Hey there, I have been trying to make an image for a couple of days, but cant manage to nail the pose somehow.
(She is suposed to have her hands tied and held behind her, holding her weight, thats why her arms are in an uncomfortable pose)
Then I completely redid it to get this angle, wich seems better, but the bodytype seems wrong (specially the chest area) and I dont know if her right leg is believably attached
And lastly I redid the last version trying a couple of differences, but I worry that by closing her legs the pose is not as interesting and that by reducing the chest she looks too much like a loli and not like a slim adult woman
The woman's pose seems unbalanced, I'm not sure how she can be that much foward with her legs joined without falling. The man seems to hold something, is that what restrains her in this pose?
The off balance part was on purpose, as she is suposed to be holding her weight with her hands as well.
And thanks for pointing out the legs! I think I overestimated the effect of perspective and wasnt noticing it, I adjusted it a little bit now.
Working on a commission and waiting for client input, but I could use an Anatomy check before I go knee deep into ink town
Alright, lineart done! Still interested in any thoughts you guys might have (looks good enough is also welcome to help me rest easier)
I don't really understand the shape of the leg on the left, the part where it goes to the torso. Especially the bump on the upper side.
Well I'm not sure about the whole hips in fact. The pubis seems to go in a strange direction given the belly direction and seems pretty far from the belly)
That thing of the leg is the hipbone poking through. I found an image where that happened to an actress when doing a similar pose and it looked really cool and I tried to emulate it.
Thanks for the input tho, Ill try to keep those in mind for my next piece as this one is already complete!
Its already in my gallery that I dont know if I should link in this thread but you can figure it out XD
My name is Chestnutwomb (you can call me CW or C.W. if you're a stickler like that) and I am a very amateur artist. I only recently decided I want to draw porn, because I'm picky when it comes to porn, and if you want something done right, you have to do it yourself sometimes. I want to draw M/F, M/M, M/F, Solo M, Solo F. I'm so inspired!
And yet, I've got a long way to go before my artwork is good enough to get past the quality control for HF. I want to use this thread to keep track of the progress I make.
My first work that I'll be posting here is of Professor Oak doing a sexy dance for Bill. Right now, I'm trying to get Bill's pose right.
Now, I'm nothing if not honest, and because I did some tracing and copying from the image, I'm not going to submit this drawing to HF.
I thought if I just tried to reproduce the image by looking at it carefully, I would be able to draw the character's body accurately. However, I recently saw a link to YouTuber Sycra's "Methods of Drawing" video series, and I decided to take a look.
It was as if my entire vision of the world expanded. I finally understood what people meant when they said that I had to *understand* anatomy before I tried to replicate anything. And once I truly understood anatomy, I wouldn't feel like I needed to copy it exactly, and I would be able to make changes according to the individual character's body type, what I actually imagined them doing in my head, and so on.
I'll be honest here--Oak looks a lot better than Bill because I had a much more accomplished friend of mine hold my hand the way through. He's an expert on drawing chubby men. I want to get to the point where I'm not relying on other people so much. I want to be able to *understand* what I see, not just try to copy it.
I still don't understand just what I should do when someone redlines my work. Should I try to copy those lines? But not trace them? I understand that redlines often show how the drawing will look ideally. But can a work truly be called *mine* then?
You can copy them, but you don't have to. Definitely don't trace them. Most times you won't want to take every advice someone gives you. Its just one possibility in an ocean of ways to solve the problem.
For example, here's a redline a friend did for me not too long ago. He explained why he did certain things, we talked about different ideas, and the version I drew is on the right. Obviously its not done yet so I may end up changing it some more still, but you get the idea.
Does his version have elements that are better than my new version? Uh, yeah! Some people might even argue that his is just better than mine period. I went to him because he's a lot more experienced in drawing foot fetish work than I am, so of course. But just emulating his final product exactly won't teach me anything.
Plus you don't end with the redline. His advice to me was to actually do more studies of the bottom of the foot, because I'm better at drawing the tops of feet. That's really solid advice and I should have done it before I even started that drawing because I knew it wasn't my area of expertise.
