Sketchbook: ccsears sketchbook - Page 7

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View Poll Results: i'm thinking about teaching drawing somewhere in LA, what do you think

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  1. #181
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    2007-09-24 classwork and character design

    in-class. 45 minutes or so. acrylic in the sketchbook.
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    ditto. 45 more minutes. trying to mix colors as quickly as i can...
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    did this while waiting for class. proportion study for aforementioned instructional dvd thingy...
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    Howie Thanks. the ones from the japanese short story are oil, but these recent ones are in acrylic. more portable so i can do it in the car, etc.

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  3. #182
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    wow, great colors and brushstrokes in your paintings. but how did you make hulk stand still while drawing him?

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  4. #183
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    2007-09-25 night sketch

    did this in my car on the way home tonight from Edwards AFB in the Mojave Desert. intersection of 50th East and Avenue E. That's the eastern part of Palmdale out in the distance.

    (speaking of "eastern"... I saw Eastern Promises last Friday. Pretty good flick. Viggo Mortensen does a pretty good russian mobster. the bath house fight scene was pretty far out there--people will talk about it, i'm sure.)

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    Acrylic in black scrapbook

    Arne Thanks. I stopped by your sketchbook but didn't have time to leave a comment. Sounds like storyboarding in Germany pays pretty well. Day rate for illustrators in Los Angeles is about the same--but with the exchange rate, you're coming out ahead. Good stuff by the way.

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  5. #184
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    Like that last piece mate, very simple, and a nice sense of atmosphere. Cool stuff.

    TUNAFISH SAMMICHES?!
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  6. #185
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    Quote Originally Posted by ccsears View Post
    just keep digging through my dvd stack.

    for the record, i don't like this dvd cover. i think there are some poor compositional choices. anyway...

    step 1
    no prep work--wastes time and lacks confidence. i can copy photographs easily enough and this face isn't too difficult, so i just drew jonny depp's face in cold. realy dug the blacks into the surface. laid a medium wash of prismacolor strokes where the mass of the hair is going to go.

    step 2
    some bullshit shapes for the edge of the messy hair. you can see the tools. turpenoid, pink, kneaded, electric erasers, black prismacolor pencils (regular and verithin), paper towels, q-tips, soft synthetic brush.

    step 3
    when you wash the stuff, it gets pretty streaky, you can't see the little flakes of black that float around, but you can tell that it's a lot darker near the edge of that big hair shape.

    step 4
    before the turp evaporates too much, i buffed the hair shape down with a wadded up paper towel. gotta be careful when you do that so you don't screw it all up.

    step 5
    same thing, sorry for the repeat

    step 6
    if i was doing this for real, i should've stoppeed here and gone digital with the rest of it.

    step 7
    because i am a jackass, i didn't have the foresight to wash in the background beforehand. trying to get an even tone across that big area and paying attention not to screw up the hands or the face is going to suck big time.

    step 8
    the wash turned out pretty shitty. (can you see why i spent all last night practicing these techniques over and over? f'ing hard!) i picked the snowflakes out with an electric eraser, and then kind of made snowy cloud indications to tie the background together and kind of harmonize the imperfections in the wash.

    step 9
    oops, i tripped. i think i pushed the button while i was switching from landscape to portrait grip.i can't chew gum and walk at the same time either.

    step 10
    end result of the analog work. i might go into it digitally and put a nice little rim light around the hair strands to give it better design. but that's what they call a "nice to have." the houses/neighborhood isn't finished either. but who cares, really?

    ANYWAY, like i said above, if i was doing this professionally, i would've done the background, snow, buildings, and a couple of effects all digitally because it saves time and doesn't really make me a better draftsman this time, and i screwed up by not doing them before i drew the hand. doing faces/figures the old fashioned way will make anyone a more competent draftsman, so i just put in my mileage this way. besides, i'm greedy so i want something tangible when i'm done...

    sears

    Edward...it's my favorite movie. Man, I like your sketchbook so much!!!

