Itâs not bad ^^ Just pay attention to the construction. Your windows donât have the same width, they donât have the same shape at the top either, and the spacing between the beams isnât the same either. The window bars donât follow the perspective at all. In short, there are construction errors. Take your time to establish the basics, and also remember the perspective lesson where you had to place windows on a facade. Thatâs the method you should use here for both the beams and the windows :3 Iâve made a quick correction by eye, so itâs probably not entirely accurate, and I havenât touched the beams as you can see ^^
Thank you so much for this very comprehensive and fun course, which helped me understand so many things! Here is a drawing where I tried to put into practice the different aspects of the training, and especially the perspective, which Iâm still struggling with a bit! I messed up the face a little at the last moment by adding more pronounced and darker lines :( Iâm not quite sure yet about the type of pencils to use... but overall, Iâm quite happy with my progress. Any feedback would be welcome :)
This is great, and your character is really cool. The way youâve simulated a shadow on the face is effective, so I donât find it distracting.
However, thereâs an issue with the perspective. It took me a while to figure it out. Youâve made the railing in the foreground converge towards the vanishing point on the left, which is meant for faces oriented towards the front (like the front of the palace, for example). So, in theory, the railing should be parallel to the front of the palace, but it seems strange because of the column on the far right of the image and the characterâs position. As youâve drawn it, the column is right next to the railing, so the character canât realistically stand as they are.
Unless youâve made the lines converge in the wrong direction, and in reality, the railing isnât parallel to the front of the palace, but parallel to the back of the palace. In that case, the characterâs position would make sense. But then, youâve used the wrong vanishing point. Iâve made a small diagram in case itâs not very clear. Everything else works well!
Thank you to Rackjah for providing feedback and giving us good advice as well. I hope there will be a continuation of this training.
Iâve sent you two more; I think theyâre a little better. Itâs difficult to figure out how to age the character to make him look more like a man. Only God and I know how I tried, I practiced, and I canât do it. What do I need to do?
Thank you for your valuable advice.
Hello Rakjah, Iâve done another one. Iâve practiced this drawing so much, you can probably see an improvement in my Entek character. I hope these are my first characters. Itâs not easy, but I practice a lot. Iâve redone this drawing at least four times, if not more. This time, I tried to make it look older. Itâs not perfect yet. My biggest flaw is that Iâm a perfectionist, and I lack confidence. Itâs possible that the boot on the right is a little too big; Iâm not sure. Thereâs something wrong with the left arm; I canât seem to draw straight lines. I donât know if the perspective of the whole drawing is good, but Iâm really looking forward to your advice. There are probably many flaws. I practice a lot, a lot.
Thank you for your valuable advice; I really enjoyed the training.
Your character is pretty cool, but the main problem is the perspective.
Iâve highlighted the lines that should converge towards vanishing point 1 in dark blue, and those that should converge towards vanishing point 2 in light blue. As you can see, it looks like there are different vanishing points for almost every element (why?), which distorts the entire scene.
For your character, the one with the most consistent pose in terms of perspective was the first one ^^ But itâs normal that youâre having trouble placing your character correctly if you donât have your two vanishing points.
So, you need to work on it. If you choose to create a scene with 1, 2, or 3 vanishing points, these points will apply to ALL the elements in the drawing. Unless there are special cases: elements that are not aligned with the others (not parallel or perpendicular, which is the case for a roof, for example, or a slide, or more generally, when you donât want a perfectly orderly scene, but want to introduce some disorder). Good luck ^^
Hello Pacha !
Ton personnage est plutĂŽt cool, par contre le gros souci, c'est la perspective.
Hello Rackjah, thank you for your valuable advice. I gathered all my courage and completely redid it.
Iâm working on a small extension, and my training is finished. I hope you can give me some feedback because I worked really hard. I think I redid this character at least 15 times.
One last piece of advice: how do you manage to create a character that really looks like a man? Mine is more of a young man. I think Iâve improved in terms of character design. I definitely need more practice, but Iâm still quite happy with the result.
And now, for my perspective, I hope itâs good this time because I followed all your advice.
Thank you very much for your valuable advice, and now I know how to draw a little bit. :) :) :)
Bonjour Rackjah merci pour tes precieux conseils jâai pris mon courage a 2 mains et je lâai refais au complet
Almost. If I have to nitpick, the floor tiles should get larger the closer they are to us, not when they move away ^^
Your character is cool too :D
To answer your question, to make a more mature/masculine man, it mostly depends on the build/width of the shoulders. Yours is very slender; widening his shoulders will already help a lot ^^
I wasnât here yet, so I didnât really get a chance to follow your progress, but congratulations on completing it! Weâre very happy that you enjoyed the training! Thank you for the compliments and good luck with the manga training!
After a few hours of work, here is the almost final version of my drawing. Iâm posting it because I struggled with the shadows, and it seems like there are still some mistakes. The characters were not easy to draw, especially to achieve a realistic look with correct proportions. Also, I didnât play around with the values of the lines because this is a copy of my original drawing. Iâm open to any and all advice to help me create a more polished final version.
In any case, it was a great training course; I enjoyed it from start to finish. Iâm going to check out the manga training course next đ.
There's some great work in this drawing! You're not afraid to include lots of elements! In terms of composition, it's not bad; I like how the background character is almost framed by the city behind him. I would just have placed the foreground character a little further to the right so that he is well positioned along a line of thirds (see the rule of thirds), and so that the right side of his body is less on the same line as the wall behind him. I would have liked to darken the left side of the foreground wall to make the character in the foreground stand out more, but the problem is that it wouldn't match the direction of light you chose. So, to better differentiate the planes, I would have used different line weights, with thicker lines for what is in the foreground and thinner lines for what is in the background, or at least accentuated the silhouette of the foreground character. Perhaps darkening the buildings in the background would also help to better separate the planes.
