to say something about the real world or the human experience. You won't win the approval of the guardians of high culture... but who cares? They're few and irrelevant, and not particularly smart or worthy of your regard. There's no more depth of thought going on in the heads of people reviewing the latest Jonathan Franzen book than there is going on in the heads of people reviewing the latest capeshit movies. There's more thought going on in communities of artists that tend not to have hang-ups over precise subject matter, or even in dedicated SF communities.

As an artist, you generally want to A. make a living, and B. make work that satisfies not just yourself, but other people whose opinions you value. The second is more important. But whose opinions matter to you? The masses? No, clearly not. The kind of people who write for publications like the NY Review of Books? Why should they matter more? Their IQ might be a little higher, but they've all crawled up their own asses fawning over unreadable books with page-long metaphors, or similarly trite pieces of visual art.

It sounds like if you just accept SF and fantasy are not in conflict with meaningful art, you'll do a lot better. Perhaps as a test, try combining the aesthetics that you like with the higher meaning that you want to convey.

>So go ahead, it'll be interesting.
>>15155
>If you're looking for feedback on creative projects and such this is probably the best spot.
Alright, to start I'll repost what I linked in the last Today Thread, and I've got another piece that I'm going to upload very soon.
https://www.wattpad.com/663881838-changes-the-seed-eaters
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No. 15388
115 kB, 560 × 560
A tree frog.
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No. 15400
>>15165
>https://www.wattpad.com/663881838-changes-the-seed-eaters

That was an enthralling read, I enjoyed it very much and without distraction.

At the beginning there were points where I was slightly taken out of the story due to prose/style - some of the words / expressions felt very modern-english, which reduced my immersion somewhat. But after a while I stopped noticing.
I thought that maybe a writing style, using descriptions and associations that a person from that period in history would use, rather than modern words would let the reader get into the character's head more. Sort of a way of inferential world-building, where the reader can piece together context through the thoughts of a very different different person, rather than being directly told about it in-writing. Though, I'm not sure if that would work for what you are going for. It might just end up unintentionally portraying the characters as dumb, as is a frequent stereotype associated with pre-historic humans.

All in all, it was a great read. Are you planning on continuing it? The ending seemed rather conclusive, as far as that particular character is concerned. Although, if the story was meant to be less of a character study of a prehistoric man, but rather a "story from prehistory", it can be continued through other characters from the setting. Set up a stage, so to say, and explore it through the eyes of different people involved.

I think it's a great concept that has a lot of interesting stories to mine for, the set up of the conflict allows for a lot of things to explore and be written about human society. How genders, age, life outlook / philosophy, etc. are affected by the society one lives already mentioned in the story could be "zoomed in" to tell even more interesting stories.

Just my thoughts, I'd enjoy reading more of this.
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No. 15418
>>15400
Thanks for reading and feedback.

>some of the words / expressions felt very modern-english
Can you point them out? In general, I prefer natural modern English in all settings, as people in the past didn't sound to themselves like they were in the past - they just sounded normal. But I have noticed some modern vocabulary creeping in that doesn't have a place, simply because the concepts weren't around back then. For example, units of time. I still need to think of an alternative to using hours.

>Are you planning on continuing it? The ending seemed rather conclusive, as far as that particular character is concerned.
The intent is to cover what I think are the most important developments in history, and humanize the changes associated with them. This story was about the replacement of hunter-gatherers by farmers, and I feel like I've dealt with that well enough for now (at some point in the future I may expand this one story into a proper novel, and touch on more things as you suggest). I've got at least a dozen more story ideas for later points in history, and I'm working on two at the moment:

  1. The rise of Indo-Europeans, or more broadly, the rise of hierarchical patrilineal chiefdoms in the Bronze Age. Even more broadly, it's about the rise of highly stratified human society in general. This actually takes place in exactly the same location, so you get to see the descendants of the farmers deal with the experience of conquest themselves. But this is the only connection to Krow's story.
  2. The rise of cities and large states. It's be about a barbarian slave from a remote part of the Balkans navigating life in a major Roman city.
Then I'll probably tackle the rise of religions of salvation, and the causes underlying the decline of large-scale societies. Later on I'll deal with things like mass printing, liberalism, industrialization, and the internet.
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No. 15451
436 kB, 720 × 1200
Ah fuck it, I'm just gonna call a bunch of people today and try to get a job.

Like, what do I have to lose, huh. And once I have stable income, I'll have a chance at personal development.

You know, personal development would probably be a lot easier if I could afford shit like painting supplies (shit's expensive yo). Or buy a damn stylus for my drawing tablet. OR get my old HDD fixed so I can recover my sketches and projects.

Here I go, today's the day.

Also, honestly I only picked up digital art because it's cheaper, I don't actually enjoy drawing on the computer, it doesn't give the same feeling. If I could afford art supplies, I'd paint with oils exclusively tbh.
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No. 15452 Kontra
>>15451
Huh, meant to post in today thread but I guess it works.
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No. 15463
>>15418
>For example, units of time. I still need to think of an alternative to using hours.
Use the positions of sun and moon, also maybe the sounds or appearance of certain animals.
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No. 15567
61 kB, 300 × 449
197 kB, 700 × 700
I developed this >>15388 a little further, tightening up the lines while trying to keep the loose sketch impression. The lower leg gave me the most trouble; it had the easiest lines, but relied more heavily on coloring which is where I tend to struggle. Picture 1 is the photo I was using as a reference.
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No. 15856
532 kB, 976 × 1432
64 kB, 651 × 469
Since I don't have a graphics tablet any more, I'm trying out drawing with pencils and a black marker on paper then scanning and coloring the image.

Not having a digital eraser is pretty tough, maybe I should take a break from digital and try to get good at traditional. I think photoshop taught me some pretty bad habits. Like doodling nonsense and then fixing it with an eraser, which is not possible on paper.

