bebraw: thanks. i am scrounging around in my room trying to find the gestures that I did. if i can't find any, I will be doing some gesture work later this week; I will post those.
Aryeh: thank you! i need to break away from simple shapes exercises...i need to really sink my teeth into some solid and more focused studies. i think have some good foundational elements under my belt at this point. time to move on.
Small update. It's values studies for me this week starting today. I am going to combine that with some anatomy studies as well; really work on the lighting over different forms.
Small sketchbook update. This last week I acquired some PVC tubing, some random stuff from Value Village, and a can of Flat White Spray Paint. I've painted up my random basic shaped objects, and I plan on sitting down this next week for some good still life sessions. My goal is to really wrap my head around the basic forms; get really intimate with 'em
Thanks Leysan, I appreciate the kind words. I plan on posting a bigger and higher quality update later this week.
Update: I am taking an oil painting class. I've never painted in oils before, so this medium is completely new to me, but I love it! It's so fun and refreshing to get my hands dirty But, obviously, I am terrible! Hehe. Oh well, baby steps. I am having fun, learning A LOT, and those are the two most important things at this stage.
I am doing a master painting copy. I don't know the name of the artist or the painting, nor does my teacher If anyone knows, please, do tell. Right now, I am only about 20%-30% into it, and most of my time has been spent on the apples and grapes. My teacher warned me to not fixate too much on little areas too much, to work in a bigger/broader scope, to really work the painting as a whole, rather than a collection of little parts. So, I am just beginning to edge into the rest of the painting, but I am kind of stuck as where to go to next...oh well, I'll figure it out once I start laying paint to canvas, I am sure.
UPDATE: more simple sketches.
Hey Syle, thanks a lot for the kind comment! Your studies studies are great, they're looking a lot more solid now compared to the first page of your sketchbook. I also like that you're tackling a lot of different things at the same time, your work is fun to go through. I'm pretty sure you're on the right path here, keep going!
SKETCHBOOK! IT'S FULL OF HOT RUSSIAN GIRLS WHO WANT TO MEET YOU AND WEIGHT LOSS/TEETH WHITENING SECRETS DISCOVERED BY A NEBRASKA MOM WITH NO ARMS!
Why they let you get this far without help is beyond me. Bad teaching most likely. To do a master copy properly you need to know the artist, their palette and their working method. Otherwise how can you make a copy?
If you are just trying to get a copy of the image then first fix the drawing
The drawing is way off. You should start with a good drawing in charcoal. Then block in all the colors in flat poster shapes carefully copying them for tone and hue and saturation. Then develop the details.
Tell your teacher I think you should get your money back or they should step up to the plate and actually teach you.
"Your teacher should demo this to show you how to aproach it. Some areas have glazes in them and you need to be shown how to create a glaze mixture and how and when to apply it. "
I'll need to read about this on my own. She sort of glossed over glazes when she discussed them. She basically pointed at my canvas and just told me specifically where to put down glazes as it related to copying the masters painting, but she didn't explain how to properly prepare the glaze or the general rules of thumb of what a glaze actually is used for.
"Why they let you get this far without help is beyond me. Bad teaching most likely. To do a master copy properly you need to know the artist, their palette and their working method. Otherwise how can you make a copy?"
I'm sorry, but I think I've been a bit misleading when describing this class. It's a 2 hour class held once a week at my local artist/craftsmen store; it's not affiliated with a school/uni/atelier. The first two weeks we spent mixing paint to get a feel for values and color combos. Then we jumped right into this master copy. During class, she basically just walks in a circle and fixes our mistakes as each of us go along, just telling us what to do to fix it, rather than why.
"If you are just trying to get a copy of the image then first fix the drawing
The drawing is way off. You should start with a good drawing in charcoal. Then block in all the colors in flat poster shapes carefully copying them for tone and hue and saturation. Then develop the details."
I agree that the drawing is crap. We transferred the image via white/chalk transfer-tracing paper, and it was REALLY hard to see the master copy underneath because of how dark it is.
So, with what you're saying about using charcoal for the drawing, do I use the charcoal to draw in my subject AFTER I've laid down my background color? Or, do I use the charcoal on the white canvas, paint in my subject, and then lay in my background around everything else?
