Wow, not practicing vanishing points for characters, I now understand why, as soon as I placed a figure in my drawings, it "broke" everything! Thanks for this lesson, (....and for all the others as well, of course) which opens up new perspectives for even more successful drawings. It's great! To be tested over and over. Thank youuuuuu.
Tough, tough the loss of characters. Sorry, I didn't quite understand the one of the third character, it seems very weird: at what level is he placed and in relation to which vanishing point, please?
Thank you in advance!
As a result, the outcome isn't exactly there, but still, you can tell that you've really gotten the hang of constructing the body despite a few minor errors here and there.
So let's go over them:
> for the top-down view, it's not working. The head is too far back and a bit too small, and importantly, the ribcage is rounder than that, kind of like a cylinder if you will ^^ From the top, it's more of an oval shape. But it's rare to see someone from this angle, so it's hard to think of that little detail :)
> Body simplifications: they're good. They look a lot like artist mannequins available in stores, or some robots/androids in movies. You've synthesized things very well đ
> Various character sketches:
>> The one with the fist is very dynamic, like what you might see in manga, with a marked distortion on the body. But there are a few small issues.
His fist, apparently palm up: the thumb is missing. And you can see his shoulder behind, but you should also see at least the biceps part of the arm, maybe even the forearm (it depends on how your character is positioned, whether his arm is really completely stretched or slightly bent).
Another little issue: the legs. One is much larger than the other: no problem. But the foot goes behind the thinner leg (so the one furthest away from us presumably). That's strange then ^^
The next two characters, there's some thought, the lady is better done. The gentleman was not bad, except that the thickness of the arm/shoulder at the back is the same as that of the arm in front > not logical given the perspective on him. That's what you would see from the front, but here he's turned. Otherwise, it's good, in terms of proportions. However, placing the horizon line right at the level of his shoulders is a bit awkward, it disturbs the eye.
You seem to have noticed it, since you lowered it for the female version. This time it's more consistent, but watch out for proportions (the torso is a tad too long this time).
Overall, despite your very bold choice of angles, you managed quite well. Don't hesitate to use body simplification to really build and structure your characters before finalizing them. Keep challenging yourself, it's the best way to learn đ
Oh yes, I am a big masochist đ I'm starting with the worst right away!
Thank you for all these explanations (and sorry for my response time!). I have now spotted all my mistakes and I plan not to make them again (or at least as little as possible đ). For simplification, it must surely come from when I was younger (when I was in middle and high school) I used wooden mannequins a lot to look for postures.
Eh oui je suis une grande maso đ je commence directement par le pire !
Hello,
Regarding part 3, about the number of heads to place to maintain perspective, I'm not sure I understood everything!
I made a sketch (indeed ugly, but I hope you will understand!) I just want to know if I'm following the principle! Thank you very much!
Bonjour,
Concernant la partie 3, au niveau du nombre de tĂȘtes Ă placer pour respecter la perspective, je ne suis pas sur d'avoir tout compris!
J'ai fait un croquis (moche effectivement mais j'espĂšre que vous allez comprendre!) j'aimerai juste savoir si je respecte le principe ! Merci beaucoup !
Another question! (Sorry, but I haven't found my answer despite the lessons on distances)
I would like to know how I can maintain the distance of an arm (for example) that is deep towards the vanishing point or, on the contrary, along the depth axis but in the foreground (like the example you mention with the huge fist compared to the character). How do I maintain these proportions? (Is it just instinct??..)
And for your second question, unless the arm is completely stretched out (which is rare), yes it is by estimation that it's played, sorry ^^'
But in such cases, references are particularly useful if you don't want to make mistakes (you take a photo of yourself or a willing volunteer to serve as your model, in the position and angle that interests you and you look at what it looks like) ^^
I have been a bit absent but I promise I will come back. I just buried my dad on October 25th. I am currently going through a difficult period, but I promise I will return because I want to finish my training; that's for sure. I am in a complicated situation; I will be leaving for Florida on November 26th for 4 months, and it's certain that I will continue my training there. It's also definite that I will buy more courses because I love your training from all points of view, even if sometimes itâs tough - nothing worthwhile comes easily, and I am aware that one needs to work hard and I really want to keep learning.
Thank you for everything, and I promise I'll be back â€ïž.
I'm not a fan of the first two for two reasons: they seem to be floating (I don't feel them grounded, the first one especially), and I don't sense an internal structure (skeleton in particular).
However, I do like the last two. They are well grounded and I can feel their structure, I can even feel the muscles on the last one around the torso.
In terms of proportions, we are pretty good, just watch out for the length of the torso and the neck (the neck is basically a cylinder ^^), and also watch out for the length of the upper arm that you tend to lengthen. Always remember to start with proportions, even with basic shapes and then refine as you go. If your proportions are good, everything else will be better :D
But I think you did well overall, there's volume, the overall proportions are pretty good, you've managed some poses with foreshortening (super hard) with a character holding an object with both hands (super hard too) and placed on a perspective plane (also tricky to do). So honestly, it's cool, keep it up!
En terme de proportions on est pas mal, attention Ă la longueur du buste et au cou (le cou c'est un cylindre basiquement ^^), attention aussi Ă la longueur de la partie haute du bras que tu as tendance Ă allonger. N'oublie jamais de commencer par les proportions, mĂȘme avec des formes basiques et d'affiner ensuite au fur et Ă mesure. Si tes proportions sont bonnes, le reste n'en sera que mieux :D
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21/06/2019
Tough, tough the loss of characters. Sorry, I didn't quite understand the one of the third character, it seems very weird: at what level is he placed and in relation to which vanishing point, please?
Thank you in advance!
Dur, dur la pers des persos. Désolée, je n'ai pas trÚs bien compris celle du 3Úme personnage, elle me semble trÚs bizarre : à quel niveau est-il placé et par rapport à quel point de fuite, s'il vous plait ?
Merci d'avance !
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26/08/2019
So, admit it: you like to suffer, right? XD
Mamma mia, you chose super complicated angles!
As a result, the outcome isn't exactly there, but still, you can tell that you've really gotten the hang of constructing the body despite a few minor errors here and there.
So let's go over them:
> for the top-down view, it's not working. The head is too far back and a bit too small, and importantly, the ribcage is rounder than that, kind of like a cylinder if you will ^^ From the top, it's more of an oval shape. But it's rare to see someone from this angle, so it's hard to think of that little detail :)
> Body simplifications: they're good. They look a lot like artist mannequins available in stores, or some robots/androids in movies. You've synthesized things very well đ
> Various character sketches:
>> The one with the fist is very dynamic, like what you might see in manga, with a marked distortion on the body. But there are a few small issues.
His fist, apparently palm up: the thumb is missing. And you can see his shoulder behind, but you should also see at least the biceps part of the arm, maybe even the forearm (it depends on how your character is positioned, whether his arm is really completely stretched or slightly bent).
Another little issue: the legs. One is much larger than the other: no problem. But the foot goes behind the thinner leg (so the one furthest away from us presumably). That's strange then ^^
The next two characters, there's some thought, the lady is better done. The gentleman was not bad, except that the thickness of the arm/shoulder at the back is the same as that of the arm in front > not logical given the perspective on him. That's what you would see from the front, but here he's turned. Otherwise, it's good, in terms of proportions. However, placing the horizon line right at the level of his shoulders is a bit awkward, it disturbs the eye.
You seem to have noticed it, since you lowered it for the female version. This time it's more consistent, but watch out for proportions (the torso is a tad too long this time).
Overall, despite your very bold choice of angles, you managed quite well. Don't hesitate to use body simplification to really build and structure your characters before finalizing them. Keep challenging yourself, it's the best way to learn đ
Bon avoue : tu aimes souffrir, non ? XD
Mamma mia, tu as choisi des angles HYPER compliqués !
Du coup, forcément le résultat n'est pas forcément au rendez-vous, mais mine de rien, on sent que tu as bien assimilé la construction du corps malgré les petites erreurs à droite à gauche.
Alors tĂąchons de reprendre :
> pour la vue en plongĂ©e (de dessus), ça ne va pas. La tĂȘte est trop en arriĂšre et un peu trop petite et surtout, la cage thoracique est plus ronde que ça, un peu comme un cylindre si tu veux ^^ De dessus on est plutĂŽt sur une forme ovale. Mais c'est rare de voir quelqu'un sous cet angle alors difficile de penser Ă ce petit dĂ©tail :)
> Les simplifications du corps : elles sont bien. Ăa ressemble beaucoup Ă des mannequins pour artistes qu'on peut trouver en commerce, ou Ă certains robots / androĂŻdes dans certains films. C'est trĂšs bien, tu as bien synthĂ©tisĂ© les choses đ
> Les divers croquis de persos :
>> Celui avec le poing est trÚs dynamique, comme ce qu'on peut voir dans des mangas, avec une déformation hyper marquée sur le corps. Mais il y a des petites choses qui clochent.
