Which cartoonist/animator/comic book artist/mangaka draws the best women in your opinion? Especially the face. You can pick one artist for women's faces and one for women's bodies.
Face: Phil Noto
Body: Takeshi Koike
>>2450721
Noto? Really? All his women look like obnoxious cunts and they have the same face with an extremely limited set of expressions.
>>2450726
post your work
>>2450726
but that was his opinion?
>>2450721
Honestly I can't think of any. Most artists draw women as blow-up sex dolls.
>>2450753
That's not what "best" means
>>2450753
Fuck off, whore.
>>2450753
>implying they aren't
>>2450753
this is absolutely true. Usually if its a male artist they focus way too fucking hard on the nipple or vagina. And they render the fuck out of them too. The rest of the painting won't have nearly as much detail.
I love painting women. Girls are just absolutely lovely in every way possible and I will never get tired of the female form.
I like to think I am able to represent women in a respectful way as if I created the painting while looking through a ladies eyes. Though, I also like to paint a respectful view of sexuality as appreciated by a man.
A lot of girls really like my art. Some girls that absolutely fucking hate nude paintings of women say they actually liked my paintings.
I hate sharing my art with other men though. They just... christ. Your average male is pretty fucking dumb. Even in art school good male painters would still make comments like "God I want to spread those cheeks and just go brrbrbrbrbbrbrbr"
>>2450924
this has got to be bait
>>2450926
I'm not so sure what's so fucking hard to understand here.
It's just "your average male is a pervert and will same perverted thing when they see a nude female"
is english not your first language?
>>2450929
you are proving my point exactly.
most guys are fucking retarded when it comes to the sensibilities and concept of painting the female form.
>>2450929
I bet you think this is a good painting of a girl.
>>2450929
I doubt it. This shithole has been filling up with rabid feminists and white knights over the past few months. It's insane.
>>2450935
I post here mostly for the shits and giggles but you have me convinced /ic/ is full of retards just like you.
>>2450933
>most guys are fucking retarded when it comes to the sensibilities and concept of painting the female form
yet most statues and classical art worth of praise was painted by men :^)
>>2450938
fug
>>2450938
Yup, for sure full of dumb fucks like you guys.
I guess the simple concept I'm talking about is well above your skill levels. Has nothing to do with SJWs or other horseshit.
There is a reason you can tell a painting that has been done by a girl or a man. It's completely obvious. A man and a women have different sensibilities. It's science.
You would have to be literally retarded to not see that.
>>2450938
then fuc off, m'lady
>>2450940
are you fucking seriously? Have you seen renaissance paintings of women? They are just men with tits.
>>2450930
I find the opposite is true. Men are incrediby diverse when it comes to drawing women.
Female artists on the other hand, treat men like pieces of meat. Notice the extreme proliferance of homosexuality and extremely effeminate men, even when drawing fanart of regular, heterosexual men. They basically turn them into weird, female versions of men, without changing their physical gender. It's very rare that you'll find female artists who respect traditional male masculinity.
At least men who draw sexy women, stay true to their feminine nature. They don't try to change them into something they're not, they just idealize their feminine nature.
>>2450945
>They are just men with tits.
Sounds like a feminist's wet dream.
>>2450945
>complains that women are drawn as blow-up dolls
>now complains that women aren't depicted as such are men with tits
HUE HUE HUE
>>2450943
>There is a reason you can tell a painting that has been done by a girl or a man.
True. Women tend to draw vapid, superficial fantasies. 90% of what they draw are Disney fantasies, disgusting tumblr characters or gay men.
>>2450951
It's hard to tell with SJW types. They're difficult to parody, because no matter how far you stretch it, you'll still find people who are that fucking insane.
>>2450946
this thread isn't about painting men.
A lot of /ic/ are young men probably still in highschool or just graduating. Just look at the porn threads to see exactly the shit I am talking about.
Like these paintings. you can EASILY tell which one was by a man and by a woman. Even though the male painter is pretty great at what he does because he gets it as well.
>>2450953
>this thread isn't about painting men.
Fuck off, you made it about the way painters portray the opposite sex. You made your bed, lie in it.
>>2450953
Left looks like a generic pinup. Right looks like a 12 year old girl's vapid princess fantasy.
>>2450948
How are those two things related at all to what I said? You're a fucking idiot.
>>2450951
I'm sorry you are such a shit artist you can't follow along. But please, keep spamming bait.
>>2450952
>sjw
Seriously /ic/ are you guys this idiotic? How is saying it's possible to tell a painting was painted by a man or a women simply by looking at it related to ANYTHING SJW?
That's the complete opposite of SJW. SJWs would be saying women paint equal to man and there is no difference cus of ma equality.
I don't know I bother you faggots. None of you are above beginner level. I guarantee none of you dumb fucks are going to get beyond the level of $30 DA commissions and will spend their days working at starbucks till the day they die.
>>2450953
presumably a woman did the one on the right because it's worse
>>2450962
>he's so asshurt he resorts to the NOT GONNA MAKE IT meme
Did mommy forget to make tendies, sperg boy?
>>2450962
Are you autistic? Serious question.
>>2450968
Speaking of fifth grade, how were special needs classes treating you back in elementary? Considering you're a sperg and all.
>>2450966
It's not a meme. It's true. You idiots are far too dumb to understand art past the beginner level.
I know you're in denial but one day while you're scrubbing the toilet at the mcdonald's you have worked at for 15 years you will realize you should have spent your time doing literally anything other than art.
>>2450967
Probably. I know I'm considerably better artist than you though. Considerably.
>>2450962
>waaa anything that doesn't represent of what I consider a good drawing of a woman is ugly
that's exactly you right now famalam and don't forget about the fact that you completely ignored centuries worth of progress and art and narrowed down to complaining about one era just because "it doesn't suit your taste" just to fit it into your argument
keep trying I know you'll get something
>>2450970
>I know I'm considerably better artist than you though
you brought it up now time to cough it up
time to post your work
>>2450971
you have resorted to making shit up so you have an argument. You are arguing things never implied or said.
You are that delusional.
>>2450962
I'm not sure if this guy is actually baiting or whether he's just super mad cuz he's a shitter.
I think it's both. Post work or get out nigga.
>>2450970
I'm glad we've established this thread as a faux-intellectual dick measuring contest, sperg boy. I'm sure you're not just projecting about your insecurities regarding financial stability as an artist while you toil away at a menial day job, shitposting on /ic/ in your free time.
>>2450970
>Probably.
Yeah, not hard to tell.
>I know I'm considerably better artist than you though. Considerably.
Doubt that. Also doubt you're going to post your "art", because we both know it's terrible.
>>2450982
yet your not posting work so till you post work
you're not anything of what you said
>>2450982
Post
Your
Work
>>2450982
>I won't post my work because some criticism might not be valid
wew lad, I'm sure you're an A+ hire of an artist. Not some washed anime imageboard hack. Not at all.