Okay...any sort of guidance for the figure on the right (Bill, the one "watching") would help. I'm looking at his left arm and wondering why it seems "off." I'm trying to look at references--how the arm connects to the torso--and trying to figure out how to shape the arm better. Then I start looking at the rest of the upper arm, and the forearm, and the hand...and then his back, and waist, and hips, and I get overwhelmed. (These emoticons suck by the way, lmao)
I'm looking at my anatomy books, but I'm realizing there's no shortcut--I'm nowhere near out of the woods, and there's no perfect answer. I'm going to have to take some risks here. I just wish I knew where to turn at this point, what to start with.
Well is that your original sketch? It looks like you are just going straight to outlines, which unless you are a super experienced master will always look off. You need to actual do some construction.
To the left is the reference I traced a skeleton over--a very basic one, which is what the red lines are. As you can see, I've already attempted to adjust the overlaying sketch (that's what it's supposed to be, not linework), which is why some of the red lines go off from the black lines. I wasn't sure if I should adjust them to fit the overlaying sketch (what a fingerful!).
Typically, I do at least two sketches: a "sketchy sketch," and a more detailed sketch, before I start working on the actual linework.
Still, most of what you see here was done before I had my "epiphany" of understanding anatomy, and not just looking at it. But when you have an epiphany in the middle of a drawing...Well, I guess you could say I'm afraid of going back, but I'm afraid of moving forward, too.
I realized that the core of my frustration isn't the concrit, but the fact that I can't figure out how to fix anything without someone holding my hand the whole way. Or rather...people say to not be afraid to ask for help and use references, but I don't know when and when to not do those things. I don't want to become too reliant on them, you know? I want to be able to do some things by myself. Can it really be called my art if I always ask other people for help and fall just short of tracing references every time?
I wish I could just draw, as in being able to rely on your feelings instead of a bunch of OCD compulsions. But I have to work with what I was given, just like everyone else. I mean, I know better than to say I'm the only person with unique struggles.
I've always been best at learning with procedures, you know? But that's not how art works. Art involves a spectrum of skills, not just a bunch of written instructions.
I think you are putting the horse before the cart, so to speak. How long have you been studying the figure? And I don't mean just drawing people, but actually breaking down proportions, skeleton, and muscular structure as you work on improving.
Right now maybe it would be in your best interest to actually copy things. You don't have to post every learning exercise online. Copy some photo reference, copy some drawings, make a little still life and try to draw it accurately. Draw diagrams to learn skeleton and muscles. The reference you linked is actually a figure drawing exercise, where you look at a model and try to draw the skeleton from memory.
I mean, it depends on how serious you wanna be about studying drawing vs. how much you just wanna mess around and have fun.
Inventing stuff is not just a trait you are born with. It takes a lot of work. After years of practice and learning, I still need to constantly use reference and can rarely fully invent a figure from imagination. That's a master skill.
There's nothing wrong with copying a pose from one reference, but since you are struggling with where your reference ends and you begin, doing the pose first will probably help you feel better. (Its good for learning too... though I also find accurate copying can be good for learning)
Anyway I kinda rambled... if that's your original construction lines and you didn't draw them on after to demonstrate to me, you are kinda rushing. You want to spend your time fixing things in the sketch stage first so you aren't having to redo them in the later stages (not like I'm good at that myself haha).
Its also hard for me to tell what you changed on purpose vs. what's different because you made mistakes. The main difference between your drawing and the skeleton drawing there, is that theirs is in 3/4 and yours is full profile. But, you didn't change the shoulder placement to reflect that, which is probably what's throwing your off.
Its also hard for me to tell what you changed on purpose vs. what's different because you made mistakes. The main difference between your drawing and the skeleton drawing there, is that theirs is in 3/4 and yours is full profile. But, you didn't change the shoulder placement to reflect that, which is probably what's throwing your off.[/b]
Arrgh! I'm always doing that. Even when I use a 3/4 reference, I end up "correcting" it to either frontal or profile. It's obnoxious and I don't know how to stop! I end up looking at "How to draw 3/4" articles and videos, and I still keep doing it.
I mean, I can fix the shoulder so that it properly reflects a profile view, but I want to copy the drawing, and I definitely want to move past my comfort zone. I think part of what throws me off is that, in many cases, the face is turned in a different direction than the body. I mean, that's how it works in real life, too. But for some reason, I must subconsciously keep wanting to place them on the same line.
