July 22, 2018, 10:32:49 AM

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Messages - suupertramp

Pages: [1] 2 3 ... 245
1
yeah for a split second I was like "why is devola disagreeing with me by stating the exact same point I made?" and then I was like "oh because I didn't actually make the point, I just waffled around it" :P

it's ok to be stupid
this my motto btw :P

haha thanks :) yes I would say "for the moment" I am comfortable and happy with my own methods :P

yup there needs to be a how-to-"how-to-draw-book" book with everything for beginners warning about what will trip them up that teaches them nothing about art, but rather teaches them how to learn and self examine :P

2
I think what you said was better than how i said it :P
No, it didn't sound inflammatory, if anything mine sounded more that way :P
yeah always ask if you didn't get what I meant, I do need to get better at explaining things @_@

I think what I meant was that I think a lot of beginners have the belief that a how-to book is ALL they need, and the books often give that feel, like "all you need to make your own exciting characters!" kinda of feel. So it can lead to disregarding other information, or struggling to apply a technique that doesn't suit you, and blaming "art". I think a lot of beginners don't realize the amount of hard work that's required to reach an insanely good level, and often search for how-to books in the belief that they are somehow cheat sheets for awesomeness. I know I believed that for a while when I was younger.

Quote
I always thought it was less about WHO gave the advice and more about whether or not that advice actually works.
That is correct, and probably what I meant, pick and chose all the bits that I feel will work for me, not just follow one whole persons ideologies. I meant "because there are conflicting ideas, there must be more than one correct route, so just because someone DISAGREES with my method (but someone else agrees), that doesn't mean its wrong"

like how there are two ways to do long division, or multiplication, etc. A lot of people will advocate one method to the detriment of the other, you see this with teachers at school saying "that way is wrong" (if it works, how CAN it be wrong??). I think part of my argument included being angry at that sort of philosophy that I see here and there.

Quote
I have no idea what you mean by art is a projection, but let me clear, I also think that trying to define art in a simple sense is a fruitless and frankly pretty pointless task.
Yeahhhhhhhhh I get why you didnt get that :P

I mean that when we draw we have an image of what we want in our heads and draw it, so we have to have the information in our head to draw it in the first place. (I can't draw a lion if I can't remember what it looks like)
>So memory is important is what I meant
>strength of our imagination = level of our knowledge > improves the accuracy of what we produce

Quote
Learning from reading shouldn't stop at "I finished the book, time to move on to the next". Analysis, questioning and application should all come with that if you're serious about learning. In fact, what you say about observation most certainly applies to how-to books as well, observe what works and then see if it's a technique that can help you achieve the "feeling" you're aiming for in your own art. In your own diary excerpt, I see you already doing that.
I think a couple of times I ended up saying "a lot of people..." rather than "people shouldn't...", so it sounds less like advice and more like an observation. thats completely my mistake. I think I was trying to warn against it rather than criticize the people that (may or may not) have done it.

Quote
I think it's much healthier to do things that give YOU a tangible sense of progression rather than following advice to T
100% agreement on this, thats what I totally meant to say :P
build up your own methods based off of other peoples ideas and tutorials, but not limited to one person, and also including your own ideas that you have learned.

Quote
By the time you achieve 10000 goals you'll be drawing like your favorite artist before you know it.
yes!
I suppose eventually we should be aiming to become our own favorite artist? hmmmmm

Quote
tl;dr Build your visual library by being selective about what advice you take and what you discard, try your best not to be sucked into semantics when it comes to "how to learn" art stuff and if you're feeling down about your art, remember your goals and work towards small victories.
This is the singular most best piece of advice ever :P

aaaaaaaand this is why I shouldn't give advice :P
I just talk completely off the top of my head >_<
(this is why I am an artist and not a writer lol)

3
missed this topic, whoops :P
I agree with everyone's stuff so far. A short term blip means nothing in the long term.

Just me talking about myself
ironically, this hardly ever affected me, at least maybe not as much as many others, because I never drew for fun to begin with, and never had a bunch of good drawings to compare to. I was always slightly good in art class and COULD draw, but almost never did unless I had to. I just wasn't feeling it. But after being force fed anime by my cousin and becoming instantly addicted, I saw the potential of manga and for the first time wanted to draw for the sake of drawing. I knew how bad I was and knew it was going to be a tough road. perhaps at the beginning I didn't realize how MUCH of a tough road it was, but to be honest, its been about what I expected. If i could actually draw consistently for more than a month maybe I would actually progress instead of forgetting everything each time round.