Here's a skeleton jelly. I have a couple other doodles I need to clean up and color. This is actually kinda fun.

>>15567
I think you might have lost a little bit of tension in the pose. The original frog looks alert and poised to jump, while yours is kinda laid back.
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No. 16309
625 kB, 900 × 900
>>15856
>I think you might have lost a little bit of tension in the pose.
I tried to get more energy into this version by pulling in the body, flattenening the head, and shortening the front arm. I was changing as much as I could around the edges without my having to entirely repaint the body and face. The result is still too rigid compared to the model, but it's a little better I hope.
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No. 16601
189 kB, 1500 × 819
2,0 MB, 1800 × 982
My edit of Nighthawks by Edward Hopper is finally finished, or at least close enough to finished that I can post this version. I was initially going to include only Ernstwurf in this one, but since the original painting was framed in such a wide shot he turned out really small. My solution to this problem was to add a countryball to more definitively show the diner as Ernstchan. I know I could have also tried painting the woman as Erna, but I wasn't confident in my ability to match Hopper's human figures and wanted to avoid a jarring style clash.
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No. 16605
>>16601
Good Ernst Wurf, bad perspective on the text at the top. Draw some guides in an overlay to help you with the font.
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No. 16627
2,0 MB, 1800 × 982
>>16605
>Good Ernst Wurf
Thank you.
>bad perspective on the text at the top
Here is Version 2. On the first one I used a font with minor warping. While that gave me clean letters, it also led to some perspective problems. I thought I had fixed that by aligning the E with the sign frame but, since the vertical lines weren't parallel, it wasn't a perfect solution. On this version I tried hand lettering with a guide based on the letters in the original painting.
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No. 16651
>>16627
Much better. The EC logo is too washed out. Have you tried painting it on a different layer and then applying it to the background with frequency separation?

Here is somewhat detailed explanation of how it works: https://fstoppers.com/post-production/ultimate-guide-frequency-separation-technique-8699
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No. 16683
2,0 MB, 1800 × 982
>>16651
>Much better
Thanks. I should have known a font wouldn't fit the painting, but I have no confidence in my hand lettering skills. I should find more opportunities to practice.
>The EC logo is too washed out
I think that was the result of my overuse of blur, smudge, and erasing tools trying to create a weathered look. I managed to fade the colors, but lost the clear edges. In this latest version the logos are repainted hopefully better and a little larger. I also brightened the sign by 25% to better match the coloring of the original.

>frequency separation
I usually blend everything smooth, and then try to get texture by adding subsequent layers. It looks like there is a better way. Thanks for the tip.
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No. 16693
21 kB, 361 × 192
>>16683
I liked this one.
Are you the Ernst that did the Calvin and Hobbs banner last year?
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No. 16703
>>16693
>I liked this one.
Thanks for the feedback. There was a pretty big change in the sign between v2 an v3 and I'm always a little afraid that I've made the drawing worse. It's nice to get honest opinions either way. I keep copies of old layers just in case I have to do a lot of undoing.
>Are you the Ernst that did the Calvin and Hobbs banner last year?
Yes. I drew that one and another Ernst helped me with the Ernstchan lettering.
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No. 16724
73 kB, 800 × 750
>>16703
You do good work, and IMO, very talented
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No. 16741 Kontra
40 kB, 505 × 318
>>16724
Thank you, I really appreciate that.
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No. 17111
1,1 MB, 806 × 868
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No. 17471
25 kB, 300 × 387
>>17111
You can't go wrong with Calvin and Hobbes theme.

Very nice
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No. 18885
So I've been in a depressive/degenerate phase for the last few months, and I've barely written anything since the first story I posted.

I'm going to get serious about writing every day now, and I'll make updates each day on Wattpad. I've started on one other project, a survival-horror series, and I'm going to alternate between that and the history series every other day. Feedback provides a lot of motivation, so I'd appreciate anything you guys have to say about my ongoing work.
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No. 19442
4,1 MB, 4009 × 4010
Oh yeah, I finished this shortly before getting hired, forgot about it.
Since I still don't have my tablet pen, I traced the gun from a 3D model with vectors.

Half of my workflow seems to be image editing as well as drawing anyway.

Still not entirely happy with it. I struggle with animne hair.
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No. 19443
>>19442
Funny thing, what made me go and actually "finish" it was that I started scrambling for shit to put in my portfolio for getting the design job.

In the end, I didn't need a portfolio, they just put me in the reception right away to see how I'd do.
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No. 19446
>>19442
Nice. Seeing your work has prompted me more than once to open Krita and Blender again. The Krita part is just doodles, though, and the blender part doesn't fit this thread.
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No. 19447
314 kB, 2498 × 1666
>>19446
Thanks.
Tbh, when I proposed the idea for this thread, I meant it to be a more general "creative hobby" thread.
Including drawing, 3D, design, papercraft, music, even gardening. I should pick up 3D modeling again.
I used to make custom prop models for the source engine as a kid, and dreamed of becoming a freelance 3DCG artist. Then transitioned to fine art.

