Hello!
For architecture, my advice is: look for documentation, always more documentation :). In the upcoming courses, we also talk about tricks for perspective, which should really help with the settings.
For your composition, I'd like to make a few small remarks:
the horizon line is very close to the middle of the height and "breaks" the image a bit. Just like we avoid putting a character right in the middle, we avoid placing the horizon line at mid-height (usually in the upper or lower third). If the horizon line is at the top, it creates a slight high-angle view and allows you to clearly show the topography of the setting. If it is at the bottom, it creates a low-angle view which leaves room for the sky and can help the image breathe.
your character is a bit lost in the corner, it almost feels like she is sitting on the edge of the frame, which is a bit non-immersive. You might move her up a bit and slightly towards the center of the image. And since she has no backrest, she could lean forward a bit, giving her a more relaxed pose.
Nice idea by the way, this castle on the sea. I like the row of reefs in your middle thumbnail, it creates a line that naturally guides the viewer's gaze from the character towards the castle.
Here's how it looks for me. I feel like there are already a bit too many details for this stage ^^"
I wanted to create a sort of "end of the world" scene viewed from the relative calm of an old person's interior. I felt a bit compelled to add some color at one point to help me think even though I know that it will come later.
PS: I love the classes! Even though I've been playing around with Photoshop for a while, I am learning a lot (all these years without using the move tool!!)
PPS: Looking forward to what's next!
I don't think your sketches are too detailed. If you find them too cluttered, there's nothing stopping you from proceeding as in the sketching course (reduce the opacity of your drawing, and redraw more cleanly on a new layer).
If you absolutely need to use color, for now, I advise you to use only three or four shades of gray to differentiate your foreground from your midground and background. The goal at this point is to make sure your image is readable, to catch the eye. Generally, the closer an object is, the darker it is, and the farther it is, the more it is lightened by ambient light (atmospheric perspective).
For your drawing, I suggest using the foreground of your Panel 3: I find that the cozy chair with knitting supplies provides a strong contrast to the post-apocalyptic setting. Moreover, it is well placed to serve as a focal point and main subject. For the background, you can use the pond from your panels 5 to 9, especially because having the horizon in the image will give more depth and volume to your setting.
Nice work, great idea, and I hope you will continue to comment and share your progress!
I'm going to try to make cleaner sketches and separate the planes into grayscale levels when I really need to. Anyway, if I get to that point, it means the image itself is no longer clear enough ^^"
So here we go again: I kept the armchair as the central element and I took the opportunity to detail a bit the "unfinished knitting" aspect. It left quite a bit of space on the right which I didn't really know what to do with, so, well, I really left some space. In the end, I find that it gives a bit of a breath of fresh air in this very busy composition. Plus, it allows for giving a bit more importance to the table which looked like "a little thing in a corner" before.
I really like the idea of moving the bridge as it makes the separation from the water and the buildings on the opposite shore much clearer! If I can manage it (which is not certain at all - I've never tried this kind of thing), I'll have more room to play with fun light reflections in the water :)
PS: Donât worry, I fully intend to keep posting on the forum, now that Iâve finally found a place where I can get constructive feedback on my sketches and where I can post unfinished and ugly stuff without any embarrassment! ;)
Can you explain your ideas a bit? What kinds of stories do you want to tell in these images? I'm having a bit of trouble grasping what's going on, and I'm afraid my advice might miss the mark if the message goes over my head.
That said, space seems to play an important role in your images. Looking at the next lesson on perspective and using the downloadable perspective grids might be helpful for you to tackle these problems.
celebrates its good I am beside the point because you have to do a landscape with a character on the side of the drawing or else you can also do just a landscape.
but I did what should not be done I misunderstood.
I would like to present the idea of a door that opens and provides access to knowledge (I placed it at the top right for a right-to-left reading like in manga). The knowledge is represented by the building on the left (I do not have its final shape in mind). The little figure at the bottom left is on a pencil (which is another way to acquire this knowledge). As for the boat, it allows us to access this knowledge through travel. Iâm looking forward to your advice eagerly. đ
Hello! I find the idea cool, a dreamlike and symbolic scene, it's a good exercise.