Also, you mentioning charcoal f***s with me a bit more because this teacher explicitly explained to us that using pencil to sketch in a subject is a big no-no, because it will end up muddying the color....?
"Tell your teacher I think you should get your money back or they should step up to the plate and actually teach you. "
Hmm, I have one more class left, so I'm not sure if I can; I'd sort of feel like an asshole for doing that....or maybe I'm just a bitch and I want to avoid confrontation. I'm going to learn from this experience and I'm going to find a teacher to give one on one lessons.
Thanks for replying dpaint. I remember a quote of yours every time I sit down to do my studies: "Practice is the act of doing something over and over until you can do it right."
You have to be very careful about taking classes...the number one thing is to check the work of the instructor. If you like it and it is generally in line with your direction then great, if it is crap then don't waste your time, if there is no way to check it then assume it is crap.
Edit: Those are good pages of object, perspective and lighting studies btw.
I tried my hand on a paint-over of someone else's line work. I gleaned the line work from the "Color Book" thread in one of the other sub-forums. This was a lot of fun, and I started to feel a good work flow as I cruised along.
Again, I repeat: this is not my creation/concept/line work. I just did the coloring for practice.
Seeing a lot of improvement in every post!
Good job on the studies and how far you have come from this first post!
Wish I'd have the time and dedication to improve as much as you have
But I need to get my act together and do more studies, might copy your 28 week self-designed course, or at least use it as a reference to my own plan
Some sketchbook stuff. I also re colored the line work that is not mine. I think I did a much better job this time around. I referenced a chameleon for the scaly/bumpy part. I felt sort of lost on giving values for the hood, but in the end I think it came out looking okay.
Any critique would be greatly appreciated. The coloring this time took me around 2 1/2 hours.
Small one page update I did tonight. I just kind of let my pencil go a-wanderin'.
trying another coloring exercise. again, i did not create the line work. i extracted it from the coloring book thread. i've got about an hour into this one, and i plan on putting 2 more hours in tomorrow.
Coloring update. Not my linework.
I'm starting to get the hang of working in photoshop a bit more now. I stripped things down and am only using a hard round brush; it seems to be helping a lot.
Wow, nice studies. That's really a great idea with practicing the shapes - hell, I'd like to try that myself! Nice improvement since the first page and great dedication - keep at it and you'll be able to paint the awesome enviros you've always wanted to. Looking forward to it
Some random doodles. I think the rocks came out pretty nicely; they were done from imagination. I did that maze for some perspective study/exercising. I started getting impatient with it towards the end, so I started to rush through it; you'll see lots of mistakes in there because of that...
I'm also starting a co-study with Joe777k7 from this website. We are focusing on perspective studying this week. We'll be meeting throughout the week (on Skype) to help each other out, give critiques, and share our work. I'll be linking his SB in my signature.
Still life sketch. 1 hour. And a perspective doodling page.
Some sketches. I posted a close up of a rock that I drew from imagination...I was quite proud of it, haha...
I spent a couple hours messing around in PS tonight. I tried out some random mark making that turned into character poses. I'm going to do a lot more of this; it was nice trying to flesh out forms from just random marks.
I am also working on this alien landscape enviro thingie...it's really bad right now, but it's also really early on. It's kind of got this floating egg/spore vine-like vibe going on...not really sure. Mostly, I am trying to focus on some atmospheric perspective stuff (distance vs saturation, etc). I also thought the clouds are coming along okay...though, I think I may need to make them a bit more prominent by the end of this piece.
Still life. One and a half hours to completion. After scanning it into the computer, and flipping across the horizontal, I am seeing HUGE mistakes...ugh. Oh well, time to invest in a mirror for the traditional medium.
I really enjoyed doing this still life. I really got to know my different pencil grades (I used a 2H, 2B, 4B and 8B). I think I used the 2B the most.
Still life study for tonight. I listened to the Koyaanisqatsi soundtrack while I was studying. I LOVE that music
That metal union pipe fitting looks stupid...I ended up losing patience with trying to get it to look right. Looking back, I realize now that that part of the drawing was wrong from the git go; I should have taken time at the start of the drawing to fix it. Oh well, lesson learned.
First of all, big thanks for commenting my SB
I appreciate the effort which are MANY of you are putting into studies. I should learn that too. You have done a nice amount of it so far. I hope you can use my critique, which is of course well-intended.
