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[BlackFlyme]

Too uncanny is more or less what everyone else in class is thinking. The teacher wants an anime-styled head with realistic textures.

I've also started on some modular walkways for another class. Altogether, there's a straight piece, a 30 degree ramp, a 45 degree turn, a 90 degree turn, a broken version of each of those, two types of railings, two types of supports, and a ladder.

Spoiler (click to show/hide)

Normal versions on the left, and broken ones on the right.

Spoiler (click to show/hide)

Several of the broken pieces are rigged to fall apart.

Spoiler (click to show/hide)

Spoiler (click to show/hide)

Early supports and railings. I need to fix the clipping.

[Parsely]

Too uncanny is more or less what everyone else in class is thinking. The teacher wants an anime-styled head with realistic textures.

Reminds me of Star Ocean: The Last Hope...

[Arx]

You could probably get some reference by looking at the Battle Angel Alita live action film. They made some interesting character design choices with Alita.

[SalmonGod]

If we're talking about figuring out how to translate anime style characters into sculpting, look up examples of other people doing that very thing.  There's many out there.  I've got quite a few fantastic ones I know I could dig up.

[Parsely]

I'm not being critical but I do think it's funny, heh. I think BlackFlyme did a good job, and no doubt the teacher has some kind of reason for asking them to use realistic textures. I've been wanting to do low-poly anime characters for a while so this is neat to see! I have some tutorials I've been hanging onto until I have the time to try it out.

[Arx]

Spoiler: Steampunk Lian (click to show/hide)

[Haspen]

Very nice, the coloration seems to be mixing especially wall.

That paddle is a bit small, however ;v

[Cathar]

(it's a rifle tho)

[Haspen]

Oh.

Welp .<.

[Arx]

Don't worry, the general consensus seems to be that it's an unmitigated piece of garbage anyway, so it's not like you're the only one finding it confusing.

[TD1]

Not your best? Certainly. Unmitigated disaster? I think not.

[Cathar]

It is a piece of work you did without a reference. It doesn't shine as much as your other work because of that, but for that reason, to me it is more valuable.

[Arx]

Most of my work that isn't explicitly portraiture, and even some of that, is actually without direct reference - that is, I'll consult images to check how the reflections off a material look or some precise detail of anatomy, but not particularly replicating any given element. This was basically entirely unreferenced except the pose, for instance. This was drawn 80% from imagination as well (and has its fair share of flaws arising from that, but none that actually make it look bad IMO - just a bit weird if you think too hard about the lighting).

This one is just... not great. It happens. It's just tilting when I pile the hours into a piece and at the end I look at it and go "well, this sucks".

[Urist McScoopbeard]

Maybe it's time to work on your figure construction?

The main problem here seems to be a combination of things at weird angles/seeming to adhere to different perspectives (like the plane that her feet are resting on which gives her a kind of "floating" vibe) and odd body proportions (a large head/face with no ears, big calves, and a general litheness that could be considered "too tall")

I THINK that this is a pretty easy fix--if you just spend some time to A.) draw the armature and B.) define the volume at a unified perspective, I think that you'll find your painting is more than up to snuff.

It's really important to practice figure w/o reference too y'know (seriously, referencing things take an inordinate amount of time, and not only that, but your referenced pictures will become much better with figure construction as well), and that's why constructing your figures is so important.

[Arx]

Spoiler: Initial sketch layer (click to show/hide)

I'm pretty comfortable with the anatomy here. The majority of the issues are with her face, which is something I've commented on before elsewhere:

Actually, this happens any time I draw a full-body concept: the face is quite small, more so in previews, which makes it difficult to work with, and at the same time people will often disproportionately assess an artwork by the face - which is fair enough, but it means that I could be really happy with everything else and mangle the face and still have something of a “commercial” failure.

It's got its share of issues elsewhere, and there are some definite spots of jank I can easily identify - particularly regarding the form and lighting - but because human brains are wired so hard to look at faces the whole thing gets dragged down much more by a lackluster face than anything else.