>>2450982
this is symmetric. I could send you the exact same post back. Neither of us actually know how good the other one is. Realistically, because you're so mad, it's likely your bad. Sorry :<
>>2450982
The best part is I know who I am and I'm better than you. I'm smarter, I work harder, and I have better taste.
At best the only thing you can do is beg me to post my work.
It's going to annoy the fuck out of you. The only thing you have going for you is that you're too fucking dumb to realize where you stand.
Cus that's the best part. I DO know how much better I am than you. I could just prove it to you but we both know you'll just make up some excuse that I'm a photobasher or I trace because you're that delusional. You will tell yourself anything to make yourself feel better.
And that's hilarious.
>>2450982
>>2450988
wew, at least we got ourselves some new pasta
>>2450975
The best part is I can make you faggots freak out while on company time.
You dumbasses had no reason to freak out either. Could have had a real discussion on why male artist's paint overtly sexual images and subconsciously paiint the way they do but instead ya had to go full retard.
Maybe it's because you're actually not smart enough to have a conversation like that. maybe you're just mad you're art is shit and no one will ever have a conversation over what you painted. in the end you chose to be an idiot. You CHOSE to be stupid. That's something ya know?
just look at all the butthurt going on in here over a simple fucking undeniable concept. Women and men paint the same subjects differently.
>>2450962
>men can't draw good women
stay mad
>>2450990
ayyyyyyyyyyyy
>>2450990
>you're art is shit
The best part is I know who I am and I'm better than you. I'm smarter, I work harder, and I have better taste.
At best the only thing you can do is beg me to post my work.
It's going to annoy the fuck out of you. The only thing you have going for you is that you're too fucking dumb to realize where you stand.
Cus that's the best part. I DO know how much better I am than you. I could just prove it to you but we both know you'll just make up some excuse that I'm a photobasher or I trace because you're that delusional. You will tell yourself anything to make yourself feel better.
And that's hilarious.
>>2450982
>The best part is I know who I am and I'm better than you.
The only thing this comment does is make me wonder how bad you really are. Sounds like Dunning-Kruger in full effect.
>>2450990
>I'm projecting all my insecurities because I'm bad and I don't want to post my work so I won't embarrass myself
>>2450978
Keep begging it's not going to happen. I know my skill level. I have a large fanbase. I'm not adam hughes good but around or better than tehmeh and the like.
So yea, I know exactly where I stand. You should too. it would actually help you out a lot to be self aware.
>>2450997
>I'm embarrassed to show my shit work
>>2450991
you embody /ic/ perfectly. You simply do not know how to read and you jump into full retard mode without a second thought.
At any point in this thread point to anyone saying that "ALL MEN" can't paint women.
This is /ic/ This guy right here.
>>2450997
>it would actually help you out a lot to be self aware.
The sad part is you'll never see the irony of this. There's nothing more frustrating than talking to people who are as mindnumblingly stupid as you, yet think they're smart. And you'll never see it.
The most obvious factor is your insane bragging. Good people don't brag. It's virtually always a result of Dunning-Kruger.
I used to be a mod on an art forum back in the early 2000s, and you're the archetype of the bad artists who thinks he's good, but will never admit it even if dozens of people point it out.
But yeah, congratulations on making a total ass of yourself. I'm sure you'll keep bragging and tell yourself you've won, because that's your default defense mechanism.
>>2450996
>>2450995
>>2450995
>>2450998
>>2451000
>>2451000
>>2450994
>>2450992
>>2450992
>>2450991
>>2450989
>>2450988
>>2450985
>>2450984
>>2450983
look at all this butthurt and begging.
Again, rather than actually having any sort of conversation about the topic at hand ya faggots choose to be worthless. It's not a massive leap of logic to think you're art reflects that sort of thinking.
If I post something forbidden will the whole thread be closed? Cuz this thread needs to die
>>2451002
>male artist they focus way too fucking hard on the nipple or vagina. And they render the fuck out of them too. The rest of the painting won't have nearly as much detail.
>The rest of the painting won't have nearly as much detail.
>won't have nearly as much detail.
>>2451007
>begging
>asking for proof
you're a special kind of retard aren't you
>>2451008
No, your post will be deleted and you will either get a warning or get banned.
o you think learning how to draw faces is difficult?
Wrong!
All faces are made up of simple shapes like anything else.
When learning how to draw faces, you'll find that you can get the face to 'look right' from the start if you're aware of some standard measurements that apply to most people's faces.
Once you realise this and practice using them, your sketches of faces will improve no end. Indeed, this is a vital first step if you want to move onto doing portraits.
>>2451007
xDDDDD
Remember, practice is everything when learning how to draw faces. Copy examples from photos, newspapers and magazines or of course, you can use the examples in this tutorial.
Get as wide a range of sketches as you can of men, women, young adults, the elderly, children, racial and ethnic backgrounds and so on.
Draw faces from as many different angles and lighting conditions as possible. It's surprising how the same face can look quite different in contrasting lighting conditions.
However, one step at a time. Let's get used to drawing a 'general' face that has all the relevant bits in the right place!
Oh yes. And one other point.
The 'standard measurements' I've just mentioned are only a guideline, not an absolutely rigid formula that must be adhered to. So use them as a valuable tool. Don't become a slave to them!
>>2451007
If you've posted your art on /ic/, it will be easy enough to find. You're the only one who's autistic enough to use linebreaks for every sentence you write, so your posts have an extremely easy pattern to look for.
All we start with is a basic oval.
Draw this in lightly and don't worry if it's not perfectly symmetrical.
Basic Face Measurements
Few people have a head shape or features that are identical on both sides of their face.
And here's the first standard measurement - I'll call these SM from now on to save space.
The centre of the eyes are placed halfway down the oval - not about a third of the way as you may think. Also, the ears are attached to the head on line with the eyes.
The bottom half of the oval can now be split in two again to fix the position of the tip of the nose. The remaining space below this is also divided in two and the imaginary line here positions the mouth.
thanks face anon
The distance between the centre of the eyes and the tip of the nose invariably works out an equal-sided (equilateral) triangle.
In fact many portrait artists start with this triangle to position the eyes and nose on the canvas or paper before even constructing the head shape. Now look closely at the dotted lines that drop down from the centre of the eyes. Notice that they meet the outer edges of the mouth.
Moving onto the side view of the face, the oval shape is still there, except that it has been tilted slightly to the right, with one side, (the jaw area) being slightly flattened.
People's ears tend to be further back on their head than may at first appear.
So the distance from the outer edge of eye to the back of the ear is usually the same as the distance from the eye to the chin.
Right, you now have the basic shape of your face from both the front and side views. Now comes my favorite bit when we make the head three-dimensional. Let's go back to the basic oval for a minute.
The dotted lines are still there but the big difference is that they have been slightly rounded.