The last picture:
For me, the values are not correct yet. I expect to see way more contrast, deeper form- and cast shadows.
If you just mess up the form, then keep concentrating on a value study. Finish it up.
To your figures and PS painting: Let me give you an advice, but keep in mind, that there are no fixed rules. A few of the greatest out there tried it on their own, until they found their own way of painting digitally and traditionally. I use the hard round only for a quick lay in of shadow/light areas, colors and for creating the final sharp edges. The soft round brush (pressure-sensitive option enabled) is rendering the smoothest transitions ever. But be careful on edges, which shall be sharp. If you work along them with the soft round you will immediately ruin the sharph edge and blur it. Don't forget to adjust opacity and flow. I always keep it that way: Soft round shading - opacity and flow 20-45 % and for the hard round and creating sharp edges just increase the flow and opacity to 40-70%.
But as I said, keep in mind, that there are NO rules. Try it out, judge by yourself.
Your 2nd image in #105 shows very believable creature thumbnails. But you are stumbling with the final rendering using the prefabricated linework. I suggest to look at guys like Frazetta and Carlos Huante and just question light and shade. Study it. Really think about why they did it that way. Buy a little cast figure and experiment with light. You can take a kneadable eraser and apply the texture you did in image #103, then set up the lightning. You will immediately see your mistakes. Then move it around and try to understand. Switch back and forth between master paintings, anatomy books and the cast/wood figure. You will increase your knowledge immediately.
Keep up hard working =)
Ah! I can't tell you how happy I am to see you drawing all these boxes and simple 3D objects. It's so important yet nobody does it. Just don't forget them when you go to draw other things. The point of drawing boxes is really not to draw boxes, but to be able to draw everything else three-dimensionally. Keep it up. Your cylinders and ellipses kinda stink right now, work on those. Have you seen Yoitisi Island? I feel like I recommend it to everyone, but it is really good. Push yourself to be as accurate as possible with this stuff, don't let yourself get sloppy.
Your rendering is not bad, but do some really nice value renderings of each of your basic solids. Make sure you separate your lights from your darks: the lightest shadow must be darker than the darkest light.
Also, if you haven't already, check out Jeff's measuring demo and Jason Rainville's figure drawing tutorial. I've also got a few things up on the CA wiki under "Studies & Lessons" that you might find useful. Not all the stuff on there is mine of course.
Thanks for the critique as well. I really DO need to push the values in that my still life(s). I am thinking I need to change my lighting situation (ie, my lamp). I don't think it puts out a very strong light source; it tends to wash everything out and doesn't create very sharp shadows and contrast. I will take everything you mentioned in your critique to heart, and I will begin implementing it. Thank you.
Thanks for those sources as well. I will be checking those out immediately.
I've been looking through here and first thing I want to say is good job! You've improved a lot! Post #73 really stood out to me as a huge step forward. You also really seem to have a pretty good handle on the 2D shapes on a plane and have made some really interesting environments from them. Where you seem to have trouble is in constructions of organic shapes and how to fit them together, how to make a person from eggs, cylinders, and rectangles. One thing that I'd recommend doing is trying to draw a person from 4 lines. I know you're looking at this thinking I'm crazy, but it can help. Draw your first line from the head down the spine, to the leg that follows that line best. Then attach another leg to that same spine line, then add two more for the arms. What you'll get is a glorified stick figure, but it will feel connected. Then you can take the shapes you know better and stick them on your gesture frame. I'd also recommend looking at where the shapes push against each other and try to figure out what's going on there (Glen Villpu described the ribcage and pelvis as two basketballs in a bag and it might help you to try drawing them that way).
The other thing I would say is don't be afraid to correct your figure drawing later. If you're head to chest to stomach to hip to thigh to knee, check the position of the thigh to maybe the nose or shoulder and see if it's in the right spot. If it's not, figure out what went wrong. Another thing that I find immensely helpful is just stepping back enough so I can see my model and my drawing at the same time. Suddenly you'll see a million things wrong with it, but you'll also see how to fix it.
Overall you've really gotten better and you're great at nailing the little details (I particularly like some of the designs you've done with them), but you need to look at how they connect a little more. I think that will help you a lot!