WIP new character

#21

You need to work on your perspective. All the thumbnails look wrong because none of them have correct perspective, In your thumbnail sketches, you need to work out the layout of your scene and the proper perspective, as well as the most effective camera angle to convey the vibe you want for the visual narrative. Your sense of composition and camera angle is too utilitarian and not creative/interesting enough. This is a very common mistake that beginners make–they are often limited to only visualizing their scenes as if depicting a theater stage, and don’t think about all the different possibilities such as interesting/dramatic camera angles and using variety of different focal lengths (such as ultra-wide angle, worm’s eye view).

Take some time and learn the basics of perspective (learn how to depict at least one, two, and three point perspective)–it is a requirement if you want to depict credible looking environments, and absolutely necessary if you want to be able to depict different camera angles.

#22

Okay, one thing you’re consistently missing is the feet - the figure’s center of weight is wrong, and is poised over the wrong foot. Do the pose yourself again, and pay attention to the direction of your feet, the position, and which leg and foot your weight is on. If you take another photo, include the feet!

It’s something you haven’t learned yet, but this can have a lot of influence on the body language of the figure - an aggressive pose requires an aggressive stance, and the feet play into that - you can create a sense of tension, or tranquility, just by what foot the figure is putting it’s weight on. It’s a lot like boxing, a boxer would understand what I’m saying immediately. (I’ve boxed as a workout off and on for years, I learned a lot from it). The weight of the figure should flow from one or both feet (depending on pose), up through the leg(s), through the hips, through the spine, to the head.

The feet you’ve drawn are also not putting the character onto the drawing plane correctly - the pose is standing, but the feet say floating. You can’t have both.

#23

Hey

Thanks for the feedback. My tumbnails were all about the idea what was going on in the scène. It was about that that I wanted your opinion first. I forgot to include that in my last post(had to post fast because I had to go sleep). I know that the details(perspective, camera angle, details pose, …) are not good enough yet but thanks for your advice about working it out. :slight_smile: I will look into it.

#24

I agree that you need to take some time off and study perspective. It will help you a lot. Once you do let me know, i’ll give you a few tips regarding organics in perspective, shortcuts and how to set up a good template/setup to work from to help build scenes quicker.

I’m going to put them again for you, regarding perspective in terms of resources my recommendations are:

You’ve been tenacious in this, really cool of you. I’m sure in time you will reach your target.

#25

Hey FarisB

Studiying something/perspective is one thing but applying it is another more difficult part. But I will go for it. :slight_smile:

#26

Very true. Actually one of the conclusions I got after studying perspective was its limitations. This struck me as a path I didn’t want to get too focused on when I read about an artist called Paolo Uccello.

http://en.wikipedia.org/wiki/Paolo_Uccello

http://www.handprint.com/HP/WCL/perspect5.html
(search for his name, there are some comments from Giorgio Vasari that are an interesting read)

With perspective alone the figures will look stiff. Tilting and awkward angles or free angles and lines are very time consuming to compute angle and distance wise. Also due to the setup needed to draw in perspective you use a large space of the paper only to actually draw in a small portion of it which you then might need to magnify. steep angled vanishing points going beyond the limits of the paper. vertical vanishing points. The page gets too crowded with lines and can’t “see” any more.

Each of these will need sitting down and finding a solution that is not written in a book, you will find alternative solutions than the academic method of doing it (after you hit your head on the wall for a few days).

But think about the benefits. You know how people draw a table then they want to draw a cup of tea on top it? And the cup of tea looks wrong? Same issue with the feet on the ground.

Lets make it simple, we need to draw a cube at a 30, 60 angles in relation to the ground line and a little bit to the left of our center of vision. How deep should we draw that line going to the 30 vanishing point and how much to the 60 vanishing point? If we can’t draw a simple cube, non tilted, parallel to the ground plane, how are we going to draw a whole person with limbs and legs and torsos and head going in every direction?

It is up to you, but I don’t think there is a way to “escape” from studying perspective. But drawing a figure inside a defined 3d space is much easier than drawing a figure on a blank piece of paper.

#27

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