Even though there are no features on the face, the dotted lines on a curve give the clear impression of a rounded solid object. In this case, it's a head, but it could be a ball, an egg, a cushion or whatever.
Now add some basic features following the curved dotted lines and suddenly, with no effort,you have a 3D head. It's that easy!
>>2451009
>Usually if its a male artist
USUALLY means NOT ALL but MOST.
I like how you had to edit what was originally said to "prove" yourself.
Again, you're exactly what /ic/ represents. A fucking retard that knows you're wrong and will do anything to not be completely and utterly wrong. Now, you're either hoping no one will notice the fact you left out the qualifier or you are actually that delusional.
Either way you're wrong and a fucking moron.
>>2451007
If you wanted a conversation you wouldn't have acted so much like an autist, anon. You could have just posted artists who draw women a way you like. This thread was started for artists who draw women in a way you like, remember?
>>2451016
see why are you so fucking dumb? Why do you have to delude yourself into thinking you have any control over this?
A line break will be proof of who someone is. Cus there's literally no one else in here doing it. No one else at all.
You're just showing how fucking dumb and worthless you are.
>>2451032
You'd think someone claiming to be an artist would understand the value of pattern recognition.
>>2451024
>Either way you're wrong and a fucking moron.
top kek having to resort to none specific targets so you can get away with generalizing
so who are these usually bad or good ones?
oh right the ones that don't fit your argument
ironically you're the only retard here who's wrong and will do anything to not be comepletely and utterly wrong
>>2451026
I replied to an anon that said most men paint awful women. I expounded on that idea and explained why I think what they said was true.
Then a bunch of worthless faggots posted a bunch of worthless shit.
Is followed a thread that difficult for you? Can you not read top from bottom?
You're gonna reply saying something retarded that doesn't follow any sort of logic at all. God knows none of your other posts have.
>>2451032
It's not hard when I compare it to the language you use, which is specific. Your random capitalization of words is also an obvious sign, along with the constant use of the word "cus".
Actually think I found you, but need to double check. :^)
>>2451044
>Then a bunch of worthless faggots posted a bunch of worthless shit.
which could have been prevented if you posted in the first place you're not the smartest aren't you
>>2451047
Excuse you anon, I'll have you know that I know who I am and I'm better than you. I'm smarter, I work harder, and I have better taste.
At best the only thing you can do is beg me to post my work.
It's going to annoy the fuck out of you. The only thing you have going for you is that you're too fucking dumb to realize where you stand.
Cus that's the best part. I DO know how much better I am than you. I could just prove it to you but we both know you'll just make up some excuse that I'm a photobasher or I trace because you're that delusional. You will tell yourself anything to make yourself feel better.
And that's hilarious.
>>2451039
>top kek having to resort to none specific targets so you can get away with generalizing
Holy shit you are that fucking delusional and retarded aren't you. Fucking use your god damn fucking eyes you fucking retard. You'll notice a post that contains a shitty mary jane that was obviously painted by a female.
At this point you should just admit to being delusional. You were wrong about the ALL MALE artists thing. You were wrong when you edited the original quote and now you're wrong saying I didn't leave any specific examples.
How do you even live. You're constantly fucking up like the dumb fuck you are.
>>2451051
>WAAAA YOU'RE WRONG I'M RIGHT
wow you're retarded and a 12 year old
also I never said "all" but feel free to keep putting words in my mouth
Is this guy serious?
>>2451050
Excuse you anon, I'll have you know that I know who I am and I'm better than you. I'm smarter, I work harder, and I have better taste.
At best the only thing you can do is beg me to post my work.
It's going to annoy the fuck out of you. The only thing you have going for you is that you're too fucking dumb to realize where you stand.
Cus that's the best part. I DO know how much better I am than you. I could just prove it to you but we both know you'll just make up some excuse that I'm a photobasher or I trace because you're that delusional. You will tell yourself anything to make yourself feel better.
And that's hilarious.
>>2451051
Holy shit, your entire post history on /ic/ consists of autistic tantrums. You keep getting called out in every thread.
>>2451053
and then in the end you try to pass it off like it aint no thang. as if you didn't bullshit and lie to get to this point. Things that obviously took a lot of effort on your part.
>>2451058
top kek he's ironically
>A fucking retard that knows he's wrong and will do anything to not be completely and utterly wrong
he practically described himself in his own posts
>>2451062
What have I been wrong about exactly? Oh, you can't find anything because there isn't any.
>>2451062
No shit. Go to the archives and search for "cus". It's a rarely used word, so when combined with the random use of caps, particularly in quotes, along with the consistent pattern of linebreaks, you'll easily find his posts. It's always the same autistic rage.
Still haven't found any pictures, though.
>>2451061
>bullshit and lie to get to this point
its pretty hilarious to see an autist go through a tantrum when you can't even quote me properly and have to put words into my mouth just so you have something to argue but like I said
keep trying you'll get something
>>2451066
I wonder if this guy draws at all, actually. He posts like a consumer and the only time he mentions his own art is to dickwave.
>>2451065
>Usually if its a male artist they focus way too fucking hard on the nipple or vagina. And they render the fuck out of them too
>15 posters
>99 replies
>>2451070
>normal male painter
>not exceptional
>or a male artist that paints with lady likes
at this point pretty clear you're delusional.
>>2451073
16 now. Thanks :)
I WESPECT THE LADIES! I DWRA THEM AS THE BEAUTIFUL BEAUTIES THAT THEY ARE! LIKE FAIR MAIDENS.... THEY ARE PRECIOUS FLOWERS AND THE LESSER SEX JUST CANNOT EXPRESS THAT!
U IDIOT BRUTISH MEN... heh, truly u are so pathetic... tch, can't even draw a GLORIOUS WOMAN without wanting to smell her buttcheeks...
unlike me.... with my SUPERB drawing skills I get all the wonderful ladies to offer me their pussies, i mean... personalities....
that's not to mention my charm and sensibilities... and amazing debate tactics...
I am the only one among you cavemen to reach euphoria.
ha ha..
>>2451067
You edited the original quote to remove the word that made the sentence not say "all males" You lied by changing the original quote.
>>2451074
>exceptional
HAHAHAHAHAHAHAHAAHHAAHHAAHAHAHAH
>>2451078
>You edited the original quote
burden of proof lies on you faggot
>>2451066
>it has to be that person
>because of one single word
You're kidding right?
>>2451080
You can just go and look at the post at the top of the page. You edited out the "Usually" part.
but sure whatever.
>>2451081
Not because of that word entirely, but because searching for that word combined with the context of other speech patterns serves as a tool to recognize the poster. He's searching archives, so he wants a single word that narrows down the results to the point to where his intuition and pattern recognition can do the rest of the work.
>>2451082
>edited out
wew lad
>>2451085
if you change something it's an edit. If you use that edit to then make a point it's a lie.
wew lad
At our figure sketch group we want to paint a person doing a real action, rather than holding an artificial pose.