It's also true that I have been focusing mostly on trying to complete works, rather than do studies. It's not that I think studies are boring or anything, but I have a very black-and-white brain and I like things that are quantifiable. It's hard to quantify studies and practice. "Do it until you're comfortable" isn't hard line enough. A complete work is quantifiable (to an extent; I still have to decide when it's "finished.")
That doesn't mean I'm going to give up. It's good to challenge my OCD this way, anyway. And I know I'm not unique in having problems with this. But it helps when I actually hear it from someone who's talking to me, rather than some article.
The other thing is, I've been so excited about having complete works to extract avatars and profile pics from. I change them once a month. When I don't have any complete works to show for that month, I have to ask somebody if I can use their art. And for my user pic on HF, I'll have to ask someone from HF, because I want to keep this account separate from my other social media account. Unfortunately, I don't have any friends who use HF.
Thank you for your suggestions. I'll try looking at some studies, and doing some practice. I can't remember if it was you who recommended the Line of Action website, but I tried out one of their quick pose studies the other day. It was fun, if a little difficult to do on a tablet. I might try doing it on ordinary paper instead.
I really wish I had started this when I was younger. I'm painfully aware of each passing day, year, and decade, and I can't stop thinking about the fact that I have less time to improve than people who started ten or even twenty years ago. Oh well.
No no, I'm sorry I think you misunderstood me. Don't study until you are comfortable and then stop. Never stop studying! If you need to quantify it do it by time: I'll study 1 day a week, or 1 hour a day, or something like that.
No, no, I didn't mean "stop studying anything ever." I meant "Study until you're comfortable with what you're trying to draw, and then draw it."
So, like, I've set up half an hour a day to work on drawing (or 10-minute increments under certain circumstances). There's not much you can do in half an hour. I could increase the time, but I get overwhelmed very easily, especially because my day is filled with performing compulsions, and I get all frantic if I "fall behind" on them. Obviously, I try to challenge these compulsions, but if I take on too much at once, I start to fall apart, and that's not good for anybody, least of all myself.
I have, actually, tried to go between "practice" drawings" and complete works, but you can't just, say, study for one hour and then try to make a complete work, because you may find yourself realizing you need more practice on hands, or perspective, or whatever in the middle of what you're drawing.
I'm also painfully aware that most artists spend several hours a day drawing, that I'm not getting any younger and I'm not going to live forever, and I become so anxious with the passing of time. So that's kind of why I'm rushing myself. I really wish I could slow down. I really wish I were normal and could just...I don't know...figure out on my own what I need to do, and then do it. I wish I could be like other artists. It's not that I think everyone has this inborn talent that I don't, and that they don't have to work on it. I just...
I'm sorry. It's really hard to explain. I hope you understand what I'm saying? Does it make sense? Lol
If you are really struggling with a sketch, sometimes the best thing is just to scrap it and start over. Not everything you draw has to be a finished piece. But I don't see what you are seeing here with it getting worse.
It's the left arm, although the left leg doesn't look great, either. I think I'll wait to work on that until I've drawn something for him to sit on, though.
I was also frustrated because, when I showed it to a friend, he told me the lines looked nervous and "hairy," and I took that to mean that he thought this was the line work. I got depressed because, if someone can't tell the difference between my sketches and my line work, I must be doing a lot worse than I thought I was. This is supposed to be a sketch still, but maybe even my sketches are bad?
I'm starting to get into that mindset where I feel like if something is done by me, it *must* be awful, because I'm only ever capable of producing low quality work.
I definitely want to finish this drawing (it's the one with Professor Oak; I've just cropped it). I've already scrapped and changed Bill's position once. Even if this drawing isn't good enough to get past quality control (and I don't think any of my drawings will for a long time), I still want to complete it.
You know how if you repeat a word over and over, it stops sounding like a word? I think that's whats happening to you with Bill here.
Try taking a break from working on Bill and move onto something else in the picture, like the background, for a little bit. Come back with fresh eyes.
Don't take what your friend said about the sketch too seriously. It still looks like a sketch to me.