Otherwise, the perspective seems successful, well done! Your characters fit well within the perspective. Just be careful with the foreground character; his feet are in perspective, but not his shoulders. The right shoulder should therefore be lower. It could work if you assume that he is raising that shoulder, but it wouldn't look very natural. The characters are quite good in terms of proportions, but they have slightly small heads. Pay attention to the slightly "chubby" shapes of some of the muscles, and make sure that the folds follow the curves of the body well. I have also corrected some details in your drawing, especially on the hands. The foreground character seems to be wearing a long shirt, but if it's the length of his torso and not just the shirt that is hanging down, it would be a bit long in relation to his legs. I have corrected the shadows on your characters; they don't have many, even though the direction of the light allows for it. Also, the shadow under the foreground character seems a bit strange to me. In general, to easily create a well-rendered cast shadow, I do something that is slightly blurred and fades as it moves away from the character. It's a little trick that looks more natural.
Anyway, it's a beautiful, well-developed, and detailed piece of work, a good conclusion to the course. I'm glad you enjoyed the course, and I hope you enjoy the manga course just as much!
This is the second illustration and the end of this course. (Which obviously doesn't mean that I've mastered everything and won't revisit some lessons later.)
First of all, thank you very much for this course, which is very rich and well-structured.
Regarding the second illustration, it's great, and it's motivating, but it also shows how much work remains to be done.
Each part of the drawing is a learning experience in itself...
My idea here is to depict a rather melancholic Asian woman in a bedroom setting, mainly to try and put the various elements I've learned into practice.
As for the perspective, there are clearly some improvements to be made, but overall, I'm doing okay (even if, for example, the room is probably "too" deep).
However, drawing the character is what takes the most time because it's very difficult to master. Getting the face right is very complicated because it's all about millimeters. In fact, I haven't succeeded, and even though some of my faces aren't complete failures, they rarely match what I wanted to achieve...
Here are some areas where I would appreciate some help:
1) I think it was mentioned that we would see how to represent ellipses in perspective (I don't think it was covered). I'm interested. This stool, which seemed easy to draw, turned out to be a real challenge for me.
2) Are there any tips for successfully drawing the faces of people from different parts of the world (Europe, Asia, America, Oceania, etc.)? Because, for example, here I wanted to depict an Asian woman, and when you look at a photo, you immediately notice the specific features of the face, but when you put it on paper... it often fails. Is there perhaps a website or a book that could serve as a reference for practicing? (Of course, every face is also different, but here we're talking about general trends...)
3) Hair and smoke. Any tips for conveying these things without going into too much detail?
4) Hands. Tips? Proportions?
Thank you for all the other relevant comments.
Best regards,
Jean-Baptiste.
Great to hear that you enjoyed the training! It's normal that everything isn't perfect; it comes with practice, by repeating the exercises or applying their principles to other drawings. Gradually, you will understand more and more things. There's no secret; you just have to work at it ^^. Before commenting on your drawing, I will first answer your questions.
1) For ellipses in perspective, I'll create a tutorial for you (it might be useful later ^^). Basically, you act as if you were placing a square (if you want a circle in perspective) or a rectangle (if you want an oval) and you draw your ellipse inside it. You find its center by drawing the diagonals, and the points furthest from each side by taking the middle of the segments of your square/rectangle, taking perspective into account, of course, by transferring the distances as seen in the previous lessons. You use the points you found to create your ellipse :)
3) For the hair, I'll attach this tutorial by Rakjah: https://www.dessindigo.com/blog/dessin-cheveux-manga. It's about manga, but the principle is the same in reality, only less exaggerated. Pay close attention to where the strands of hair start for a coherent movement, and proceed strand by strand (this creates volumes that structure the hairstyle). As for the smoke, I usually draw soft swirls for a small amount of smoke that drifts away in the wind. For more "explosive" smoke, it will have more of a cloud-like appearance with small pieces flying off. I'll create a small example drawing, but it's just my way of stylizing it.
4) For the proportions of the hands, I would say that generally, a hand is about 2/3 the size of the head. You can visualize the size of the hands on the chart provided as support for the lesson on proportions. Otherwise, you have a tutorial on Dessindigo for hands: https://www.dessindigo.com/blog/comment-dessiner-main.
There you go, I'll give you the feedback on your drawing in a second comment :)
Thank you very much, Nayala.
These are very helpful comments. I had the idea of fitting my ellipse into a square, but I didn't do it very well. In any case, it confirms the method, so I'll keep it in mind.
Regarding the faces, the reference is great; it's exactly what I was looking for, and I'll study it carefully.
Finally, as for the tutorials and the smoke, I'll also practice. I've already started the course on manga, so that's perfect.
Thank you for the feedback.
Iâm back to give you feedback on the drawing! Iâm glad that my answers to your questions were helpful :) I hope you continue to learn a lot in the manga course :)
The drawing is nice, youâve used a lot of different elements from the course, and itâs well-executed :) I do have a few suggestions for improvement, though. Iâll respond in writing, but also with annotations on the drawing for the elements where itâs easier. The room could indeed be less deep. Also, lowering the horizon line on a thirds grid would improve the composition. By the way, the placement of the character isnât ideal. I think it would look better if she were on the left, in the first third of the image. Her current placement, almost in the center, doesnât make her stand out; you almost look at the bed first, which isnât ideal for the flow of the image. Also, the fact that sheâs positioned right at the bottom edge of the image, with her feet partially cut off, isnât very harmonious. The perspective of the bed bothers me; I donât think itâs correct. You should draw it using two vanishing points, one on the left thatâs off the edge of the image and one on the right. I see a point in the upper right corner of the right window. What is that? If itâs a vanishing point, itâs not right; all vanishing points should be on the horizon line (unless thereâs an exception with a third vanishing point at the top or bottom for the height of objects, but the scene doesnât seem to lend itself to that).
As for the values, itâs pretty good on the character, but thereâs not enough on the background. Donât hesitate to use gradients. Also, I donât think the shadow on the floor near the right wall is necessary. Either simplify it with a light halo around the window, or make it more realistic by having the light from the window on the floor in the shape of the window. You can get inspiration from paintings or photos; there are lots of examples when you search for âwindow lightâ on a search engine ^^ Thatâs it for the body and other details â Iâll point them out visually ^^ Well done, in any case, for this great conclusion to the course. With even more practice, youâll improve even more :)
Thank you for the corrections.
Itâs clear that there are improvements to be made, and the subject matter was a bit challenging for me. :)
Iâm going to revisit some points to provide more context on what I was trying to achieve.