>>2451081
Are you a fan of the msp19u?
So we ask Sarah to bring her pottery supplies and to do her normal work.
We agree on a base pose that she can return to from time to time. We talk to her during the pose, so she's not holding totally still.
1. I draw with the brush on gesso-primed canvas mounted on a Masonite panel. I begin the quick block-in with casein. Casein is a good underpainting medium.
Right away I'm looking for the big shapes of tone, in this case her light face and figure against the simple dark background.
2. I begin to overpaint with oil on the face, hair, and background. Eventually, about 95 percent of the surface will be covered with oil paint. The oil paint achieves deeper values than the casein because of its glossiness.
I have three cups: Gamsol for thinner, Liquin, and a slow-drying medium (equal parts stand oil, damar varnish, and turpentine).
3. I simplify the tones in the arm and shoulder and torso, painting them with very little value variation and using color temperature to turn the form instead.
Consequently, the front plane of her shoulder has a slightly cooler cast.
The key light is a warm incandescent. I introduce the window into the composition to motivate the cool edge (or "rim") light.
Her hair melts into the simple tones of the background. On the left, I paint the window mullions and other background details out of focus.
In contrast to those empty shapes, I revel in the sharp accents and clutter of the worktable.
>>2451075
You're welcome, you seem to be really invested in this shitflinging contest so I'll help you out by bumping it to the top again. Maybe we can get it maxed out? ;)
The teaching rubric of "Accuracy: A Drawing Guide" begins on familiar ground. He takes a line drawing of a figure on the left, and reproduces it on the right. The drawing on the right shows alignments along a vertical line.
I'm pretty fond of Leyendecker's women, although I think Rockwell's criticism that he didn't paint them with much empathy was correct a lot of the time.
Checking alignments is just one way evaluating a drawing for accuracy. There are four others, and he has concretized these modes of seeing by proposing five kinds of glasses. Each pair of glasses represents a different way of checking.
Clockwise from upper left, there are the Alignment glasses, Angle glasses, Measurement glasses, "Creaturizing" glasses, and Implied Line glasses. These are all methods used for 2D copying of static subjects; they don't really help you deal with moving subjects, and they're not about constructing forms in space.
Here's what you look for with the Implied line glasses on. The simplified contours seem to extend beyond the small forms and pick up again in other parts of the pose.
>>2450982
Holy shit did you write this or is this pasta? It's Fucking glorious. Saved to use over and over
>>2451103
He wrote it, it's pasta now. I think it might be a text version of merc wip at this point, as a response to symmetrical PYW arguments.
>>2451108
Why would you expect an internet cartoon forum to be good for learning art? You solve your problems on your own, come here for questions, easy access to crit, and to blow off steam. You're just bitter because you can't handle the bantz, sperg boy. Stay mad.
Chapter 4, "Line Drawing," of Harold Speed's 1917 classic The Practice and Science of Drawing.
1. Attention to line can give a work an "innocence and imaginative appeal" that is often lost in work that is concentrating on "the more complete realization of later schools."
Harold Speed will give us a later chapter on the practicalities of line drawing, but for this short chapter he concentrates on the aesthetics of line. He associates line with the sense of touch, but also with more primitive and stylized perception, and that's the core of what he's exploring here.
He makes reference to Botticelli and other early artists who used line predominantly. In the centuries that followed, chiaroscuro and form modeling came to dominate the thinking and made people forget about the power of line.
Artists in Asia were not as obsessed with chiaroscuro in the photographic / impressionist side of things. I was reading a book about the history of photography (Photography: The Definitive Visual History), and it said that when photographs were first introduced in Japan, people didn't like them because they thought they missed the essential truth of what they saw. Now, with the ubiquity of photos, we tend to regard a photograph as a true and complete representation of our vision, but people in Japan and China didn't think so.
2. The eye only sees what it is on the look-out for.
Speed makes this point only in passing, but it's something that I think about a lot. We see what we want to see. This was the theme of an episode in Dinotopia: The World Beneath (see previous post on Pareidolia and Apophenia).
3. All through the work of the men who used this light and shade...the outline basis remained. Leonardo, Raphael, Michael Angelo, Titian, and the Venetians were all faithful to it as the means of holding their pictures together; although the Venetians, by fusing the edges of their outline masses, got very near the visual method to be introduced later by Velasquez.
Line and tonal modeling aren't mutually exclusive, nor must one use a hard edge throughout a picture to have a good sense of line. The Titian above combines a fine sense of line with a sophisticated feeling for edges.
4. The accumulation of the details of visual observation in art is liable eventually to obscure the main idea and disturb the larger sense of design.
The problem, according to Speed, comes not only from losing a sense of the contour, but also adding so many small details and textures that the larger shapes are lost.
Speed's cautions about the late 19th century obsession with naturalism, and he points to a time in the academies when line drawing fell out of fashion. He says the use of the stump for blending charcoal added to the problem. Does someone out there know why Speed was so negative about the stump? He doesn't really explain his reasons for disliking it.
>>2451099
this is very helpful thanks anon
5. Art, like life, is apt to languish if it gets too far away from primitive conditions.
It's notable that the Fauvists and other neo-primitive movements were becoming active in Western art as he was writing this a hundred years ago. European and American artists were also appreciating the currents of art coming from China, Japan, and India.
Speed says that if you're going to study past movements, "to study the early rather than the late work of the different schools, so as to get in touch with the simple conditions of design on which good work is built."
6. No wonder a period of artistic dyspepsia is upon us.
Perhaps even truer now than it was in Speed's day!
7. Line as contour vs. line of action
One last thought that I had in reading the chapter is that Speed seems to be talking about line mainly as the outer contour, but I think it's equally important to think of the line of action, the central gesture traveling through the center of all the forms. The great animators carried Speed's ideas forward into a whole new art form, and it is probably in the realm of animation that the art of line was most perfectly developed in the 20th century.
>>2451119
Dorien Iten's accuracy thing is free on gumroad, iirc.
>>2450748
The one eyed man may lead the blind but he still only has only one eye.
A man in a wheelchair can still notice the man walking past him has a limp.
>>2451077
>>2451079
See? Posts like these are what justify everything I have said about /ic/ and your perceived skill levels. Rather than actually looking at the original conversation and doing anything productive you post absolute nonsense.
Like the SJW shit. It was all in your dumb little minds. You choose to read things out of context and take it to an extreme. Rather than make any sort of rational thought you're end goal is to try to be witty and fail miserably.
There hasn't actually been one counter argument to the original quotes. It has just been memes and dumb fucks purposefully misreading shit.
>>2451110
Bitter because you're all really stupid. There is a reason that all the good artists stop posting here. They have to deal with faggots saying dumb shit like "sperg boy".
Just read the the thread top to bottom. starts out with people being annoying faggots that spam memes like SJW and other idiots that have such a completely void opinion they need to change the other person's words. The delusion here is just to the point of insanity.