These days I only use rudimentary 3D work to visualize lightbox designs and such.
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No. 19510
148 kB, 428 × 700
74 kB, 800 × 598
>>19442
>I traced the gun from a 3D model with vectors.
A clever solution, and having such a well-drawn hand really made it work. Btw, What does it say in the lower right corner?
This Tom and Jerry has been sitting in my pile of half-done projects, but seeing your completed spoiler image has motivated me to finish it. The first picture contains the original animated frames, which I took from the episode Professor Tom.
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No. 19511
399 kB, 1600 × 900
15 kB, 236 × 164
>>19510
Thanks, but I just noticed some flaws in the hand that I must fix ASAP when I go home, it's bothering me. I probably spent more time on the hand than any other part of the drawing. Faces get easier the more stylized they are, hands are constant difficulty in all styles :-DDDD

> What does it say in the lower right corner?
I have no idea. I just took some writings from the japanese terminator DVD cover art, to make it look like a seal on one of those asian wooden prints :-DDDDDD

>This Tom and Jerry has been sitting in my pile of half-done projects, but seeing your completed spoiler image has motivated me to finish it. The first picture contains the original animated frames, which I took from the episode Professor Tom.
It looks really nice, although I'm not sure how you'd compose it to fit banner dimensions, since the picture is square-ish.
>>
No. 19540
4,1 MB, 4009 × 4010
Here's a fix that nobody will ever notice or care for.
But it had to be done. Fuck my ADHD, I always miss some detail.
>>
No. 19544
>>19540
Pretty good/10. Would recommend for ec spoiler image.

The Kanji remains a mystery - I tried using a draw tool but no luck. I did however discover that the Japanese abbreviate Schwarzenegger to shuwa-chan :3
>>
No. 19546
>>19544
I'm going to take a wild guess and say it means "teru mi na teru" :-DDDDDD
>>
No. 19547
>>19544
>>19546
>teru mi na teru
Almost. It's "taamineetaa". Also, those are katakana, not kanji.
>>
No. 19548
>>19547
So some random moon runes I swiped off of google images actually fits.
Neat. I honestly thought it said something like "over 120 minutes of laserdisc video" or something.
>>
No. 19550
>>19548
Ermitator
over 120 threads of laser discussions
>>
No. 19566
87 kB, 1200 × 800
>>18885
I read the first 11 pages of Sapporo. It's hard to give critique on a work-in-progress, since I don't know how the pieces all fit together, but I'll offer my opinion on what you've written so far. You jumped right into the plot and kept the story moving forward. I thought that part was well done, but then I felt you limited the emotional impact by drifting too much between focal characters. I don't know if that was a conscious style choice, but I wanted to experience the moments from within one character at a time-and then feel his/her reactions. As a reader that would increase the tension. Other than that one note, I liked the story, and am curious enough about the deviations and the setting to want to read more.
I hope you're out of your depressive/degenerate phase. Also, don't forget to come up with those rando names.

>>19511
>I'm not sure how you'd compose it to fit banner dimensions,since the picture is square-ish
I wasn't really thinking of it as a banner but, to satisfy my curiosity, I did a quick mock-up to see if it could be. The results aren't perfect:Tuffy is too low, Jerry is too small, the blackboard is too empty-but the bigger problem is the resolution. The image just pixelates too much when reduced to 300x100. I don't know why it's doing that or if I can fix it, so it probably won't be a banner or anything. I had an idea to use the image as the TV screen in a larger cartoon, where Ernstwurf is watching television or something. Too many ideas, and not enough time. Maybe I just need to get better at discerning the good ideas from the bad ones without chasing every random concept down the rabbit hole.
>>
No. 19576
282 kB, 1080 × 1920
1,5 MB, 2160 × 2880
1,4 MB, 2160 × 2880
395 kB, 1080 × 1920
I should up my drawing scale.
>>19540
Having a good eye is nothing to berate. P cool.
>>
No. 19577
>>19576
Nice, reminds me of kubo tite's art :-DDDD
>>
No. 19585
>>19576
First one is doing it for me. Reminds me of the cover of a manga whose name I forgot, but the Kazhak should be able to help since I've seen talk about it on old EC. It plays with structure of images and relates that to structures of our reality (often recursion). Also it does weird shit with eyes.
>>
No. 19586 Kontra
>>19585
*kazakh
>>
No. 19590
>>19585
It was Ultra Heaven
>>
No. 19595
2,0 MB, 2880 × 2160
2,1 MB, 2880 × 2160
2,0 MB, 2880 × 2160
382 kB, 1920 × 1080
>>19585
Eyes are something that I keep coming back to. I don't know why. The recursion thing reminds of something I drew invoking the Droste effect with eyes stacking on their own reflections. I'm trying to find it but it might be in a different sketchbook. These are recent drawings.
>>19577
Kubo's cool. Never got too into Bleach though.
>>19590
Will check out. Looks familiar.
>>
No. 19626
2,8 MB, 2000 × 1600
>>19595
Very cool art! Are you using ink, right? I never been able to make something decent on paper. When I see some people do awesome concepts in albums with ink or markers it always makes me feels sad that I can't draw in this scetch or comicbook artsyle

Anyway I finnaly finished one of mine drawing. It is in spoiler because it contain Nudity
>>
No. 19632
111 kB, 310 × 350
I've found a solution to the pixelation problem I mentioned in >>19566. Basically I just need to apply a Gaussian blur to smooth the lines, then use a filter to sharpen the results. Search:fix pixelation. It's the first result.

>>19626
>I finnaly finished one of mine drawing.
Nice, I knew it was only a matter of time before we would see more of your work. It looks familiar, did you post an incomplete version before, maybe in a Today thread?
>>
No. 19633
>>19626
Thanks. Yeah, it's ink; I switch back and forth between a micropoint or a dip pen, sometimes a small brush for dark patches. Had a tablet but the pen broke and I'm waiting for a replacement.
Yours looks pretty clean, pretty vibrant. Those centaurs look kind of familiar, are they from something?
>>
No. 19637
268 kB, 450 × 600
>>19632
>Nice, I knew it was only a matter of time before we would see more of your work. It looks familiar, did you post an incomplete version before, maybe in a Today thread?
As far as I know, no. Last thing I did I posted there was goat picture adn I not finished it still because well as usual, I'am lazy person who draw only when have specific mood. Thanks.