The point at the top right of the window represents my light source. My light source is the sun, so I imagine it illuminates everything, but I needed to have a better idea of where the light was coming from. As for the shadow on the floor, Iâll accept your correction, but itâs more or less what I observed in my own environment; thereâs a shadow cast on the floor due to the window frame, but I probably didnât manage to make it look convincing.
Regarding the bed, I agree that something is off with the perspective (I have two vanishing points in the illustration). However, I believe I correctly directed my perspective to the left and along the horizon line⊠Nevertheless, my horizon point was outside the frame, and I did it a bit too quickly⊠I admit it. :)
Finally, for the character, I clearly tried to do something too complicated for me. The face is frontal, but the eyes are looking to the side, while the body is in a three-quarter view because the head is turned, and the legs are in profile. Iâm not sure if Iâm making myself clear. Basically, sheâs sitting but looking at the viewer while also directing her gazeâŠ
Regarding the depth, okay, and about the legs being too close to the body, okay. As for the rule of thirds, I tried but didnât succeed very well.
Thank you, Iâll rework all of this in my next illustration.
Have a good day.
Youâre welcome!
To improve the lighting and make it more believable, I would advise you to use a reference and maintain the same light direction. For example, you could take a photo of your own home and keep that lighting direction.
Regarding the perspective, you took the right approach, so itâs probably because you did it too quickly.
As for the character, itâs good that youâre trying! From what I can see, the face is drawn in a 3/4 view, especially considering the shape of the face on the right, which is why I adjusted the nose to match. For a more natural pose, the legs should also be in a 3/4 view. When youâre drawing a character, you can try posing yourself. If itâs not very comfortable, it probably means you need to change the pose.
So, keep all of this in mind for your next illustration, and you will gradually improve. Keep up the good work!
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06/05/2020
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17/05/2020
Itâs not bad ^^ Just pay attention to the construction. Your windows donât have the same width, they donât have the same shape at the top either, and the spacing between the beams isnât the same either. The window bars donât follow the perspective at all. In short, there are construction errors. Take your time to establish the basics, and also remember the perspective lesson where you had to place windows on a facade. Thatâs the method you should use here for both the beams and the windows :3 Iâve made a quick correction by eye, so itâs probably not entirely accurate, and I havenât touched the beams as you can see ^^
But otherwise, itâs good ^^
C'est pas mal ^^ Attention Ă la construction. Tes fenĂȘtres ne font pas la mĂȘme largeur, elles n'ont pas la mĂȘme forme en haut non plus, l'espacement entre les poutres n'est pas le mĂȘme non plus. Les barreaux des fenĂȘtres ne suit pas du tout la perspective. Bref, des erreurs de construction. Prends bien ton temps pour poser tes bases, rappelle-toi aussi le cours de perspective oĂč tu devais placer des fenĂȘtres sur une façade. C'est la mĂ©thode que tu dois utiliser ici pour les poutres comme les fenĂȘtres :3 J'ai fait une correction rapide Ă lâĆil, c'est donc probablement pas tout Ă fait exact et je n'ai pas touchĂ© aux poutres comme tu peux le voir ^^
Mais sinon c'est bien ^^
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23/05/2020
Thank you again!
Fanny
Merci encore ;)!
Fanny
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26/06/2020
This is great, and your character is really cool. The way youâve simulated a shadow on the face is effective, so I donât find it distracting.
However, thereâs an issue with the perspective. It took me a while to figure it out. Youâve made the railing in the foreground converge towards the vanishing point on the left, which is meant for faces oriented towards the front (like the front of the palace, for example). So, in theory, the railing should be parallel to the front of the palace, but it seems strange because of the column on the far right of the image and the characterâs position. As youâve drawn it, the column is right next to the railing, so the character canât realistically stand as they are.
Unless youâve made the lines converge in the wrong direction, and in reality, the railing isnât parallel to the front of the palace, but parallel to the back of the palace. In that case, the characterâs position would make sense. But then, youâve used the wrong vanishing point. Iâve made a small diagram in case itâs not very clear. Everything else works well!
C'est chouette, et ton perso est trÚs cool, ça simule une ombre sur le visage, donc c'est pas dérangeant je trouve ^^
Par contre tu as un souci de perspective. J'ai mis un moment à comprendre. Tu as fait fuir la rambarde du premier plan vers le pont de fuite de gauche, qui est dédié aux faces orientées vers l'avant (l'avant du palais par exemple), donc a priori, la rambarde est parallÚle à la face avant du palais, mais ça me semblait étrange à cause de la colonne tout à droite de l'image et de la position du personnage (physiquement impossible, tel que tu as dessiné les choses, la colonne est tout contre la rambarde, le perso ne peut donc pas se tenir comme il l'est actuellement.
Sauf, si tu as fait fuir tes droites dans la mauvaise direction et qu'en rĂ©alitĂ©, la rambarde, n'est pas parallĂšle Ă l'avant du palais, mais parallĂšle Ă l'arriĂšre du palais. Dans ce cas, la position du personnage devient logique. Mais du coup, tu t'es trompĂ© de point de fuite. Je t'ai fait un petit schĂ©ma, au cas oĂč ce serait pas forcĂ©ment trĂšs clair. Pour le reste ça marche bien ^^
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08/06/2020
Thank you to Rackjah for providing feedback and giving us good advice as well. I hope there will be a continuation of this training.
Iâve sent you two more; I think theyâre a little better. Itâs difficult to figure out how to age the character to make him look more like a man. Only God and I know how I tried, I practiced, and I canât do it. What do I need to do?
Thank you for your valuable advice.
Pacha
Merci a Rackjah de nous avoir corrigĂ© et donner des bons conseils aussi. JâespĂšre quâil y aura une suite a cette formation.
Je ten ai EnvoyĂ©e 2 autres je crois quâils sont un peu mieux câest difficile comment faire pour vieillir le perso pour quâil soit vrmt un homme Dieu seul et moi sait comment jâai essayĂ© je pratique et je ny arrive pas Cest quoi quâil faut faire.
Merci pour tes précieux conseils
Pacha
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22/06/2020
Thank you for your valuable advice; I really enjoyed the training.