I'm glad that despite your frustration, you still want to finish the picture instead of scrapping it entirely. That's a good attitude
That might be a good idea, actually. I'm awful at backgrounds, but I won't get better if I continue to be afraid of drawing them, right?
I mean, I think it looks like a good sketch. Maybe the arm is a little on the long side but it doesnt' stand out to me or anything.
I am still a novice on the use of the cli, so if possible I would prefer to use a file manager until my skills improve. Is there a file manager for R6 installed or available?
Several come to mind, but I don't believe that these are available in the LinHES repos at this point in time. All have their own set of dependencies which makes you building via your own PKGBUILD kinda tough:
You can google these to see some screenshots. Note that you'll have to make a request on flyspray to have one of these added to the LinHES repos as using the official Arch repos AND the LinHES repos is dangerous.
As an aside, what are you using as your main desktop PC? If the answer is WIndows or Linux, why not just manage files through samba on your primary desktop machine?
I am trying to set up my htpc with Linhes. At present I have my old htpc which is soon destined to become the backend. Until then I can have either my Linhes pc connected or my old pc, but not both.
midnightcommander is another that can be used through an ssh session since it has a CLI as well as a graphical one too.
I think one of the reasons there was never a file manager installed as default in any of the Knoppmyth / LinHES is the impracticality of try to do anything to your machine sitting where your machines are normally located. There is nothing conducive to a good working environment sitting in front of your LlnHES box while the wife and kids scowl at you for interrupting any program that they are watching.
95% of everything I do to my box is done sitting at my desktop using Webmin, VNC and very rarely Putty. This all happens while some else in the house is watching TV and they never know it.
The creators thought it was important for you to have a remote file manager so they included a button in LinHES setup menus to install Webmin for you.
I elaborated here more than I needed to because I once tried to go down the same path and could not figure out why no one else cared about the lack of a file manager.
If you use the 64bit version, you'd need a 64bit build of LiteStep. There are no official 64bit releases right now. The architecture of the modules has to match that of the LiteStep core. (not sure why rainmeter can't find its plugin though).
Wearing shoes makes you look cooler and more comfortable https://www.footguru.net However, shoes are likely to get dirty and removing stains is a challengeable task. There are many effective ways to help you overcome this difficulty. Have you ever heard about how to clean shoes with baking soda? Keep on reading and discover the great benefits that baking soda brings to you. To get the best result, you need combining baking soda with some types of necessary ingredients.
As you know, baking soda combines well with hydrogen peroxide and water to create a powerful mixture for cleaning. The preparation is very important for the best efficiency. In addition to baking soda, water, and hydrogen peroxide, you need to have a small bowl and a toothbrush. This method should happen in sunny days.
After picking all large dirty pieces on the shoes, remember to divide these ingredients into the appropriate portions. More specifically, mix 1 tablespoon of baking soda with 1/2 tablespoon of warm water and peroxide. Then, dip a toothbrush into the mixture and rub the dirty areas. Wait about 30 minutes for the baking soda to absorb into the shoe surface. When the mixture starts becoming dry, rinse your shoes completely with water. The more you repeat this step, the better result you can get.
Another best way to deal with a pair of dirty shoes is using the combination of baking soda and vinegar. Learn how to clean shoes with baking soda and vinegar as below.
The first important step is removing your shoelaces. This requirement helps display the white parts of the shoes for better cleaning ability. Soak the shoelaces into soap and warm water to help them have a brighter appearance. If your shoelaces are too old, purchase the new ones at the shoe stores.
After that, place the shoes under a faucet and wash thoroughly them by cold water. This contributes to removing stains left on the shoe surface. It is advisable for you to use cold water because warm water may ruin your shoes because of running colors.
The next step is creating the mixture of baking soda and vinegar. Baking soda comes with 2 parts, whereas, the vinegar holds 3 parts. Pour the mixture into a plastic bowl, not the metal one to avoid a bad reaction. For cleaning shoes, white vinegar is a better solution than the red type. After these steps finish, you will have a thin paste of baking soda. Use this effective paste to scrub on the dirty areas. There is no difficulty in completing this task. All you need is dipping the toothbrush into the liquid and rubbing the affected areas. Remember to clean both inside and outside of the shoes, especially the areas with stains.
