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http://fc05.deviantart.net/fs71/i/20...ar-d5l4mxc.png
bigger file on DA
and Hi, I miss the old maple days, hence come back checking SP, where I uses to wandering a lot (mostly read-only member)
Edit: add reference http://sphotos-a.xx.fbcdn.net/hphoto..._2615430_n.jpg
I really like the detail of the head. But the paws make it look like it has no torso, thereby making the head the entire body.
Thanks~ I'm not satisfy with the limbs too, still learning how to improve that.
Maybe the photo reference itself doesn't make she position properly.
You should show us the ref.
Funnily enough, I'm actually doing an assignment exactly like this.
Added reference to the original post.
I do have a question that have been bugging me for a while: is it considered as cheating if I paint with a layer of real photo overlay-ed? I tried not to turn on that layer too often coz I want to practice/ learn more...
Yeah, that's cheating. If the teacher found out you did that in my program, he'd kick you out of the course.Quote:
Originally Posted by thinbear
imho, you should practice in b&w first to worry more about value first. The picture you have is nice cuz it's 3/4 view, has okay lighting, and will prolly have decent contrasts 'cause huskies.
- You should always have your ref up as you're drawing. Make it bigger at first and as you progress, shrink it so it's not taking up as much space.
- Do a basic sketch to figure out proportions before working on a base layer.
- With furry creatures like this, you need to work from the bottom up ― think about the undercoat first before thinking of the fur that's hit by light.
Without looking at the ref, your head actually works, but the paws are really off. Since you're looking at reference, there's much to be done. I'm not going to comment on colour, just form/proportion/basics.
- Watch the tilt of the muzzle/head. The eyebrows are kind of throwing me off 'cause they aren't developed, but your head isn't angled at the ground enough ― muzzle makes this very apparent.
- Use landmarks to help with proportion. If you drew a line vertically from its right ear up, you'll notice that your ears off from the photo.
- If looking at the husky is daunting, look at the space around it instead. Negative space helps with tricky shapes.
- Think of the structure first and how it effects the fur on top. And look more closely to see the direction the fur is moving.
I'm just gunna assume you're using photoshop and a tablet.
- If you use a default, stippled-like brush [I used some kind of dry brush], stipple down varying shades of the same colour, and use a smudge tool with ~40% strength with a stippled-like brush, you can easily create the peppered undercoat.
- imho you shouldn't play with opacity too much yet, playing with flow + spacing does a more consistent job.
- Think of the parts of the fluff, like the ears, as clumps. Use a darker colours to create the initial base clumps and then go over with a smaller, lighter coloured brush to trick us into thinking there's more detail than there really is.
- The top-most fur would be done individually. It sounds overwhelming, but again, it's about tricking people into thinking there's more detail than there really is.
In my class, we've only been working on the undercoat and some details like nose, eyes, mouth, etc. Here's an example of my initial base to where I currently stand with the rough being due tomorrow:
http://puu.sh/28zew
The fun part is that it's all done with a default photoshop brush.
That's so much helpful guidelines, appreciate that!Quote:
Originally Posted by raizoo
For this painting I use Corel Painter + tablet. Yah I'd need to exercise harder on the fundamental: proportions, outlines like you mentioned.
Your drawing is so impressive. I can almost see the a 3D pop-out snout! How do you do that? By applying blur to the behind objects while keeping the front part/ muzzle in mask?
Nope, I didn't use blur or mask anything. I mostly did each major part as a separate layer ― ears, face, muzzle, body ― and slowly built it up. Once I'm satisfied with the undercoat, I merged all the corgi layers together and kept building up. Using multiple layers is great since you can adjust opacity to play around with the fur as well. I did that for the body base fluff and I think the ears.Quote:
Originally Posted by thinbear
Apparently, they were also testing custom brushes, but I'm not sure how that'd work in Corel. I was away for that class and only got to see a mini-review of it. It just helped speed-up the process of creating the basic fur texture.
Anyhoo, I just had my review today and here's some other tips that were given:
- Focus on the face area! That's where people will look at the most. ― just a note, we had to get pictures with more of the face showing toward the viewer. 3/4 views are ideal in all situations of drawing.
- If you have most of your fur texture done, but the image isn't dark or light enough, don't fret! Create a new layer set to multiply to darken or screen to lighten and use a really fuzzy soft air brush with low flow to do some touch-ups.
- Remember to try your best to go from dark to light.
- When doing the finer, longer strands of hair after roughing it in, add more differently placed, smaller hairs of various colours. Erase some of the hairs so they fade in, mostly from the starting area, so it blends in. This will help to make it look less monotonous.
- When something is really glossy, like shines in the eyes, it's usually more crisp/sharp.
- You can adjust the background to help show finer details. In some of the other students' images, the fur blended in with the background or the background helped pop up details.
Just one more little note, the original res of my image is 3100 x 2500 px at 300DPI. The min height/width size for our assignments has to be 2500px.