Along with practice, references, such as a photo or a model, are essential. This was something I knocked myself over, thinking that I shouldn’t and it was unprofessional. Turns out to be a fantasy. Don’t writers use research? It should be the same. Since I wanted to do cartoons, posing outside of the neutral standing form can be difficult. At first, I thought many things were from memory; relatively, it is true, as in your techniques and how a ling comes out after repeated use, especially if it’s something you’ve drawn before. Your style comes out.
Here is more on character design, inspiration from PIXAR. According to the site, it can take 100-1000s of character designs in order for satisfaction (for a vision) to be reached.
Since I was talking about “A Monster in Paris” in previous entry, here’s a color key artist profile of Aurelien Predal. His job is placing the lighting and the background schemes, putting attention into the gradient and style. You see how rough the concepts are, but they comes out as a collage of beauty.
So here’s my next group of loose mess that I rushed through, some of it month or two old. I’ve been using a 0.7mm mechanical pencil since it was just lying around and its good for drawing smoothly with a fine point. However, it’s a bit bold as its equivalent to a HB or maybe a little more bolder, so it can be a bit unclean. It’s good for line.
I added shapes to this flex pose today when I noticed that I can put thighs and a torso, which made it more clear. Okay, it’s not that “clear”. The idea is to see if I can place the pose right – of someone bending over. Penciller work kind of looks like this, as they concern themselves with the placement.
Old poses from months ago.
The finger point is from a reference photo but it’s still not good.
More Ginga (original) from Four Terrae series, with a random Hayato Kazami from Cyber Formula, along with random stick figures and a blocky robot. Both characters I really want to work on. Ginga always end up inconsistent, and from the CF TV series to the OVA, Hayato’s design, especially for the video games, often changes. I still can’t get him down. I do Ginga often because he’s generic and an archetype that I like – the rival or big brother (nii-san) type. And of course, for once, I want to draw something based on something that I’m writing. I guess I have to work on the Saint Seiya style a bit more. The hair needs to be symmetrical. I guess I keep drawing with a strange mix of Level-5 and Saint Seiya; Ginga is from an SS Omega story so I guess his big hair is inspired from Umakoshi Yoshihiko (CASSHERN, Boku wa Hero Academia, Street Fighter ALPHA movie).
A couple of the primary character designers of Seiya are the late great Araki Shingo and Himeno Michi. Himino did designs for BURAI below. I appreciate them both.
Character designer for SOUL OF GOLD, the spin-off of the Asgard Saga, was veteran Motohashi Hideyuki. In terms of Kurumada works, he did designs for BT’X NEO. He also did designs for Fushigi Yuugi and Iron Leaguer!
— よしもと たくじ (@44_moto) April 24, 2016
— よしもと たくじ (@44_moto) July 24, 2016
It’s Magnum Ace!
Lastly, here’s another old pose with good curve.