Son poing, apparemment paume vers le haut : il manque le pouce. Et on voit son épaule derriÚre, mais on devrait voir aussi au moins la partie biceps du bras, voire l'avant-bras (ça dépend comment se tient ton personnage, si son bras est vraiment complÚtement tendu ou légÚrement plié).
Autre petit souci : les jambes. Il y en a une bien plus grosse que l'autre : pas de soucis. Mais le pied passe derriÚre la jambe plus fine (donc celle la plus éloignée de nous a priori). C'est étrange du coup ^^
Les deux persos suivants, il y a de l'idĂ©e, la demoiselle est mieux rĂ©ussie. Le monsieur c'Ă©tait pas mal, sauf que l'Ă©paisseur du bras / de l'Ă©paule Ă l'arriĂšre est la mĂȘme que celui du bras devant > pas logique vu la perspective sur lui. C'est ce qu'on verrait de face, mais ici il est tournĂ©. Autrement c'est bien, en terme de proportions. Par contre placer la ligne d'horizon pile au niveau de ses Ă©paules est un peu maladroit, ça perturbe l'oeil.
Tu sembles l'avoir remarqué, puisque tu l'as abaissée pour la version féminine. C'est fois-ci c'est plus cohérent, mais attention aux proportions (le buste est un chouille trop long ce coup-ci).
Globalement, malgrĂ© tes choix d'angle trĂšs audacieux, tu t'en es plutĂŽt bien tirĂ©. N'hĂ©site pas Ă utiliser la simplification du corps pour vraiment construire et structurer tes personnages avant de les remettre au propre. Continue de te challenger, c'est la meilleure façon d'apprendre đ
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12/09/2019
Thank you for all these explanations (and sorry for my response time!). I have now spotted all my mistakes and I plan not to make them again (or at least as little as possible đ). For simplification, it must surely come from when I was younger (when I was in middle and high school) I used wooden mannequins a lot to look for postures.
Merci pour toutes ces explications (et dĂ©solĂ©e de mon temps de rĂ©ponse !). J'ai bien repĂ©rĂ© toutes mes erreurs maintenant et je compte bien ne plus le refaire (ou du moins le moins souvent possible đ). Pour la simplification ça doit sĂ»rement venir du fait que plus jeune (quand j'Ă©tais au collĂšge et au lycĂ©e) j'ai beaucoup utilisĂ© les mannequins en bois pour rechercher des postures.
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29/09/2019
Regarding part 3, about the number of heads to place to maintain perspective, I'm not sure I understood everything!
I made a sketch (indeed ugly, but I hope you will understand!) I just want to know if I'm following the principle! Thank you very much!
Concernant la partie 3, au niveau du nombre de tĂȘtes Ă placer pour respecter la perspective, je ne suis pas sur d'avoir tout compris!
J'ai fait un croquis (moche effectivement mais j'espĂšre que vous allez comprendre!) j'aimerai juste savoir si je respecte le principe ! Merci beaucoup !
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30/09/2019
I would like to know how I can maintain the distance of an arm (for example) that is deep towards the vanishing point or, on the contrary, along the depth axis but in the foreground (like the example you mention with the huge fist compared to the character). How do I maintain these proportions? (Is it just instinct??..)
J'aimerai savoir comment je peux respecter la distance d'un bras (par exemple) qui se trouve en profondeur vers le point de fuite ou au contraire sur l'axe de la profondeur mais au premier plan (comme l'exemple que vous citez avec le poing Ă©norme par rapport au personnage). Comment respecter ces proportions ? (Ce n'est que Ă l'instinct??..)
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01/10/2019
And for your second question, unless the arm is completely stretched out (which is rare), yes it is by estimation that it's played, sorry ^^'
But in such cases, references are particularly useful if you don't want to make mistakes (you take a photo of yourself or a willing volunteer to serve as your model, in the position and angle that interests you and you look at what it looks like) ^^
Et pour ta seconde question, à part si le bras est tendu totalement (ce qui est rare), oui c'est au jugé que ça se joue, navré ^^'
Mais dans ce genre de cas, les rĂ©fĂ©rences sont particuliĂšrement utiles si tu ne veux pas faire de bĂȘtises (tu prends une photo de toi ou d'une Ăąme charitable qui veut bien te servir de modĂšle, dans la position et l'angle qui t'intĂ©resse et tu regardes Ă quoi ça ressemble) ^^
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02/10/2019
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03/11/2019
I have been a bit absent but I promise I will come back. I just buried my dad on October 25th. I am currently going through a difficult period, but I promise I will return because I want to finish my training; that's for sure. I am in a complicated situation; I will be leaving for Florida on November 26th for 4 months, and it's certain that I will continue my training there. It's also definite that I will buy more courses because I love your training from all points of view, even if sometimes itâs tough - nothing worthwhile comes easily, and I am aware that one needs to work hard and I really want to keep learning.