Pacha
Merci pour tes precieux conseils jâai beaucoup aimĂ© la formation.
Pacha
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22/06/2020
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26/06/2020
Your character is pretty cool, but the main problem is the perspective.
Iâve highlighted the lines that should converge towards vanishing point 1 in dark blue, and those that should converge towards vanishing point 2 in light blue. As you can see, it looks like there are different vanishing points for almost every element (why?), which distorts the entire scene.
For your character, the one with the most consistent pose in terms of perspective was the first one ^^ But itâs normal that youâre having trouble placing your character correctly if you donât have your two vanishing points.
So, you need to work on it. If you choose to create a scene with 1, 2, or 3 vanishing points, these points will apply to ALL the elements in the drawing. Unless there are special cases: elements that are not aligned with the others (not parallel or perpendicular, which is the case for a roof, for example, or a slide, or more generally, when you donât want a perfectly orderly scene, but want to introduce some disorder). Good luck ^^
Ton personnage est plutĂŽt cool, par contre le gros souci, c'est la perspective.
Je t'ai mis en bleu foncé les droites censées fuir vers le point de fuite 1 et en bleu clair celles censées fuir vers le point de fuite 2. Comme tu peux le voir, on dirait qu'il y a des points de fuite différentes presque pour chaque élément (pourquoi ?), ce qui fausse tout le décor.
Pour ton personnage, celui qui avait la pose la plus cohérente en perspective était le premier ^^ Mais c'est normal que tu aies du mal à placer correctement ton personnage, si tu n'as pas tes deux points de fuite.
A retravailler donc. Si tu choisis de faire un décor avec 1, 2 ou 3 points de fuite, ces points s'appliqueront à TOUS les éléments du dessins. Sauf cas particuliers : des éléments qui ne sont pas alignés aux autres (pas parallÚles ou perpendiculaires, ce qui est le cas pour un toit par exemple, ou un toboggan, ou plus généralement, quand tu ne veux pas une piÚce parfaitement rangée, mais mettre un peu de désordre dedans). Bon courage ^^
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29/06/2020
Iâm working on a small extension, and my training is finished. I hope you can give me some feedback because I worked really hard. I think I redid this character at least 15 times.
One last piece of advice: how do you manage to create a character that really looks like a man? Mine is more of a young man. I think Iâve improved in terms of character design. I definitely need more practice, but Iâm still quite happy with the result.
And now, for my perspective, I hope itâs good this time because I followed all your advice.
Thank you very much for your valuable advice, and now I know how to draw a little bit. :) :) :)
Je suis sur une tout petite prolongation ma formation est terminĂ©e jâespĂšre que tu vas pouvoir me corriger car jâai travaillĂ© trĂšs fort je crois que jai refais ce personnage aux moins 15 fois
Un dernier conseil comment fais tu pour avoir un personnage qui ressemble vraiment a un homme le mien cest un jeune homme je crois que jâai amĂ©liorĂ© au niveau personnage câest sur que jai besoin de pratique mais je suis quand mĂȘme assĂ© contente du rĂ©sultat.
Et la pour ma perspective jâespĂšre quelle est bonne cette fois car jâai suivi touts tes conseils.
Merci beaucoup pour tes precieux conseils et maintnant je sais dessiner un tout petit peu. :) :) :)
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15/08/2020
Yeah, this time your perspective is good :D
Almost. If I have to nitpick, the floor tiles should get larger the closer they are to us, not when they move away ^^
Your character is cool too :D
To answer your question, to make a more mature/masculine man, it mostly depends on the build/width of the shoulders. Yours is very slender; widening his shoulders will already help a lot ^^
Great drawing overall ;p
Ouaip cette fois ta perspective est bonne :D
Presque. Si je dois chipoter, les carreaux du sol devraient s'agrandir plus ils sont proches de nous, pas quand ils sâĂ©loignent ^^
Ton perso est cool aussi :D
Pour répondre à ta question, pour faire un homme plus ùgé / viril, ça se joue pas mal à la carrure / la largeur d'épaules. Le tien est trÚs filiforme, élargis ses épaules et ça aidera beaucoup déjà ^^
Chouette dessin en tout cas ;p
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05/10/2020
Thank you for this excellent and comprehensive training. I struggled quite a bit with the perspectives, but I was able to acquire a lot of knowledge thanks to Grégoire and Rakja.
As for the corrections, I'm scheduling an appointment with Rakja right away to work on the manga, and I hope to participate in other training sessions as well.
In any case, it was a great pleasure, and I have great admiration for all of your talents.
See you soon,
Best regards,
RĂ©gina.
merci pour cette super formation trÚs complÚte, j'ai pas mal galéré avec les perspectives mais j'ai pu acquérir pas mal de connaissances grùce a grégoire et a rakja
pour les corrections . Et bien voila je prends rendez vous dĂšs maintenant avec rakja pour les mangas et je l'espĂšre d'autres formations .
En tout cas ce fut un grand plaisir et toute mon admiration pour votre talent a vous tous
a bientĂŽt
cordialement
régina
.
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08/10/2020
I wasnât here yet, so I didnât really get a chance to follow your progress, but congratulations on completing it! Weâre very happy that you enjoyed the training! Thank you for the compliments and good luck with the manga training!
Je n'Ă©tais pas encore lĂ donc je n'ai pas vraiment eu l'occasion de suivre toute ton Ă©volution, mais fĂ©licitations pour ĂȘtre allĂ©e au bout ! On est trĂšs satisfaits que tu aies aimĂ© la formation ! Merci pour ces compliments et bon courage sur la formation manga ;)
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24/10/2020
After a few hours of work, here is the almost final version of my drawing. Iâm posting it because I struggled with the shadows, and it seems like there are still some mistakes. The characters were not easy to draw, especially to achieve a realistic look with correct proportions. Also, I didnât play around with the values of the lines because this is a copy of my original drawing. Iâm open to any and all advice to help me create a more polished final version.
