been rather engrossed in UE4 in my free time, got a license soon after announcement, and it's everything i had hoped, the shift in productivity and usability, and empowering non programmers more than any other tool available, dawned on me a lot of it is things i've loved about blender and blenders game engine but never really saw in anything else, it's mostly in here, not to mention a system akin to one i figured out on my own last year the same as the multiple layer materials, rather intuitive all around

it's pretty much a testy sketch sculpty thingy, and testing the engines features so posting it here 



their licensing is amazing, commend them for their shift

a nice flow of awesome stuff up in this thread 

did so many sketches  last night instead of sleeping to avoid spamming i'll just post 2 of the better ones

yeah that definitely reads a lot nicer and anvil-esque, and does look more settled on the stump, but yeah there is still some perspective issues, but they aren't that jarring,

and if it's on a hill it's pretty close to a 3D render, just reads like it has a bit of a wide focus camera lense


 so it's not major enough to overhaul the image in my opinion, but something to keep in mind is mocking it up in 3D upfront to avoid mistakes, because with that kind of structure using perspective lines is really difficult to construct and nail from instinct, and if it's isometric then yeah it needs to adhere strictly to diametric or trimetric orthographic isometric angles, which it doesn't, is it just a stand alone piece?

glad it struck a chord

the logic behind it is something that is done a lot in painting, it's probably got a technical term, it's just accentuating certain edges while ignoring others, implying and "bluffing" edge definition and making it read better against the backdrop or neighbouring details, in pixel art i guess it's equatable to "sel-out/selective outlining" but it's very purposeful in it's application, I'd link examples if i could find them.  I read about it in magazines not long ago too long ago about breaking lines and implying the detail like this



it has many different contexts of course (the example not entirely applicable directly to this piece), but illustrators use it a lot, in both line work and also paintings 

it was definitely conscious on the underneath edge of the hanging cloak, on the upper right side it was more keeping the emphasis from yours (which i later realized where spindly thin arms  ) and wasn't really that conscious, but overall i was trying to emphasis the form and a curved posture,

he reads (especially on glance and as i tried to depict him) as a strong wandering nomad-esque character, I really like that, looking forward to your revision

speedy gesture sketches

you know how you scribble while you are on the phone talking? pretty much what this is but in 3D