I get the feeling that the main issue with most of your compositions is that you donât play with size differences. Almost all the elements in your composition are roughly the same size in the image, and moreover, you have four elements, each in its own quarter, with the horizon at mid-height.
Clearly, you started your compositions with depth, but without too many story ideas, and you found it simpler to work the idea without fussing over perspective. I have no issue with thinking like that, "with the pencil," but I suggest you push a bit further once you have your idea, to vary the size and position of the elements. Placing elements of different sizes, especially if they partly overlap, is an excellent way to add depth.
When you have a narrative idea, you can highlight an action, a movement, by arranging elements along a single line, what is called a force line. If you highlight your force line well, you can "force" the viewer to look at the elements in a certain order which matches the story you want to tell.
My correction image simply gives one example among hundreds of possibilities, but it uses elements of different sizes, arranged in a way to utilize a force line.
Thank you very much for these wonderful tips!
I will try to fully integrate all your advice. I really like your correction! I would like to highlight the door that opens using the line of force and give it priority. I will think about a way to put your advice into practice to achieve this result. I must admit that for now I do not see how
In fact, it would suffice to remove, or at least set back, the ship: the pencil already points to the door, and the character's gaze does the same, which automatically directs the viewer's attention.
Given the season, holiday festivities, I decided to go with a representation of an elf village. đ
I quickly dropped the idea of mushroom houses, đ but then it was an explosion of ideas... đ
So I thought that sleeping on it might help, and probably a mix of several ideas would make a good illustration.
For the third strip, the bottom one, I thought: put yourself in the shoes of the elf, the Christmas tree, and Santa Claus to see what that could look like... đ
Pour la troisiĂšme bande, celle du bas je me suis dit : met toi du point de vue, du lutin, du sapin et du PĂšre NoĂ«l pour voir ce que ça peut donner⊠đ
Nice!
The main concern with these compositions is that you force yourself to always be symmetrical. By shifting your focal point to the right or left, you will create more "natural" images.
Try also to play with overlapping elements from the foreground and background. If all elements of your foreground are below those of the background, it creates an artificial effect.
In the case of characters, in particular, if their eyes are at the horizon line level, it means that the "imaginary lens" through which we see is at their height, which brings us closer to them, something you understood very well for image number 7.
For image 9, the idea is very cool. You can give it more dynamism by adding a curve to the path of the sled. Be careful, drawing the reindeer from below might be tricky, as it's not easy to find reference images from that angle.
Interactions
Nombre de sujet(s) : 2
Nombre de réponse(s) : 25
26/05/2020
Here is my exercise:
I imagined a small seascape, which I fleshed out gradually.
However, I'm not very comfortable with the architecture of my castle đ
Voici mon exercice :
Jâai imaginĂ© un petit paysage marin, que jâai Ă©toffĂ© au fur et Ă mesure.
Par contre je ne suis pas trĂšs Ă lâaise avec lâarchitecture de mon chĂąteau đ
Want to learn drawing?
See our coursesInteractions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 310
26/05/2020
For architecture, my advice is: look for documentation, always more documentation :). In the upcoming courses, we also talk about tricks for perspective, which should really help with the settings.
For your composition, I'd like to make a few small remarks:
the horizon line is very close to the middle of the height and "breaks" the image a bit. Just like we avoid putting a character right in the middle, we avoid placing the horizon line at mid-height (usually in the upper or lower third). If the horizon line is at the top, it creates a slight high-angle view and allows you to clearly show the topography of the setting. If it is at the bottom, it creates a low-angle view which leaves room for the sky and can help the image breathe.
your character is a bit lost in the corner, it almost feels like she is sitting on the edge of the frame, which is a bit non-immersive. You might move her up a bit and slightly towards the center of the image. And since she has no backrest, she could lean forward a bit, giving her a more relaxed pose.
