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hi everyone, i'm a little new here, anyway, here's my sketchbook i'm a little familiar with some concepts like values but I can't seem to really apply them to my work yet, still struggling, so that's why I'm here to learn.
you can be hard on my work or future works, i won't cry. critiques are very much appreciated. Thank you.
-----------------------------------[edited/added on October 12, 2011]
Hello guys, I thought I'd formally introduce myself to the community. My name is gel, in my mid-20s (yes, I'm old) and currently working doing layouts.
Although I've been drawing since I was a kid, I really haven't been interested in the visual arts until I was in my early 20s. It was only after looking at some amazing digital paintings on deviantART recently that I became interested in concept art, and thought to myself that perhaps I could do it too, and that I could be a professional in this field some years from now.
So here I am trying to teach myself. I haven't attended any formal art classes, so I hope that you guys can help me get better by pointing out weaknesses in my work and giving pieces of advice. Thanks
----------------------------------- [added picture on November 5, 2011]
So here are some of my drawings:
Last edited by GelrevOngbico; November 5th, 2011 at 08:29 AM. Reason: added content to my post
Well you and I have the same goal, and it looks like you are on the right track. That cat drawing is pretty awesome. Keep doing life drawings and you can only improve. Also try copying some drawings that you think use value well and that might help you figure it out.
My Sketchbook would benefit from your critiques.
Thanks anonanon, yeah, i'm trying to learn values. I would often use b&w photos and draw them while studying the value scales that they have, although it's still a struggle.
some new sketches
*Trying to learn values (from A. Loomis' "Figure Drawing..." book)
*trying to learn values but I'm afraid I failed
*thought I'd draw an elf lady, whatever
Hey, I saw that you posted on my wall and decided to look at your sketchbook, I really like your cat that's probably one of the best pieces I've seen on sketchbooks in a while. Keep up the awesome work!
Here we go again, value study, i think i can see values by squinting my eyes (even if the object is colored) but still can't render it properly on paper.
* this guy's from A. Loomis (i feel like i'm just shading my drawings)
* my own observation tells me that the guy has a large nose and the eyes are set wide apart?
* read from somewhere that i should strive to draw characters in dynamic poses cause they tend to be more interesting, so i will in the future
next week i'm gonna do anatomy, the whole week
anybody here, guys, generous enough to share their cg art school syllabus, i'd like to have something, a guide as to how i will go about studying cg on my own. my purpose is to have an idea of where to start, what stuff to read first, things like that, thanks
a little update
I included the time spent on every drawing, and will do it always from now on
will draw more
Here's a little update everyone, I need discipline to draw more and more esp when real world things (like work) get in the way
Although I think I'm spending way too much time on some drawings, I need to "time" myself to gauge how well or how fast I will be drawing in the future, but I guess it takes time and lots of practice to be quite fast at working (because I read and I know that it's true, that this industry always has tight deadlines and professionals need to work fast but with quality still in their work)
Skulls again taken from an Anatomy book
from Loomis' "Successful Drawing"
* Also I've been reading about light basics which I still don't understand quite yet
If you're just teaching yourself, I think that there's a big difference if you'll just draw and draw whatever interests you, I mean, if you'll be studying the concepts at random, and a structured kind of learning where topics are studied in order, like what students go through in art schools. I need order/structure in my learning. so I'm researching what topics to study first, if anyone could help, I'd be grateful
Last edited by GelrevOngbico; October 20th, 2011 at 09:38 AM. Reason: correct the thought of the sentence
Well you seem to be on the right track and you already have a great book to study from, andrew loomis' successful drawing. Structure and construction are important aspects to study but so is observational drawing. If you want to know about construction, Robert Beverly Hale has an informative book on the subject. Art schools typically have a foundation year which is composed of life drawing/figure drawing, 2d design and 3d design along with other things. If you want more structure in your art regimen you should make a schedule of things you want to work on and try to stick to it. I wish you the best of luck.
Thank you. Yes, I really find "Successful Drawing" a very good source of information, esp when it comes to the fundamentals. Thanks also for mentioning Robert Hale, I haven't heard of him before I will try to find more about him. (I've seen some anatomical drawings on Google Images and they're mind-blowing!)Well you seem to be on the right track and you already have a great book to study from, andrew loomis' successful drawing. Structure and construction are important aspects to study but so is observational drawing. If you want to know about construction, Robert Beverly Hale has an informative book on the subject. Art schools typically have a foundation year which is composed of life drawing/figure drawing, 2d design and 3d design along with other things. If you want more structure in your art regimen you should make a schedule of things you want to work on and try to stick to it. I wish you the best of luck.
Yes, I will definitely make a schedule of the topics to learn first so as not to waste time and become a bit more organized when it comes to studies. Thanks
Last edited by GelrevOngbico; October 21st, 2011 at 01:07 PM. Reason: corrected the spelling
Looking at my skull studies now, I'd say that they're a hodge-podge of grays and they're just all over the place. Again, I learned from Loomis this morning that it's important to place the correct values in the right planes to properly render the form in light. If the values are not properly placed, then it would look like the light is coming from several different directions which would make the drawings less convincing.
I also see something wrong with the profile view of the lady I copied from Loomis, been wondering why his illustration is very convincing while mine isn't, I think I know now. In his illustration, the lady seems to face a bright light, mine isn't. I think it's because of the shadows, mine doesn't have a sharp edged shadow, it's somewhat soft. Also, the line (contour?) on her forehead and nose is quite dark, contour that is in a bright area needs only a light line weight.
