[Art] Phoenix Wright - After Entirely Too Much Deliberation On the Matter (Phoenix/Miles) (PG)
Title: After Entirely Too Much Deliberation On the Matter
Fandom: Phoenix Wright / Gyakuten Saiban
Characters/Pairings: Phoenix/Miles
Rating: ... PG?
Crit/Feedback: Always! I adore crit! I always dither on in my A/N about where specifically I'm looking to improve, too =D
Notes: First and foremost I have to give credit: this was inspired by another PW pic, Bedroom Kisses by kamapon. I loved the idea very much, most especially the tangled legs and Nick's arms, and thought I'd try to do my own version. I redrew it entirely, of course, and I changed a lot around to suit my headcanon about Nick and Miles, but credit for at least 3/4 of the idea must go to the original artist. That said, I'm pretty proud of this linework and have a lot to say about it in my A/N =D
Colouring This Lineart: Several people have asked, so: if you'd like to colour this, feel free! I'd be delighted to see the finished product, but I do ask that you credit me for the line art and kamapon for the original pic =)
Thumbnail:
[ Smaller 800x600 version ]
[ Bonus start-to-finish progression animation ]
A/N: Oh christ. This took forever (I started this in mid-November), but I think it was so, so worth it. I consider this some of the best line art I've ever done, and it was a fantastic exercise in body language. While I loved the idea of the first picture, I immediately developed a story in my head for that scenario and the original body language didn't match it, so most of my time on this was spent figuring out the body language I needed. I think I changed the mood quite a bit, too: everyone's clothes are more on... and Nick's wearing a tie. Because I think ties are hot >.>
I guess I ended up with my own story and my own idea for this picture, but I'll always be grateful for the original for getting me started.
I'm excited enough to be done that I made a progression animation! I actually documented this one quite frequently so I could show bottle_of_shine, my body language consultant. She deserves a lot of credit for putting up with me pestering her about tiny differences in hand positioning. Pathetic FUN fact: the time difference between the last two frames of the progression is about three hours. I made a lot of small changes but I think the overall difference is quite noticeable. I consider that extra time polishing worth it!
I had a really rough time with almost every part of this picture at some point: hands, hair, all the fabric. NICK'S BUTT. The hands were the biggest problem, the one I really cared about most, because all the body language is in them (and in Miles's left leg). I wanted Nick to be gentle but assertive; I wanted Miles to be tense but wanting. I have a whole story behind this scene in my head, and the short version is: Miles overthinks matters entirely too much; Nick doesn't; and Miles doesn't realize either until his shirt's already off. Then the grabbing starts.
I changed Miles' hands around many, many times to try to express what I wanted them to -- you can see some of these happening in the progression animation. It took me ENTIRELY too long to realize I'd had Miles's left hand at the wrong angle, but now I am very proud of how well that hand came out. I am also strangely proud of the wrist on Miles's right hand.
I also, embarrassingly enough, spent a long time trying to get Nick's ass to look right. It was entirely flat the first time I drew it and it took me a lot of messing around to get it to look better... but I think I like it just fine now >.>
And god, Nick's HAIR. I am REALLY EMBARRASSED by his hair in the progression animation. You can see in one of the last frames that I finally drew in all the shape lines so I could get the outline right. I FUCKING FINALLY understand how his hair works. Jesus Christ. As a result I'm pretty proud of it! I think Miles's came out okay, too =D
And! I think I actually did okay on the fabric. You can see I had to try many times, especially on Miles's right trouser leg, but I think the end result is one of my better attempts at fabric!
Something that still bothers me is that I don't think I got Miles' shoulders to look quite wide enough: he's built like a fucking tank in canon; check out his head-on shots (links to a page full of animated Miles sprites). Every time I tried to make his shoulders wider it just looked weird. He's at this funny, 3/4 angle that minimizes shoulder width; it was quite frustrating. I tried instead to express his bulk through his torso, and I think I did okay there, though it was hard not to make him more buff than any 25-year-old work-obsessed lawyer has any right to be.
I learned a LOT from working on this. I've always known I have a problem with strong, confident lines, but after bottle_of_shine pointed me toward a tutorial on the subject by chirachira I resolved to really consciously make an effort to work on my lines. I think it really made a difference: you can see my sketchy lines in the earliest frames of the progression, from months ago, and cleaning them up took forever. For the last couple of drafts, I tried using long, confident lines, and it really, really sped up the inking process, and I think the lines came out really nice as a result.
So, I hope to keep working on my lines. I also think it's time for me to really think about my line width variation more critically: I love varying my line widths, but I can tell they're throwing the composition off in some places. I need to start thinking of line widths on a larger scale, as a composition tool. I think I regressed a little in that respect, really, since I think I handled that better in my "Blind Bandit" Toph picture.
