Oh boy, I struggle with that too tbh! What I do is look at references and often go for a feeling like “this looks nice” and be my own critique.
I don’t do this that often anymore but you can try to decompose in geometric shapes/basic lines some poses you find interesting (either be in the internet or magazines~) what I think helps the most it’s the movement lines which, I drew red in these examples~~
Proportions may be the basics but those can be different for each drawing style, still I do recommend to study some anatomy and practice a lot!! Try to start with something simple and not to complicated like some torso pics and don’t be afraid to look at references or to do mistakes, we all are learning so it’s totally ok!
Here more stuff and as you may notice, not all of them have the same proportions but somehow they look “proportional” and since I’m still not confident enough in complicated poses, these are some simple ones :3
Also you can try simple skeletons with just circles and lines, then you can start building the pose from that.
Hope this helps you! I’m not that good explaining things
I am obsessed with the characters from @thearcanagame for real y’all, if anyone following me likes games like this (WHICH considering the stuff I draw, I would assume some of you do??) PLEASE try it out!! It’s so gooood.
I think he would be some sort of a medic in the team since he had to program around 10k medical procedures into Baymax. He’s got an umbrella-like weapon that can shield him from all sorts of attacks and has a “camouflage” option. (means that he can just crouch behind it and go “invisible” lol) It’s really big and it can double it’s size if needed, but it weakens it’s ability as a shield, because it gets thinner. Has a build-in laser. (because it’s cool and practical) I gave him a white armour with red edges because it kinda reminds me about an ambulance lmao.
I use references for my art but I'm seeing a lot of stuff that says referencing is tracing and I??? Don't know what to do.... Like, I need to know how this certain pose works, but people say that's stealing.... what should I do;;;;
depends what your definition of “referencing” is…
If you’re looking at a stock image of a person doing a pose because you’re trying to draw that pose then that’s referencing, if you’re looking at a photograph of an animal to know its anatomy so you can draw it yourself then that’s referencing. Artists NEED to reference, I reference half the stuff I draw.
If you’re looking at an artist’s work and trying to copy their drawing then that’s not tracing but it’s not looked upon kindly.
If you’re drawing over an image then it’s tracing.
Terrible Rom-Com Posters: The Bridget Jones Trilogy
To be honest, the Bridget Jones posters aren’t terrible, merely mediocre. But I’ve talked about Colin Firth and I’ve talked about Hugh Grant and I’ve talked about love triangles, so it seems only fitting to delve into the world of Bridget Jones next.
Let’s take these from earliest to latest.
Mannequin arms/How do bodies work: The only way Renée’s pose makes sense is if she’s sitting at a desk with her elbows propped on it. In which case, how exactly are Colin and Hugh positioned? I suppose Hugh could be crouching, and Colin could be… sitting in a rolly chair, leaning over so far he’s about to tip over? Given that Bridget is supposedly writing in her diary, you’d think she’d be more aware of the men hovering over her shoulders, invading her privacy. Especially since Colin’s about to hit the ground and take her down with him.
Nonsensical eyelines/Let Colin Firth Look at the Camera 2k17: I could believe that Hugh and Renée were in the same room for this photo. But Colin is once again staring off into the middle distance, except that Renée’s head happens to be in the way. Renée, by the way, is demonstrating that the Rakish Side-Eye™ is not limited to men.
Inconsistent lighting: Aside from the positioning, here’s why I can believe that Hugh and Renée are in the same room (though not necessarily positioned in the way this poster suggests): the shadow on the left side of his face (our left, not his left). Note how it’s contoured to his face, darker in some places (e.g. under his eye) and lighter in others (e.g. the outer corner of his eye). That is a genuine shadow, presumably cast by a person standing close to him. In contrast, the right side of Colin’s face (our right, not his right) has been lightly swept by the Burn tool in a gentle arc. That’s why he looks like a paper doll in comparison to a three-dimensional Hugh.
I included this one both for completism and to demonstrate what a passable person-collage looks like. Everyone’s lit well (although slightly differently; see comments on next poster), their heads are all roughly the same size, and most importantly, everyone is looking straight down the barrel so there’s no eyeline fuckery.
For some reason it didn’t occur to me until just now that they replaced Hugh Grant with Patrick Dempsey for the third movie. (Filling the “guy whose hair you want to touch” role?) And they apparently went back to the graphic designer they used for the first poster.
Nonsensical eyelines: The back of Renée’s head must be fascinating. I wonder if she has some sort of design shaved into her hair. Or perhaps there’s a small animal living in there; that would explain the Bumpit situation going on atop her head.
Inconsistent lighting: The thing that gives this the subtle Frankenposter effect — where you know something is wrong but you can’t quite put your finger on it — is the difference in lighting between Renée and the boys. Take a look at the catchlights (reflections of light sources) in their eyes:
Colin and Patrick are both being lit by two identical light sources, which is part of why you can see the texture of their skin and their wrinkles. Renée, on the other hand, is being lit by a very bright beauty dish and probably a small reflector, because god forbid a woman have visible wrinkles or pores in a photograph. Look how tiny her pupils are; she looks like she’s staring directly into the sun. You may not notice these things consciously, but your brain twigs to them and alerts you to the fact that there’s no way all three of these people were in the same place simultaneously.
So, what have we learned today?
Stop making Colin Firth stare off into the distance
Patrick Dempsey is less rakish than Hugh Grant but looks like he’d give you some nice stubble burn
Can we just let Renée Zellweger look like a normal person and not cover her face with a book or make her pose like a blow-up doll?