Wash your shoes again before putting them into the washing machine. This prevents the bad effect of the vinegar on your machine. While the washing machine works, it often produces powerful strength on your shoes. Therefore, you should keep shoes in a laundry bag before tossing them into the machine.
Lastly, hang your shoes under sunlight and wait few minutes for them to dry. The sun has the great impact on brightening your shoes as well. Avoid using a dryer because it can make your shoes change their shape.
A simple way to get rid of stains on your shoes is making use of baking soda and water. Let us introduce how to clean shoes with baking soda and water as the followings. You need preparing several necessary things such as a small bowl, a toothbrush, paper towels, and a bottle of water. Then, pour water into the small bowl. After dipping the toothbrush into the water, you continue to dip it into the baking soda. Alternatively, stir the mixture of baking soda and water together with equal portions. One part of baking soda should combine well with 3 parts of vinegar. Scrub the dirty areas with the effective toothbrush. Repeat this action several times to get the best efficiency.
Keep in mind that the amount of water should be suitable with the amount of baking soda. Then, use old paper towels to blot the shoe surface. A toothbrush is responsible for removing all leftover pieces of soda.
We ensure that you will get a good result after applying this method on your dirty shoes. All you need is mixing soda, warm water, and laundry detergent in a small bowl. After these steps finish, you will have an effective paste for getting rid of spots on the shoe surface. Use a toothbrush to remove debris on the shoes. Next, stuff the newspaper into the shoes and let them free overnight. It promises to make you surprised on the next morning.
Besides baking soda, some natural things are very effective in removing dirty spots in your shoes like powder cleaner, lemon juice, vegetable oil soap, etc…If you want to clean leather shoes, remember not to soak them in the water to avoid unexpected damaging. The baby powder is very useful in getting rid of stains in much polish leather shoes. By dipping a soft cloth into the baby powder, it can reduce your shoe polish well. Moreover, although chlorine bleach has a great function in whitening, you should not apply for this medicine on your shoes because of the risk of discoloration.
In a word, there is no need of going outside for a service; you can completely clean your dirty shoes with DIY methods. One of the most effective ways to get the best result is taking advantage of baking soda. Soda has a powerful strength in cleaning, isn’t it? Let’s enjoy the eye-catching appearance of your new shoes when you know how to clean shoes with baking soda.
The 15" MacBookPro (2011 through early-2013) is affected by a solder-failure issue which eventually disables the discreet GPU. Apple has a repair extension program, but they just swap boards. The issue will eventually recur. There are workarounds to the GPU failure, but they have limitations. If possible, avoid the affected models.
If you do CPU-intensive loads, a notebook has far smaller heatsinks and fans than a desktop. The fans will ramp up much faster. In this case, get at least a quad-core to give yourself more headroom.
I have a 2012 Mac Pro and a 2015 13" MacBook Pro at work, so allow me to chime in. Let me assume now you have to decide between a new iMac and a new MacBook Pro:
(1) Nothing really. Clamshell mode can be finicky as it tends to move windows around when you change resolution. But that's about it.
(3) Notebooks are quite fast, only if you consistently load them and need more than 2 or 4 cores for a prolonged time, are notebooks slower. The SSD in MacBooks is just as fast and for short bursts, so is the CPU. In fact, core-by-core, my 2-core MacBook Pro is significantly faster than my 12-core Mac Pro. You can really tell browsing the web, compiling TeX code and other things that do not make use of more than 2 cores.
If you place a load on them for a long time, desktops will handle it more gracefully, they will have larger thermal headroom, fans won't spin up as much and in case of the Mac Pro, I still have plenty of cores twiddling their collective thumbs.
I've long used an iMac for most of my work and am ready to upgrade. But occasionally I need the portability of notebook. My 6/7-year-old white plastic and heavy Macbook, though, is just about at the end of its useful life.
So I'm thinking of investing in a Mac portable and a large external display, rather than an iMac this time. For those who have gone this route, can you help with the following questions, please?
3. What do you miss about going portable vs using a desktop? And will you continue with portable computing?
1) Dongles, and the associated feature of being easy to connect to and from the external display and keyboard. Look at what you need to connect and figure out the exact setup of adapters that you will need. There are a lot of things to look out for here - USB-C is a step forward, but has odd limitations. Thunderbolt docks are great, but expensive.
