Hey man, first time checking out this thread, I'm very impressed! You're probably going to rule over us lowly bastards in no time.
At this point, the strongest aspects of your work are your shape and color. It's clear that you're observing nature very carefully and recording your findings diligently, and that's exactly the right attitude. Your 2d shapes (placement/proportions/the space that things occupy on paper) are very good, which is why you're getting a lot of character in your studies (catching likenesses falls under this general category). Your observation of color is good too, very believable on the whole.
However, you need to start considering FORM. Because you're copying shapes well, you're obtaining the evidence of structure, but it doesn't look like you understand the three dimensional nature of your subject in its totality. I see that you've drawn some skulls during the course of your studies, but I would recommend that you REALLY draw them, and approach your work in a more volumetric fashion, thinking about which planes come in, which come out, etc. Look up the drawings of Greuze. See how he uses lines that go across the form to explore the full dimensionality of the surface. Call it cross contour or whatever, it works, and it needn't be obvious.
This was suggested to me by Glenn Vilppu and has been an invaluable aid in drawing (and something I still have to do more of!). I hate to use my work as an example, but these might illustrate the point.
A thorough study of anatomy is in order and you would benefit greatly from it. I saw that you recommended the Tony Ryder book to someone in another thread. I would urge to really LOOK at Ryder's drawings, and compare them to REAL, hardcore draftsmanship. Ryder's examples are EXTREMELY flat, and to be honest, you have to aim higher.( Particularly bad examples are the drawing on the front page,esp. her leg, or the various people in shadow towards the middle of the book). Tony distrusts anatomical knowledge, etc, but his work suffers because of his lack of training in this area.
is absolutely beautiful, and the shapes are VERY well observed. However, I will bet you MONEY, serious MONEY that in real life, there was a stronger indication of where the front plane of the cheek meets the side plane (which becomes the zygomatic arch), and that there was a stronger sense of the eyeball and the surrounding areas fitting into the eye socket. You can't just observe stuff like that into a drawing if you don't know you're looking for it!
When painting, try painting across the form. You're generally painting along the form, which is fine in some cases, but it can go flat, or else, look too "patterny".
Hope you don't mind me posting this, in your thread, but this painting by Fortuny (a quick study by him at that) is a masterful example of everything I've discussed so far.
Anyway, I hope this helps. I look forward to seeing your progress, I really think you're one of the most promising kids I've seen on these boards.
Last edited by Ramon Hurtado; January 4th, 2010 at 06:12 PM.
cdejong: thank you
panchosimpson: THANK YOU. A very insightful critique. It really helped me find my way. It will certainly influence my work from now on. Thank you again and sorry for the late reply.
Nothing much for now, I've been studying anatomy and it isn't really worth showing.
Another charcoal portrait. I'm still struggling with the medium itself, but somehow I found better control with a small soft round brush.
You have incredibly sharp observational skills. That graphite self portrait just floored me. I can't really think of any criticisms, you seem to know just where your going, except that you shouldn't be so good at 17. It makes the rest of us look bad.
I can't wait to see how you develop artistically so keep posting!
Woaah. Awesome, awesome portraits! Also that conte crayon still life is really spiffy. There is so much improvement since the first post. Keep drawing, you're a maniac! Also thanks for stopping by my sketchbook.
yesterday, God came to me in a dream and told me that if I don't become a comic book artist, he has decreed that I shall instead be a burlesque dancer.
And I said, "But God, nice panties are so expensive!"
And he said, "Welp, I suppose you better shut up and draw."
Nice! Can't help noticing your imaginative work still looks wonky. I mean like, your observational skills are great, (maybe it's just me) but you don't really seem to apply all your acquired knowledge onto your imaginative drawings/paintings. Like, some of your faces from head are a little off. I think treating your imaginative work as a starting point for your (observational) studies would really help you up your game.
Cool work! I really think you succeeded in the gorilla skull. ON the girl portrait (the 5 hrs one), i think the main flaw is that you've gone part by part, not thinking about the relationship between the big masses, such as the neck and the hair. In this sense, your last works are working a lot better.
Anyway, cool work I see here! Keep studying from life, and try to give more importance to the "important" masses of light/shadow than to the details.
That SP looks rad. But your left cheek seems to be bigger than your right one. Or maybe it's the perspective. It still looks a little flat, you could push this one some more. Hope to see more imaginative work too.
Whoa, awesome sketchboo here man, be careful on the facial planes on that last one, one of the cheek bones seems larger then the other, and the nose looks to be a bit off kilter, although that might just be throwing the eye off because of the cheek line. Anyways, keep up the studies, this stuff rocks.