Anatomy Thread of .: Mr. Mu :.

#801

I can only add to the superlatives here Mu.
It’s not that much about likeness as it is about mood, expression and emotion.
Your inkings have all of that.

Lovely!

#802

Thank you, Johan. I must say that I am quite excited about the whole thing, because it resonates with a whole set of preferences of mine from a totally different field of arts: music.

To put it in a nutshell: This style is like a good blues song - rough, simple, dramatic and sinister. I love it.

This one is up next:

#803

tryin to minimize detail while still depicting everything needed for a complete impression. Not that I succeeded…:smiley: But that’s where I want to go.

contrasting line weights (thick and thin) and shapes with hard edges and a bit softer ones. Added a bit of texture to the shirt.

I need different paper, the ink runs too much and destroys sharp lines. Also, the new ink I got is not as opaque as the old one. Damn.

I’m tired.

Signing out…:slight_smile:

from ref:

#804

Hey there Mu :slight_smile:

I like the association to music - fits well :slight_smile:
These inkings are getting better and better :slight_smile: They’re striking and
draw you in :slight_smile: One small suggestion… the way the girl (above) has a shadow on both
arms and then a line to show the outer edge of the arm. If you were to make that line
more varied in thickness - from very thin & perhaps even broken in the parts where
light may reflect, to thicker & maybe even meeting the shaded area. Not sure if I’m making
sense here - but to me it would look less like an outline and more like an illustration
of form - allowing the eye to ‘move beyond the line’ :smiley:
Looking good though, so disregard what doesn’t make sense :wink:

cheers
a. :slight_smile:

#805

Hey Mu, have you tried this in Painter?
Some great inking brushes in there…
I had done some lineart on A4 copy paper yesterday with a Pitt Artist Pen earlier on the day yesterday and then took it in Painter to improve the linework… works like a charm (I used a brush from the caligraphy category)… just a suggestion.

Looking great! Keep going pls :bounce:

#806

Hey Johan,

I did try Painter’s liquid ink section, but I feel that I can only use them appropriately after learning it the traditional way. I don’t know why, but I get closer to the craft as such when doing it with a traditional tool. Or my brain works better, then, I got no idea, why.
What bugs me in Painter is that you can’t just paint in white over liquid ink with a liquid ink variant, IIRC. That’s a bit easier IRL.

Annette,

your suggestion makes perfect sense to me! Thanks a lot.
I think I will try it on the scan and take this one into Painter (following Johan’s suggestion, too…:smiley: ) and will try to apply it there.

#807

Like this…?

I tried to break the outline for an impression of hard lighting, used more variance in line weight and added a few more details (hair, underwear)

#808

I realized my new ink is actually sepia, very dark sepia… damn.

I gotta go and get me a bottle of the hard full opaque black one, because on the original I got all kinds of shades going on in the black areas from the pen, the brush and the markers…

The nose drove me mad, btw…

Another thing to note: I am trying to get smaller and smaller in these studies as my full comic page will have to fit on the page with several panel… :eek:

#809

HEY MR MU…:slight_smile:

Looking forward to seeing the page layouts for your comic.:slight_smile:
You might get ahold of a plastic template…the kind with the curves, and straight edges in it…will come in handy when you make your borders around each frame…You can make them fancy in some cases, and plain in others, depending on the importance of the frame on the page.
A quill pen set with different tips that fit into the handle is also very handy when doing ink work,…and a good small sable hair brush that comes to a fine point, for your line work…really makes a difference in the quality of your line…Just a couple of passing thoughts that might be useful to you…:slight_smile:
Your technique, and pieces are getting stronger with each one you do, as you start to get used to this inking techniqe that you’ve chosen…Good choice by the way…:thumbsup:
TAKE CARE
Glenn

#810

Hi Mu :slight_smile:

The changes you made to the line are definitely giving her more movement,
allowing the eye to wander freely without being trapped in a line :slight_smile:
That last ink-painting rocks! :thumbsup: Keep enticing us & look forward to
seeing the panels together. I’ve been wanting to do more black & white
cartoon (comic - & colour too) drawings, you’re definitely inspiring me :slight_smile:

cheers
a. :slight_smile:

#811

Hi Glenn,

all of the things you mentioned were on the shopping list of the book I bought about drawing noir comics. I love shopping lists…:smiley: I went and got everything within the same week, of course!
Thanks for popping in!

Annette,
that is cool to hear that you are drawn to inking, too!
Before I actually compose whole pages I need to go through a set of preparatory exercises, the first being dialogue shots, which will come soon.

:wavey:

#812

I realized that dialogue shots are not the next exercise in the book.

Silhouettes are!

I am afraid…:smiley:

more portraits

#813

according to “How to draw noir comics” another important exercise is to do silhouettes. Detail is only allowed in the background.

As a first step I did a few very quick outlines from life from today’s visit at the zoo with pencil. I couldn’t ink the outlines in the sketchbook (The black shows on the next page… I tried to blacken a few with charcoal but that gave ugly spots), so you have to do with the bare outlines only.

I must say it was exciting! I haven’t been that fast at fixing the basic structure of a gesture before. I always tried to draw the full head or the arm before the torso and so on, but with this you only care about the basic shape (horizon) - a bit like Tony Ryder on speed…:smiley:

#814

cont. damn the image limit…:rolleyes:

#815

more silhouettes. The exercise says, draw silhouettes, draw no detail, concentrate on the shape, the only place detail is allowed is in the background.

I must say, thinking about silhouettes totally launches my storytelling muscle.

These are from imagination. Ref was used for the view of the trunk of the car.

#816

Good work on the sillhouettes. I can see the noir feel on the last two sketches…

#817

thanks vikramvr!

more silhouette characters in environment. I realize I feel uncomfortable doing environments (not that the anatomy of my characters wouldn’t make me feel uncomfortable, too…).
So, I’ll do a few environments next. And portraits. And silhouettes.

#818

Hey Mu
great updates!

If you do this already, please ignore the following:
work from the shoulder or at least from the elbow, rather than the wrist.
With some practice the control and fluidity will be a lot bigger this way.
Search for schwung :slight_smile:

#819

LOL, schwung alright!

That’s a good reminder. I am going smaller and smaller with these drawings and I might have become to limited in my movements on the way.

thanks for your visits and advice, man!

:wavey:

#820

Hi Mu, you have some great results with this black and white style! The environments are quite a challenge i suppose.