But if you did everything correctly, don't worry! I think it's a good start.
However, there's a little something that bothers me: the difference between your light grey lines and your solid black lines seems very strong. If you look at the drawings from a distance, you'll notice that only the black lines stand out, while the others are barely visible.
Your intentions with the lines seem interesting, the only thing I would try would be to reduce the differences between the extremes.
Overall, I find that it works quite well, but there are still two or three places that feel a bit odd to me.
- For example, in the middle of his left thigh, the thick line abruptly stops and immediately transitions to a thin line; I find that it draws quite a bit of attention when thatâs not the goal! (In my own little jargon, I call this "blinking"). A simple way to avoid this phenomenon is to work on transitions. Have softer gradients of line thickness. :-)
- Another example under his left sleeve: the line is left light whereas around it you usually thicken the lower lines. Ideally, when you have a consistent behavior throughout most of your work, you should avoid breaking this rule here and there because it gives the impression that it is not complete.
Then again, if you play it like Otto Schmidt, you wonât necessarily adhere to the point I just mentioned, of course. But that's what it suggests to me.
Personally, I still regularly conduct ink tests, it's the kind of discipline that sharpens like a blade ;-)
See you soon!
Greg
Hello !
Dans l'ensemble je trouve que ça fonctionne pas mal, mais il y a quand mĂȘme deux/trois endroits qui me font un peu bizarre.
Cool! It looks good and it's readable even when reducing the image size. It works well.
If this comes naturally when you draw, then the next step will be to work on the fluidity of your lines in order to give a more flexible look to the broad strokes. Otherwise, keep up these kinds of exercises.
Before laying down the values, I wondered from which side the light might be coming. My real difficulty is knowing when to stop adding dark values to have a balanced drawing.
On the right, I used the brushpen, the result is definitely very different and more visually appealing.
Personally, I have a preference for pencil drawing which I find more polished. I'm not saying the other doesn't work, but in terms of structure, there are certain points that stand out too much for my liking (like the nose compared to other facial features, for example.) And I can tell you exactly what made it hard for you.
It's that... You're working too small! The brush pen requires absolute control at all times, and starting small is like taking on a hardcore challenge without much payoff. Personally, if I were doing it with a brush, my bunny would have been at least twice the size of the other. This way, it's much easier to achieve "fine" lines, which won't really be fine absolutley... But in relation to all the others around... ;-)
I've often found myself drawing full-body characters on a vertical A3 with a brush. Now, that's comfortable.
Anyway, I think you have a good foundation, you just lack practice. But you're on the right track.
Looking at my drawing on the right side of the screen, I think I should have added more value behind the stick on the right, as well as to the right of the right foot.
I like the fact that they are different (they donât have the same expression, already :-p), I find it great that you donât just trace over lines, but redraw in your own style.
My preference is for the 3rd, because the 1st is a bit too "uniform" for my taste (predominantly the same line values everywhere). The 2nd is the opposite (there's a huge gap between the "strong" and "weak" lines). While the 3rd one has a bit more balance between the two.
But to be completely honest, it's anything but an exact science, so take what I say with a grain of salt, there's necessarily a lot of subjectivity involved... ;-)
Interactions
Nombre de sujet(s) : 2
Nombre de réponse(s) : 52
23/05/2018
Want to learn drawing?
See our coursesInteractions
Nombre de sujet(s) : 2
Nombre de réponse(s) : 52
24/05/2018
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 669
26/05/2018
That's cool!
You did well to go for a personal drawing after the exercise, the goal is not to stick to the nice rabbit that I provide :-p
It works well, and you'll see: even when we gain experience in this area, we never stop experimenting.
Good luck!
Greg
C'est cool !
Tu as bien fait de partir sur un dessin perso aprĂšs l'exo, le but n'est pas de rester sur le beau lapin que je donne :-p
Ăa fonctionne bien, et tu verras : mĂȘme quand on gagne en expĂ©rience sur ce sujet, on ne s'arrĂȘte jamais d'expĂ©rimenter.
Bonne continuation !
Greg
Interactions
Nombre de sujet(s) : 2
Nombre de réponse(s) : 39
06/11/2018
Interactions
Nombre de sujet(s) : 3
Nombre de réponse(s) : 10
28/07/2018
Not sure if I did it right, but I put all my heart into it.
Pas certaine d'avoir fait comme il faut, mais j'y ai mis tout mon coeur.
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 669
31/07/2018
But if you did everything correctly, don't worry! I think it's a good start.
However, there's a little something that bothers me: the difference between your light grey lines and your solid black lines seems very strong. If you look at the drawings from a distance, you'll notice that only the black lines stand out, while the others are barely visible.
Your intentions with the lines seem interesting, the only thing I would try would be to reduce the differences between the extremes.
Does that make sense to you?
Let me know how your tests are going!