2) LG 27MU67, a 4K 27" display that acts as a Retina display under MacOS. I love it, and I would recommend that you get a 4K display so it can be run in Retina mode. As for LG... their panels are great, their interface is terrible, but then I don't sit in that interface playing with the brightness all day.
3) I miss the raw power. A 13" comes with a dualcore, not a quad (although 2018 may change things here) and the GPU is anemic compared to even an iMac. That last only matter for games, though - I game on a PC now, so it doesn't matter so much.
I think mine is much slower than yours, 1.3 or 1.5 GB/s Oh, and my Mac Pro is dead last with ~500 MB/s. How did we ever live on floppy drives? I had to wait a minute or so to copy 880 kB.
Not a problem - the drives were faster than the CPUs. On the Mac Plus, if you connected an HDD, it had to be formatted with 3:1 interleave - that is, you write data in the first sector, then the fourth, then the seventh etc. The computer took so long to just receive the data from HDD and put it in RAM that two sectors had already whisked by by the time it was ready to read again. Read speed of the CPU was less than half of the read speed of the drive.
And it wasn't just the drives, it was RAM — not speed, but size! Until I installed a “memory doubler” in my Amiga 500, I had to stop half-way and insert the blank disk, then exchange them again for the other half when making copies of floppy disks because 880 kB don't fit into 512 kB main memory!
Those were glorious times, my kids will make fun of me: (pointing to a 3.5" floppy) How many videos fit on this thing?
And I seem to remember that the early Commodore 5.25" floppy drives had their own computers built in with the same CPU as the main machine (something like a C64). Just imagine if your touch bar were driven by a Core i7 these days
I find it amusing that the floppy disk will remain in the public consciousness forever as the save icon, long after people have forgotten what it does.
One of Gruber’s better insights is what would really suck about having to go back to 80s and 90s computing wouldn’t so much be the lack of mobile, or slower speeds, but how frickin starved we used to be for storage.
I'm looking for a way to find non work item text in a Live Doc, i.e. un-tagged lines of text. A wiki would be nice, but a Jave plugin would also work if I have to. Any ideas?
I've been enjoying the Dramatica theory. One question just popped into mind. The theory has a Problem-Solving Style, saying some characters would think linearly and others would think in terms of space or relationships. What if you're writing a science fiction story where a telepath sends a message to somebody else? If the telepath is a problem solver who thinks in terms of relationships and spatial arrangement, would there be a barrier to a receiver who thinks linearly? Imagine the communication problems we have when men and women try to converse.
The Problem-solving style story point has more to do with your audience's reception of the story than thematic storytelling issues. The fact that we all have the capacity to solve problems linearly and holistically (to one degree or another) allows for communication. However, those that favor or are intrinsically hardwired to use one before the other can create areas of miscommunication. Imagine one group that measures everything by how long it takes (time), versus another group that measures thing by how much they weigh (mass). The frame of reference colors the interpretation of information and the type of response one might have to the information going forward.
In this month's GO Magazine, Single in the City's Esther Zinn gives helpful advice on how to avoid bad lesbian drama on the dating scene. Take heed and learn about potential nightmares like the Closet Case, the Rebound and the Mama's Girl.
Dubbed, The Gay Sarah Jessica Parker by her straight friends, Esther enjoys drinking cosmos, eating cheesecake and running her own business.
I can understand the concern about older women (or in the case of a straight girl, older men) living with their relatives but I think in this tough economy you sometimes have to over look that. A couple of decades ago it was easier for everyone to get a job and not unheard of for 18-21 years to be officially moved out of their parents' home and on their own, persumably for life. But now, you have people like me who are 27 and really have no choice. I'm hoping that will change soon for me though.
And also why give newbie lesbians a hard time? Okay so some people just don't come out of the closet until later in life but you have to try to understand where they are coming from. Up until recently we just didn't have an open society toward gay people. And parts of our society is still struggling with homophobia, so give the newbie lesbians and closet cases a chance.
I have to admit, I love Orangina soft drink but it's never made me fantasize about Gay cougars. Until now: