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Also the way the gun is held in Nights sketch doesn't make any sense at all.
Pretty interesting, could you explain what the terms mean and from what this sequence is?QuoteAlso the way the gun is held in Nights sketch doesn't make any sense at all.
@Facet:
Now I am really interested, why you think Nights pose is actually more dynamic.
Also the way the gun is held in Nights sketch doesn't make any sense at all.
I am restricted on really active figure poses, because if I will use them later in a chatbox, you can imagine what happens.
And yeah, Of course I am acting in the poses.
The groups of muscles usually get more natural once soft gradients are applied. If we jus thave clear cut big clusters it always looks technical, but as stated: won't be visible at all. The most important thing is for me to find the anchor points for the clothes.
You could be reminded of Hogarth because of the overall proportions - I am going for idealized ones, not realistic ones.
@Night, made your pose, think it's not suited for the cavalry.
I want to have something more aggressive and fiery, since I can't have the horse in there because of the perspective lines, the pose should give that feeling.
It's a nice basic pose, maybe I will get back to it with another sprite which needs to have this silence and stiff attitude.
I didn't gave any thoughts to perspective, within the first sketches, as soon as I start with illustrating it, well I have to apply it I guess.
er… I actually didn't mean to say specifically that either Night’s or Tim’s suggestions were more dynamic/correct or whatever; just affirming more broadly the idea that the long process you've gone through to get to that stage doesn't seem to be solving/refining a lot of the issues you might hope it to and instead is producing quite a bit of extraneous fiddly stuff (loads of full outlines and bones and muscles etc.) when the important stuff is pretty streamlined lines and masses.
The latest looks better but I'm too tired to analyse.
The pose reminds me of the Doryphoros of Polykeitos with the contrapposto, back leg lifting off the ground, and the piece resting on the shoulder, just with everything flipped. I think if you want more "attitude" with the pose you can try emphasizing the contrapposto, such as dipping his left shoulder more and having the straight leg lock more at the knee. Night's anatomy picture shows a good shoulder dip.
Gun
Aside from melee attacks with his sword, it looks like all this guy can do is fire one single harpoon.
What will this really accomplish on the battle field?
Great stuff.
Wish I was able to submit an edit right now, but can't.
Right thigh plate mail
Edges of each horizontal metal strips wrapping around leg, going out of our view, seem to violate perspective.
I believe your sketch (http://abload.de/img/light_cavalry_sketchb6i9w.png) had it right.
Left shoulder
Seems mushy and formless. Fabric is difficult.
Perhaps less highlight stretching across his deltoid area so there's more distinct planar definition?
Bracers/jacket cuffs
They look under-rendered. Plain, as if unfinished.
Gloves
I don't understand the penguin gloves. Why those? Just curious.
Gun
Aside from melee attacks with his sword, it looks like all this guy can do is fire one single harpoon.
What will this really accomplish on the battle field?
Did you decide to go with the smirk for the final piece?-yeah, made it more visible in the latest edit
Goodbye AT-ATs!
I also agree about the left shoulder. The jacket sleeve to shoulder assembly looks like it's tailored out of 1 piece. I think defining the seam line would help.
What I find most annoying, is that his gloves are far to large to be placed into the trigger guard to actually fire the weapon.put more effort in there.
Not sure what the brown bulb is directly to the south of the trigger guard is either, whatever it is, you'd almost have to cup your hand around it in order to get your finger onto the trigger. If it is a grip its is far to bulbous.
Alas, it is a great piece.
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