In any case, it was a great training course; I enjoyed it from start to finish. Iâm going to check out the manga training course next đ.
aprÚs quelques heures de travail, voici la version quasi définitive de mon dessin. Je le poste car j'ai eu du mal avec les ombres et il me semble qu'il y a des erreurs encore... Les personnages n'ont pas été faciles a dessiner surtout pour avoir un rendu réaliste avec des proportions correctes. Enfin je n'ai pas joué sur les valeurs des traits car c'est une photocopie de mon dessin original. Je suis preneur de tous les conseils possible pour pouvoir faire une version définitive plus aboutie.
En tout cas super formation, j'ai adorĂ© de bout en bout. Je vais aller faire un tour du cĂŽtĂ© de la formation manga đ.
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30/10/2020
There's some great work in this drawing! You're not afraid to include lots of elements! In terms of composition, it's not bad; I like how the background character is almost framed by the city behind him. I would just have placed the foreground character a little further to the right so that he is well positioned along a line of thirds (see the rule of thirds), and so that the right side of his body is less on the same line as the wall behind him. I would have liked to darken the left side of the foreground wall to make the character in the foreground stand out more, but the problem is that it wouldn't match the direction of light you chose. So, to better differentiate the planes, I would have used different line weights, with thicker lines for what is in the foreground and thinner lines for what is in the background, or at least accentuated the silhouette of the foreground character. Perhaps darkening the buildings in the background would also help to better separate the planes.
Otherwise, the perspective seems successful, well done! Your characters fit well within the perspective. Just be careful with the foreground character; his feet are in perspective, but not his shoulders. The right shoulder should therefore be lower. It could work if you assume that he is raising that shoulder, but it wouldn't look very natural. The characters are quite good in terms of proportions, but they have slightly small heads. Pay attention to the slightly "chubby" shapes of some of the muscles, and make sure that the folds follow the curves of the body well. I have also corrected some details in your drawing, especially on the hands. The foreground character seems to be wearing a long shirt, but if it's the length of his torso and not just the shirt that is hanging down, it would be a bit long in relation to his legs. I have corrected the shadows on your characters; they don't have many, even though the direction of the light allows for it. Also, the shadow under the foreground character seems a bit strange to me. In general, to easily create a well-rendered cast shadow, I do something that is slightly blurred and fades as it moves away from the character. It's a little trick that looks more natural.
Anyway, it's a beautiful, well-developed, and detailed piece of work, a good conclusion to the course. I'm glad you enjoyed the course, and I hope you enjoy the manga course just as much!
Il y a du beau travail dans ce dessin ! Tu oses mettre plein d'Ă©lĂ©ments ! Niveau compo c'est pas mal, j'aime bien que le personnage du fond soit presque encadrĂ© par la ville derriĂšre. J'aurais juste mis plus Ă droite le personnage de devant pour qu'il soit bien traversĂ© par une ligne des tiers (cf rĂšgle des tiers) et que le cĂŽtĂ© Ă droite de son corps soit moins sur la mĂȘme ligne que celle du mur derriĂšre. J'aurais aimĂ© assombrir plus la partie Ă gauche du mur de devant pour faire ressortir le personnage tout devant, mais le souci est que ça ne correspondrait pas Ă la direction de lumiĂšre que tu as choisie. Du coup pour mieux diffĂ©rencier les plans je me serais servie des valeurs de traits, avec des traits plus Ă©pais sur ce qui est devant, moins sur ce qui est derriĂšre, ou au moins accentuĂ© la silhouette du personnage de devant. Peut ĂȘtre qu'assombrir plus les bĂątiments de l'arriĂšre plan aiderait Ă mieux sĂ©parer les plans aussi.
Sinon, la perspective me semble rĂ©ussie bravo ! Tes personnages s'inscrivent bien dans la perspective. Attention juste pour le personnage de devant, ses pieds sont dans la perspective mais pas ses Ă©paules. L'Ă©paule Ă droite devrait donc ĂȘtre plus basse. ça pourrait fonctionner en se disant qu'il hausse cette Ă©paule, mais ce n'est pas trĂšs naturel. Pour les personnages, ils sont plutĂŽt bien niveau proportions, mais ont des tĂȘtes un peu petites. Attention aux formes un peu "boudin" de certains muscles, et Ă ce que les plis suivent bien les points d'inflexion du corps. Je t'ai corrigĂ© aussi sur ton dessin certains dĂ©tails notamment sur les mains. Le personnage de devant semble avoir une chemise longue, mais si c'Ă©tait la longueur de son buste et pas juste la chemise qui dĂ©passe, ça serait un peu long par rapport aux jambes. Je t'ai corrigĂ© des ombres sur tes personnages, ils n'en n'ont pas beaucoup alors que le sens de la lumiĂšre le permet. Aussi l'ombre portĂ©e sous le personnage de devant est un peu Ă©trange je trouve. GĂ©nĂ©ralement pour faire facilement une ombre portĂ©e qui rende bien je fais quelque chose d'un peu flou , et qui s'estompe en s'Ă©loignant du personnage. ça fait une petite triche plus naturelle ^^
Voilà , en tous cas c'est un beau travail bien élaboré et détaillé, une bonne conclusion de la formation :) Je suis contente que la formation t'aies plu, et j'espÚre que la formation manga te plaira autant !
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06/11/2020
This is the second illustration and the end of this course. (Which obviously doesn't mean that I've mastered everything and won't revisit some lessons later.)
First of all, thank you very much for this course, which is very rich and well-structured.
Regarding the second illustration, it's great, and it's motivating, but it also shows how much work remains to be done.
Each part of the drawing is a learning experience in itself...
My idea here is to depict a rather melancholic Asian woman in a bedroom setting, mainly to try and put the various elements I've learned into practice.
As for the perspective, there are clearly some improvements to be made, but overall, I'm doing okay (even if, for example, the room is probably "too" deep).
However, drawing the character is what takes the most time because it's very difficult to master. Getting the face right is very complicated because it's all about millimeters. In fact, I haven't succeeded, and even though some of my faces aren't complete failures, they rarely match what I wanted to achieve...
Here are some areas where I would appreciate some help:
1) I think it was mentioned that we would see how to represent ellipses in perspective (I don't think it was covered). I'm interested. This stool, which seemed easy to draw, turned out to be a real challenge for me.
