First version: I tried using Kim possible's way of inking
After our third Lesson with Justin I took the new knowledge I gained about: variation, shapes and making things memorable overal and tried to use it on the second version of one of my characters in "Secret Agent Vikings".
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| I used Elaine Marley Threepwood as a reference, along side my first attempt at making Rafarta more interesting~ |
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Ahhh! This is awesome! :D I love how you went for the exaggerating way. Good work :)
ReplyDeleteI think she is coming on nicely. With next weeks lecture on props and costume, you can start to add a little more personality. I think the hair is working very well
ReplyDeleteThank you both :D, I know I found it tricky to do something exaggerated but after looking at the blogs you showed me Andi and trying to use the shapes and variation we learned with Justin I'm slowly managing to break out of my comfort zone.
ReplyDeleteThanks Justin I looked at more references of exaggerated characters and their hair always seemed really extra. I am looking forward to the prop classes as thats not normally my strong point to begin with~
It's pretty good, I'm enjoying the hair on the last image. Though I have to say, you should try and use line weight/width to your advantage more. Use lighter thinner lines for areas with a light source on them, and use darker thicker lines for shadowed areas. There's also a general lack of perspective in some areas, draw some feint lines to a vanishing point and things will make sense [ as a tip, i tend to make basic block models, or even use old character models and pose them for quick reference for perspective drawing ].
ReplyDeleteAh Thank you Jon I will try that for the perspective.
ReplyDeleteWhen you talk about line width, do you mean I should first pic were my light is actually coming from then everything facing it should have thin lines and what would originally be in shadow thicker?
Well, the way I draw is that I tend to figure out perspectives and blog out rough primitives very lightly first. Then I start adding onto that. It's the same with everything, start off light/big/basic and refine as you go. Bring the whole drawing up together. Just make sure you know where your light source is coming from, and play around with line widths. In areas really overblown by light, you can even rub out the line there so the line is broken; this really sells overly bright areas. Very dark areas can have dark and thick line work. Just experiment and give it a try; find something that works for you, it'll do wonders.
ReplyDeleteI should also say, though, that it depends on what style you're trying to achieve. For example a lot of comic based art has thick dark lines outlining the character and more thinner lines inside the characters outline. These thinner lines can even follow the rules of thick/line line widths. Example : http://blog.newsok.com/nerdage/files/2008/08/liberty_meadows_frank_cho.jpg
ReplyDeleteThese kind of follow it, but very subtle : http://urbancities.vndv.com/comics/cho/comic1.jpg Around the legs etc you can see where he's used thicker line work.
Another example of thick line work encasing the silhouette with thinner line work inside : http://imgs.abduzeedo.com/files/articles/stunning-illustrations-warren-louw/Eri___Scrapped_by_WarrenLouw.jpg
Again; just try things out. It's all about being creative with your line work, it's just another tool of communication. There's more too it than just putting a line down.
I really Like the effect on the last picture, and I will try to use these and other type of line work in the other pictures I create. I think as I do not have line style at the moment, each picture I do will try one of all of these examples until I get one that sticks.
ReplyDeleteThanks alot Jon this will/has be very helpful :D