>>19633
Ah, yes, tablets always tend to broke, and there even parts that you need constantly change. Thanks my Wacom Bamboo works pretty well all this years.
No, this characters from top of my heda, I drawn them for a friend who very like centaurs. But I not that much like centaurs when parts are proportionally "imbalanced" so tend to draw this cartoonish goat-deer ones. For face of one of character I got inspiration from this picture
>>
No. 19743
>>19637
Yeah, mine didn't wear out though. My dog got a hold of it and he's into biting.
Sheeit, I like Devaronians. One of my favorite humanoid SW races.
>>
No. 19755
>>19743
Ha ha, funny, I thought that make devaronians are very lame - just DEVIL MAN. They insert it in Episode 4 because they just had devil mask from other movie and not much budget for more ayyliens.
>>
No. 19759
>>19755
Man, I like it when something's just DEVIL MAN though. Demons are cool. Everything in that cantina scene's improvised and looks fucking weird, but I like em.
>>
No. 19761
74 kB, 739 × 1000
110 kB, 868 × 1024
>>19759
Well, cantina scene from episode 4 is actually decent, since only rare amount and species there was "random" - on others, like ithorians worked concept artists and special effects dudes, and most of population of cantina become well known SW races - like Rodians, Talz, Duros, Biths etc.
However more late scenes like this - Jabba's Palace in Episode 6 for example just "let's throw more random shit in scene we don't care at all, it's fairy tale movie after all". Which I don't like absoluetly, because since EU, I like to apply more systematic approach to star wars where it's actual universe, and such scenes is Star Trek Original series tier with "random shit every episode you will never see again"
In mine headcanon universe I reduced number of races in SW to dozen, remaining only most unique, original and developed.
>>
No. 20001
1,1 MB, 1600 × 2200
125 kB, 450 × 315
This is what peak autism looks like. Yesterday I went to see a psychotherapist, today I felt a little bit better and so could start drawing
>>
No. 20007
>>20001
Hand drawing is probably hardest part of human anatomy draw for many people
>>
No. 20008
>>20007
I don't know whether it's a compliment or a subtle way to say that it looks like shit. Well, I personally think that human face is the hardest part, making a good looking portrait of a real life person (not a generic human face) takes decades to master. You can use tricks and make the audience believe that your anatomy is correct, but even the slightest mistake in the face is palpable to the viewer.
>>
No. 20010
>>20008
No, if you done tihs without tracing and refferences this is really good.
>>
No. 20012
>>20010
I did it using references. I would like once in the future to draw the back of a man standing on a beach and facing the water, with his hands behind his back holding each other. I had to take photos myself and draw using them, because it's always hard to find suitable references on Google.
>>
No. 20021
>>20012
Well I think you can find reffecences seprate - standing man from back at least. Exept refference it really usefull to understend structure and muscules, so you can draw thing from top of you har in any position.

You are right abuuy drawing head with specific facial features. It is true skill to see in human person specific details and then properly trnsfer them to your drawing. This why I sometimes love very simplified styles, but where you can still recognise original person.
>>
No. 20191
2 kB, 241 × 133
Wish I could draw with mouse better.
>>
No. 20192
>>20191
Ha ha, cute. But if you don't have tablet, why not draw by pencil?
>>
No. 20230
>>20191
I've given up on trying to draw in paint. I need something like a tablet and electric pen or whatever those are called, or pencil and paper.
>>
No. 20233
>>20230
You can draw in Paint with tablet as well :-)
There are how to draw with mouse, they mostly seem to involve curves. I could draw in CorelDraw or such at this point.
>>
No. 20234
>>20230
Don't buy anything else than a Wacom.

t. Wacom customer service
>>
No. 20238
>>20230
Well you can draw by vectors

I previously with my tablet used Paint Tool Sai, but now I'am using Manga Sturio 5
>>
No. 20244
140 kB, 600 × 200
64 kB, 300 × 100
I changed the composition of this picture >>19510 from 4:3 to 3:1. When I was rearranging the elements Jerry wound up being too small. To make him larger I decided that instead of having him write on the chalkboard, I could use an image where he was wearing Tom's mortarboard and holding a pointer. So I guess I didn't really change an old picture, so much as I created a new one that happens to look a lot like the old one.
>>
No. 20486
1,7 MB, 3000 × 1643
There is another drawing I'll probably never finish. I spend on it enough time and I need to move on to learn new stuff. It is really better do quick scetches of specific things to get more good at drawing and paiting, that go for some sort of bigger projet that you need spend some time doing monotonous stuff
>>
No. 20512
How do you draw properly?
>>
No. 20516
>>20512
Andrew Loomis - Fun with a Pencil
Bert Dodson - Keys to Drawing
Ernest R. Norling - Perspective Made Easy
>>
No. 20517
>>20512
You ought give a blowjob to the nearest artist and continue to do it until you absorb all his life energy and creativity.
>>
No. 20523
>>20512
>How do you draw properly?
>>20516
This.
But also practice. Find something you want to draw and draw it. Then find something else and draw that. Just like any other skill, the more time you spend doing it the better you'll get. If your drawings don't look like they're "supposed to", don't worry about it and just keep filling up sketchbooks.
>>
No. 20527
>>20516
Also 'Drawing on the Right Side of the Brain' by Edwards. It's a real kick-start if you manage to set aside one week of time and go through with the excercises.
>>
No. 20538
47 kB, 500 × 375
>>20517
I had long suspected we had a Ukrainian woman. Now I am convinced of it. This is why all the ancients from Greece to Rome to Caliphates to the British royals knew the only solution was anal sex with men to restore your life force.
>>
No. 20552
11,0 MB, 122 pages
>>20516
>Andrew Loomis - Fun with a Pencil
Have this
>>
No. 20681
556 kB, 1000 × 1000
Well I spend some time on drawing. It ended mediacore I guess but well, here it is.
I put it into spoilers because it contain nudity, yeah.
>>
No. 20735
270 kB, 1100 × 850
No money for the psychotherapist, no money for a nice food, no money for medicaments, no money for a laptop battery that would allow me to draw outside the apartment. Every time I draw at home I have a panic attack and think of bad things. Such is life on the Little Russia.
>>
No. 20747
339 kB, 750 × 750
>>20681
Nice work, particularly with the the characters' body language. Very expressive.

