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[Urist McScoopbeard]

I think it just has to be clearer that the chin is in front of the back collar!

[Noyemi K]

what chin

[Cathar]

(guys I think we should keep critics for people who ask for them)

[Noyemi K]

It doesn't bother me that people point things out. It's a pretty weird blob-people style, so it'd be kinda strange if I just got complimented all the time.

[Urist McScoopbeard]

what chin

I simply mean to say that I think the strangeness results from the fact the collar appears to be in front of the head instead of behind it.

It doesn't bother me that people point things out. It's a pretty weird blob-people style, so it'd be kinda strange if I just got complimented all the time.

It's quite dude! Don't be harsh on yourself!

(guys I think we should keep critics for people who ask for them)

There hath always been unsolicited critiques here if I recall?

[Cathar]

Well I dunno. Im not gonna get triggered on someone else's behalf, I just know it can be irksome, artists have an ego, and I tend to be super careful when dealing with explosive materials

It doesn't bother me that people point things out. It's a pretty weird blob-people style, so it'd be kinda strange if I just got complimented all the time.

Well you're pretty much at the top of the game when it comes to sketched cute chibi girls. I'd kinda like to see some of your more serious stuff tho

[Noyemi K]

I've done speedpaints and stuff and that can be fun, like a mix of observing and applying skills I've been working on. The chibi cuties aren't necessarily unserious so much as a logical endpoint of me trying to optimize a lot of art that I do to get the most "me" look onto the canvas as efficiently and elegantly as possible—it's not like I sacrifice the years of lifedrawing and anatomy to make those, it's just not as easily apparent because it's so stylized.

Spoiler: Speedpaint (click to show/hide)

[Cathar]

I totally knew it. Artists like you and Vastahagen look accessible at first glance because you usually work with simple shapes, but one can tell you have years of practice under them. I met one comic professional, once. He looked accessible all the same because he was working on cute french style traditional comics. But then he shown me his sketches, and I understood I was still thinking like an amateur

[Noyemi K]

I want to say that a well-realized style is usually an indicator of loads and loads of traditional, practical artistic knowledge, and the style is generally based on the demand of whatever field they choose to work in or be aligned to.

I started off my journey with a little more realistic take on manga styling since that's what I was reading at the time (and it wasn't a huge leap from my actual studies and practice sessions), but the demands for the stories and things I was actually creating steered me towards the juxtaposition of cutesy faces, plump figures, and unusually detailed machinery to go along with it. It was just a natural fit for me because of the trend towards looser, dynamic figures that still have their mass vs. the stiffer ones I used to draw.

[Cathar]

I want to say that a well-realized style is usually an indicator of loads and loads of traditional, practical artistic knowledge, and the style is generally based on the demand of whatever field they choose to work in or be aligned to.

The day I learnt that is the day that ended my artistic childhood :') I think the stylization process has to come on top of the usual training. You got to learn how to draw in general,then learn how to stylize... it takes more time, not less as I was thinking when I started.

I'm still looking for my style after ten years of practice... the fact I'm self taught from absolute scratch means I don't have any solid understanding of what the rules are for this or that style, and what style goes with this or that public, and I feel like I'm swimming in honey when it comes to popularize my stuff...

Well I had (still have technically) one opportunity I know would work, where there is near unlimited paying demand, but at this point I am absolutely certain I don't want to do that. Doesn't match my vibes, so at this point I'm left to experiment until I find something that works both for me and the public

Edit : Also while I am at it have my today's work

[Noyemi K]

I want to say that a well-realized style is usually an indicator of loads and loads of traditional, practical artistic knowledge, and the style is generally based on the demand of whatever field they choose to work in or be aligned to.

The day I learnt that is the day that ended my artistic childhood :') I think the stylization process has to come on top of the usual training. You got to learn how to draw in general,then learn how to stylize... it takes more time, not less as I was thinking when I started.

I'm still looking for my style after ten years of practice... the fact I'm self taught from absolute scratch means I don't have any solid understanding of what the rules are for this or that style, and what style goes with this or that public, and I feel like I'm swimming in honey when it comes to popularize my stuff...

Edit : Also while I am at it have my today's work
--snip--

Yeah that's more or less how it works—it's most efficient to build a solid foundation before going all-in on stylizing. It's not a path that has to be taken, but it's the best for most people.

In any case, the work you've done today is pretty swell looking, I like the panel comp a lot 

[Jopax]

Last half of the march of robots dump ho!

Spoiler: Dump (click to show/hide)

Kinda got lazy towards the end there and missed a couple of days :V

[BeruangSarkis]

Last half of the march of robots dump ho!

Spoiler: Dump (click to show/hide)

Kinda got lazy towards the end there and missed a couple of days :V

Sweet bots. Is that some Warframe I'm seeing in between there? You should do more of those, love that bio-mecha aesthetic.

Don't know if you're up for some unsolicited advice but... don't be afraid of blocking in blacks and establishing a establishing a shadow border, especially in mecha. Often a single block of black is worth considering when doing those deep shadows like in between plates of armor or on the other side of a lightsource etc. Beats having to do a billion lines of hatching when a stroke of black can achieve the same result, and theres still midtones to worry about. It also helps establish a greater sense of depth and atmosphere in the image.

Also, take care of not leaving patches of white between shadows (like on the 9th pic), gotta keep a consistent depth with those shadows man. Get a pen brush for shadows and lineweights; works good and feels great to work with once you get familiar with it. Helps to get those solid black lines out like a professional and sometimes I like to pretend that I am one.

Have you tried prismacolors or copic markers to color? I picked an off-brand set of 20ish colors a few months ago for ~$50 and it's been a pretty good investment. I don't do traditional or colors as much though.

Also, I've been absent from this forum for a good 4 years and it's good to be back and see some old names still active. Here's some stuff I did, dumb sketches and stuff.

Spoiler:  squish (click to show/hide)

[Cathar]

In the meantime, in the land of Tales of Timesink


I have a love hate relationship with elves and it's gonna kill me in more than one way

[TD1]

Sentence again: "On our very doorstep" rather than "to our very doorstep."

Loving it thus far.