Thursday, 19 June 2014

Painting Sindragosa


Still on the Fanart100 inspiration flurry, I rejoiced when Fei took 'Yellow' and went to tackle 'Blue'. Warcraft has five dragonflights, each in charge of a certain aspect - life, time, magic, earth and nature. Each dragonflight is lead by one dragon, and those tend to conveniently take on humanoid form so they don't shatter all your china while spreading their wings when they cone to tell you the universe needs saving.

Those humanoid form are horrendously hero-ised (for males) and sexualized (for females).And I'm the first to support curvy women in Princess Leia outfits, but when they're designed to look like a desirable sex goddess I get somewhat revolted. Take a look at miss Alexstrasza, the dragon aspect of Life, and at miss Ysera, the dragon aspect of Nature, and tell me if looking at them makes you think of anything but surprise plumbers:

Really, Commander?

This entire spiel comes to excuse my current painting, portraying a dragon lady whose humanoid form was never introduced in the game: Sindragosa, consort of the Magic dragonflight leader, whose love went mad, her flight destroyed and she herself ended up betrayed, furious and disillusioned up in the snow, which made her team up with the bad guys and return as an undead dragon boss in some raid. I wanted to depict her sorrow and betrayal (because 'blue', yes?), but first I had to design her.

So I wanted her to very clearly look as if she belongs with those two above, look-wise, but to not make her sexy or sexualised or suggestive, which is a bloody challenge for a hot chica in thigh-high-boots and a tiny bikini, and since I failed it royally I decided to embrace the Mary-Sue-ness of it and go fully in, giving her a dramatic damsel in distress pose.


This pose is the reason I'm posting today, because while sketching I remembered something from composition class: that if you position a character so it goes back (or forth) in space, it looks much more interesting and kickass. Here it's her hands: one much closer to the camera, hitting the 'front plane'; her body is then in the 'middle plane', whereas her hand on the back plunges into the 'back plane'. I went through all my art and realized I simply don't do that, which makes my paintings look both dull and boring; I suppose that after 17 years of avoiding it, I'll have to finally brave tackling foreshortening.

This sketch was done without reference, and I'm well aware of the plethora of anatomical fuckups she displays; still, if you can see those, I'd appreciate getting pointers so I can fix whatever I missed.

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