>>20735
Do what you can to take care of yourself.

I finished this one. I'm happy with the overall composition, but the details are a mix of things I like and things I don't like. I'll probably try a few more ideas in this style.
>>
No. 20770
>>20747
Thank you!

I like you comic-cartoon style, more you do, more it look like actual real artists work. It would be funny if we all will learn how to draw on EC.
>>
No. 20805
103 kB, 500 × 494
>>20770
>I like you comic-cartoon style, more you do, more it look like actual real artists work.
Thank you. I'm definitely better at cartooning than I am at serious/realistic drawing. I'm going to see if I can develop this style a little further. On the next one maybe I'll give the faces a better anatomical shape, and use more specific details on the background. I suppose then it would be a hybrid realistic/cartoon style. It might work.
>It would be funny if we all will learn how to draw on EC.
Just keep drawing-it could happen.
>>
No. 20943
391 kB, 1080 × 1440
375 kB, 864 × 1152
334 kB, 864 × 1152
162 kB, 1005 × 579
Back. Tried out some stuff on a new sketchbook. If any of you work on paper, pay attention to the kind of paper. Working with ink on finer paper feels like a dream.
>>20735
Is this from a model or from memory?
>>20747
I like that angle. Just pops nice.
>>
No. 20961
>>20943
hey good stuff m8
>>
No. 20967
>>20943
You probably professional artist? What instrument you using for such sketches?
>>
No. 20978
264 kB, 864 × 940
677 kB, 1440 × 1080
416 kB, 1152 × 864
414 kB, 864 × 1152
>>20967
Oh, I'm not a pro, at least not in any official capacity yet.
I mentioned this before, but I mostly use micropoint pens and/or dip pens (with a bottle of india ink) and sketch out things with a mechanical pencil. The pens come in different point sizes and the dip pen has different nibs for different line qualities. Sometimes I use a brush to fill in black spots. Since sketches are really light, lead supplies last a while.
Don't know the name of the paper itself but they tell you upfront that it's for pens. The texture is softer than ordinary paper and smoother than paper for pencil sketches, though it feels a bit thicker, a bit stronger. The texture makes for easier movements and absorbs ink better.
>>20961
Thanks m80
>>
No. 20998
>>20943
It's without references.
>>
No. 21002
>>20978
You draw like really great sketch artist. I'am probably never manage to handle ink properly, lol. Good luck with your drawing.
>>
No. 21004
66 kB, 400 × 400
>>20943
Great work. What you were able to accomplish in just the lower left corner of doodles of stuff shows incredible control.

>I like that angle. Just pops nice
Thanks, a good composition can really go a long way. The original layout I chose wasn't as interesting, so I cut, resized, and rotated the individual pieces into something more dynamic. Being able to make fundamental changes without starting over might be the best part of digital drawing.
I'm trying to repeat the process with this next one. It's not finished yet, but it's getting there.
>>
No. 21319
1,1 MB, 1024 × 1575
Some stuff which I'll 99% will never gonna to finish.
>>
No. 21321
>>21319
I love it. You titled it Page 1; how many pages is this project? And is he playing Mario on a classic Nintendo?
>>
No. 21322
9 kB, 161 × 143
>>21319
>When the hallucinogens you thought were duds kick in
>>
No. 21325
>>21321
Well only this - one. Idda was to have more but as usual - half way you relise that you can do much better than what you done already and want to move into other project before finishing this one. I lind of fucked up all projection in last panel lol.

It was intended to be simple story like you know all this lame video game internet comics in 00s - one dude which is pc gamer trying out at night his buddy's console game and failing in this game which cause him to go angry, this woking up this buddy at middle of night etc. etc.

>>21322
Ha ha this things I do to not forget what I want to do in next panels.
>>
No. 21420
592 kB, 1000 × 1500
My finished version of this drawing >>21004. When I was adding color, I had a lot of trouble selecting a suitable palette. After a number of false starts, most of which used too much red, I think I found a combination that works.
>>
No. 21427
>>21420
Cool stuff! Yor pictures really looks like something professional caricaturist do.
>>
No. 21438
>>21427
Thank you. This particular drawing style allows me to highlight what I'm good at, and hide what I struggle with. I'm definitely going to keep working on it.
>>
No. 22062
321 kB, 851 × 1500
This drawing started out using a photo reference, but the distorted cartoon anatomy made that reference almost useless. So much for short-cuts. After giving up on the model reference, the hardest part was getting the girl to actually look like a girl. In my initial foreshortened sketch she looked like a male wrestler in a wig, and then she was a kind of monster-thing, and after that she was a short old woman with a lot of problems. Finally, I found the look I was going for: a normal human female with no glaring disfigurements and a cute haircut.
>>
No. 22065
304 kB, 1342 × 967
14 kB, 180 × 217
>>22062
In mine opinion, eyes kind of close to each other, making "the akira effect" on face. However, not bad.

I hovever still has no time to finish mine pic of Demetrius Zaarin. (in spoiler is original apperance)
>>
No. 22084
322 kB, 855 × 1500
>>22065
>eyes kind of close to each other
I can't believe I didn't notice that, especially since Kazakhstan made a few posts in the Random Picture thread highlighting the effect of improper eye placement. Thanks for pointing it out so I could fix it. These eyes are much better.