I also love working hard, and actively avoid skills that I am easily good at, so apart from mini-depression when I think I will never get good, I thrive on the exercises and constant work. Almost the more I do, the more I feel like I have achieved something even when I haven't lol

regarding what you actually said

It looks like you've discovered the difficulties of art. Generally I think of it as follows:

-I like to draw
-I want to draw better
-I draw more
-I realize how bad I am
-I don't want to draw
-I stop drawing
-I forget how bad I am
-I like to draw
(repeat)

The reason we tend to get "worse" is that we are trying to re-write our own knowledge which means moving away from a relatively stable point, to another better stable point, but with a bunch of unstable inbetween.

Like when you learnt to touch type, you drop in speed to half or worse of your normal speed. Does that mean you are now "worse"? probably, yes :P
but does that mean you should stop? no!
as you practice you gain a speed above that what you could ever have done with your old typing method.now despite doing the same thing, are you worse? no! because you can now fully apply the methods that you have learned.

so the reason we are "bad" is because we are only half applying the methods we are learning or reading about. it doesn't make the methods wrong just because they don't work immediately (think weight loss-that takes time). what matters is that we keep practicing and moving forward. if we feel that we aren't making ANY progress, then perhaps we do need to change our methods, try something else. we might be hitting a block because we need knowledge that is in another area that we haven't studied yet.

Think of it as upgrading a car's engine or something, or knocking down a building to build a better one. All the while its in the garage, it doesn't work, but that doesn't mean that it wont become better in a while. When we learn to draw, at times our entire knowledge sort of decompiles and we get bad, but thats just a lapse while our brain is rebuilding a new set of better rules. Just because our art has a bunch of "currently under construction" tape all around it, and doesn't look like what we want, doesn't mean we wont get there and it will look like we want. (and then when we learn more, we knock it down and build something better)

Something that I have been trying lately but not actually doing (well played me), is spending a little more time and doing a full-time piece every now then. So maybe every 2 weeks, spend 2 hours or whatever is your maximum skill on a piece, take your time, double check lines and guidelines as much as you need. treat it like a commission in that you have to finish it even if its (what you consider) bad. Chances are you will produce a comparatively high level piece compared to your normal sketches.

Its important to keep your goal in mind, especially during the tough patches. Make sure it's a specific goal, not just "get better at drawing". Keep the 10,000 hour mastery idea in mind, even if its wrong you know you have to put a lot of work into something to gain a skill. "Its not supposed to be easy" kinda thing.

Another general idea is just to let off steam on another unrelated skill or project, maybe an instrument or other craft that you like doing. It can help to reset your feelings so you can keep your nose to the grindwheel.


I think art is more of a memory problem than anything else. Even if you read that (for example) "a shadow will have lighter parts because of reflections", you understand it, and even copy studies and "get it", there is a strong risk of forgetting as you move on. Probably the best way to avoid this and thus benefit from how-to-draw books, is to study small parts regularly, keep your own log of information, and go back and re-learn from your own log, not the other books. this way you are rediscovering your own memories and experience that you may have forgotten.

This may be irrelevant
I'm actually writing my own book/diary at the moment of all the things I have discovered artwise, and I will no doubt publish it along with everyone elses books, but I think it will only ever have true value to me, because each phrase triggers all the information in my head that it is related to. Someone else who reads that line of text only gains the information directly in those words.
heres an excerpt:
Spoiler
I may from time to time relearn things and discover that I was wrong, but it serves as a RAM extension for myself in that I can glance through that and automatically fix a bunch of problems that might have returned since the last time I drew something.

regarding how-to books and "theory" books:

I stopped believing in other peoples how-to draw advice a long time ago (sorry for being hypocritical as I keep offering my own advice to others), because I could see a great amount of conflict in talented peoples ideas of how to learn, and I figured to myself "if there is more than one correct way, then I can make my own way".

[[DISCLAIMER: I'm not in any way trashing the study art theory.
I think I might end up doing that, though, in a very confusing [disclaimer]and probably stupid[/disclaimer] manner :P

In its simplest sense, art is a projection of a mental image,form,video,idea etc to a form that can be perceived by others. This includes music too. Thanks to the absurd quantity of art, we can tag it with genres and stuff, and know what art we like, and want to draw. We either draw from life or we draw from our imagination, and often we have an idea of whose art we want it to look like, or the type of art (manga/realism/cartoon/art deco whatever) that we want to create.

