Actually, your comment here makes a lot of sense. I can totally see why you feel confused by my approach so I'll try and elaborate for you.
Ok, you mentioned why don't I have a reference picture for my character? Well, for a couple a reasons. I don't because I haven't completely settled on one specific design. I have different variations of my character. I also like to frequently modify my character (as in have one artist draw it this way and another draw it that way). While I agree that a reference sheet definitely has its merits such a sheet would be too limiting for my intent since I like variation.
I can anticipate your next question: If I like variation, why then don't I just let the artist draw me how they like? ^^ Well that's what I do.....but the answer is more complicated than that.
Firstly, there are some details that remain constant (such as my horn style, spikes on elbows and heels, long hair). These are really easy to explain.
Secondly, some details are optional (meaning that I sometimes want them or sometimes don't or it's up to the artist if they want to include them or not). Examples include, a spike on the end of the tail, scales vs feathers, whether I'm wearing a spiked collar or not, etc.. These secondary details can sometimes be a little more tricky to explain; for example, one variation I like is scales down the inside of the neck, down the front of the torso, in the groin and inner-leg region and underside of the tail. Notice now that while the example I just used is a rather simple concept, it took a lot of words to explain; that's partly why my descriptions tend to bloat-up a bit. To help speed-up communicating my intent, that's when I usually provide artists with sample pictures to refer to ('cuz a picture's worth a thousand words, you know?).
Thirdly, I find the most difficult part to communicate is things like the sizes of body parts, proportions, and the specifics of some shapes. For example, in the real world (never mind the endless possibilities of the imaginary one), breasts come in different forms; some are more tear-dropped, some more busty, some more droopy, etc. but my point is that they don't just come in one shape. Other examples include describing body-build and hyper vs large. It's can be very challenging to communicate such aesthetic concepts succinctly which I try but which still remains a challenge.
Forth, after all the above is taken care of, I may have a particular pose or scene in mind. I may want them wearing certain clothing. I may have a second character in the drawing that I need to describe. Maybe I want a character to have a certain expression on their face. Etc..
The amount of detail I give varies depending on the specific commission I have in mind and any limitations as to what an artist is willing to do.
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timeasmymeasure
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Date: 2010-08-04 03:55 am (UTC)Ok, you mentioned why don't I have a reference picture for my character? Well, for a couple a reasons. I don't because I haven't completely settled on one specific design. I have different variations of my character. I also like to frequently modify my character (as in have one artist draw it this way and another draw it that way). While I agree that a reference sheet definitely has its merits such a sheet would be too limiting for my intent since I like variation.
I can anticipate your next question: If I like variation, why then don't I just let the artist draw me how they like? ^^ Well that's what I do.....but the answer is more complicated than that.
Firstly, there are some details that remain constant (such as my horn style, spikes on elbows and heels, long hair). These are really easy to explain.
Secondly, some details are optional (meaning that I sometimes want them or sometimes don't or it's up to the artist if they want to include them or not). Examples include, a spike on the end of the tail, scales vs feathers, whether I'm wearing a spiked collar or not, etc.. These secondary details can sometimes be a little more tricky to explain; for example, one variation I like is scales down the inside of the neck, down the front of the torso, in the groin and inner-leg region and underside of the tail. Notice now that while the example I just used is a rather simple concept, it took a lot of words to explain; that's partly why my descriptions tend to bloat-up a bit. To help speed-up communicating my intent, that's when I usually provide artists with sample pictures to refer to ('cuz a picture's worth a thousand words, you know?).
Thirdly, I find the most difficult part to communicate is things like the sizes of body parts, proportions, and the specifics of some shapes. For example, in the real world (never mind the endless possibilities of the imaginary one), breasts come in different forms; some are more tear-dropped, some more busty, some more droopy, etc. but my point is that they don't just come in one shape. Other examples include describing body-build and hyper vs large. It's can be very challenging to communicate such aesthetic concepts succinctly which I try but which still remains a challenge.
Forth, after all the above is taken care of, I may have a particular pose or scene in mind. I may want them wearing certain clothing. I may have a second character in the drawing that I need to describe. Maybe I want a character to have a certain expression on their face. Etc..
The amount of detail I give varies depending on the specific commission I have in mind and any limitations as to what an artist is willing to do.
[Post continued. . . ]