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  7. #186
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    2007-09-26 "brute" design

    did this after work tonight. got home at 11:30 pm. i am f'ing tired. doctor's appointment tomorrow morning, so i'm just gonna get no relief.

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    Sirio--Thanks. I had to bump the contrast in photoshop afterwards because the camera didn't work too well, and the values are hard to judge when mixing with the little map light in my car. my arm always casts a shadow over my paint so i'm always guessing a little.

    Nadiamoon--Thanks. Scissorhands is still a favorite of mine, but I was more into it when it first came out. I must've been in 9th or 10th grade. Winona Ryder is hawt!!

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  8. #187
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    2007-09-27 brute profile

    did this more than slightly buzzed on wine and rum... profile view of that same old brute.

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    gotta do a back view, then start on some costume design issues...

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  9. #188
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    Very nice oil paintings!

    I really admire people who can paint well both traditional and digital.
    Also progress is remarkable throughout the SB...

    Keep updating!

    ~B. Klarić
    ---SSG#46---
    Blaz ł MarkWinters ł petitemistressł sfa ł Shmaba
    -
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  10. #189
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    2007-09-27 lancelot

    in case anyone was wondering. the monthly mythology illustration group of my friends' randomly started on the letter "L". the letter is "L" for "Lancelot." I read the stories about Lancelot and Guinevere. King Arthur repeatedly attempted to burn his wife at the stake out of jealousy, despite Lancelot's loyalty to him.

    In the interest of not showing a lot of bloodshed, I wanted Lancelot to appear to be restraining himself from delivering a death blow to a knight he has knocked down. He looks over his shoulder towards the bonfire. Guinevere is tied to a stake in peril from the flames. It is a testament to Lancelot's single-minded devotion to his Lady. He forsakes cheap victory out of love and devotion--always foremost in his mind is his Queen and Love.

    awwww. how sweeeeet. i must be old-fashioned--not that the ladies seem to be all that f'ing appreciative. i must be quite the bore. anyway, i wanted to be true to the spirit of the story as i saw it.

    i've started the drawing, but if i could just find the time to finish the f'ing thing!!!! damn my f'ing day job!!!!
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    you can look a few photos back to see the reference i took for this. i've somehow managed to turn myslef into Sir-F'ing-Lancelot-du-Lake.

    go figure.

    anyway. this should give you some insight on how illustrators work to meet crazy deadlines without an infinite supply of models on hand.

    set up the pose yourself and then use your imagination to turn yourself into the hero, the victim, the damsel in distress or whatever.

    makes me wonder what i would be like as an actor sometimes. probably not too good.

    ----------------
    Blaz Thanks! Not much oil these days, but I'm eager to get back to it when the time is right. kinda sticking to speedy acrylic and drawing right now until my living situation stabilizes.

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  11. #190
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    great works

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  12. #191
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    Your paintings are the way i like

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  13. #192
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    2007-09-29 night sketch.

    Painted this last night in my car. Cement factory in Tehachapi, CA in the moonlight. about 4000 feet up in the mountains. Lots of railroads and trains. Very peaceful.

    Acrylic in black sketchbook.

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    designboot Thanks.
    iman121 Thanks too.

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  14. #193
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    I have to say, I am thoroughly impressed. Your sketches are truly inspiring (and make me feel miserable about myself, let me tell you!)

    "Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep." -Scott Adams
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  15. #194
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    I REALLY like everything you've done except for that hulky guy on your most recent post... Some of the anatomical details were very nicely rendered but the head really killed it for me. It didn't seem like you were interested in heavy conceptualization up to that point so that was rather surprising (the consistency of everything else is what raised questions).

    As for your penciling, you work like an inker's dream really. Your work would be very fun to ink and your flat tone placement would make it look excellent. Keep up all of that excellent work.