On the GJ Book Club, we're looking at Chapter 17: "Portrait Drawing" in Harold Speed's 1917 classic The Practice and Science of Drawing.
Now we arrive at a solid chapter that is full of Speed's best thoughts about how to approach a portrait. He's not only talking about drawing, but about painting, too. I'll paraphrase Speed's points in bold, followed by further comments and links to previous GJ posts that discuss the topic further.
1. An individual's personality affects the outward appearance of their face, both the overall form and the features.
This leads to a question I've often pondered when I'm riding the subway or looking at criminal's mugshots. Can you read a person's biography from their face alone? How much are our innermost lives written on our faces?
2. The real object of the portrait painter is to seize on these unique characteristics of the sitter, even if they are shy and self-conscious about those qualities.
Speed says, "Some close study of individual characteristics must be the aim of the artist." Recent studies of face recognition have shown that the way we remember faces is by cataloguing the ways they deviate from the norm. We keep a mental catalog of their unusual qualities.
Caricaturists know this (above by David Boudreau) and they're experts at emphasizing those deviations.
3. Some people think that emphasizing the uniqueness of the sitter goes against the goal of capturing their ideal beauty, but if you don't focus on this, you'll lose the likeness.
In Speed's words: "Catching the likeness, as it is called, is simply seizing on the essential things that belong only to a particular individual and differentiate that individual from others, and expressing them in a forceful manner."
4. No two people look alike; even if the differences are slight, we can recognize someone after a long time or from far off.
We've all noticed this when we see someone we know in a crowd way off. We're also attuned to recognizing very slight differences in body posture and walk cycles, too, which is why a walk cycle is a central job of designing an animation character.
5. We record the memory of a face not as a collection of individual details, but as a gestalt, or an overall impression.
He says it's important not to dwell too much on any one feature, but to develop the whole subject as a general impression and get that right before honing into the details. You can see this in quick portrait sketches (above) or unfinished paintings by master portraitists.
6. Your eye has to be "fresh" to recognize these differences. If you've been looking at your picture for too long, you lose sight of the uniqueness of the subject.
The best illustration of this is this video, which will blow your mind if you haven't seen it before. Look at the cross in the middle of the frame, as unaltered photos of celebrity faces flash by. They will appear to be distorted caricatures, but they're not. Your "fresh eye" is seeing them as distinct and unique variations.
7. Look for great qualities in the old masters, and then seek those qualities as you observe living examples in nature.
Another point Speed makes is to get to know the person's biography first, at least the main qualities of his temperament that are likely to have influenced his or her face. Another way I think of this is, what is their central metaphor? What is the basic story they keep telling about themselves? Do they present themselves as a victim, a clever trickster, a lover, a thinker, or a rogue? Speed says, "The habitual cast of thought in any individual affects the shape and moulds the form of the features. So I would say, chat it up with the person, and if possible keep them talking throughout the sitting. If they're sitting there like a wooden statue, there's no way you'll capture their true likeness.
8. Get the exact proportions correct first. The metrics have to be right.
We saw this in an earlier post when I interviewed one of the artists for Madame Tussaud's.
9. Speed's criticism of the "striking" portrait.
Speed says, "Probably the most popular point of view in portraiture at present is the one that can be described as a "striking presentment of the live person. This is the portrait that arrests the crowd in an exhibition. You cannot ignore it, vitality bursts from it, and everything seems sacrificed to this quality of striking lifelikeness. And some very wonderful modern portraits have been painted from this point of view."
He then goes on to question this fashion. I'm not sure exactly who he had in mind, but it might be Boldini, who did many such striking portraits, and they're related to the bravura of Hals. I doubt that Speed is criticizing Sargent, but he might be.
9. Speed outlines two methods for developing the portrait:
a) Mass in the impression, then finish the eyes first and then finish the rest of the face, moving outward from the eyes. Some contemporary painters advise actually constructing the face outward from the eyes, a more radical version of what Speed is proposing—but this method, I believe, is prone to errors in construction.
b) Block in the overall impression and develop areas throughout the face all together, finishing up the eyes later in the process.
>>2451127
>There is a reason that all the good artists stop posting here.
Yeah, you'll be missed, you're so great, you're the best on /ic/ and everyone will care like they did with Kyle and Teal. Oh wait, you haven't posted anything of value..
You know what people who post art get? They get critique, praise and questions. You know what shitposters get? They get shitposts in return.
10. Speed's classifications of portrait styles:
a) The quiet and sober portraits of Holbein (above).
b) "Seeking in the face a symbol of the person within." He gives the example of G.F. Watts (below).
>>2450924
>"God I want to spread those cheeks and just go brrbrbrbrbbrbrbr"
Watts portrait of Wm. Morris
c) "Treating the sitter as part of a symphony of form and color." Example, J. McNeill Whistler.
Oh, this is golden. You fags won't believe who this shitposting asshole is. Just need to triple check.
>>2451127
Mate have a snicker, you turn into a right diva when your hungry
>>2451077
You dumbasses can go to any naked female photo on DA and read countless sexual replies left by your average male. How is that idea even up to debate?
oh, but then again this anon type like an ape. A very retarded ape. You're the type of kid that would make dumb sexual comments whenever you see a women.
You can't even type for fuck's sake.
11. Speed cautions against capturing momentary expressions (or contemporary fashions).
He traces this to the ability of the camera to capture a smile. Speed says you wouldn't want to live with a person who is smiling all the time (creepy), so you wouldn't want to live with a portrait like that, either. What would Speed think of modern portraits, where the fashion nowadays is to show the subject grinning? A "fixed smile is terrible," Speed says.
No one can hold a smile very long. That's why someone needs to count down "3, 2, 1, Cheese!" when we take a smiling photo. (See my previous post on Smiling Presidents)
>>2451150
Your idea of "average male" is adorable, how much time are you spending on DA anon?
>>2451127
>I hate sharing my art with other men though. They just... christ. Your average male is pretty fucking dumb. Even in art school good male painters would still make comments like "God I want to spread those cheeks and just go brrbrbrbrbbrbrbr"
>The best part is I know who I am and I'm better than you. I'm smarter, I work harder, and I have better taste.
>Cus that's the best part. I DO know how much better I am than you. I could just prove it to you but we both know you'll just make up some excuse that I'm a photobasher or I trace because you're that delusional. You will tell yourself anything to make yourself feel better.
>omg why is /ic/ full of shitposters and not SMART and TALENTED INTELLECTUALS like me?
>>2451150
lmao dude I'm not even attracted to women.
>>2451150
"Everyone but me and my beta male-feminist clique is a socially retarded ape who yells MUH DIK at every female he sees"
Have you considered getting help, or better friends?
>>2451148
How do you know who he is?
This painting by Johann Wilhelm Schirmer uses value stepping to achieve depth and atmosphere
>>2451157
>not even attracted to women
lol, fag
>>2451155
It's fucking Wakkawa.
