Warm-up

I keep forgetting how great music can be for inspiration. When I work on stuff that requires less concentration I put on a podcast to keep me company. As I was doing some warm-up sketches this morning I put a podcast on by habit. This one was an interview with an artist representative. It took me a while to realise that the voices talking about the nitty gritties of the field was actually making me quite tense. I guess some times we just have to switch off the real world for a bit.

I'm loving Ludovico Einaudi at the moment. You can really let your mind drift away on his scores...

Centari illustration (Warning- sketchy man parts)

So I had the excellent horse-drawing Kat to collaborate with on this illustration for Steve's story! It's still fairly loose but I quite like the feel of it! I think the character on the centaur character's back has some dodgy anatomy... but anyway. Yes. Crits welcome!

War, Huh!

Here are some drawings of a half developed character I did at great speed to try and lively up a pitch i'm working on at the last minute. Feel free to crit them into oblivion. One thing I would mention, however, is that in the closest image there's supposed to be rubble and a trench that I didn't draw, which is why his pose is like that. Invisible defensive line!

Also for the benefit of readers (as I'm pretty sure the contributors already know this) drawings that lack a "purpose" are almost always worse than drawings that have one. For example, these aren't "character drawings", nor are they designed to show an animated sequence or...well, anything, really. I just drew them and tried to make them look vaguely purposeful after the fact. This is very rarely the best way to draw! (there are exceptions, but that's another post for another day)

Try and find the purpose in all the work you do. Every panel is "for" something, or "doing" something. If you think first about what the hell it is you're trying to show, your drawing will be vastly improved. Even if the "purpose" is to show off your bukkake drawing abilities, you're going to compose, light, ink etc that image to best show off the shine on the...yeah, I'll stop that there. You get the idea.
~John~

Elizabethan-Japanese Crit

Hey :) Sorry for putting up a whole new post for this, but it was really hard to arrange in the comment section. I like the image, but I think the problem that struck me first was actually the breasts! They don't look affected by the corset (or gravity) at all.

I think the arm looks too short not because it's the wrong length, but because the upper body and head is pulling back in an unusually tense manner, meaning that the pose doesn't let her left arm seem like it's pushing away from the body as it tugs the hair.
I've tried to demonstrate what I mean by going over the pose, revealing the underlying anatomy (ignoring the breasts to show the ribcage). I think her left thigh also seems a little too short.

The right is a redraw with a few attempted corrections, and the middle shows how the pose shifts to pull the opposing shoulder, neck and head away from the stretched out hand. I've made the corset cinch the waist more, since it didn't seem to be affecting her body-shape in the original, and given her right calf more shape, since it would be squashed against the thigh. With legs bent like that, the garter straps wouldn't be straight either (otherwise the clasp would just be pulled off when she straightened up), and the curvature of the stockings needed to support the shape of the legs a little better to help the foreshortening.

EDIT: Whoops, it was Elizabethan, not Victorian, title edited. And I guess she's not actually ninja either.

Pedipulator: take 2

My second attempt. Plus sea! It's good to be drawing again :D

I tried to get the perspective thing working. Not sure it's quite right, but I think it looks more dynamic now. Any crits?

Here's what I was working from:

"Tethered to a stone pier jutting out into the ocean, it bore the appearance of a four-legged animal, long spindly legs jutting up far beyond the main body of the craft. Kaliss supposed that they were long so that it could easily cross the ocean. One leg was frozen in the act of stepping, the wide 'foot' ready to plunge into the shallows.
The main body of the ship was more than a hundred feet long; it was mainly brass, pipework that seemed organic, almost completely covering the outer shell, as if a pipe-organ had exploded in a boat factory. They curved up from the underbelly, and a smouldering boiler was visible through the pipes, at the heart of the beast. The front of the ship was black, a rounded cockpit jutting out between the front two legs. Meanwhile the upper portion of the craft had an open deck with a brass railing running around it; the two largest funnels curved up and around the entire deck before rising over the front of the craft, as if horns on a bull. Smoke was pouring out of the funnels, and steam was venting from various safety valves; evidently the Captain had expected them, and primed his engines."

Elizabethan-Japanese-RPG-character?

I was so surprised to find this under a stack of old sketches. I actually can't remember when or what prompted me to draw it... it must've been a late night zombie state sketch.
The arms might be a bit short... I already moved them once but I'm wondering if it might not have been enough, especially the arm that's outstretched. I had foreshortening in mind but it might not have worked... Opinions? :)

Slurp.

Anyone think "Manchan" looks a little GaGa?

Just me then.
~John~

Sleep in Mangoes

Just had this image in my head. I think mangoes might not actually be so comfortable, but she liked them so much in Nana's drawing...