Thank you for everything, and I promise I'll be back â€ïž.
Je suis un peu absente mais promis je vais revenir je viens dâenterrer mon papa le 25 oct. je vis en ce moment une pĂ©riode difficille mais promis je reviens car je veux terminer ma formation câest sur et certains. Je suis dans une situation compliquĂ© je pars pour la Floride le 26 novembre pour 4 mois câest sur que je vais continuer ma formation la bas et cest sur et certain que je vais acheter dâautre formation car jâadore votre formation a toutes les points de vue mĂȘme si parfois câest difficile mais on a rien pour rien je suis consciente quâil faut travailler et je veux tellement continuer d'apprendre.
Merci pour tout et promis je reviens â€ïž.
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05/11/2019
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05/11/2019
See you soon â€ïž
Ă bientĂŽt â€ïž
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07/12/2019
I am sending you my trials on the perspective of characters. Thank you for your feedback.
See you soon
Je t'envoie mes essais sur la perspective des personnages. Merci pour ton retour.
A bientĂŽt
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08/12/2019
I imagine you used some references. ^^
I'm not a fan of the first two for two reasons: they seem to be floating (I don't feel them grounded, the first one especially), and I don't sense an internal structure (skeleton in particular).
However, I do like the last two. They are well grounded and I can feel their structure, I can even feel the muscles on the last one around the torso.
In terms of proportions, we are pretty good, just watch out for the length of the torso and the neck (the neck is basically a cylinder ^^), and also watch out for the length of the upper arm that you tend to lengthen. Always remember to start with proportions, even with basic shapes and then refine as you go. If your proportions are good, everything else will be better :D
But I think you did well overall, there's volume, the overall proportions are pretty good, you've managed some poses with foreshortening (super hard) with a character holding an object with both hands (super hard too) and placed on a perspective plane (also tricky to do). So honestly, it's cool, keep it up!
J'imagine que tu as utilisé des références ^^
Je ne suis pas fan des deux premiers pour deux raisons : j'ai l'impression qu'ils flottent (je ne les sens pas posés sur le sol, le premier en particulier), et je ne sens pas de structure interne (squelette en particulier).
Par contre j'aime bien les deux derniers. Ils sont bien posĂ©s et je sens leur structure, je sens mĂȘme les muscles sur le dernier au niveau du buste.
En terme de proportions on est pas mal, attention Ă la longueur du buste et au cou (le cou c'est un cylindre basiquement ^^), attention aussi Ă la longueur de la partie haute du bras que tu as tendance Ă allonger. N'oublie jamais de commencer par les proportions, mĂȘme avec des formes basiques et d'affiner ensuite au fur et Ă mesure. Si tes proportions sont bonnes, le reste n'en sera que mieux :D
Mais je trouve que tu t'en es bien sorti de maniÚre générale, il y a du volume, les proportions générales sont assez bonnes, tu as fait des positions avec des raccourcis (super dur) avec un personnage qui tient à deux mains un objet (super dur aussi) et posé sur un plan en perspective (chaud à faire aussi). Donc franchement c'est cool, continue !
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10/12/2019
My references are from the site that GrĂ©goire mentioned, CharactersDesign. It's a treasure trove of photographs that show a variety of character poses. Itâs the first time I'm working without paper and directly on screen: as a result, I had to find other references besides my ruler! Another challenge and another way of working.
Thank you for your insight: it is invaluable! Drawing is a bit like writing, you eventually get used to your own spelling mistakes đ
Mes références sont celles prises dans le site cité par Grégoire, CharactersDesign. C'est une mine de photographies qui donnent des positions de personnages variées. C'est la 1ere fois que je travaille sans support papier et directement sur écran : j'ai du de ce fait trouver d'autres références que ma rÚgle ! Un autre défi et une autre façon de travailler.
Merci pour ton coup dâĆil : il est prĂ©cieux ! Le dessin, c'est un peu comme Ă©crire, on finit par s'habituer Ă ses fautes dâorthographe đ[
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