Nice idea by the way, this castle on the sea. I like the row of reefs in your middle thumbnail, it creates a line that naturally guides the viewer's gaze from the character towards the castle.
pour l'architecture, mon conseil c'est: chercher de la documentation, encore et toujours de la documentation :). dans les cours suivant on parle aussi d'astuce pour la perspective, ce qui devrait bien aider pour les décors.
pour ta composition, je vais te faire quelques petites remarques:
la ligne d'horizon est trĂšs proche du milieu de la hauteur et "casse" un peu l'image. de la mĂȘme façon qu'on Ă©vite de mettre un personnage en plein milieu, on Ă©vite de mettre la ligne d'horizon Ă mi hauteur (en gĂ©nĂ©ral au tiers supĂ©rieur ou infĂ©rieur). Si la ligne d'horizon est en haut, ça crĂ©e une vue en lĂ©gĂšre plongĂ©e et permet de bien montrer la topographie du dĂ©cor. Si elle est en bas, ça crĂ©e une contre plongĂ©e qui laisse de la place au ciel et peut aider l'image Ă respirer.
ton personnage est un peu perdu dans le coin, on a un peu l'impression qu'elle est assise sur le bord du cadre, ce qui est un peu contre immersif. Tu peux la remonter un peu et la rapprocher légÚrement du centre le l'image. Et puisqu'elle n'a pas de dossier, elle peut basculer un peu en avant, lui donnant une pause plus relaxée.
Belle idée en tout cas, ce chateau sur la mer. j'aime bien la rangée de récifs sur ta vignette du milieu, ça crée une ligne qui guide naturellement le regard du personnage vers le chùteau.
Interactions
Nombre de sujet(s) : 2
Nombre de réponse(s) : 25
27/05/2020
Thank you so much for your comments and corrections, they are very constructive and enlightening.
I've always struggled with positioning my horizon line, and your advice has been an eye-opener!
In any case, I completely agree with your comments, my illustration has been completely transformed with just a few changes in lines, posture, etc.
I hope that with the rest of the training, this sketch can transform into a real illustration đ
Thanks again for your advice! đ
Merci beaucoup pour tes remarques et corrections, c'est trĂšs constructif et enrichissant.
J'ai toujours eu dĂ» mal Ă placer ma ligne d'horizon, et ton conseil m'a ouvert les yeux !
En tout cas je suis tout à fait d'accord avec tes remarques, mon illustration est complétement transformée avec ces quelques changements de ligne, posture etc...
J'espĂšre qu'avec la suite de la formation, cette vignette pourra se transformer en vĂ©ritable illustration đ
Encore merci pour tes conseils !đ
Interactions
Nombre de sujet(s) : 1
Nombre de réponse(s) : 15
25/06/2020
Here's how it looks for me. I feel like there are already a bit too many details for this stage ^^"
I wanted to create a sort of "end of the world" scene viewed from the relative calm of an old person's interior. I felt a bit compelled to add some color at one point to help me think even though I know that it will come later.
PS: I love the classes! Even though I've been playing around with Photoshop for a while, I am learning a lot (all these years without using the move tool!!)
PPS: Looking forward to what's next!
Voilà ce que ça donne pour moi. J'ai l'impression qu'il y a déjà un peu trop de détails pour ce stade ^^"
J'ai eu envie de faire une sorte de scĂšne qui fasse un peu "fin du monde" vue depuis le calme relatif d'un intĂ©rieur de petit vieux. Je me suis sentie un peu obligĂ©e d'ajouter de la couleur Ă un moment pour m'aider Ă rĂ©flĂ©chir mĂȘme si je sais que ça va venir plus tard.
Ps: J'adore les cours ! MĂȘme si ça fait un petit moment que je fais mumuse avec Photoshop j'apprends plein de choses (toutes ces annĂ©es sans utiliser l'outil de dĂ©placement !!)
PPs: Vivement la suite !
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 310
26/06/2020
I don't think your sketches are too detailed. If you find them too cluttered, there's nothing stopping you from proceeding as in the sketching course (reduce the opacity of your drawing, and redraw more cleanly on a new layer).
If you absolutely need to use color, for now, I advise you to use only three or four shades of gray to differentiate your foreground from your midground and background. The goal at this point is to make sure your image is readable, to catch the eye. Generally, the closer an object is, the darker it is, and the farther it is, the more it is lightened by ambient light (atmospheric perspective).
For your drawing, I suggest using the foreground of your Panel 3: I find that the cozy chair with knitting supplies provides a strong contrast to the post-apocalyptic setting. Moreover, it is well placed to serve as a focal point and main subject. For the background, you can use the pond from your panels 5 to 9, especially because having the horizon in the image will give more depth and volume to your setting.