See you soon,
Greg
Mais si tu as tout fait comme il faut, ne t'inquiÚte pas ! Je trouve que c'est un bon départ.
Mais il y a un petit quelque chose qui me chiffonne : la différence entre tes traits gris légers et tes traits noirs plein me paraßt trÚs forte. Si tu observes les dessins avec un peu de recul, tu te rends compte que seuls les traits noirs ressortent, tandis que les autres sont à peine perceptible.
Tes intentions de traits me semblent intĂ©ressantes, la seule chose que je tenterais serait de rĂ©duire les Ă©carts entre les extrĂȘmes.
Dis-moi si cela te parle ?
Dis-moi comment se passent tes tests !
Ă bientĂŽt,
Greg
Try our courses for free
See our coursesInteractions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 15
26/08/2018
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 669
01/09/2018
Overall, I find that it works quite well, but there are still two or three places that feel a bit odd to me.
- For example, in the middle of his left thigh, the thick line abruptly stops and immediately transitions to a thin line; I find that it draws quite a bit of attention when thatâs not the goal! (In my own little jargon, I call this "blinking"). A simple way to avoid this phenomenon is to work on transitions. Have softer gradients of line thickness. :-)
- Another example under his left sleeve: the line is left light whereas around it you usually thicken the lower lines. Ideally, when you have a consistent behavior throughout most of your work, you should avoid breaking this rule here and there because it gives the impression that it is not complete.
Then again, if you play it like Otto Schmidt, you wonât necessarily adhere to the point I just mentioned, of course. But that's what it suggests to me.
Personally, I still regularly conduct ink tests, it's the kind of discipline that sharpens like a blade ;-)
See you soon!
Greg
Dans l'ensemble je trouve que ça fonctionne pas mal, mais il y a quand mĂȘme deux/trois endroits qui me font un peu bizarre.
- Par exemple au milieu de sa cuisse gauche, le trait Ă©pais s'arrĂȘte net et repart directement sur un trait fin ; je trouve que cela attire pas mal l'attention alors que ce n'est pas le but ! (Dans mon petit jargon perso, j'appelle ça "clignoter"). Une façon simple d'Ă©viter ce phĂ©nomĂšne est de travailler sur les transition. Avoir des "dĂ©gradĂ©s" de point de ligne plus doux. :-)
- Autre exemple sous sa manche gauche : le trait est laissé léger alors qu'aux alentours la plupart du temps tu épaissis les traits inférieurs. Idéalement, lorsque tu as un comportement régulier sur la majorité de ton travail, il faut éviter de briser cette rÚgle de-ci de-là car sinon cela donne le sentiment que ce n'est pas complet.
AprÚs, si tu te la joues à la Otto Schmidt, tu ne respecteras pas nécessairement le point que je viens d'évoquer, of course. Mais là , c'est ce que ça m'évoque.
Perso je fais encore des tests d'encrage réguliÚrement, c'est le genre de discipline qui s'affute comme une lame ;-)
Ă bientĂŽt !
Greg
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 1
17/09/2018
Here is my rabbit ;)
Thank you for the advice.
Voici mon lapin ;)
Merci pour les conseils.
Interactions
Nombre de sujet(s) : 2
Nombre de réponse(s) : 30
18/09/2018
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 669
27/09/2018
Cool! It looks good and it's readable even when reducing the image size. It works well.
If this comes naturally when you draw, then the next step will be to work on the fluidity of your lines in order to give a more flexible look to the broad strokes. Otherwise, keep up these kinds of exercises.
Keep it up :-)
See you soon,
Greg
Classe ! Cela rend bien et c'est lisible mĂȘme en rĂ©duisant la taille de l'image. Cela fonctionne bien.
Si jamais cela vient naturellement quand tu dessines, alors la prochaine Ă©tape va ĂȘtre de bosser sur la fluiditĂ© de tes traits afin de pouvoir donner un aspect plus souple aux grandes lignes. Sinon, alors poursuis ce genre d'exos.
Continue comme ça :-)
Ă bientĂŽt,
Greg
Want to learn drawing?
See our coursesInteractions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 5
26/09/2018
Before laying down the values, I wondered from which side the light might be coming. My real difficulty is knowing when to stop adding dark values to have a balanced drawing.
On the right, I used the brushpen, the result is definitely very different and more visually appealing.
Your opinion?
Avant de poser les valeurs, je me suis demandĂ© de quel cĂŽtĂ© pouvait provenir la lumiĂšre. Ma difficultĂ© rĂ©elle est de savoir quand arrĂȘter de poser des valeurs sombres, afin d'avoir un dessin Ă©quilibrĂ©.
à droite, j'ai utilisé le brushpen, le résultat est assurément trÚs différent et plus attirant pour l'oeil.
Ton avis ?
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 669
27/09/2018
Great job.