And, as always, I hope to make my final lines more dynamic -- I always feel like I lose a lot of that between sketch and ink.
x-post: gyakuten_saiban [ here], igiari [ here], narumitsu [ here], my journal, da, y!g
Fandom: Phoenix Wright / Gyakuten Saiban
Characters/Pairings: Phoenix/Miles
Rating: ... PG?
Crit/Feedback: Always! I adore crit! I always dither on in my A/N about where specifically I'm looking to improve, too =D
Notes: First and foremost I have to give credit: this was inspired by another PW pic, Bedroom Kisses by kamapon. I loved the idea very much, most especially the tangled legs and Nick's arms, and thought I'd try to do my own version. I redrew it entirely, of course, and I changed a lot around to suit my headcanon about Nick and Miles, but credit for at least 3/4 of the idea must go to the original artist. That said, I'm pretty proud of this linework and have a lot to say about it in my A/N =D
Colouring This Lineart: Several people have asked, so: if you'd like to colour this, feel free! I'd be delighted to see the finished product, but I do ask that you credit me for the line art and kamapon for the original pic =)
Thumbnail:
[ Smaller 800x600 version ]
[ Bonus start-to-finish progression animation ]
A/N: Oh christ. This took forever (I started this in mid-November), but I think it was so, so worth it. I consider this some of the best line art I've ever done, and it was a fantastic exercise in body language. While I loved the idea of the first picture, I immediately developed a story in my head for that scenario and the original body language didn't match it, so most of my time on this was spent figuring out the body language I needed. I think I changed the mood quite a bit, too: everyone's clothes are more on... and Nick's wearing a tie. Because I think ties are hot >.>
I guess I ended up with my own story and my own idea for this picture, but I'll always be grateful for the original for getting me started.
I'm excited enough to be done that I made a progression animation! I actually documented this one quite frequently so I could show bottle_of_shine, my body language consultant. She deserves a lot of credit for putting up with me pestering her about tiny differences in hand positioning. Pathetic FUN fact: the time difference between the last two frames of the progression is about three hours. I made a lot of small changes but I think the overall difference is quite noticeable. I consider that extra time polishing worth it!
I had a really rough time with almost every part of this picture at some point: hands, hair, all the fabric. NICK'S BUTT. The hands were the biggest problem, the one I really cared about most, because all the body language is in them (and in Miles's left leg). I wanted Nick to be gentle but assertive; I wanted Miles to be tense but wanting. I have a whole story behind this scene in my head, and the short version is: Miles overthinks matters entirely too much; Nick doesn't; and Miles doesn't realize either until his shirt's already off. Then the grabbing starts.
I changed Miles' hands around many, many times to try to express what I wanted them to -- you can see some of these happening in the progression animation. It took me ENTIRELY too long to realize I'd had Miles's left hand at the wrong angle, but now I am very proud of how well that hand came out. I am also strangely proud of the wrist on Miles's right hand.
I also, embarrassingly enough, spent a long time trying to get Nick's ass to look right. It was entirely flat the first time I drew it and it took me a lot of messing around to get it to look better... but I think I like it just fine now >.>
And god, Nick's HAIR. I am REALLY EMBARRASSED by his hair in the progression animation. You can see in one of the last frames that I finally drew in all the shape lines so I could get the outline right. I FUCKING FINALLY understand how his hair works. Jesus Christ. As a result I'm pretty proud of it! I think Miles's came out okay, too =D
And! I think I actually did okay on the fabric. You can see I had to try many times, especially on Miles's right trouser leg, but I think the end result is one of my better attempts at fabric!
Something that still bothers me is that I don't think I got Miles' shoulders to look quite wide enough: he's built like a fucking tank in canon; check out his head-on shots (links to a page full of animated Miles sprites). Every time I tried to make his shoulders wider it just looked weird. He's at this funny, 3/4 angle that minimizes shoulder width; it was quite frustrating. I tried instead to express his bulk through his torso, and I think I did okay there, though it was hard not to make him more buff than any 25-year-old work-obsessed lawyer has any right to be.
I learned a LOT from working on this. I've always known I have a problem with strong, confident lines, but after bottle_of_shine pointed me toward a tutorial on the subject by chirachira I resolved to really consciously make an effort to work on my lines. I think it really made a difference: you can see my sketchy lines in the earliest frames of the progression, from months ago, and cleaning them up took forever. For the last couple of drafts, I tried using long, confident lines, and it really, really sped up the inking process, and I think the lines came out really nice as a result.
So, I hope to keep working on my lines. I also think it's time for me to really think about my line width variation more critically: I love varying my line widths, but I can tell they're throwing the composition off in some places. I need to start thinking of line widths on a larger scale, as a composition tool. I think I regressed a little in that respect, really, since I think I handled that better in my "Blind Bandit" Toph picture.
And, as always, I hope to make my final lines more dynamic -- I always feel like I lose a lot of that between sketch and ink.
x-post: gyakuten_saiban [ here], igiari [ here], narumitsu [ here], my journal, da, y!g