I'm not joking. The shitposting sperg i Wakkawa, aka Jace Wallace.
Here's a detail of the same painting. In the foreground there's a full range of values used to model the foliage. The leaves and branches are painted individually, with considerable variation of value.
>>2451148
Please anon deliver. This is golden.
In the middle distance, all foliage is divided into masses of light and shadow, with the shadow rising to the mid-range. The warm greens in the light side are grayed down as the distance increases. Shadows get cooler as you go back, and detail in the shadow is greatly reduced.
>>2451142
I don't think you're talking about the same board I am. I check the draw threads. You're kidding yourself if you think there's more critique going on than shitposting. It's almost all shitposting. You faggots ruin good discussions all the time for no fucking reason at all. This board should be shared as the perfect example of the human condition. Where the dumbest of the dumb run anyone useful out.
Like the Congolese kicking out all the white people that knew how to run a country so a bunch of retarded fucks could destroy everything t hey took for granted.
You're all just going to be left with your meme shitposting faggots that like the "bantz"
In the far distance the values step back even further. Light and dark values become very close. In the last range of hills, they merge into a single tone just a shade darker than the sky color.
When painting landscapes in oil, it helps to mix batches of each of these value steps on the palette and make sure they progress evenly.
>>2451165
Sincerely hope this isn't sperg boy trying to pseudo-dox himself and release disinfo. Drop some evidence on us, archive-kun.
>>2451162
Please show us your evidence.
Neon Window Light
The red neon sign in the left window says "OPEN."
If I were to paint the tubes of the neon sign with bright red paint, it would be too dark in value. So I keep the sign very light in value and paint the effect of the red light on the regions around it. Note how the red light floods the window frame and the back of the guy's head.
When a light source is both high in value and strong in chroma, one strategy to capture it is to focus on the effect of the light, not on the light itself.
>>2451169
>Like the Congolese kicking out all the white people that knew how to run a country so a bunch of retarded fucks could destroy everything t hey took for granted.
You should spend less time on the internet, go on a walk or something.
Something to get the blood pressure down.
>>2451174
That you're faggot? You said you aren't attracted to women.
Ivan Shishkin, Woodland. 1889. Oil on canvas. 39 1-2 x 29 in. Date 1889
Although he was a devoted and prolific outdoor painter, Russian landscape painter Ivan Shishkin was also a big fan of photography, according to an article in the Russian archives.
He became closely involved with photos while working in Andrey Karelin's photography studio in 1870, coloring black and white photos for an album that was presented to emperor Alexander II.
Shishkin encouraged his students to work from photos, especially in the depths of winter, for example, when painting outdoors was impractical. Shishkin wrote in one of his letters:
"... Let me give you one major piece of advice, that underlies all of my painting secrets and techniques, and that advice is — photography. It is a mediator between the artist and nature and one of the most strict mentors you'll ever have. And if you understand the intelligent way of using it, you'll learn much faster and improve your weak points. You'll learn how to paint clouds, water, trees — everything. You'll better understand atmospheric effects and linear perspective and so on..."
Shishkin enlarged details with a magnifying glass, and he also used a projector. When he came to teach at the Academy of Fine Arts in 1897, he specifically mentioned the need for a "magic lantern" type projection device to aid in student learning, not only for enlarging photos, but for presenting drawings at a larger scale.
>>2451176
desu, the sign doesn't look like the one emitting the light and just looks painted on that window.
Although photographs were used widely by artists during his time, Shishkin was conscious of not mindlessly copying. He told his students that the way an artist uses a photo will reveal the artist with talent, because "a mediocre artist will slavishly copy all the unnecessary detail from photos, but a man with a flair will take only what he needs."
Shishkin's enthusiasm for modern tools like photography is not surprising during an era of technological innovation, and in an age of positivism, which placed a value on verifiable facts. His friend, portrait painter Ivan Kramskoi also used photography, and he probably used one to guide his portrait of Shishkin below:
But Shishkin never regarded photography as a substitute for painting outdoors from life. Kramskoi marveled at his productivity: "He paints two or three studies a day and completely finishes each of them."
Shishkin wrote: "In the case of art - be it art, architecture, such practice is of the greatest importance. It alone allows the artist to appreciate the substance of the raw material which nature presents. Therefore, the study of nature is necessary for any artist, but especially for the landscape."
Shishkin knew as much about individual plant forms as did the professional botanists of his day. He probably would have agreed with the critic Adrian Prakhov, who said, "I love the original character of every tree, every bush, and every blade of grass, and as a loving son who values each wrinkle on the face of his mother."
Shishkin said, "Work every day as if it is your daily duty. There's no need to wait for inspiration! Inspiration is the work itself!"
One rhetorical question I pose is: Why limit your palette?
1. Paintings from limited palettes are automatically harmonious, but they’re very often eye-catching and memorable too.
2. Old masters used limited palettes by default because they just couldn’t get the range of pigments we have now. Using older, quieter colors can give a much wanted mellowness.
3. A limited palette forces you out of color-mixing habits. If you don’t have that standard “grass green” color, you’ll have to mix it from scratch, and you’re more likely to get the right green that way.
4. Limited palettes are compact, portable, and sufficient for almost any subject. In fact you can paint almost anything in nature with just four or five colors.
To evoke the feeling of moonlight, I used the following six strategies, which I based on my own personal memories of observing moonlight, and my study of other artists whose nocturnes I really admire (especially Frederic Remington, Atkinson Grimshaw, John Stobart, and Frank Tenney Johnson):
1. Set up an overall temperature contrast between the orange torchlight and the cool blue-green moonlight.
2. Keep the chroma in the moonlight low--not too intense of a blue-green. Hint of blue in far distance.
3. Put a slight warm halo around the moon and edge-light the adjacent clouds.
4. Keep the key of the painting relatively high.
5. Suppress all detail in the shadows and put some texture and variety in the lights.
6. Introduce a gradual stepping back of value, lightening as it goes back to the far minaret.
Here's the quick (45 minute) maquette that I built for lighting reference. It didn't need to be beautiful at all, just any old blobs of modeling clay were all I needed.
I quickly discovered that I had to move the actual lighting position quite far to the left, much farther to the left than the position of the moon in the painting.
After taking a digital photo of the maquette, in Photoshop I shifted the key toward blue-green, and I desaturated it slightly. The photo shows a lot of reflected light in the shadows, which I largely ignored. I would have played up that reflected light had I wanted to evoke daylight effects, where I might want to amplify the relatively weak reflected light.
Limited Palette Tests
charts. Each diamond-shaped diagram represents the possibilities of three colors, plus white. Each diamond shape is composed of two isosceles triangles. The left triangle represents the gouache colors straight out of the tube, and the right one represents the mirror image of those colors, but mixed with white. Secondary mixtures appear as rectangles along the side of each triangle. The darkest "black" you can get from those colors is the small dark patch in the center of the left triangle.