    I guess the only thing more I could ask from you is to do MORE CRAZY STUFF. Conceptualize beasts and mutate existing creatures or devices. Its really fun to see what can come out when you are using only insomnia.

    Here's my awesome, pro website.
    http://www.aoyamacraig.com

    Character designer/Illustrator looking for studio work!
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  16. #195
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    2007-09-30 Links I wanted to pass on...

    These are links I wanted to pass on. Same ones I have bookmarked on my blogspot.com page.

    Illustrators and Artists and teachers and classmates...
    Mike Butkus
    Otto Sturcke
    Nathan Fowkes
    Nathan Fowkes Landscape Sketches
    John Watkiss
    Watkiss Art
    Drew Struzan
    Glen Orbik
    Michael Hussar
    Ruo Li
    simple stroke
    James Jean
    process recess
    Sergio Sanchez
    Richard Morris
    Patrick Ballesteros
    Quentin Johnston
    Asa Enochs
    Dzu Nguyen
    Norm Nason (art links, etc.)

    some schools i've attended...
    Inter University Center for Japanese Language Studies administered by Stanford University (Yokohama, Japan)
    Kanazawa Institute of Technology (Kanazawa, Japan)
    University of Illinois at Urbana-Champaign
    Associates in Art (Mark Westermoe's former school)
    Los Angeles Academy of Figurative Art
    Palette & Chisel, Chicago
    Gnomon Workshop, Los Angeles

    NaybewonThanks. Nobody should feel miserable though. If I inspire anyone just to go sit in their car or on a bench and paint instead of watching tv, that's plenty for me.

    HironoriThanks for the crit. The hulky guy is a rough proportion study for a former teacher of mine's instructional sculpture DVD. He was pressuring me to whip out something he could base his wire armature proportions on so he could demonstrate a typical armature construction in front of his class at Nickolodean. Not being much of a modern comic book reader or video game player, (I'm more of a traditional illustrator, I guess) I pulled this outta my butt at the last minute--literally two hours of time I snuck in at the end of the day at my engineering job. I plan on doing variations for both the head and the costume, as well as a larger, more finished drawing for the DVD.

    The interesting thing to notice about the proportions is that the height of the hulking-type character isn't nearly as important as the width. anything from 5-12 heads high is possible, but it has to be at least 5-6 heads wide at the shoulders, and probably a bit more. if you compare that to loomis or kirby or michelangelo, you can see some interesting things.

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  18. #196
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    those eyes are amazing! Where did you learn to draw them?

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  19. #197
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    chris - you got that black prismacolour pencil on vellum technique down really good. i agree about the crit on the bulky dood (it's just to much of one thing, nothing of the other in there) but the rendering of it, like the last one is real solid. love the lighting on the face and upper body in this one. you do that with ref or from the head?

    i think i said it before but i wish i could join up for the fowkes classes. is there a specific length a certain course takes? perhaps one day i will fly over for a couple of months and just paint. right now i wouldn't have the time, or money though. keep up the cool shit man. learning loads from just checking your stuff.

    tensai


    check the Tensai Tokyo Sketch Thread (Sketchbook)

    check the Tensai Cityscapes Thread (Finally Finished)



    Quote Originally Posted by strych9ine
    Fuck backgrounds, who needs em.
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  20. #198
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    bullshit calligraphy from a few years back, etc.

    i probably will not post too much for the next few weeks. i am going to be moving into a friend's house and packing up a lot of my stuff into a rental storage unit. i'll still keep messing around in the sketchbook though.

