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Technical Things Regarding My Art
16 years ago
TL;DR I'm explaining the nit-picking details about why I do things the way I do, and I want to know if you think these methods lend to better or worse character design than others.
I'd truly like to think that I'm among the pioneering artists that are take the Cartoon Animal to the next and possibly highest level. My goal has been to develop the quintessential character, the kind that meets the absolute midpoint between ease of rendering and truly stunning visual quality. So far I have only touched lightly on the ideas I have in my head. However, the more I progress artistically I'm finding I can render images that are a closer representation of that perfection.
Breaking my designs apart and analyzing piece-by-piece, one might notice a hybrid of stylized elements and purely realistic human anatomy. Faces and eyes are derived from styles common to Warner and Disney, while the flowing hair is more representative of Japanese anime. As with the faces and ears, the three-fingered hands and three-toed feet are very much animation-inspired. However, the remaining portions of the characters' bodies, such as the neck, the arms and the legs are all based purely from realistic anatomy. To me, it is this combination that lends itself to the ultimate design.
One might also notice this thing I regard as my own "style" is actually a culmination of many different artists' works whom I've studied over the past 5 years. For example, the facial style from a full-frontal angle comes from my studies of Candy Janney's work ( http://candypalmer.deviantart.com ). The 3/4-profile shots originate from my studies of works by Megan Giles (
dustmeat ) and Erin Middendorf ( 
dingbat ). The foot style comes mainly from my study of works by Shannon Henry ( http://www.bluecrashkit.com ), while the slender hands come purely from my studies of Giles' work. The eyes are more of a blend between anime and Disney styles than anything else, while the ears are quite obviously derived from designs by Michele Light ( 
michelelight ). Full-profile shots of the face are mostly my own interpretation of things, and I'm still developing a style for that angle as it stands.
My methods of design are also purely linear-progressive and mathematical in nature. By linear-progressive I'm referring to the proportional precision I attempt to achieve with each piece. Mathematically speaking, I tend to break characters down into numerous geometric shapes and base curves. For example, I can define the precise silhouette of a buttock by drawing a single line curved exactly the way the outline would realistically. This is done from memory based on hours of figure studies. I only use reference photos for pose ideas and to ensure proper proportion. Line placement is strictly planned out via proportion guides and drawn from memory, one curve at a time.
And because of my mathematical/geometric approach to character design, I'm naturally able to convey 3-dimensional space and perspective, especially when placing a character in an environment with many converging lines (such as a table, counter-top or shelving units).
So there you have it. I've pretty much spelled out everything with regards to my design methods, I hope this helps all of you to better get inside my head and figure a few things out.... and maybe give you a few ideas for design yourself :3
- SCH
I'd truly like to think that I'm among the pioneering artists that are take the Cartoon Animal to the next and possibly highest level. My goal has been to develop the quintessential character, the kind that meets the absolute midpoint between ease of rendering and truly stunning visual quality. So far I have only touched lightly on the ideas I have in my head. However, the more I progress artistically I'm finding I can render images that are a closer representation of that perfection.
Breaking my designs apart and analyzing piece-by-piece, one might notice a hybrid of stylized elements and purely realistic human anatomy. Faces and eyes are derived from styles common to Warner and Disney, while the flowing hair is more representative of Japanese anime. As with the faces and ears, the three-fingered hands and three-toed feet are very much animation-inspired. However, the remaining portions of the characters' bodies, such as the neck, the arms and the legs are all based purely from realistic anatomy. To me, it is this combination that lends itself to the ultimate design.
One might also notice this thing I regard as my own "style" is actually a culmination of many different artists' works whom I've studied over the past 5 years. For example, the facial style from a full-frontal angle comes from my studies of Candy Janney's work ( http://candypalmer.deviantart.com ). The 3/4-profile shots originate from my studies of works by Megan Giles (
dustmeat ) and Erin Middendorf ( 
dingbat ). The foot style comes mainly from my study of works by Shannon Henry ( http://www.bluecrashkit.com ), while the slender hands come purely from my studies of Giles' work. The eyes are more of a blend between anime and Disney styles than anything else, while the ears are quite obviously derived from designs by Michele Light ( 
michelelight ). Full-profile shots of the face are mostly my own interpretation of things, and I'm still developing a style for that angle as it stands.My methods of design are also purely linear-progressive and mathematical in nature. By linear-progressive I'm referring to the proportional precision I attempt to achieve with each piece. Mathematically speaking, I tend to break characters down into numerous geometric shapes and base curves. For example, I can define the precise silhouette of a buttock by drawing a single line curved exactly the way the outline would realistically. This is done from memory based on hours of figure studies. I only use reference photos for pose ideas and to ensure proper proportion. Line placement is strictly planned out via proportion guides and drawn from memory, one curve at a time.
And because of my mathematical/geometric approach to character design, I'm naturally able to convey 3-dimensional space and perspective, especially when placing a character in an environment with many converging lines (such as a table, counter-top or shelving units).
So there you have it. I've pretty much spelled out everything with regards to my design methods, I hope this helps all of you to better get inside my head and figure a few things out.... and maybe give you a few ideas for design yourself :3
- SCH
I cant say who's style i belong to anymore, i kinda have my own mid point and way to do things. I am very good at being a mimic to a style, which always teaches me alot. Breaking it down and learning from its use, I find alot of fur designs with alot of intricate markings, and its beautiful but hard to replicate.
I keep to the basics,
Not too elaborate but still quite striking in her colors.
http://www.furaffinity.net/view/899706/
http://www.furaffinity.net/view/1775009/
Or even my mouse, he's just dark red with Red clothing and Blue eyes and glasses.
I always have liked it when the white underbelly extends onto the thighs and somewhat onto the butt in the back, as well as partially onto the arms. Always have liked that. Kudos to you for that one X]
But yeah, all in all I say you have some great designs as well. Not too complex that it would take a day just to render the markings alone, but not too simplistic that it looks overly-generic :3
Also what you're noticing is that, past the point of the "Take Me I'm Yours" image, I've come up with three major situations in which NO OTHER POSE would work. Example. The "Begging in the Streets" image: that's exactly what the legs of a human would look like imitating when a dog lays on its back, right down to a point-by-point bone conversion. It wouldn't have worked any other way in my mind. Another example I can think of is the "Sharing a Daiquiri" image. The character has to bend back a good distance in order to prevent the contents of the funnel from spilling out. The vaginal cavity cross-sectionally rests at a 30-degree angle when a woman lays flat on her back. In order to increase this angle, the legs must be elevated, consequentially re-orienting the pelvic area and increasing that angle along with it.
I've begun to allow the situations I place my characters in to dictate the appropriate poses, rather than simply drawing something for the sake of drawing it like I used to.
I got it from a friend, he taught me lots of drawing and then I also got some knowledge from manga drawing magazines. I've been developing my style from there, not completely original but I'm sure you can notice my drawings from the distance X3
your art is truly inspiring and I like the way it has evolved, congrats, keep it up