Personally, I have a preference for pencil drawing which I find more polished. I'm not saying the other doesn't work, but in terms of structure, there are certain points that stand out too much for my liking (like the nose compared to other facial features, for example.) And I can tell you exactly what made it hard for you.
It's that... You're working too small! The brush pen requires absolute control at all times, and starting small is like taking on a hardcore challenge without much payoff. Personally, if I were doing it with a brush, my bunny would have been at least twice the size of the other. This way, it's much easier to achieve "fine" lines, which won't really be fine absolutley... But in relation to all the others around... ;-)
I've often found myself drawing full-body characters on a vertical A3 with a brush. Now, that's comfortable.
Anyway, I think you have a good foundation, you just lack practice. But you're on the right track.
Good luck! :-)
Greg
C'est du bon boulot.
Personnellement j'ai une préférence pour le dessin au crayon que je trouve plus maßtrisé. Je ne dis pas que l'autre ne fonctionne pas, mais en terme de structure il y a certains points qui ressortent trop par rapport à d'autres à mon goût (comme le nez comparé aux autres traits du visage par exemple.) Et je peux te dire exactement ce qui t'as rendu la vie difficile.
C'est que... Tu bosses trop petit ! Le stylo-pinceau demande un contrĂŽle absolu de tous les instants, et faire ça en petit au dĂ©part c'est se lancer dans un challenge hardcore sans trop d'intĂ©rĂȘt. Perso, si j'avais fait ça au pinceau, mon lapin aurait fait au moins le double de la taille de l'autre. De cette façon, c'est bien plus simple d'avoir des traits "fins", qui ne le seront pas tellement dans l'absolu... Mais mis en relation avec tous les autres autour... ;-)
Il m'est souvent arrivé de dessiner des perso en pied sur un A3 vertical au pinceau. Là , c'est confort.
En tout cas je trouve que tu as de bonnes bases avec ça, il manque juste de la pratique. Mais tu es sur la bonne voie.
Bon courage ! :-)
Greg
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 5
26/09/2018
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 4
03/10/2018
So, I tried three different styles....
In 1 I focused on the angles, in 2 I worked on the shadows, and in 3 the curves + highlighting the silhouette...
I hope it will be alright ^^
VoilĂ jâai essayĂ© trois styles diffĂ©rents ....
en 1 jâai forcĂ© sure les angles, 2 jâai travaillĂ© les ombres, et en 3 les courbes + mise en avant de la silouhette...
VoilĂ jâespere Que ça ira ^^
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 669
10/10/2018
Good exercise :-)
And have you tried mixing these methods together to see what that would yield?
For example, I think your No. 3 and your No. 2 combined would look very good. :-)
Don't redo the exercise, you'll try it on one of your next illustrations!
See you soon,
Greg
Bon exo :-)
Et est-ce que tu as essayé de mixer ces méthodes entre elles, pour voir ce que cela donnerait ?
Par exemple, je pense que ton N°3 et ton N°2 combinés rendraient trÚs bien. :-)
Ne refais pas l'exo, tu feras l'essai sur une de tes prochaines illus !
Ă bientĂŽt,
Greg
Try our courses for free
See our coursesInteractions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 13
25/10/2018
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 669
04/11/2018
I'm replying here regarding the three drawings!
I like the fact that they are different (they donât have the same expression, already :-p), I find it great that you donât just trace over lines, but redraw in your own style.
My preference is for the 3rd, because the 1st is a bit too "uniform" for my taste (predominantly the same line values everywhere). The 2nd is the opposite (there's a huge gap between the "strong" and "weak" lines). While the 3rd one has a bit more balance between the two.
But to be completely honest, it's anything but an exact science, so take what I say with a grain of salt, there's necessarily a lot of subjectivity involved... ;-)
Keep it up!
Je te réponds ici pour les trois dessins !
J'aime bien le fait qu'ils soient diffĂ©rents (ils n'ont pas la mĂȘme expression, dĂ©jĂ :-p), je trouve ça bien que tu ne te contentes pas simplement de repasser sur des traits, mais que tu redessines Ă ta sauce.
Ma prĂ©fĂ©rence va au 3Ăš, parce que le 1er est un peu trop "homogĂšne" Ă mon goĂ»t (majoritairement les mĂȘmes valeurs de traits de partout). Le 2Ăš est Ă l'opposĂ© (il y a Ă©normĂ©ment d'Ă©cart entre les traits "forts" et les traits "faibles). Tandis que le 3Ăš a un peu plus d'Ă©quilibre entre les deux.
Mais pour ĂȘtre tout Ă fait franc, c'est tout sauf une science exacte, donc prends ce que je te dis avec des pincettes, il y a nĂ©cessairement une grande part de subjectivitĂ© dedans... ;-)
Bonne continuation !
Interactions
Nombre de sujet(s) : 0
Nombre de réponse(s) : 13
25/10/2018