Comments: 10
derpiboru In reply to Nyx-Nintendencies [2019-05-30 19:19:28 +0000 UTC]
I think..
the combination of lines and not lines are quite interesting I have found (you may have noticed), though it mixes much better if you want realistic-y type hair to not use outlines for the body.
Kind of how you have two separate levels of realism in the same image. It is a "sorta" in most cases.
Using cellshade in combination with soft toning does the same type of thing, but you can kind of get away with it looking really good anyway
Who says one is to stick to just one method and approach in their arts? I get a bit of "eductated by an art school and knowing better" thing whenever I see people talking about that. No artist breaking new ground ever listened to commonplace ideas, so why should an artist in practice do it?
As for the background, I think you did a good job to fit the image. The contrast is good. Working with high levels of black spotlights a character neatly usually. I would probably have gone for adding texture (until I ruin the image lol) for making a cave like scenario or something. Kind of like this old thing that is certainly on topic.
The times :.)
Your art evolved since this and you should really take a moment to appreciate how you found ways to work with that you like better now :3
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Nyx-Nintendencies In reply to derpiboru [2019-05-30 19:28:09 +0000 UTC]
yeah it my old attempt it sticks out like a hoof with a splinter.
excatly <3
and that is the kind of thing you do everyday, you break this barrier somehow and it's so pleasing to look at as a result x
i think i literally took a 'starlight' picture and took the colours from it (probably thought i was being so clever)
well thankyou x make small improvents that people will start to notice when people start asking 'what is a gen4?'
that's how i tend to work :')
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derpiboru In reply to Nyx-Nintendencies [2019-05-30 20:00:40 +0000 UTC]
Well, like my "efforts" fan banner suggests, it is better to put work into trying to do something, even if it doesn't always work out like we want it to than just doing the bare minimum over and over again. There is a term called proximal learning, though it is a bit specialist to use for cases like art creation. Let's do it anyway.
The basic theory is that if you challange yourself up to certain level that is not too high nor too low, you will have gained something in the process.
So, when the challenge is too hard, most people don't learn a whole lot because it is outside a certain range for it to have much relevance - say; drawing something you never practiced before and without a reference, wich is kind of contradictive to what I said about challenge a few days ago. It is a personal thing like I said, and not objective. See it more as a guideline of thought than "holy flowerpony words of wisdom"
That precise level of "where do I gain anything from this experience" is where focus is to be put. Unlike me, who completely ignores the principle of proximal learning and goes outside of it despite knowing it will probably not work out the way I intended. Because I found it speeds up the process for me a great deal not to do that. Not in things that I probably SHOULD be getting better at, but things that are on the very horizon of my capabilities.
Yes, like "Jennifer". I never have done anything like that, and especially not without a reference to help me. (fueled by passion I guess..)
It was a ridicoulous challenge really that didn't work to 100%, but I caught quite a few ideas and knowlegde doing it, so the amount of new things I can use for arts increased even further.
Considering how much effort it takes for people to evolve skill over time, I would even say you made a rapid progress. There are examples of years and years of doing the same old stuff without getting anywhere. Thus; the challenge must be too easy.
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derpiboru In reply to Nyx-Nintendencies [2019-05-30 23:19:22 +0000 UTC]
I am looking at that Bolivian "cancer" comment artist now you mentioned. Having two separate theories about their work.
A)This is kind of a typical limited and narrow expression artist to me in terms of works and how it is made and what it looks like.
You can certainly see exactly what images always will look like from an artist that do more simplistic and "shallow" art pieces. It doesn't mean they are bad, it just means it doesn't ever have much atmosphere or visual elements to it to push it any further. Some rely more on being consistant than they should. Because art is not an industrial manufacturing process where every single thing is supposed to be all the same.
B) They don't actually draw any of it and just color/trace/fix/edit/digitize other peoples work for hire.
Other than very obviously making a specific type of category for arts one might find fascinating whenever that is a thing, I can't say it is of more value than any other RandomDoodleArtist drawing "kind of showstyle" looking stuff to me.
Off topic a bit there but you know flowerpone is like that xD
Facial detailing on ponies are a hard thing, I think. I don't like that about my ponies either to be honest. Not sure where to go though.
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Nyx-Nintendencies In reply to derpiboru [2019-05-31 09:38:08 +0000 UTC]
it takes time and patience to do vectors, definately not hating on his art just the attitude in general, if we are on about the same person.
i'm sure he or she didn't start work flawlessly either.
same here x we'll get there one day x
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derpiboru In reply to Nyx-Nintendencies [2019-05-31 09:57:06 +0000 UTC]
Yes it probably does take a lot of patience and a bit of skill aswell.
I just think it seems absurd for someone to have said attitude towards an obvious early attempt if they aren't really pushing the envelope for arts themselves.
Kind of how little kids in a sandbox reason to me.
Anyhoo.
Indeed we will
I am thinking Whirlwind Romance could be the other raremare this weekend, if I find the time finishing something at all.
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Nyx-Nintendencies In reply to derpiboru [2019-05-31 10:07:29 +0000 UTC]
exactly <3
meh to them, i find it empowering!
oh i hope so she is very easy on the yes such a li'l qt patuti x
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