I'm sure you've heard this before, but I would try to get as much actual live model time as you can. Whether they be people at a bus stop or someone nude in class that you can draw, take full advantage of that time. I can see a definite progression of your drawings even in my quick glance of your postings, and I just think more time behind the pad is all you need.
Doing great on hands, by the way...but there's a lot more to the body than hands Best 'o' luck!
I had the same problem with focusing on just one area.Originally Posted by Pixeldragoon
But it doesnt have to be all your drawings, it could just be like a few studies.
There were some really excellent excercises in the CA Acadamy section that was running a while back. On Lineweight and Linequality.
I felt these tought me WAY more than anything else I did, because it was focused on this one topic.
Also you could not pass until you had it correct, I did about 4 re-attempts which was rare for me,
It also makes the habit of being able to anaylse work unemotionally.
As for the teacher, yea i know it sucks, but what someone said early on stuck in my mind "don't let anything get in the way of your dream",
Maybe explain to her what your doing and why, and she'll be well impressed and give you a big fat A.
hmm, a thought... i think you need to look more, study the light/shadows... the SP seems flat or uninteresting...maybe anatomically correct (dont know what you look like) but it has a lack of punch...
other than that, just keep at it... 9'999 left to do
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You cant really see this because of the sketchyness- He kept moving, so I drew over. If they had all been flat lines, it would have looked alot better.
One of my fav's for the day.
The last 3 were my lunch period. I'll continue to do this- Because we have an empty trophy case with a mirror behind it. So I sit in front and abosrb ridicule from the children and draw myself. =D
Bus ride home.
The first bus ones were both on different busses (Yes we have 3 different busses, don't ask.)
Have fun commenting!
try using Charcoal to shade and a kneeded eracer to help with tonality. You just need more subtlety when you shade.Originally Posted by Pixeldragoon
the pant leg is awesome because you are using a continuous and confident line. but her arm looks lumpy and not very descriptive. Study this difference in this and other sketches.
quoted for agreement. well stated. this is a big problem for everyone when learning to draw. i did it, and i'm sure everyone on this board did it. the way i learned to stop "chicken scratching" was to practice longer pencil strokes and quick 30 second gesture drawings. TONS of them. anyhoo, good job man. =)Originally Posted by AmishCommy
Most of these I didn't so much "Pet" my line as I did go over it trying to get it correct. I think I need to be more accurate as well as more confident, because I think there may be a partial illusion of unconfidence created by the multiple over lines. I know I didn't go back and forth like i used to though. Thanks for the comments!
Sketches from yesterday. The bottom one is not from life or anything. From imagination totally.
Last edited by Pixeldragoon; September 8th, 2005 at 09:00 PM.
awesome! the last two are great! i see the resemblence between your icon (whim i'm going to assume is you.) and the self portrait....which is the point, ne? and the other one done freehand and from memory is great. i also see an improvement as you try not to "pet" your lines. great work.
I think i'm inspired by artists like you on this site (as well as recently discovery the link to www.savelomis.org ) to scratch everything i've been working on, and return completly to basics. to re-do everything i've learned, take the time, and make it excellent compared to how i went about it when i first learned it...i think i will make good progress that way...and you definatly are proof about the whole takeing the basics step by step=better quality art.
Thanks for posting!
Kitty: Thanks! Helping and inspiring are two of the things I love doing
More sketches to come this afternoon. I did an SP and a value scale last night, but I have to go to school, no time to scan. Seeyas!
*Is excited about being an artist. Like, foldgers coffee commercial happy/excited. *
I love watching people do the 'draw from life everyday' thing. Can see them improve exponentially. Just keep burnin' lead...
man, very nice, very very nice work. Great improvement in a small space of time. Heres a tough one for ya, i dont mean to break your train of speed paints
but doo a self portrait or a drawing or something, but spend about 4 or 5 hours on it
really plan it out properl make sure everything is ok and dont rush it. then see what happens you might get some veery nice results.
I stopped speedpanting actually- For the -present. I need to stop jumping the gun and really work on contour and line quality, weight and anatomy and stuff. I did a 2 and a half hour study in Drawing 2, but she has it up, and the thing was continually moved during other classes, so evertime we came in we had to suit 6 kids' tastes. Meh. And then we had to smudge it to work out better values. Dubble meh.
I hadn't yet seen anything on this new page, and I'm damned impressed. There is serious improvement, and with all the from-life work, it's no surprise.
Sprinkled throughout the thread folks have mentioned spending more time on one work and shading etc. I wouldn't be too worried about rendering for it's own sake, but just rendering for the sake of helping one to better 'see' form through value. So, I too will recommend some more rendering, but do it for the sake of studying form and value. Along the same lines, people have concentrated on line quality. I recommend concentrating on that as well, but do it for the sake of more fully understanding how to translate what you see (or see with your minds eye only) to the paper. All that being said, you do have a lot of great lines going on, now more than ever.
Your focus seems to be on capturing what's 'true' in your subject, and that 's really what it's all about. I do think though, that getting more polish into the work can help translate the vision to the paper. The more you do longer works, the more you'll find your hand making use, almost automatically, of what you learned from the slow and careful works. Try doing some stuff where your hand moves slowly, as if crafting each line but crafting each line in such a way so that it gives the illusion of being thrown down quickly and confidently. If you do that long enough, then your actual quick and dirty lines end up looking less quick and more polished -- confident.
Awesome, awesome update. The kid lounging against the stairs from imagination is very, very good. And, the life drawings are concise and really nail the subject. Well done.
Keep it comin'
I am very impressed by your dedication and improvement.
I find that you are a better painter than a pencil artist, which is very wierd and extremely cool at the same time . I think it's because your work focuses a lot on strokes rather than lines. I'm much worse of a painter than drawer.
Keep on drawing! And especially keep on painting!
You're doing a good job taking criticism the right way.
The advantage of being a beginner is having a much greater amount of teachers.
Your drawing from life is getting way better so keep going . But your self portraits from the front still look flat and lacking of emotion.
Woo, you're improving and fast!
Not really a crit, more of a suggestion, take a little bit of toilet paper, and use it to rub some of the darker areas so that the lines aren't that evident. You can do that on any value actually, if you want it to look smoother. Fingers work too.
Pay attention to the joints of the fingers, some of the new drawings only have two. The middle finger is like the northstar of the fingers, all the others curve in towards the center line in which it points. Also, studying specific parts of the hand will be helpful, like the difference in form of the tips of the fingers and the fingers themselves. After studying a finger at a time you can study two fingers at a time, index+middle, index+ring...(I learned this from guitar, "The Advancing Guitarist" if your curious).
There are two drawings on 9/8 to compare. The succesful one is the guy writing, that you called one of the favorites for the day. It's successful because: conciseness of line, over lapping of line, the lines take on a 3D quality because they're following the true 3D contour. I would call the forearm from Bus/arm unsuccessful because it lacks these qualities.
Some stuff I recently learned I thought might be helpful: Although line can describe softness, I'm starting to think of it as a hard angular type of form. For now use it to describe the edges of the form and shadow(shadow line). The difference is one can be touched and one can only be seen. Line is mostly suitable for describing corners, so if you place a line inside of an outline it will be read as either a prominence or an indentation.
Your American History pictures are looking good, did you do thumnails first or anything like that?
I should have, but nay. I just read a letter wriiten by paul revere, and drew whatever came to my head. Working on the fifth right now, then I have one more adna a lecture to type up.
Wow, you´re improving fast. That first sketch for American history is excellent, especially the guy on the left side of the table. Facial expressions and body language of these 4 guys are very good, you´re really telling a story with that drawing.
Keep it up.