"Post your Art" Thread

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Here's a scared maid angel, sorry if this looks rushed. Shading wise tbh.
20200807_093225.jpg
 
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Celandine said:
What art program do you use? Does it have stabilizer in it?

Also this video might be helpful if you want to improve it:
Click to expand...
Thanks, that video helped a lot. I'm using Procreate, I found the stabilizer setting so I'm going to try a new line layer with it.
 
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e-gf said:
Thanks, that video helped a lot. I'm using Procreate, I found the stabilizer setting so I'm going to try a new line layer with it.
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Glad that video was helpful. I never used Procreate before so I don't think I can give much advice on that but if you use the stabilizer then you'll definitely see some improvement in the line art.
 
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Posting the midstage of my Fire starter. Would you choose him or Sharovine?

_20200511_175304.JPG

No.005
Scorpeculum (Scorpion+speculum, Latin for glass)
Fire/Ground

It stores molten glass in its large back cavity, firing it out as powerful blasts or weaving it into incredibly intricate webs and weapons. They say that a Scorpeculum's lair is always covered in its molten web, and one touch will alert it to your location. They don't like it when you touch their stuff.

Design Notes: again aiming for the slightly awkward look, I pumped up the back while keeping the limbs nubby and cute, while the darkening of colour fits in with the overall colour transition of the line and the molten stinger links to the final.
 
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e-gf said:
Here's a pretty pink girl. Any tips to improve line art? fuck hands
Click to expand...

I haven't drawn in a long while, so I've mostly unlearned what I knew and need to get it back down, but, you'll want to start looking at the actual makeup of the hand instead of trying to 'draw what you see', so to speak. You can break a hand down into a few basic shapes, starting with a sort of oven mitt-like thing. But that's honestly where I'd start with hands.

For something a little more generalized, I'd try and focus on becoming more 'confident' with the line. It's hard to put into words, but bear with me:

1596977466361.png


To me, those three points look like you'd picked up your utensil at a few different points, which is fine; it's pretty difficult to just do something in a single stroke, but there's a pretty simple compromise that most people will incorporate: use several strokes to craft what appears to be 'one' line. It'll give your shapes some volume, and by using multiple strokes you can really fine-tune the general form that you want your lines to give. It might look a lot rougher than you would want it to (which depends on the artist; I'm partial to 'loud', rough linework), but you'll be going over it with ink anyway, so don't fret too much over it.

The only other thing I can really come up with at a glance is that the placement of the details on the face (eyes, nose, mouth, and so on) lead me to believe that they may have been drawn first, with the head drawn to conform to them. The eyes here favor the right edge of the head, and the right one itself is just a tad higher. When i was first doing heads, that was the way I'd do it (I'd start by drawing the left eye, then the right, then the nose and mouth, and finally the head), but that leads to problems with inconsistent head shapes, detail placements, and so on. If you're not already, I'd nail down starting with the head first. If you are starting with the head first, take some time to do just heads, and no details. Get a feel for the 'planes' of the face to get a good sense of where things want to lie. Something I've always said is that the line of one thing should be able to 'invisibly' extend into another shape (i.e. the eyebrows/eyelid into the bridge of the nose; you can actually feel this one on your face and get an idea of it). Keeping things like that in mind will help with consistent placement and 'wrapping'.

I'll add that at the point where you connect the neck to the jaw, you use some dark spots to demonstrate some depth, but there's a pretty easy thing you can start utilizing right away that'll give you some real good results. See how the lines on the neck and the ones that make up the jaw are totally different weights? You'll want to keep your first draft one uniform weight, and then once you're detailing (I prefer this to be one of the last things I do), increase the weight of each line at every point it intersects with another line.

Here's an older one of mine where I utilize that technique. It can be done differently depending on who you ask, but everybody will at least tell you that varying line weights will go a long way to breathe some life into what you're drawing. Again, start with one, uniform weight, and go from there.

1596978574002.png
 
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DickMain said:
I haven't drawn in a long while, so I've mostly unlearned what I knew and need to get it back down, but, you'll want to start looking at the actual makeup of the hand instead of trying to 'draw what you see', so to speak. You can break a hand down into a few basic shapes, starting with a sort of oven mitt-like thing. But that's honestly where I'd start with hands.

For something a little more generalized, I'd try and focus on becoming more 'confident' with the line. It's hard to put into words, but bear with me:

View attachment 1507067

To me, those three points look like you'd picked up your utensil at a few different points, which is fine; it's pretty difficult to just do something in a single stroke, but there's a pretty simple compromise that most people will incorporate: use several strokes to craft what appears to be 'one' line. It'll give your shapes some volume, and by using multiple strokes you can really fine-tune the general form that you want your lines to give. It might look a lot rougher than you would want it to (which depends on the artist; I'm partial to 'loud', rough linework), but you'll be going over it with ink anyway, so don't fret too much over it.

The only other thing I can really come up with at a glance is that the placement of the details on the face (eyes, nose, mouth, and so on) lead me to believe that they may have been drawn first, with the head drawn to conform to them. The eyes here favor the right edge of the head, and the right one itself is just a tad higher. When i was first doing heads, that was the way I'd do it (I'd start by drawing the left eye, then the right, then the nose and mouth, and finally the head), but that leads to problems with inconsistent head shapes, detail placements, and so on. If you're not already, I'd nail down starting with the head first. If you are starting with the head first, take some time to do just heads, and no details. Get a feel for the 'planes' of the face to get a good sense of where things want to lie. Something I've always said is that the line of one thing should be able to 'invisibly' extend into another shape (i.e. the eyebrows/eyelid into the bridge of the nose; you can actually feel this one on your face and get an idea of it). Keeping things like that in mind will help with consistent placement and 'wrapping'.

I'll add that at the point where you connect the neck to the jaw, you use some dark spots to demonstrate some depth, but there's a pretty easy thing you can start utilizing right away that'll give you some real good results. See how the lines on the neck and the ones that make up the jaw are totally different weights? You'll want to keep your first draft one uniform weight, and then once you're detailing (I prefer this to be one of the last things I do), increase the weight of each line at every point it intersects with another line.

Here's an older one of mine where I utilize that technique. It can be done differently depending on who you ask, but everybody will at least tell you that varying line weights will go a long way to breathe some life into what you're drawing. Again, start with one, uniform weight, and go from there.

View attachment 1507081
Click to expand...
Thank you for all the feedback, it's very much appreciated. You were spot on with your assumptions. And I agree making deliberate, fluid lines in a single line weight will help immensely to get my base down. Since I've had no stabilizer, I've mostly been just doing many strokes for a single line and erasing as needed. Also about drawing the eyes before the head, you're definitely right. I drew an eye and just kind of went with it.
 
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