>I hovever still has no time to finish mine pic of Demetrius Zaarin
Well, it looks good so far. You've worked some incredible details into those TIE ships.
>>
No. 22088
434 kB, 855 × 1500
209 kB, 1300 × 956
595 kB, 2048 × 1536
>>22084
Staring at the same picture for a long time blurs your ability to see details like that. Your eyes get used to the composition.
So it's useful to take a break every 30 minutes (I can't do that, I must work for several hours without interruption), or flip the image from time to time to trick your brain into seeing it as a new image.

Same applies to colors. If you initially pick a too narrow color palette (too cold or too warm), your eyes will adjust to it (kinda like how they adjust to brightness, cold skylight vs warm sunlight IRL), and see more contrast than there actually is in the image. That's why I do the color equivalent of the above trick, I will mess up the colors in photoshop (more sturation, warmer/colder, etc), then click "undo" and compare the two. This allows you to see the original colors in a new context. (yours, for example, seems to be slightly desaturated). Colors only make sense in comparison to other colors, so switching back and forth between two different color schemes will allow you to adjust the original to be more balanced. You do have to be careful when adjusting colors though, because you can easily trick your eyes again and pick a new color scheme that is also wrong. I like to stare at a white wall in neutral daylight to reset my cones once in a while.

Keep in mind though, that your monitor's settings can drastically change color perception, that's why I make sure to calibrate the colors on every new monitor I work with. You can't get it 100% perfect without special equipment and a REALLY good monitor, but you can get pretty close, or at least make sure that your image is not shifted too much towards red, green or blue. There are some tricks to do that without any special equipment, I could write up some tips if you need it.

You can see an example of the difference that this makes if you walk into a cheap tv store. Every image will be slightly different, which can throw you off if you actually paint / do design work on such a monitor.

(still waiting for my pen to arrive, so I can't contribute with my own work, sorry)
(also, I seem to fuck up formatting several times in a row when writing any semi-long post with multiple attachments. I wish there was a preview feature :-D)
>>
No. 22089 Kontra
444 kB, 855 × 1500
>>22088
Fugg it, I know it's personal preference, but for an art style like this, I'd go full ham on contrast and saturation, to get that classic comic book look.
>>
No. 22097
27 kB, 253 × 253
>>22088
I appreciate the tips on flipping the image and alternating between two different color schemes. I've noticed that I can get so mentally locked in to drawings that I end up not seeing them accurately. Hopefully that will help.
Honestly, selecting a color palatte has always been something of a stumbling block. For this drawing I tried starting with a simple decision-I chose a faded yellow for the shirt(picture 1)-and then picked every other color based on how it looked against that yellow. Except for the caped hero, who is just Superman blue and red, it's a very narrow range. Since that first decision determined all the others, I can see now that the colors could only be correct if the shirt was correct-and the shirt is probably too desaturated. I mean, judging by your saturated alterations, it certainly is. In comparison to those, my couple look like they donate enough blood to pay the rent.

>your monitor's settings can drastically change color perception
I do most of my coloring on a tablet, and have noticed the difference when I see it on other devices. The experience is exactly like a TV showroom, and none of them match. The only one I'm concerned with is the tablet. Since that's where I make the color decisions, it's the only one that has to be accurate. It's an andriod, and the screen is currently set to the factory default. Are there any easy ways to test if I'm seeing true colors?
>>
No. 22100
>>14851
How do you make the eyes have that kind of depth/reflection? What pencils did you utilize in the software you used?
>>
No. 22101
9 kB, 1588 × 877
8 kB, 1398 × 867
563 kB, 641 × 728
>>22097
You can't pick a color and then build up the rest of the color composition from there, because there is no such thing as a "color" independent of the rest of the color composition.
The same color will look drastically different depending on which colors it is next to. See pic 1: both the squares are exactly the same RGB value, but look different depending on the context they're used in.
So you might start with a nice flesh tone on a white background, and it looks fine as long as you're looking at it in the context of white. You might even be dissuaded from picking a darker, more saturated tone because it looks so strong on white. But as soon as you put it in a different color composition, it looks completely washed out.
Color composition is an ongoing process, during painting, every new change or addition you make will recontextualize your old colors. You'll have to learn to juggle your color composition as you're painting. Alternatively, come up with a balanced color composition before you do any actual drawing, then sample from there. Example in pic 3 is a color study for one of my old (lost) paintings. Notice how the lit parts of the dark/shadowed areas look bright and desaturated, but the moment you put them into the lit part of the composition, they suddenly turn dark and saturated. It actually still fucks with my brain when I paint, I'll be like "oh, I'll pick this nice washed out neutral tone and use it as a highlight somewhere else". The moment I put it down in a different place, I'm suddenly painting dark nasty blobs instead of light tones.

Regarding tablet color calibration, must tablets and phones actually come decently pre-calibrated, at least they're not hugely tinted. I think the only color adjustments you can make on a tablet are software based, so maybe look for an app. But I wouldn't worry about it too much unless it's really, really off. As long as you figure out the proper color composition within your tablet's particular tint, it will still look balanced overall. It will just look different on other devices or in print.

When I make color adjustments I usually open two images. One photo/painting with a rich color palette, and one light gray background. I will then rock the RGB sliders back and forth slowly inching in a direction until I can't see a tint. I'll periodically look at my white ceiling to refresh my eyes (most of the time, what I thought was grey turns out to be tinted in some way). I repeat the process until I get as neutral of a grey color as I can discern. Sometimes it helps to put a white paper against the monitor with a grey image during daylight (the lights in your room, the sunset, etc can affect your perception of the colors on the monitor), to see if my gray is actually grey. Usually, if it's slightly shifted towards blue, that's fine, as monitors are meant to imitate cold daylight. Hope this helps.
>>
No. 22102
98 kB, 1843 × 866
31 kB, 800 × 600
89 kB, 600 × 294
>>22100
It's a simple effect.