Nice work, great idea, and I hope you will continue to comment and share your progress!
je ne trouve pas que tes esquisses soient trop dĂ©taillĂ©es. si tu les trouve trop confuses, rien ne tâempĂȘche de procĂ©der comme dans le cours sur le crayonnĂ© (rĂ©duire l'opacitĂ© de ton dessin, et redessiner plus propre sur un nouveau calque).
si tu a absolument besoin d'utiliser la couleur, pour le moment je te conseille de n'utiliser que des trois ou quatre valeurs de gris pour séparer ton premier plan du second plan, et de l'arriÚre plan. le but à se moment là c'est de t'assurer que ton image est lisble, pour accrocher le regard. en rÚgle générale plus un objet est proche, plus il est sombre, et plus il est loin, et plus il est éclairci par la lumiÚre ambiante (perspective atmosphérique.
pour ton dessin, je te suggÚre d'utiliser le premier plan de ta vignette 3: je trouve que le fauteuil cosy avec le matériel de tricot donne un fort contraste au décor post apocalyptique. en plus il est bien placé pour servir de point focal et de sujet principal. pour l'arriÚre plan, tu peux utiliser le pond de tes vignettes 5 à 9, surtout parce que avoir l'horizon dans l'image va donner plus de profondeur et de volume à ton décor.
Joli travail, belle idée, et j'espÚre que tu vas continuer à commenter et à partager tes progrÚs!
Interactions
Nombre de sujet(s) : 1
Nombre de réponse(s) : 15
26/06/2020
Thank you so much for your advice!!
I'm going to try to make cleaner sketches and separate the planes into grayscale levels when I really need to. Anyway, if I get to that point, it means the image itself is no longer clear enough ^^"
So here we go again: I kept the armchair as the central element and I took the opportunity to detail a bit the "unfinished knitting" aspect. It left quite a bit of space on the right which I didn't really know what to do with, so, well, I really left some space. In the end, I find that it gives a bit of a breath of fresh air in this very busy composition. Plus, it allows for giving a bit more importance to the table which looked like "a little thing in a corner" before.
I really like the idea of moving the bridge as it makes the separation from the water and the buildings on the opposite shore much clearer! If I can manage it (which is not certain at all - I've never tried this kind of thing), I'll have more room to play with fun light reflections in the water :)
PS: Donât worry, I fully intend to keep posting on the forum, now that Iâve finally found a place where I can get constructive feedback on my sketches and where I can post unfinished and ugly stuff without any embarrassment! ;)
Merci beaucoup pour tes conseils !!
Je vais essayer de faire des croquis plus propres et de sĂ©parer les plans en niveaux de gris quand j'en ai vraiment besoin. De toute façon si j'en arrive lĂ c'est que l'image en elle mĂȘme n'est plus assez lisible ^^"
Du coup c'est reparti : j'ai gardĂ© le fauteuil comme Ă©lĂ©ment central et j'en ai profitĂ© pour dĂ©tailler un peu le cotĂ© "tricot pas fini". Ăa laissait pas mal d'espace Ă droite dont je savais pas trop quoi faire,donc, bah j'ai vraiment laissĂ© de la place. En fin de compte je trouve que ça donne un peu une bouffĂ©e d'air dans cette compo trĂšs chargĂ©e. En plus ça laisse la place de donner un peu plus d'importance Ă la table qui faisait un peu "petit machin dans un coin" avant.
J'aime beaucoup l'idée de bouger le pont ça rend beaucoup plus claire la séparation avec l'eau et les immeubles sur la rive d'en face ! Si j'y arrive (ce qui n'est pas dit du tout - je n'ai jamais essayé ce genre de trucs) j'aurais plus de place pour faire des jeux de reflets de lumiÚre fun dans l'eau :)
ps : Ne t'inquiĂštes pas, je compte bien continuer de poster sur le forum, maintenant que j'ai enfin trouvĂ© un endroit oĂč avoir des retours constructifs sur mes dessins et oĂč je peux poster des trucs pas finis et moches sans gĂšne ! ;)
Try our courses for free
See our coursesInteractions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 4
09/07/2020
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 310
09/07/2020
That said, space seems to play an important role in your images. Looking at the next lesson on perspective and using the downloadable perspective grids might be helpful for you to tackle these problems.
ceci dit, l'espace semble jouer un role important dans tes images. regarder le cours suivant sur la perspective et utiliser les grilles de perspectives tĂ©lĂ©chargeables pourraient t'ĂȘtre utiles pour t'attaquer Ă ces problĂšmes.