2) Are there any tips for successfully drawing the faces of people from different parts of the world (Europe, Asia, America, Oceania, etc.)? Because, for example, here I wanted to depict an Asian woman, and when you look at a photo, you immediately notice the specific features of the face, but when you put it on paper... it often fails. Is there perhaps a website or a book that could serve as a reference for practicing? (Of course, every face is also different, but here we're talking about general trends...)
3) Hair and smoke. Any tips for conveying these things without going into too much detail?
4) Hands. Tips? Proportions?
Thank you for all the other relevant comments.
Best regards,
Jean-Baptiste.
DeuxiĂšme illustration et fin de ce cours. (ce qui ne veut Ă©videmment pas dire que je maĂźtrise et que je ne vais pas reprendre certains cours Ă un moment)
Tout d'abord un grand merci pour ce cours qui est trÚs riche et bien pensé.
Alors en ce qui concerne la deuxiÚme illustration c'est super, c'est motivant par contre on s'aperçoit de l'étendue du travail restant à faire.
Chaque partie du dessin est en soit un apprentissage...
Mon idée ici est de représenter une femme asiatique plutÎt mélancolique dans un décor de chambre surtout pour essayer de mettre en pratique les différents éléments appris.
Pour ce qui est de la perspective il y a clairement des amĂ©liorations Ă apporter mais globalement je m'en sors (mĂȘme si par exemple la chambre est probablement "trop" profonde).
Par contre dessiner le personnage c'est vraiment ce qui est le plus chronophage car c'est trĂšs difficile Ă maĂźtriser.
RĂ©ussir le visage c'est trĂšs compliquĂ© car ça se joue vraiment au millimĂštre prĂšs. D'ailleurs je n'ai pas rĂ©ussi et mĂȘme si certains de mes visages ne sont pas ratĂ©s ils ne correspondent que rarement Ă ce que je voulais obtenir...
Voici quelques points oĂč j'aimerais bien obtenir de l'aide:
1°) Il me semble qu'il avait été énoncé que nous verrions comment représenter les ellipses en perspective (je crois que ça n'a pas été fait). Je suis preneur.
Ce tabouret qui me semblait facile à réaliser et pour moi une vraie galÚre.
2°) Y a-t-il des astuces pour réussir les visages des personnes des différentes parties du globe (Europe, Asie, Amérique, Océanie etc.) Car par exemple ici je voulais représenter une femme asiatique et quand on regarde une photo l'oeil s'aperçoit immédiatement des spécificités des traits du visage mais quand on met sur le papier...c'est souvent raté.
Y a-t-il peut-ĂȘtre un site ou un livre qui pourrait faire rĂ©fĂ©rence pour s'exercer? (bien entendu chaque visage est aussi diffĂ©rent mais lĂ on parle des grandes tendances...)
3°) Les cheveux et la fumée. Des conseils pour signifier les choses sans rentrer trop dans le détail?
4°) Les mains. Astuces? Proportions?
Merci pour tous les autres commentaires pertinents.
Bien Ă vous.
Jean-Baptiste.
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10/11/2020
Great to hear that you enjoyed the training! It's normal that everything isn't perfect; it comes with practice, by repeating the exercises or applying their principles to other drawings. Gradually, you will understand more and more things. There's no secret; you just have to work at it ^^. Before commenting on your drawing, I will first answer your questions.
1) For ellipses in perspective, I'll create a tutorial for you (it might be useful later ^^). Basically, you act as if you were placing a square (if you want a circle in perspective) or a rectangle (if you want an oval) and you draw your ellipse inside it. You find its center by drawing the diagonals, and the points furthest from each side by taking the middle of the segments of your square/rectangle, taking perspective into account, of course, by transferring the distances as seen in the previous lessons. You use the points you found to create your ellipse :)
2) The best trick is always observation! Draw many people of different ethnicities and notice their specific characteristics over time. It's difficult to explain everything, given all the possible differences depending on the ethnicity; it would require a very comprehensive lesson. For Asian eyes, you need to pay attention to the eyelid, especially. It can be "double" with a fold above the eye, as with most Europeans, or "single," where there is no visible line above the eye. They are often almond-shaped but don't always have the same shape. The idea that Asian eyes are very narrow, almost like a line, is not a general rule; it's mostly a cliché. Find references that you can find on Pinterest, for example. Also, think about drawing faces from different viewpoints, from the front, in profile, and from a three-quarter angle. I really like Titouan Lamazou's work when it comes to people of different ethnicities (especially women); what he does is worth checking out ^^.
3) For the hair, I'll attach this tutorial by Rakjah: https://www.dessindigo.com/blog/dessin-cheveux-manga. It's about manga, but the principle is the same in reality, only less exaggerated. Pay close attention to where the strands of hair start for a coherent movement, and proceed strand by strand (this creates volumes that structure the hairstyle). As for the smoke, I usually draw soft swirls for a small amount of smoke that drifts away in the wind. For more "explosive" smoke, it will have more of a cloud-like appearance with small pieces flying off. I'll create a small example drawing, but it's just my way of stylizing it.
4) For the proportions of the hands, I would say that generally, a hand is about 2/3 the size of the head. You can visualize the size of the hands on the chart provided as support for the lesson on proportions. Otherwise, you have a tutorial on Dessindigo for hands: https://www.dessindigo.com/blog/comment-dessiner-main.
There you go, I'll give you the feedback on your drawing in a second comment :)
Super que tu aies aimé la formation ! Normal que tout ne soit pas parfait, ça vient avec la pratique, en refaisant les exercice ou appliquant leurs principes à d'autres dessins. Au fur et à mesure tu comprendras mieux de plus en plus de choses. Pas de secret, il faut travailler ^^ Avant de commenter ton dessin, je vais tout d'abord répondre à tes questions.