So undoubtedly, knowledge is important, otherwise we cannot create what we do not know. But the methods for gaining that knowledge are very abundant. Books on colour,shade,proportions etc only exist because someone else wrote it. How did they write it? they learnt from other artists, books, online etc. How did the original artists learn? they figured it out themselves by observation. the advantage of the internet/books is that they can summarize the discoveries that others have made. So these how to draw books are not bad in that the information in them is correct, but at the end of the day, its someone else's knowledge compressed from years worth of information into 5,000 words and 25 pictures. In my opinion, IT'S TOO COMPRESSED Imagine if you compressed a 100mb image to a 25kb one. You will still be able to see what it is and understand it, but a lot of the data is gone, so you can't build up the original file, you start to fill it with guesswork. often each book will only cover one type of thing, such as shadows, or perspective, and you study it and forget the last book you read, along with the skill you learnt.

This is kinda what I mean. You still see what it is, but you lose so much information to create it

heres my most favorite creative quote (by memory, sorry I can't find it in my quote book) which I apply to art:
"It's easy to write music - you just have to remember something that hasn't been written yet"

aaaaand once again I talked too much, and probably contradicted myself a lot :P

4
Comics and other Gallery / Re: Miscellaneous Arts and Sketchbook
« on: July 21, 2018, 12:48:16 PM »
ahhhh Pivot, good times. I actually got my dad doing that for a while too.
I was inspired by the "animator vs animation" youtube animations that went popular years ago.
good progress on the drawings :)

for drawing your right hand, just swap pen hands for a split second, pose and look, then go back and draw. Thats probably easier and faster than collecting reference that you are going to like and use. I do that a lot of the time. An artist is their own best reference, as is anything within their grasp or eyesight. I need more of my own themed pose and clothing reference, but don't fancy getting my family to take photos :P

or draw with your left, which isn't as bad as you would think after a day or two of getting used to it.

5
So you may or may not have noticed I'm starting to get annoyed with my username Suupertramp.

Half the problem is that I randomly started using the username Supertramp before I even knew it was an English band, so ended up using a "uu" so I could get a unique username as Supertramp was often already being used by others. Now as an aspiring money grabbing artist I want to avoid anything copyright-ish, and go for a more pro feel.

also "tramp" is possibly offensive and also delf-depreciative which I would like to avoid.

so my other username is flawlessparadox such as on my deviantart, which I madeup ages ago. Its certainly unique, but I think it sounds kinda, like I tried too hard to sound cool and Dr.Who-ish

Over the time I've spent here I get called and have called myself the shortened Suuper which I accept, but is too generic for a website name or keyword and it also feels like a typo (and actually is a deliberate one), which bothers me.

which leads to the next point of wanting a website. Mainly as a profile hub for my different stuff, branding, and having my art portfoilio and manga etc in a nice format.

My actual name is very common but I have 2 fairly unique/foreign middle names which I love (generally I avoid posting my full name online as much as possible). I have tried combinations of initials and my middle names which yields very low results in google, and still sounds like a name but is usernamey which I wouldn't mind, but also rebranding and stuff is a pain as well. And a ton of accounts that I might want to connect (such as soundcloud) I have already use suupertramp or flawlessparadox.

I would love to know what you think, am I am just over-reacting or do I need a nice clean unique username?
Does a username have to be the same all over the web? or at least similar?
Because now is probably the time to sort everything out before I launch myself.

thanks for reading :)

6
break Room / Re: I got booed at an hospital
« on: July 20, 2018, 05:23:10 PM »
you have my sympathy. kids can be heartless sometimes, but at least they are usually honest. If you ever want a review you know where to go. Ask them what they would write instead and make money off it.

7
Manga Art Gallery / Re: Suuper's manga (+digital and 3D)
« on: July 20, 2018, 05:18:28 PM »
Yeah I've did head height as the base circle but I'm wondering if it should probably been the whole head including the chin, which would make the overall height larger. pretty sure I did a stupid there :P

And its great to have a random inspiration, even if the end result is not at all related.