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 4
10/07/2020
but I did what should not be done I misunderstood.
mais moi j'ai fait ce qu'il ne fallait pas faire j'ai mal comprit.
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 310
11/07/2020
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 7
21/08/2020
Here is my assignment:
I would like to present the idea of a door that opens and provides access to knowledge (I placed it at the top right for a right-to-left reading like in manga). The knowledge is represented by the building on the left (I do not have its final shape in mind). The little figure at the bottom left is on a pencil (which is another way to acquire this knowledge). As for the boat, it allows us to access this knowledge through travel. Iâm looking forward to your advice eagerly. đ
Voici mon exercice :
j'aimerais donner l'idĂ©e d'une porte qui s'ouvre et qui donne accĂšs Ă des connaissances ( je l'ai placĂ© en au Ă droite pour une lecture de droite Ă gauche comme dans les mangas). Les connaissances sont reprĂ©sentĂ©es par l'Ă©difice Ă gauche ( je n'ai pas sa forme finale en tĂȘte ). Le petit bonhomme en bas Ă gauche est sur un crayon ( qui est un autre moyen d'obtenir ces connaissances ). Quand au bateau, il nous permet dâaccĂ©der Ă ces connaissances par le voyage. j'attends vos conseils avec impatience. đ
Want to learn drawing?
See our coursesInteractions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 310
24/08/2020
I get the feeling that the main issue with most of your compositions is that you donât play with size differences. Almost all the elements in your composition are roughly the same size in the image, and moreover, you have four elements, each in its own quarter, with the horizon at mid-height.
Clearly, you started your compositions with depth, but without too many story ideas, and you found it simpler to work the idea without fussing over perspective. I have no issue with thinking like that, "with the pencil," but I suggest you push a bit further once you have your idea, to vary the size and position of the elements. Placing elements of different sizes, especially if they partly overlap, is an excellent way to add depth.
When you have a narrative idea, you can highlight an action, a movement, by arranging elements along a single line, what is called a force line. If you highlight your force line well, you can "force" the viewer to look at the elements in a certain order which matches the story you want to tell.
My correction image simply gives one example among hundreds of possibilities, but it uses elements of different sizes, arranged in a way to utilize a force line.
j'ai l'impression que le principal souci de la plupart de tes composition, c'est que ne joues pas avec les diffĂ©rences de taille. presque tous les Ă©lĂ©ments de ta composition font Ă peu prĂšs la mĂȘme taille dans l'image, et en plus tu as quatre Ă©lĂ©ments, chacun dans son quartier, avec l'horizon Ă la moitiĂ© de la hauteur.
visiblement tu as commencĂ© tes composition avec de la profondeur, mais sans trop d'idĂ©es d'histoire, et tu as trouvĂ© plus simple de travailler l'idĂ©e sans t'embĂȘter avec la perspective. Je n'ai aucun problĂšme avec le fait de rĂ©flĂ©chir comme ça, "avec le crayon", mais je te suggĂšre de pousser un peu plus loin une fois que tu as ton idĂ©e, de varier la taille et la position des Ă©lĂ©ments. placer des Ă©lĂ©ments de taille diffĂ©rente, surtout s'ils sont en partie superposĂ©s est une excellente maniĂšre de donner de la profondeur.
Quand tu a une idĂ©e narrative, tu peux mettre en valeur une action, un mouvement, en disposant des Ă©lĂ©ments sur une mĂȘme ligne, ce qu'on appelle une ligne de force. si tu mets bien en valeur ta ligne de force, tu peux "forcer" le spectateur Ă regarder les Ă©lĂ©ments dans un certain ordre qui correspond Ă l'histoire que tu veux raconter.
mon image de correction donne simplement un exemple parmi des centaines de possibilités, mais elle utilise des éléments de différentes tailles, disposés de façon à utiliser une ligne de force.