An eye is a ball with a dent in it, the dent is covered with a transparent lens that bulges out.
The dent, when lit from above, forms a gradient like the inside of a half sphere (top is in shadow, bottom is lit). The lens is transparent, but still reflects highlights. So you just put a highlight on top of the gradient.
The iris is literally a hole meant to absorb as much light as possible, so it's dark.

There you go, eye. This technique is even used in video games, where they will model the eye's dent and put a transparent dome with high specularity on top (render was self made).

Anime eyes work the same way.
>>
No. 22111
>>22101
>Hope this helps
It does, and I appreciate that you took the time to share some of your experience on this. My linework is far from perfect, but it's miles ahead of where I am in understanding color.
>>
No. 22291
387 kB, 1600 × 1400
Too oten I end up drawing thicc girls, probably it's just easier for me to draw fat characters.
>>
No. 22304
>>22291
Those abs are much more unrealistic than the thiccness of the woman. It's very rare to have abs in that pose unless you are deliberately showing off.
>>
No. 22311
335 kB, 1651 × 1543
423 kB, 640 × 360
>>22304
I drew the guy using references.
>>
No. 22312
>>22311
And you could use Arnold Schwarzenegger in his best days as reference, but it would not be realistic. At least if you strife for the realism where the girl has a normal body, thicc or not.
>>
No. 22317
>>22311
Tbh, I think "but that's what it looks like IRL" is a poor excuse for compositional problems.

Real life can often look unappealing, or "wrong" to the eye, or not convey the sort of meaning that would be appropriate for your work. It's the artist's job to transform reality, rather than just imitating it.
Photography is another can of worms entirely. Even if you disregard the various ways the type of lens and characteristics of the camera affect the image, simply relying on the composition done by the photographer, instead of coming up with your own, hurts the work.

Both reality and photography often does look weird and "wrong", especially when turned into a painting. I humans simply view paintings differently to photorealistic images. The goal is to make something look "right", rather than make it right.
>>
No. 22414
129 kB, 581 × 1195
225 kB, 1056 × 1000
>>22291
>Too oten I end up drawing thicc girls
Same here; either that or anorexic. I experiment with the lines until I find something that works, and to my eye that usually means pushing anatomy toward extremes. Probably a result of my cartooning crossing over into the rest of my drawing.

I'm working on a larger(pencil on paper,23"x46")version of this >>22084 and wanted to take a picture to document its progress. In a side-by-side comparison, right now I like the original more. By the time I'm finished, hopefully the new one will be the better drawing. Hopefully. I'm optimistic.
>>
No. 22421
>>22414
The way you stylize your characters would probably lend itself to critical carricatures. I couldn't really pinpoint what it reminded me of until now and it might seem like a stretch because it's subtle details in posture, perspective and facial expression: It reminds me of Lubomir Arsovs art: https://vimeo.com/242569435
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No. 22431
>>22421
>Lubomir Arsovs art
In Shadow has actually been a recent influence. Arsov's concepts and symbolism were brilliantly executed, but I was also inspired by his approach to drawing figures. He does a great job balancing anatomy with exaggeration, and it's that type of look I'm trying to create. Something that blends realism with cartoon distortions and perspective. If I have somehow reminded you of him, then I'm on the right track.
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No. 22452
>>22431
Yes, you are. It's amazing that you were inspired by his stylization and even
though you have your own style and I have only seen Arsovs work a few times,
I was able to see the patterns.
Good work.
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No. 22652
255 kB, 616 × 833
Guess what came in the mail? A digital tablet pen.

Guess what didn't? The ability to convey likeness in a portrait.
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No. 22654
>>22652
I like the colors, as I do with most of your works.
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No. 22656
>>22652
>convey likeness in a portrait
Portraiture. After fighting through landscapes, still lifes, and figure studies, you now face the final boss.
That's excellent news about the pen. I'm glad you're able to make art again and your self-criticism is why that art is going to be great.

>>22654
>I like the colors
Me too.
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No. 22659
681 kB, 1232 × 1666
Worked on it a bit more. Slightly more resemblance there, but still something off about it.
>>22654
>>22656
Thanks. My art teacher taught us a lot about the importance of colors, and he used to compliment my colors, so I naturally focused on color composition. My technical drawing ability, on another hand, fell behind. It still sucks to this day. The juxtaposition of elaborate color composition with horrid, deformed faces actually led him to believe that I was making conscious transformative experiments with form, and flirting with avant garde, which made him very proud. I had to clarify to him later that I was, in fact, trying my hardest to make an accurate portrait, but failing, because I've been skipping drawing classes :-DDDDD.
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No. 22660 Kontra
>>22659
Dang it, from the thumbnail it became obvious that the eyes are a bit misaligned.

Also, it's weird to admit that the neck is the part of the painting that turned out the best, despite having the least effort put into it. The tone is just right. Meanwhile, the face became muddled as a result of mulling over it too much. You can tell that I was struggling on that part.
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No. 22671
153 kB, 664 × 1404
>>22659
>Slightly more resemblance there
Agreed. I can't put my finger on a single detail, but the aggregate changes form a nicer, more convincing portrait. The face might look muddled to you, but I'm not seeing it that way.
>he used to compliment my colors, so I naturally focused on color composition.
It's funny how small things can affect how you develop as an artist. Well, the time you put into learning color composition really shows in your painting.

I'm still working on this one.
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No. 22672
69 kB, 705 × 600
89 kB, 900 × 845
39 kB, 404 × 500
65 kB, 900 × 728
>>22659
Man, even if you aren't totally happy with it, it's still an achievement and a half. It's something you've really finished. You're just updating the final result to be better rather than mulling on the first stroke and getting nowhere.