8
Tips and Tutorials / Re: What are proportions? (tip/rant)
« on: July 19, 2018, 06:13:17 PM »
yeah until I just said that I completely forgot about angles lol

ahhhhh cool quote. I hadn't heard that before. I think I will definitely also carry a tape measure now :)

9
Manga Art Gallery / Re: Suuper's manga (+digital and 3D)
« on: July 19, 2018, 06:06:39 PM »
@walter thanks!

@mahlua maybe collating all your characters and redrawing them would make a good project hmmmm. the redraw meme doesn't get enough use around here IMHO

latest: used a random object as a base thought to make characters a bit more varied. I included the objects so you can laugh with me :P

Spoiler

10
Tips and Tutorials / Re: What are proportions? (tip/rant)
« on: July 19, 2018, 04:43:04 PM »
@mahlua it also made a bunch of sense to me, which is why I posted it as an extra reference. And since art often included a lot of architecture, it was also a good idea anyway :P

I learnt a bit of drafting at school too, and I still do bisections a lot by eye. which is partly the reason this article ended up getting written, because the eye lies :P

@devola yeah I didn't realize until trying out the exercise how insightful it actually was. I'm wondering what would be the best way to practice a lot of this in the smallest amount of time.

@fronomenal yeah I understood absolutely none of that article lol. yes, effort and perseverence will push through even thr most toughest of hurdles.

@lego very nice exercises. yes it is rather informative. I dont know how the best way to repeat these exercises would be, but doing a little of the above every now and then wouldn't hurt. carrying a tape measure and randomly guessing the lengths of stuff would be a cool idea too

thanks for the feedback guys, glad I wasn't going down a stupid thought path on my own :P

Bonus Exercises
Mahlua reminded me that bisection is a cool thing. angle bisection is rather important especially if you draw technical parts such as cogs and gears etc.
-try drawing 15/30/45/90 degree lines off a vertical or a horizontal line.
-drawing random "v" shapes of varying angles, and trying to copy them, maybe rotated or something. You'll need a protractor to measure the angles though.
-drawing various "v" shapes and splitting the angle into 2,3,4 segments of equal angle
-same as the multiplying widths, but with angles, draw a "v" and continue it rounds as if there were more of them

heres a quick example: (the solid lines are the starting lines, and the dotted ones are the ones you will be checking)
Spoiler

Ignore the x4 on the right, thats a x3 :P

Also, this is another very obvious thing but sometimes if its not mentioned people wont think it. When doing gesture drawing, figure drawing or whatever, make sure to make an actual mental note of the proportions, again using actual numbers. use head widths or whatever you feel is appropriate. this includes the angles of lines which fortunately are not proportions but values which dont ever change. sometimes I've drawn a line pointing down when it should have gone upwards, just because I didnt think to myself "what angle is this line" and just randomly drew it, and spotted it afterwards and kicked myself.

Angle and curve control are pretty much a topic by themselves (which I might make), because with correct length and angle control, You're virtually becoming a human camera.

11
Manga Art Gallery / Re: Suuper's manga (+digital and 3D)
« on: July 19, 2018, 02:38:23 AM »
@mahlua yeah a timed warmup amount might be the thing I need.

wow, 100 characters????? I bet you need to keep character sheets to keep a track of them!!

latest: I was seriously tired so meh

Spoiler




12
Manga Creations / Re: My Manga Story!!
« on: July 18, 2018, 05:06:47 PM »
I read your chapter 1 and its a nice easy read, although the layout and font disagreed with me a little.

I haven't properly read ch2 and 3, but I noticed your panel count is a little high on some pages, not too many though. I think you might benefit from spacing it out a little more, so the panels can have more detail in them and it doesn't feel cramped. sometimes an action is described but no panel is given, so it's a bit hard to tell what you expect in each panel. That might just be me not used to reading manga scripts though.

But that is why artist-writer communication has to be good. Hopefully you find an artist that can give you what you envision.

If you do write more definitely post it, although the story section tends to be quieter than the art galleries, as its harder to review and read scripts as opposed to an image :P

keep it up :)

13
Comics and other Gallery / Re: Miscellaneous Arts and Sketchbook
« on: July 18, 2018, 04:53:52 PM »
wow you've really cranked up the output consistently the last few months or so. keep it up definitely.

-good shading on the noses
-good hand poses, they are some difficult ones to get good but you're close. if you do a hand pose and you think it turned out a bit worse than the rest, try drawing it again, but break it down and draw all the individual parts separately first, finger by finger on their own. then try and draw it again and you might find that it goes better. That sometimes works for me with faces although not consistently.
-good feet too because they are harder than hands sometimes

I think maybe the thumbnails could use a bit more detail. maybe use paint fill with greys  for the shaded areas? That way your sketch lines are more distinguishable from your shaded parts.