Each chart gives a sense of the full available gamut for that limited palette, so you can see at a glance what's possible with a given set of colors. For example, you can see how this painting belongs with the chart in the upper right, the one with yellow ochre (Holbein), perylene maroon (Winsor Newton), and viridian lake (Winsor Newton)—plus white (M. Graham).
>>2451172
I'll try to sum it up quickly.
Searched for the aforementioned "cus" on fireden. Looked up the resulting posts (which were few, so they were easy to weed out) that had line breaks and individual words in caps. This lead to posts with the same kind of shitposting and spergy behaviour we've seen in this thread. It was obvious that person. I found a few posts with his pictures, and one reference that showed that he uses a msp19u tablet.
Well, guess who left a negative review of that tablet on amazon, while using random caps?
http://www.amazon.com/review/RAHO28TWW1UJG
Posts that follow the pattern:
https://boards.fireden.net/ic/thread/2289262/#q2289505
https://boards.fireden.net/ic/thread/2289262/#q2289404
There's a lot more as well, and he tends to use the exact same insults. If you look up other posts by Wakkawa, you'll also see he's a gigantic asshole, and his posts follow the same pattern.
Below is another way to set up the charts using hexagons to represent the color wheel, with tints in the center. These are done with oil.
The colors you choose for your limited palette don’t have to be blue, red, and yellow, or even cyan, magenta, and yellow. As long as they’re differentiated, the painting will seem to have a full universe of colors.
Before you start a given painting, you can refer to a set of charts like these to decide which limited palette would suit the subject you want to paint.
>>2451169
>You're kidding yourself if you think there's more critique going on than shitposting.
It doesn't matter what there's /more/ of, it matters that you can get what you want from /ic/. Genuinely have to ask yourself, are you too autistic to handle off topic posting? If you want more reasonable discussion, you post art, avoid conflict, and make use of filters.
Reflected light in shadow
This oil painting by Charles Courtney Curran (1861-1942) shows the Water Gate at the World's Columbian Exposition in Chicago, 1893.
Here is a good example of the color of shadows, something that cameras can't capture as well as the human eye.
The sources of light in shadow are very distinct: blue sky, orange ground, and white architecture, and there are white planes facing in all directions.
The direct sunlight is coming from behind and to the right, making the illuminated surfaces a bright white.
There are two main sources of light in the shadow: warm light bouncing up from the ground, and blue skylight from above.
At letter (A), left, the upfacing shadow planes on the roof are receiving mostly blue sky light.
(B) and (C) are down-facing planes. The light is mostly warm-colored bounced light from the ground.
The far side of the arch (D) is getting very strong reflected illumination from the brightly lit opposite side of the arch, as well as apparently some greenish light from the water in the canal (not visible in this view) passing beneath the gate.
At (E), the columns are a little bit lighter than other parallel vertical surfaces. They're projecting outward, receiving quite a lot of light from all directions, both warm and cool.
It's possible that the columns appear bit lighter because they're a slightly lighter local color. According to an old description, the facades were made of "staff," a mixture of plaster, jute fibers, and horsehair, painted in cream and gold.
The "White City" was torn down less than a year after it was built.
>>2451193
That's fucking based as hell, anon. If you're this dedicated when it comes to art, /ic/ will be sucking your dick in no time. Love it.
Highlights and Specularity
This photograph shows three spheres with varying surfaces. The one on the left is matte, the one in the middle is glossy, and the one on the right is highly reflective.
On the matte sphere there is no highlight. On the glossy sphere in the middle, the highlight is clearly apparent. The mirror-like sphere on the right also has a highlight, which is really a reflection of the light source. The light source is the sun shining through a window.
The right sphere also reflects the scene around the ball, including the white paper background and the dark room behind the camera. In the right ball, you can even see a reflection of the middle ball, with a highlight in the middle of that reflection.
That same pattern of reflections of the paper, room, and neighboring ball is subtly visible in the middle ball as well.
In the middle ball, there is a second, smaller highlight just to the right of the primary highlight. This secondary highlight is the sunlight is reflected three times. The light bounces off the middle ball, bounces back off the right ball, and bounces again off that little highlight on middle ball back to your eye.
So we've arrived at a definition: A highlight is a specular reflection (Latin "speculum"=mirror) of the light source on a shiny surface. The shinier and smoother the surface, the brighter and clearer the highlight.
These three diagrams show what's happening at the surface level. On the matte surface, light arrives from the top left and hits the rough surface. Some light gets absorbed and the rest scatters away in all directions. This is what happens when light hits a matte surface like a sand dune or a sweater.
The glossy surface of the middle ball bounces a a portion of the light at the same relative angle as the incoming light, but some of the light rays hit uneven spots and bounce in random directions. This is like bouncing a golf ball on a country road. It will probably bounce the way you want it to unless the golf ball hits a crack or a pebble.
The mirror-like surface is so smooth that all the light bounces off the surface predictably at the same relative angle, like bouncing a ball off a basketball court. A true mirror-like reflection requires a metallic surface, and cannot be achieved by smoothness alone.
Since highlights belong to the world of specular reflection, they should be thought of as somewhat separate and distinct from the normal modeling factors (light, halftone, and shadow) of diffuse reflection. Artists in the world of 3D computer graphics can control the form-modeling and the specularity as separate components.
>>2451205
Just reposting some Gurney
http://gurneyjourney.blogspot.com/
He has a lot of interesting stuff to read if you git a little time to spare.
Digital gamut mapping tool for Windows
Cristian Romero has created a free digital tool for analyzing color schemes. http://cr10blog.blogspot.com/2013/02/kgamut.html All you have to do is drag a "jpg," "png," or "bmp" into a box, and it will output a gamut map. The gamut map shows which colors are inside the color scheme and which are outside.
Here is a painting by Anders Zorn, showing the narrow range of colors used in the picture. The scheme is centered in yellows and oranges. The "extra-gamut" colors (colors that don't appear in the scheme) are magenta, blue, cyan, and green.
This image has a wider gamut, extending across neutral gray at the center of the circle. It has full intensity yellows and reds as well as some cyan, green, and violet. The gamut doesn't reach all the way to the outer edges of the circle because some hues are only partially saturated.
>>2451201
Go to his site, look at his picture and the retarded text under each.
Then reread his posts in this thread. His self-imagine is hilarious.
http://jacewallace.com/
Here's a fine example of a complementary gamut, a narrow slice of the color wheel from orange to cyan-blue.
The gamut mapping idea is useful both for analyzing color schemes, as we see here, but also for generating the color schemes that you want for your picture.
>>2451208
That makes sense, it reminded me of what I've read from his book. I still need to finish that, I'll give the blog a look too though. Dude's great.
What do all these color swatches have in common? They're all bright yellow.