1) Pour les ellipses en perspective je te fais un tuto (ça pourra resservir ^^). En fait tu fais comme si tu mettais un carré (si tu veux un rond dans la perspective) ou un rectangle (si tu veux un ovale) et tu inscris ton ellipse dedans. tu trouves son centre en en faisant les diagonales, et les points les plus éloignés de chaque cÎté en prenant le milieu des segments de ton carré/rectangle, en prenant en compte la perspective bien sûr, en reportant les distances comme vu dans les cours précédents. Tu te sers des point trouvés pour faire ton ellipse :)
2) La meilleure astuce c'est toujours l'observation ! Dessiner plein de gens d'ethnies diffĂ©rentes et remarquer leurs spĂ©cificitĂ©s Ă force. Difficile de tout t'expliquer vu toutes les diffĂ©rences possibles selon les ethnies, il faudrait un cours trĂšs complet. Pour ce qui est des yeux asiatiques il faut faire attention Ă la paupiĂšre surtout, elle peut ĂȘtre "double" avec un pli au dessus de l'oeil comme pour la majoritĂ© des EuropĂ©ens, ou "simple", oĂč il n'y a pas ce trait visible au dessus de l'oeil. Ils sont souvent en amande mais n'ont pas toujours la mĂȘme forme non plus. Le cĂŽtĂ© yeux trĂšs fermĂ©s presque en trait n'est pas une gĂ©nĂ©ralitĂ© c'est surtout un clichĂ©. Prend des rĂ©fĂ©rences que tu peux aller chercher sur Pinterest par exemple. Aussi penser Ă dessiner des visages sous diffĂ©rents points de vue, de face, de profil, de 3/4. J'aime bien le travail de Titouan Lamazou en ce qui concerne les personnes de diffĂ©rentes ethnies (surtout des femmes), ce qu'il fait vaut le coup d'oeil ^^
3) Pour les cheveux je vais te joindre ce tuto de Rakjah : https://www.dessindigo.com/blog/dessin-cheveux-manga
C'est sur les mangas, mais le principe est le mĂȘme en rĂ©alitĂ© en moins exagĂ©rĂ©. Bien regarder d'oĂč partent les mĂšches de cheveux pour un mouvement cohĂ©rent, et procĂ©der par mĂšches (ça crĂ©Ă© des volumes qui structurent la coupe). Pour ce qui est de la fumĂ©e j'ai l'habitude de faire des volutes souples pour une petite fumĂ©e qui part au vent. Pour de la fumĂ©e plus "explosive" ça aura plus un aspect de nuage avec des petits bouts qui s'envolent. Je te fais un petit dessin exemple, mais ce n'est que ma maniĂšre de styliser.
4) Pour les proportions des mains, je dirais que gĂ©nĂ©ralement une main fait les 2/3 de la tĂȘte. Tu peux visualiser la taille des mains sur le canon fourni en support de cours de la leçon sur les proportions. Sinon tu as un tuto sur Dessindigo pour les mains : https://www.dessindigo.com/blog/comment-dessiner-main
VoilĂ , je te ferai le commentaire de ton dessin dans un second commentaire :)
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10/11/2020
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11/11/2020
These are very helpful comments. I had the idea of fitting my ellipse into a square, but I didn't do it very well. In any case, it confirms the method, so I'll keep it in mind.
Regarding the faces, the reference is great; it's exactly what I was looking for, and I'll study it carefully.
Finally, as for the tutorials and the smoke, I'll also practice. I've already started the course on manga, so that's perfect.
Thank you for the feedback.
Commentaires précieux. J'avais bien eu l'intuition de faire rentrer mon ellipse dans un carré mais je ne l'ai pas assez bien fait. En tout cas ça confirme la méthode : je prends!
Pour ce qui est des visages la référence est super c'est exactement ce que je cherchais je vais potasser tout ça.
Enfin, en ce qui concerne les tutos et la fumée je vais aussi m'entrainer. J'ai d'ailleurs commencé le cours sur les mangas donc c'est parfait.
Merci pour les commentaires.
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06/11/2020
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12/11/2020
The drawing is nice, youâve used a lot of different elements from the course, and itâs well-executed :) I do have a few suggestions for improvement, though. Iâll respond in writing, but also with annotations on the drawing for the elements where itâs easier. The room could indeed be less deep. Also, lowering the horizon line on a thirds grid would improve the composition. By the way, the placement of the character isnât ideal. I think it would look better if she were on the left, in the first third of the image. Her current placement, almost in the center, doesnât make her stand out; you almost look at the bed first, which isnât ideal for the flow of the image. Also, the fact that sheâs positioned right at the bottom edge of the image, with her feet partially cut off, isnât very harmonious. The perspective of the bed bothers me; I donât think itâs correct. You should draw it using two vanishing points, one on the left thatâs off the edge of the image and one on the right. I see a point in the upper right corner of the right window. What is that? If itâs a vanishing point, itâs not right; all vanishing points should be on the horizon line (unless thereâs an exception with a third vanishing point at the top or bottom for the height of objects, but the scene doesnât seem to lend itself to that).
As for the values, itâs pretty good on the character, but thereâs not enough on the background. Donât hesitate to use gradients. Also, I donât think the shadow on the floor near the right wall is necessary. Either simplify it with a light halo around the window, or make it more realistic by having the light from the window on the floor in the shape of the window. You can get inspiration from paintings or photos; there are lots of examples when you search for âwindow lightâ on a search engine ^^ Thatâs it for the body and other details â Iâll point them out visually ^^ Well done, in any case, for this great conclusion to the course. With even more practice, youâll improve even more :)
Le dessin est chouette, tu as utilisĂ© plein d'Ă©lĂ©ments diffĂ©rents de la formation, c'est travaillĂ© :) J'aurai tout de mĂȘme quelques suggestions d'amĂ©lioration. Je te rĂ©ponds Ă l'Ă©crit mais aussi en annotations sur le dessin pour les Ă©lĂ©ments oĂč c'est plus simple. La piĂšce pourrait effectivement ĂȘtre moins profonde, en plus la ligne du sol plus basse sur une ligne des tiers rendrait mieux niveau composition. D'ailleurs le placement du personnage n'est pas idĂ©al. Je l'aurais bien vue sur la gauche au premier tiers de l'image. Son placement presque au centre ne la met pas en valeur, on regarderait presque le lit en premier, pas idĂ©al pour le sens de lecture. Aussi le fait qu'elle s'arrĂȘte pile au bord de l'image en bas et que les pieds soient un peu coupĂ©s n'est pas trĂšs harmonieux. La perspective du lit me gĂȘne, je ne pense pas qu'elle soit bonne. Il faudrait le faire avec 2 points de fuite, un Ă gauche qui sort de l'image et un Ă droite. Je vois un point en haut Ă droite de ta fenĂȘtre droite. Qu'est ce que c'est ? Si c'est un point de fuite ce n'est pas bon, tous les points de fuite doivent ĂȘtre sur la ligne d'horizon (sauf exception d'un 3Ăšme point de fuite possible en haut ou en bas pour la hauteur des objets mais la scĂšne ne semble pas s'y prĂȘter).