>flirting with the avant garde
You know, I have thought in the past that you'd make a great futurist.

Also I'm curious about the creative mindset. How exactly does one create. I can only really analyse things that I see, and while it means I can understand what it is that the artist has done (in a basic way), I just completely and utterly fail to comprehend the way that one can create something genuinely unique. Even working from a reference, you decide on your own where the lines fit together, where the light falls etc. and it's completely mind boggling to me.

Feel free to ignore. I'm not going to use the information in any practical manner other than to sate my curiosity.
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No. 22699
>>22671
You are getting really good at depressing laughter. Much better facial proportions that the last attempt here as well >>22414
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No. 22706
386 kB, 1597 × 2390
63 kB, 800 × 1056
27 kB, 1267 × 490
48 kB, 400 × 600
>>22671
>Agreed. I can't put my finger on a single detail, but the aggregate changes form a nicer, more convincing portrait. The face might look muddled to you, but I'm not seeing it that way.
From what I gathered, the likeness of a face is determined by very specific and very sensitive variables in the proportions of the face. Distance between eyes, nose to lips, corner of mouth to center of eye, etc. As long as you get those right, everything else doesn't really matter. It's the reason caricatures work. It's sort of a non-linear information encoding system. Very small changes to certain proportions will make the face look like a different person. Meanwhile, overall shape of the face can be completely different, but as long as those tiny details match, you get likeness.

>I'm still working on this one.
I really like the way you did the perspective, it's very dynamic.

>>22672
You know I love blabbering too much about the philosophy of art to ignore this question.
But it's a difficult question. It's like asking "how do you build ans ground attack aircraft?". Where would you begin explaining that one? Do you list all the individual components and what they do, but miss the whole picture? Do you explain what aircraft are in the first place, and the principle of converting heat energy from fuel into lift? The historical context that led to the existence of such a thing as aircraft?

And although your average Ilyushin Il-2 is far more complex than some blobs of color on a 2D surface, visual art is similar in that it's a system of nested ideas that all depend on each other, and when arranged in a certain way, create a unique "Thing". There are infinite ways to combine the various parts of a plane (from the level of atoms, to individual components), and only a very, very small number of resulting combinations will produce something good. Same applies to creating art. In a way, it's an exploration of the infinite possibility space of visual images in search of one unique combination that is "good".

The question is, what are those "parts" that we are combining, in the case of art? Now, there are different layers of abstraction you can use, from the level of individual atoms, to large literal concepts like "person sitting next to a table". We need to find the smallest level of MEANINGFUL abstraction, so atoms won't do. Neither will concepts too large, as they will limit us to one particular type of object, rather than all possible objects. (not all paintings contain a person). This smallest level of usable abstractions is, I think, what defines a certain medium / field / style, etc. In the case of building planes, it's engineering concepts that pertain to aerodynamics, thermodynamics, mechanics, material properties, etc. For art, it is shapes, colors, lines, tones, and the relationship between those. There are ways to combine shapes to create a pleasing result, and ways to combine colors to create a pleasing results. Then there are more ways to combine those results with each other, to create a pleasing combination of pleasant shapes with pleasant colors. And the complexity keeps going deeper and deeper. Creating art is the methodology of finding that one unique combination in this infinite sprawling graph.

That's in theory, starting from bottom up. In practice, a lot of times, especially beginners, start from the largest concepts, and then move towards the smallest layers of abstraction. So the biggest level of abstraction would be "I want to draw a person", then you move down, deciding the shape of the person, trying to make that shape appealing, to the smaller shapes of the details on his face, etc. etc. So you would try to place his shoulder line in such a way that the resulting shape is pleasant. Same with the head and other individual parts. Then within those larger shapes, you place the smaller ones, such as nose, eyes, fingers, etc. so that they look pleasing inside THOSE shapes. And so on recursively.

Now, everything I wrote above is an absolutely awful way to teach art, but for someone looking to analytically dissect and analyze art, I hope it's satisfactory.
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No. 22707
>>22706
Very satisfactory. Not really any questions. Your comparison between levels of abstraction and aircraft design are actually more accurate than you might have actually thought initially. Since for a ground-attack aircraft I would say that the two core components are payload and survivability and there are multiple ways to achieve those same goals and they can also change in importance depending on what specific kind of thing you're going for. Portraiture to a scene with a person in it as with CAS aircraft to interdictor. Both belong to the large abstraction (painting of a person, attack aircraft) but the pairs are vastly different concepts.

I guess the rest of it is within the inexplicable wheelhouse of the human soul and creativity :-DDD
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No. 22769
242 kB, 317 × 451
I painted a thumbnail composition / sketch.

Gotta find some architecture reference to actually turn this into a detailed painting.
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No. 22770
>>22769
It looks like the lost city of Vulcanberg beyond the grey wastes
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No. 22773
>>22770
Yeah, it's pretty generic tbh.
Le escherian underground city with impossible architecture. Fantasy environment concept art 101.

Still, I like the composition itself, just needs some better and more dynamic perspective.
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No. 22775
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No. 22783
1,3 MB, 1680 × 1050
2,4 MB, 2177 × 3056
994 kB, 8000 × 8000
1,5 MB, 1889 × 3120
>>22775
Interdasting. I'm a big fan of that aesthetic. Always wanted there to be a game that combines the feels of Arx Fatalis, Requiem The Vampire Knight and a doom metal album album.

Anyway, here's another sketch while I'm on this vibe.
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No. 22786
>>22783
Honestly I wish there was a KULT RPG but even the PnP itself is wildly obscure and I don't know how it could be made into a real game, though I'm sure if it were it'd make the PnP itself explode in popularity too.