14
Tips and Tutorials / Re: What are proportions? (tip/rant)
« on: July 18, 2018, 04:39:46 PM »
Yeah I had no idea what the finger things was either. A knowledge of anatomy is something else that helps an artist get stuff right, but that's another story :P

Yeah I must admit I was treating it pretty casually up until now. I'm definitely going to try and work on that a bit more, especially putting numbers on stuff. the amount of times I say "oh its about this much bigger", and sort of arbitrarily remember "this much" in my head without any reference point or value.

let me know how the exercises go :)

15
Tips and Tutorials / What are proportions? (tip/rant)
« on: July 18, 2018, 12:48:36 PM »
This is something I rediscovered that is very obvious and everyone including myself already knows it, but I managed to forget it in the swamp of "learning to draw". Hopefully it is sort of helpful, or hopefully you already know this and keep it in mind when drawing. Its half a rant at myself for forgetting as well.

Two point summary at the bottom for those who think I talk too much

So, all of us have heard of proportions when drawing. I think almost all of us have recommended it to everyone else at some point, "You should work a bit on proportions", or "I need to do more studies on proportions".

But somehow, possibly through overuse of the word, I managed to forget what it actually means. It sort of ended up meaning "looks real" or "looks right", which is still a correct understanding of the word, but not how it applies when I actually draw. Its a lot easier to tell something is wrong, than to be able to draw it right from the beginning.

Looking up "Proportion","Proportionality" etc on Wikipedia, You get these results: (I've highlighted the bits I think are important)

Quote from: Wikepedia
Proportionality (mathematics)
In mathematics, two variables are proportional if there is always a constant ratio between them. (Variable y is directly proportional to the variable x.)

Proportion (architecture)
Proportion is a central principle of architectural theory and an important connection between mathematics and art. It is the visual effect of the relationships of the various objects and spaces that make up a structure to one another and to the whole. These relationships are often governed by multiples of a standard unit of length known as a "module".(In classical architecture, proportions were set by the radii of columns.)

Body proportions
While there is significant variation in anatomical proportions between people, there are many references to body proportions that are intended to be canonical, either in art, measurement, or medicine.
In measurement, body proportions are often used to relate two or more measurements based on the body. A cubit, for instance, is supposed to be six palms. A span is taken to be 9 inches and was previously considered as half a cubit.

It is important in figure drawing to draw the human figure in proportion (duh). Though there are subtle differences between individuals, human proportions fit within a fairly standard range, though artists have historically tried to create idealised standards, which have varied considerably over different periods and regions. In modern figure drawing, the basic unit of measurement is the 'head', which is the distance from the top of the head to the chin. This unit of measurement is reasonably standard, and has long been used by artists to establish the proportions of the human figure. Ancient Egyptian art used a canon of proportion based on the "fist", measured across the knuckles, with 18 fists from the ground to the hairline on the forehead.

The ancient Greek sculptor Polykleitos [...] wrote an influential Canon describing the proportions to be followed in sculpture [which] applies the basic mathematical concepts of Greek geometry, such as the ratio [and] proportion,[...] creating a system capable of describing the human form through a series of continuous geometric progressions. Polykleitos uses the distal phalanx of the little finger as the basic module for determining the proportions of the human body, scaling this length up repeatedly by root 2 to obtain the ideal size of the other phalanges, the hand, forearm, and upper arm in turn.

Aspect Ratio
The aspect ratio of a geometric shape is the ratio of its sizes in different dimensions. For example, the aspect ratio of a rectangle is the ratio of its longer side to its shorter side – the ratio of width to height,(when the rectangle is oriented as a "landscape")

The aspect ratio is most often expressed as two numbers separated by a colon (x:y), less commonly as a simple or decimal fraction. The values x and y do not represent actual widths and heights but, rather, the relationship between width and height. As an example, 8:5, 16:10, 1.6:1, ?8?5 and 1.6 are all ways of representing the same aspect ratio.

So what did all that text actually mean?

Simply restating it, proportion is how sizes relate to one another, or how one size/length/dimension compares to another. Its the ratio of lengths, such as 1:2 forearm:whole arm.

Typically as stated above, artists use a base measurement that is a constant in their drawing, such as head height, and then use multiples which govern the overall character height, the torso height and the leg height, to name a few. This ratios have an actual number attached, such as "7 heads high character".