OK, so what's the catch? They are all bright yellow as seen in the right lighting context. That pale one and gray one at the bottom left are bright yellow in a bluish light. The dark brownish colors are yellow in shadow.
All of those swatches come from screenshots of the "minions," the bright yellow characters in the animated film "Despicable Me."
http://www.youtube.com/watch?v=TlbnGSMJQbQ
Here's the new trailer for Despicable Me 2 where the screenshots came from. The lighting designers did a great job of shifting the gamut from one range to another in less than two minutes of screen time.
To achieve a feeling of colored light, a painter must often shift the mixture far from the local color. A good rule of thumb is that the color of a given mixture is a combination of the local color and the color of the light source.
Vertical Surfaces in Shadow
This painting by Clark Hulings (1922-2011) shows a whitewashed wall in shadow. The ground is orange-colored dirt. Warm light reflected from that dirt shines up on the wall, especially on the bottom half.
>>2451150
That happens so often because people are free to act however they want online, especially on sites where you dont have to put your personal information. DA is full of horny teens as well, you shouldnt really compare them with 'average men'.
Also, you wouldnt like a repressed guy either. We are a very boring type.
The blue of the open sky floods across the top of the wall, interrupted by a slash of direct sunlight.
This painting illustrates the principle: “On a sunny day, vertical surfaces in shadow usually receive two sources of illumination: warm ground light and blue sky light.”
The cool and warm sources alternate on the uneven surface, depending on whether the planes of the wall face a little downward or upward. Hulings achieves this effect by applying warm and cool tones over a darker mid-tone with a painting knife.
>>2451225
The guy does nothing but draw naked women with autistic comments under each, so he's not one to talk.
Well, we've worked out our autistic rage now. Anyone up to post some art?
Personally I really like jjFrenchie from a more adolescent muh dik standpoint, but I'd like to hear from people with more refined tastes.
>>2450721
Yoshikazu Hamada, possibly for both. Great, soft bodies and his style allows for really expressive faces
>>2451295
>>2451295
That perspective is weirding me out, but that guy is pretty on point with soft forms.
>>2450726
This. I had noto bookmarked on everything. Then every time he posted an update it was a generic girl with the same face... Got exhausted with it and decided I'm gonna avoid his work.
>>2451283
that's as refine as it gets nigga
>>2451091
Just dropping in to say this was really helpful among the bickering of the rest of the thread. Thanks, Anon.
>>2451226
ty anon, for turning this shit into a better place
>>2451307
Have you seen that guide to drawing expressions by the woman who draws that weird cat comic? One of the first tips on what you shouldn't do is draw that stupid expression where one eyebrow is raised.
Noto seems to do this in a third of his pictures.
>>2451295
sauce of this pls
![crucinue[1].jpg](https://i.imgur.com/sAiKoJm.jpg "crucinue[1].jpg")
>>2451324
you guys have completely lost touch with reality. The boogeyman might get you.
>>2451328
That shoulders-up thing is probably one of my favorite pinup tricks.
>>2451295
love this series minus the sus ass loli shit. the women they draw makes it hard not to beat your dick every 2 chapters.
the whole battle with the mom thing was so intense, such badass characters
also, prison school art is up there.
>>2451328
Hah. I knew it.
>>2451325
It doesn't go beyond handjobs/fingering/grinding, don't get your dick up
>>2451212
Well he IS still better than 90% of you tho
>>2451377
Pretty boring subject matter and a pretentious twat. Will give him that his shit looks pretty cash most of the time.
>>2451341
I mean you can say you knew it but it doesn't make you right.
Just like all those "totally Ilya" posts.
Chihiro Harumi. Her drawings are pretty good since she does romance hentai.
>>2451341
Dunno, even if it was Spergkawa, if he isn't shitposting and decides to post art things are cool enough. Shitfling over, steam blown off, fun and asspain has been had.
>>2451378
We are talking about art itself. I don't give a fuck if you are Hitler as long as your shit is nice.
I like his stuff desu
>>2451377
I'll give him that, despite his heavy use of photo reference.
But it's hilarious to see him exposed as the condescending, arrogant asshole that he is. It's something most artists don't want people to know.
>>2451414
Artist is jew of the world. He views non artist as goyim cattle.
>>2451419
I'm sure there's a Hitler joke in there, somewhere.
>>2451388
shit
![latest[1].jpg](https://i.imgur.com/61nRuYO.jpg "latest[1].jpg")
>>2450982
Don't worry love we know who you are too. You are a shit talker who spends more time arguing with people online than you do drawing.
You are not going to make it.
>>2450982
Is this the new Navy Seals?
>>2451778
yup
>>2451188
that's cool.
this thread... 226 posts and only about 5 pictures that are actually relevant to the OP. Well, I'm not reading any of it.
I was recently re-reading through Slam Dunk and even though female characters are far from the focus, I thought Haruko (the main female interest) as well as Ayako were pretty well drawn
Any way someone can post a pastebin with all the good content in it? I'm really having trouble learning past all the shitposting
>>2450966
>"Did mommy forget to make tendies, sperg boy?"
Fucking kek man, that was beautiful
>>2450982
Reread what you are about to post next time anon, so you won't sound like a pathetic narcissistic fag.
Akira hiramoto, no questions asked.
>>2452128
>unzips vagina
>>2450924
>most guys are pretty dumb
gr8 b8, this would mean that 150% of women are very dumb
>>2450963
This
>>2452152
falalalalalalalala
>>2450721
Frazetta.
>>2450924
Brian for the love of fuck.
>>2452303
>>2452303
Is there a way to fucking block and irrevocably erase his IP from me so I don't have to see this mental patient's posts ? I'm fucking tired of his shitposts.
Shitposts in general only slightly bother me, but when it's an untalented twat thinking he's the new davinci I just can't take it.
>>2451422
something like
>he couldn't join them, so he decide nobody should be able to
>>2450962
I have a friend who's a girl who ONLY draws women with big tits and wide hips in erotic situations.
>>2452315
If only I knew. Everyone says it's attention whoring to have a trip but he purposefully goes without one so you can't filter him just to make absolutely sure everyone has to smell the shit he drops everywhere. It's fucking next level.
How the FUCK was the thread on /co/ more civil than this shit? It didn't have as many posts but at least people posted examples of artists according to the OP. This is some next level apoplectic shit.
>>2452430
Shut up, Jace.
>>2452179
>>2450924
Golden thread.
Ashley Wood
Bruce Timm
Shane Glines
>>2452428
>trying to dox him so hard
>>2450924
Dibs bedora :DDDDDDD
>>2452954
Even if he isn't Wakkawa, it's the name assigned to him at this point. If you look at Wakkawa's namefag shitposts in the archive it fits.
>>2452959
well so what if it is? how does it change anything? is his art suddenly worse because of that? do you have trouble sleeping at night?
>>2452984
Are you disturbed, anon? You sound pretty flustered. You should try some deep breaths or something, if you get accusatory that quickly.