Here's my understanding based on my readings of several books:
Bright + Strong + Short Distance Light to Object ----> Shadows Dark and Has Sharp Definition
Soft + Long Distance Light to Object ----> Soft Defused Shadows
* Well, this is how I understand these concepts right now, if you guys think I need to be corrected, you're reactions are welcome, Thank you
* I wish I could apply this understanding into my work slowly
Last edited by GelrevOngbico; October 21st, 2011 at 01:22 PM. Reason: added some ideas
Hey man, thanks 4 the sketchbook visit.
Yeah i rekon thats the way to go, simplifying it in the 4 values. Its something ive done sometimes but not often, i guess its better to work out things simpler than attempting to get as much value transitions as possible?
And yeah..." it's important to place the correct values in the right planes to properly render the form in light" this is definately true, wen i get this correct (sometimes) it looks much more realistic (wen im copying from reference) as aposed to just working it out in my head, which is never realistic atall. Looks like i gotta read loomis again! ive read his book once (figure drawing for all its worth) but i think i gotta go back to it. And really sink in wat hes talking about instead of just scimming thrrough. That side portrait of the lady from loomis is pretty damn good tho! and 15 minutes? very nice. I guess really LOOKING at how loomis draws his faces/figures is time well spent, maybe even more than just sketching . (taking the time to see how he goes about his light/shadow etc.) anyways. talk soon
Hi guys, here's a little update, nothing good, just some serious study and practice of values and light and its effect on form. Also been reading about perspective. It's really AMAZING how light makes all forms possible.
Also, I found A. Loomis' "Basic Laws of Light" to be useful, though I still have to practice more and more and more and more....
1. The light from any single source must travel in a straight line, and therefore cannot reach more than half-way around any round form.
2. Any surface is lighted according to the angle of its surface in relation to the direction of the light source.
3. Only a flat plane can be evenly lighted in the same value, since curving and rounded planes always produce the effect of graduated tones of halftone.
4. The sphere or egg is the only form without flatness. The cube or block is without rounded. Therefore the sphere or like forms can be rendered only in graduated tones, and the cube or block only in flat tones. All forms are composed of either flat planes or rounded surfaces, or a combination of the two.
* Also, I think it would help if i'll paint using real media, i mean, the traditional way, with paint, with real brushes, etc. I just saw a poster of an art workshop on basic painting held on Saturdays. I may have to try that.
Although I've been reading a lot of books and have read about lines, tones, values and form, but just the following lines from A. Loomis just gave me a whole new understanding of why so many people put emphasis on tones, values rather than linear drawing (when/in painting). I'm enlightened. Light really is awesome!!!
"It is valuable training to make many practice studies of the features, striving more for the effects of tone than line. This is a sound approach for PAINTING. TONE IS FORM, LINE IS DEFINITION."
So I'm starting to do some painting digitally. Although I'm not new to Ps, I'm very much new to painting using PS. I have done illustrations in the past but with just spot colors, not like painting where colors are being blended together. I tried blending different values, and I got the sucky results below Yes, I know the eyes are very flat and the blending is so messy, but I hope I'll improve in the coming months and years
Still copying photos Value/Light/Modeling study. If this was a Bargue study, I would have totally failed. It's not so much resemblance to Michaelangelo's Moses
[EDIT: Moses drawing took, I think, almost 2 hours, on and off]
@tronrobot Thanks so much!
@Lord Dubu Thanks for the suggestion, I'll keep it in mind. Yes, I see what you mean, so it's like a human ear anatomy only pointed, instead of round. Thanks again
hi guys, a little update still trying to study values, light and form
learning to see, not really the same copy of/from the reference. The nose is long but I decided to keep it that way anyway, I'll work on something else, I did pick up/learn something new from the process of creating this one.
this took, about 4-5 hours (on and off)
Hello guys, another small update
I'd like to ask something, please help, how do guys draw an edge/contour without making it obvious that it's a line? I mean I could draw with tones that greatly contrast with adjacent tone, but for small details, for example, in the hand, to render the hand in detail, i had to draw the contour of the hand with a line that's very obvious, just to separate it from the body of the statue (also in the elbow part where i had to draw a line just to separate the forearm and arm). I hope I'm making sense here.
Also, I wish I could create clean edges/contour in the future. For example, in the drawing, I made the background very dark to create interest in the statue, but the contour/separation/edge of the statue set against the dark background isn't clean. I can't seem to do that clean transition if I draw with tones. But I'm trying.
(If anyone could help, I'd be grateful, please note though, I'm not even sure I know what I'm talking about, haha )
I was browsing the web days ago and stumbled on an interesting blog by Paul Foxton. I think he's from the UK, and he's got some really helpful posts. One post that really interested me was this one. It's about practising effectively. He was able to put into words well what I was trying to say in post 8 about a structured/organized kind of study, cause I think that without any particular goal in our study, we could draw and draw whatever just to show that we're studying, but, we're not really learning from it. (My opinion)
Last edited by GelrevOngbico; November 8th, 2011 at 08:03 AM.
Hi guys, post 21 was created last Sunday (it was Sunday in my country) but a box appeared that says that a moderator will have to look at my post first before it gets published. Did I do something wrong? I hope I didn't.
Anyway, still reading lots of books, but not doing much.
Pretty embarrassed for my lack of update, but I'm back now, more work in the coming days. Not really as good as my previous drawings above, IMO, which are rendered more, but thought I'd upload them anyway "Sketching & Rendering in Pencil" by Arthur Guptill is a pretty good ebook IMO. It's free on archive.org.
First two are from "Learning from the Masters"
Something off with the scapula, hehe, it's pretty close to the back's contour to the side, and the woman looks like she has scoliosis
This one's from imagination/ no ref. This looked ok to me until I flipped it horizontally, something wrong with the left arm