That's pretty cool Higuy. When can you get a picture of the water colors up?
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That's pretty cool Higuy. When can you get a picture of the water colors up?
Thursday... It's at school and I don't have the class till then. I have a 4 day weekend.
I've started to do that more, actually, and you're right. When I'm on a bigger drawing, it works out so much better. On tiny drawings like the ones I post here (the actual drawing is smaller than 8.5x11"), the resolution of cross-hatching is mostly lost to the density so it becomes superfluous next to typical z-form.Quote:
Originally Posted by ExAm
Actually, I meant for the small drawings. I never draw things bigger than a sheet of printer paper, since I lose my focus and general sense of proportion (and my patience for crosshatching) if I can't easily see the whole thing at once, while i'm drawing. I guess just increase your spacing a bit more, and use something that does thin lines well, like an 0.5mm mechanical pencil.
I use a Twist Erase 0.7mm mechanical. I can get thin lines just fine, it's just that when you add tonality on small pictures like this, how you do it doesn't seem to matter because the texture is lost inside itself anyways. When I draw on the ridiculously big 18x24" pad, I tend to crosshatch more for the same reason you mentioned earlier. Maybe it's the paper I'm using; it's just 50lb. sketch paper (9x12"), not drawing paper. It's not smooth at all. I don't smudge my pencil marks, either, at least not in the past two and a half years.
My strategy has shifted to this in recent months: take your line art, and [lightly] draw hard edges to define where you want the primary shadows. Fill those sections in with some diagonal hatching so you don't confuse whitespaces. Once I have that all down, I darken those a bit with some cross hatching or additional parallel hatching. Then I draw more hard edges for the next darkest shadows. Darken those, and darken the first set even more. Repeat as necessary. Eventually all you have left to fill in are the "normal lighting" areas and highlights, if needed.
My strategy has always been to work down from a midtone laid out over all areas that aren't intended to be really bright. Also I block out relative flat shades for different materials before pretty much anything.
I think it's funny that in either case, we are working in "layers" like one would in Photoshop. Except we can't delete if we screw up. :v:
Final project for art class
abandoned Reality Maintenance outpost
I demand a Halo map made out of that.
Gonna need to invent a way to directly access the vertex shaders to warp the world like that, then.