Pour ce qui est des valeurs c'est pas mal sur le personnage, mais il en manque sur le dĂ©cors. N'hĂ©sites pas Ă utiliser des dĂ©gradĂ©s. Aussi, je pense que ton ombre au sol prĂšs du mur de droite n'a pas lieu d'ĂȘtre. Soit tu simplifie avec un halo clair autour de la fenĂȘtre, soit tu fais plus rĂ©aliste avec la lumiĂšre de la fenĂȘtre au sol qui a la forme de la fenĂȘtre. Tu peux t'inspirer de peintures ou photos, il y a plein de choses quand on tape sur un moteur de recherche "lumiĂšre fenĂȘtres" ^^ VoilĂ , pour ce qui est du corps et autres dĂ©tails c'est en visuel ^^ VoilĂ ! Bien jouĂ© en tous cas pour cette belle conclusion de formation, avec encore plus de pratique tu t'amĂ©lioreras encore plus :)
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13/11/2020
Thank you for the corrections.
Itâs clear that there are improvements to be made, and the subject matter was a bit challenging for me. :)
Iâm going to revisit some points to provide more context on what I was trying to achieve.
The point at the top right of the window represents my light source. My light source is the sun, so I imagine it illuminates everything, but I needed to have a better idea of where the light was coming from. As for the shadow on the floor, Iâll accept your correction, but itâs more or less what I observed in my own environment; thereâs a shadow cast on the floor due to the window frame, but I probably didnât manage to make it look convincing.
Regarding the bed, I agree that something is off with the perspective (I have two vanishing points in the illustration). However, I believe I correctly directed my perspective to the left and along the horizon line⊠Nevertheless, my horizon point was outside the frame, and I did it a bit too quickly⊠I admit it. :)
Finally, for the character, I clearly tried to do something too complicated for me. The face is frontal, but the eyes are looking to the side, while the body is in a three-quarter view because the head is turned, and the legs are in profile. Iâm not sure if Iâm making myself clear. Basically, sheâs sitting but looking at the viewer while also directing her gazeâŠ
Regarding the depth, okay, and about the legs being too close to the body, okay. As for the rule of thirds, I tried but didnât succeed very well.
Thank you, Iâll rework all of this in my next illustration.
Have a good day.
Merci pour les corrections.
Clairement il y a des améliorations à apporter et le sujet m'a un peu dépassé :)
Je reviens sur certains points pour donner des Ă©clairages sur ce que je souhaitais faire.
Le point en haut Ă droite de la fenĂȘtre c'est mon Ă©clairage. Mon Ă©clairage c'est le soleil donc j'imagine qu'il Ă©claire partout mais j'avais besoin d'Ă peu prĂšs savoir d'oĂč la lumiĂšre partait. Pour ce qui est de l'ombre au sol je prends ta correction mais c'est plus ou moins ce que j'ai observĂ© chez moi il y a une ombre portĂ© au sol due au mur de la fenĂȘtre mais j'ai sĂ»rement pas rĂ©ussi Ă rendre la chose crĂ©dible.
Pour le lit je suis d'accord il y a un truc qui cloche avec la perspective (j'ai 2 points de fuite dans l'illustration). Pourtant il me semble bien avoir fait fuir ma perspective à gauche et sur la ligne d'horizon...toutefois mon point d'horizon était en-dehors de la feuille et j'ai un peu fait ça trop rapidement...j'avoue :)
Enfin pour le personnage j'ai clairement voulu faire quelque chose de trop compliquĂ© pour moi. Le visage est de face mais les yeux regardent de cĂŽtĂ© par contre le corps est de 3/4 car la tĂȘte est tournĂ©e et les jambes sont de profil. Je sais pas si je me fais comprendre. En gros elle est assise mais regarde vers le lecteur tout en faisant fuir son regard...
Pour la profondeur ok, pour les jambes trop prÚs du corps ok et pour la rÚgle des tiers j'ai essayé mais pas bien réussi.
Merci je rebosserai tout ça sur ma prochaine illustration.
Bonne journée.
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19/11/2020
To improve the lighting and make it more believable, I would advise you to use a reference and maintain the same light direction. For example, you could take a photo of your own home and keep that lighting direction.
Regarding the perspective, you took the right approach, so itâs probably because you did it too quickly.
As for the character, itâs good that youâre trying! From what I can see, the face is drawn in a 3/4 view, especially considering the shape of the face on the right, which is why I adjusted the nose to match. For a more natural pose, the legs should also be in a 3/4 view. When youâre drawing a character, you can try posing yourself. If itâs not very comfortable, it probably means you need to change the pose.
So, keep all of this in mind for your next illustration, and you will gradually improve. Keep up the good work!
Pour l'éclairage pour plus de crédibilité je te conseillerais de prendre un modÚle et garder sa direction de lumiÚre. Tu pouvais par exemple prendre une photo de chez toi et garder cette direction ^^
Pour la perspective tu as donc eu la bonne démarche, donc c'est sûrement du au fait d'avoir fait trop rapidement effectivement ^^
Pour le personnage, c'est bien de tenter ! De ce que je vois ton visage est fait de 3/4 pour moi, notamment vu la forme de son visage sur la droite, pour ça que je lui ai arrangĂ© le nez pour que ça corresponde. Pour une position plus naturelle les jambes devraient aussi ĂȘtre de 3/4. Quand tu fais un personnage tu peux essayer de faire toi mĂȘme la position. Si ce n'est pas trĂšs confortable, c'est probablement qu'il faut changer la position ;)
Voilà , pense à tout ça sur la prochaine illustration, tu progresseras progressivement. Bonne continuation !