So "proportions" means, a list of lengths of objects (typically body parts) as multiples or fractions of a standard unit (typically head)

As beginner artists, we often draw these divisions to count out the multiples.
Creepy wikipedia image
But at some point, we stop doing this, and go by eye a lot of the time, or at least, I do. This is because we start to get a general feel for the 1:7 ratio (for example) without having to count it out. But I think this leads to stylisation occurring sooner or later, as our drawings start to skew towards easier ratios, and we tend to approximate a lot more, rather than measuring out.

I'm not suggesting that we keep drawing little rulers all over the place with divisions to keep a track of exact ratios, but bear in mind that for the same character or person, their proportions NEVER change (minus age progression etc) They are the same person so they will always have "a slightly longer chin", or "longer arms than average". WAIT!!! What does "slightly" or "average" mean? these words can change depending on our mood, what we last drew, be it figure drawing or "cartoons", and so on. If we want to draw the same character consistently, or have a consistent art style, we need to put actual numbers on this stuff, so we should be saying "arms are 10% longer than 2 heads" or "head is 90% of normal head size".

Excercises
It helps to be able to split up dimensions in your head accurately. To see if you can do this, draw two marks about 6-8 inches apart on a piece of paper. Without measuring, draw a mark at 1/2 way between. Measure the distances and see if you got it right, or how far out you were. Repeat for standard measurements such as 1/3, 1/4 etc. Do the same for multiples, draw two marks about 1-2 inches apart, then draw marks at x2,x3,x4 etc distances. Lets see if we can transfer a dimension. Draw 2 marks at the top of the page, 1-4 inches apart horizontally. try and draw the same gap vertically. Draw a central (or slightly off to prevent accidental cheating with the paper edges) cross, and try and draw 8 compass points at the same distance from the center.

Heres my attempt, a minute after writing the above:
I've red-lined the correct measurements and drew in some faint lines after so you can make sense of the original marks

I hope you do better than me






So what do we I learn? How to quantify how much I suck at drawing That even a simple proportion is difficult to measure to the eye, so trying to draw such a proportion while also juggling character design, pose, shading, form etc, will be much more difficult.

What is the solution?
1) Practice. Like anything else, correctly measuring things by eye is a learned skill. When at work, I learnt to tell the thickness of the wood boards by 1/2mm intervals 2mm up to 15mm. I couldn't do it at the beginning and had to keep measuring, but got used to it. So I KNOW this is something that can be learned. The advantage is that this skill can be transferred traditional-digital, and uses a small amount of time once mastered. The disadvantage is that we already have enough to learn with art without adding more stuff.

2) Measure. Most digital art programs have guidelines and rulers that can be used, or you can copy and paste the part you want to measure to get the distance. traditionally is even easier in this aspect as a ruler is a lot more available and user friendly. The advantage is that it is 100% accurate and relatively quick to use, but digitally each program has its differences and so may be a hassle if it doesn't suit you, and traditionally you might not want to carry a ruler around with you if you want to travel light.

Also, use an appropriate base measurement. Just because most people use a head as the base length doesn't mean you have to. As stated from Wikipedia, the Ancient Egyptians used proportions based on the fist. Was it wrong? No, because it is a RATIO, so as long as you know how many units long something is, you're good to go. You could use fractions of your paper width (I have done this) or screen width if you wanted. (but watch out for zoom on the latter)

Once you are very experienced with drawing these proportions, you can probably (don't know, haven't got there yet) go back to the "feel" of it and you would be alright, but for us that can't draw as we would wish, thats not an option for us. We wouldn't be worrying about proportions if we could already draw it correctly by "feel".

So what are the main points?
-Keep an exact numeric ratio of the parts of the character you are drawing in your head, or write it down.
("Bob - 7 heads tall. eyes dead center on head, eyes 1/5 heads wide with 1/5 head gaps. arms 3 heads from center of shoulder to center of wrist")
-Learn to accurately draw these proportions by using an appropriate measurement tool or learning to judge it correctly by eye.
(Traditional ruler, Digital guidelines/ruler, Practice drawing fractions and multiples of head lengths)

As usual, sorry for the wall of text. You can tell I'm serious when there aren't smiley faces everywhere :P
(Needless to say I copied this to a notepad before posting just in case)
(Took 2 hours to write this)

See also for fun reading:
https://en.wikipedia.org/wiki/Mathematics_and_art

Edited for adding awesomeness typos

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