/ic/ - Artwork/Critique

>>3495180
It's basically everyone says it is: your Lord and Savior. No really, it's a nice pen and the ink it takes by default works well on just about any paper. Small, light weight, portable, cheap, durable, good lines, practical, versatile, stylish, the list really goes on. The only people who might not like it are bear mode men with giant hands, because it is a little on the small and light side.

>>3495332
Hold it tightly and as close to grip as you can get away with, you'll have more control that way. Normally you shouldn't death grip your tools but in this case it's a must, there's so little friction between it and the paper that the slightest jolt or wobble is magnified in the line it creates.

Also, always ink more slowly, and lightly than you think you'll need to, Making the lines thicker is easy, just go over them again. But making a line that is too thick can be a nightmare!

Also always make sure the tip hasn't frayed. A lot of the time I reform the tip by running it around the inside rim of a spare Sharpie cap (not the pen cap itself because the ink will dry and smear and make a mess on your hands) when I know I need to make a more precise line that demands a fully pointed tip.

Always work where you can see, never let the back side of your hand block your view of where the brush is touching the paper. And don't try to use it for everything, sometime a fine liner is the better choice (I shudder at the thought of cross hatching with the brush pen, for instance) or is needed to smooth out some of the lines the brush makes. It's also very tempting to get the full range of lines it can offer, from the thinnest hairs of lines to the thickest brushy strokes. Don't, just ink normally with it, the qualities it offers will happen naturally, don't force it. And like with any tool, always ghost your lines and turn the paper so you can draw the line at a good angle. Draw with your arm, not your wrist.

>>3495369
Git gud

>>3449146
To add to
>>3449700
Bubbles are mostly noticeable when the screen is turned off. They're a little annoying, and depending on how OCD you are you might find yourself constantly distracted by that one bubble you know is on the top right corner and can never get out but generally, when you're drawing and in the zone, you don't even notice them. Matte doesn't effect the display too badly either, it's noticeable if you put your face right against the screen but otherwise it's only a hair less crisp.

Also personally I haven't minded the plastic on glass experience at all. I did get a a screen protector just because I'd like to sell mine in good condition when it's time for an upgrade, but it's not made my lines any better on its own. I was using 3B pencils on Cardstock and then inking that with a brushpen for a good while, I was very used to smooth.

Smooth is something you can get used to with a bit of time. I always here people say drawing on glass feels weird but I think that's always a first impression. If you don't like either screen protector options (and glass is basically no-go for artists because it throws off the pressure sensitivity and creates parallax) giving yourself time to adjust to it is always an option.

>>3334153
>I really wanna get started but I'm already lost
That's a good sign anon, you're off to the right start.

Loomis helps some, it kills the aesthetics for others. it didn't do shit for me but has carried a friend of mine. Your mileage may vary, just give it a try. The #1 piece of advice I think all artists trying to learn need to hear is to give a lot of different things an earnest try and see what works. Everyone is different afterall.

As for robots, the first book you'll want to read is "Perspective Made Easy" and then move on to "How To Draw" (which is more advanced perspective) and even then onto "How To Render" to actually make them look metallic. See what you can do about signing up for a CGpeers account because Dynamic Sketching and Gary Meyer's perspective course could also be very helpful.

This is also on top of improving your design sense and making copies of other designs you like. Check out Sinix's and Feng Zhu's channels for some good insight into design thinking.

More important than anything though is the understanding that you can copy every diagram in every book mentioned and "understand" everything in them and even do lots of drawing from imagination and it still won't mean shit! If you want to draw cool robots you need to put in a lot of drawing hours and get a lot of mileage. There is no substitute. I don't mean to discourage you, it's just important to go in with the expectations that even if you practice totally optimally it will still take a long time to get even anywhere near where you think you want to be, and the goalposts will likely also keep moving further away.

>>3262008
It's fine, I spent about a month doing hours of gesture drawing from their library per day so it should last you a while. Getting back into it these days too but I'm still so sick of their poses I prefer the Art Models and Real Action series of books just because it's more I haven't seen and there's usually an emphasis on challenging poses, various angles and body types, etc.

Never read any of their blogposts or anything else. Just went to the page where you choose the settings you want for your poses and hit go.

>>3262053
The stiff blocky asshat with the axe (you know the one) says otherwise.

>>2568515
Hey, you're that guy with the fan art on /v/ from yesterday, right?
Good stuff m8o, your warrior Zelda design is better than Tetra or Sheik, works very well with the Ghibli vibe the game seems to have.