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 7
26/08/2020
I will try to fully integrate all your advice. I really like your correction! I would like to highlight the door that opens using the line of force and give it priority. I will think about a way to put your advice into practice to achieve this result. I must admit that for now I do not see how
Je vais essayer de bien intégrer tous vos conseils. Votre correction me plaßt énormément ! J'aimerais mettre en valeur la porte qui s'ouvre à l'aide de la ligne de force et lui donner la priorité. Je vais réfléchir à un moyen de mettre en pratique vos conseils pour arriver à ce résultat. Je vous avoue que pour l'instant je ne vois pas comment
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 310
27/08/2020
En fait, il suffirait de retirer, ou du moins mettre en retrait, le navire: le crayon pointe dĂ©jĂ vers la porte, et le regard du personnage fait la mĂȘme chose, ce qui dirige automatiquement le regard.
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 7
26/08/2020
Interactions
Nombre de sujet(s) : 2
Nombre de réponse(s) : 52
30/12/2020
Given the season, holiday festivities, I decided to go with a representation of an elf village. đ
I quickly dropped the idea of mushroom houses, đ but then it was an explosion of ideas... đ
So I thought that sleeping on it might help, and probably a mix of several ideas would make a good illustration.
For the third strip, the bottom one, I thought: put yourself in the shoes of the elf, the Christmas tree, and Santa Claus to see what that could look like... đ
Vu la saison, fĂȘtes de fin dâannĂ©e, je suis parti sur une idĂ©e de reprĂ©sentation dâun village de lutin. đ
Jâai assez vitre laissĂ© tomber lâidĂ©e des maisons champignon, đ par contre ça a Ă©tĂ© lâexplosion dâidĂ©es⊠đ
Du coup je me dis que la nuit porte conseil et probablement quâun mix de plusieurs idĂ©es feront une bonne illustration.
Pour la troisiĂšme bande, celle du bas je me suis dit : met toi du point de vue, du lutin, du sapin et du PĂšre NoĂ«l pour voir ce que ça peut donner⊠đ
Try our courses for free
See our coursesInteractions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 310
31/12/2020
The main concern with these compositions is that you force yourself to always be symmetrical. By shifting your focal point to the right or left, you will create more "natural" images.
Try also to play with overlapping elements from the foreground and background. If all elements of your foreground are below those of the background, it creates an artificial effect.
In the case of characters, in particular, if their eyes are at the horizon line level, it means that the "imaginary lens" through which we see is at their height, which brings us closer to them, something you understood very well for image number 7.
For image 9, the idea is very cool. You can give it more dynamism by adding a curve to the path of the sled. Be careful, drawing the reindeer from below might be tricky, as it's not easy to find reference images from that angle.
Le principal souci de ces compo, c'est que tu te forces Ă ĂȘtre toujours symĂ©trique. En dĂ©calant ton centre d'intĂ©rĂȘt Ă droite ou Ă gauche, tu crĂ©eras des images plus "naturelles".
Essaye aussi de jouer sur les chevauchement entre des éléments de premier et d'arriÚre plan. si tout les éléments de ton premier plan sont en dessous des éléments de second plan, ça crée un effet artificiel,
Dans le cas des personnages, en particulier, si leur yeux sont à la hauteur de la ligne d'horizon, ça veut dire que "l'objectif" imaginaire à travers lequel on voit se trouve à leur hauteur, ce qui nous rapproche d'eux, ce que tu as trÚs bien compris pour l'image numéro 7
pour l'image 9 l'idĂ©e est trĂšs chouette. Tu peux lui donner plus de dynamisme en donnant une courbe Ă la trajectoire du traineau. attention, dessiner les rennes vu du dessous risque d'ĂȘtre compliquĂ©, car ce n'est pas facile de trouver des images de rĂ©fĂ©rence sous cet angle.
Interactions
Nombre de sujet(s) : 2
Nombre de réponse(s) : 52
03/01/2021
Great suggestions, they really make the sketches less flat and more dynamic... đ
Super les propositions, cela rend vraiment les esquisses moins plates et plus dynamique⊠đ
You must be logged in to reply on the forum.