    about 3 or 4 years ago, a friend of mine wanted a tatoo of a quote from Goya: "The sleep of reason produces monsters." I translated it as best I could and then tried to work out an interesting, but still legible rhythm to the characters. learned a lot about trying to make them relate to one another.
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    "gi-shin-an-ki" the demons in the dark of a suspicious mind. i did this drunk at a bar in Wichita, KS a year and a half ago. i was not in a good frame of mind. if you're suspicious enough, you can see the hannya mask face in the background.
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    "mu-gen-hou-ei"
    the evanescence of life...dreams, phantoms, bubbles, images (shadows). I learned the phrase while studying calligraphy a few years ago.
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    if you take ballpoint pen and wash it with a certain type of rubbing alcohol, you get random paper-chromatography type effects. it bleeds this cool kind of purple. very difficult to control and it will eat a hole in your paper if you're not careful...
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    acryllic in scrapbook. two models in Wichita, KS that didn't know each other. i had no colors with me. just "neutral gray" burnt umber, raw unmber, yellow oxide and red oxide maybe some crimson. hard to make it go dark with that, but i'm kind of pleased with the feeling of it.
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    Brandt a lot of them were referenced from "Film Star Portraits of the Fifties" and "hollywood glamour portraits." Those are published by Dover for pretty cheap (19.95$, i think). good, high-quality collections of black and white portraits. The rest were done on airplane flights from rolling stone, entertainment weekly, nat'l geographic, etc.

    Tensai
    Yeah, I'm not much of a character designer. I don't really intend on pursuiing it that much. A former teacher of mine wanted me to draw some sketches that he could work off of for a sculpture instruction dvd. I had a lot of difficulty even getting basic proportion information out of him (thin? thick? how many heads tall?, etc. etc. etc.) , so i started whipping out generic rough sketches left and right, with no regard to actual character-i-ness or ultimate design. he wanted something to look at while building his armatures and needed it asap.

    This is the reference i shot of myself for it. i looked at a couple of photos for ideas on armor online, but i didn't really use anything while drawing the rest of it. just having reference for the planes of the face is usually enough to change it into whatever character i need it to be. you do need to at least mimic the expression though. i haven't "experimented" with drawing myself as a female yet, thank god. (although i think that would be a funny thing to try sometime.)
    "dude, your pinups look hot! did you get a model to pose for them?"
    "yeah, i shot myself as reference."
    "ewwwwww"

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  21. #199
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    Thank you very much for the feedback. I really like your acrylic paintings, they show a lot of contrast. The sketch with the guy holding the sword has some great shading. The only thing bugging me is his arm that's holding the sword. I think it needs more clarification where his forearm and bicep meet, it feels kind of flat now.

    Good luck with the move

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  22. #200
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    pld: Damn. Incredible stuff in here! keep knockin those socks off.

    Makes me want to get back into figure work.

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  23. #201
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    I have to thank you for the continued inspiration, mister.

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  24. #202
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    2007-10-08 update.

    yet again, the other half of the 2 characters for the dvd. please don't comment on the character-design-i-ness of it. it's an anatomy and proportion study so the teacher doing the dvd can build an armature and start working. These are specifically what he requested. i will be doing variations on them for the actual costume, head features, etc. in an upcoming post.
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    We had a saturday class field trip to Eaton Canyon Park near Pasadena. Nathan did a demo and then we spent the rest of the afternoon painting.
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    Alas, Nathan's "Sketching from Life" class is over. These are shots from my in-class work tonight...

    25 minutes
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    25 minutes
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    5 minutes. ouch! can barely mix paint that quickly.

    A street scene from Hong Kong was put up on the tv screen in front of the class. When we started 10 weeks ago, i would've just sat there not knowing what to do. By no means am i accomplished at this kind of sketching, but I feel a whole lot more confident slapping paint around and trying to make it work. Nathan's a really good teacher. He put a lot of thought into how he organized the class and how to help us get the most out of it.
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    Howie Thanks. I agree with you. the arm does look a little flat. In reality, chain mail would probably "wrinkle" a little and bunch up at the elbow when his arm is flexed like this. the rim lighting helps a little, but i should probably push it more.

    drd, codenothing Thanks. Just keep plugging along and we'll all get better sooner or later.

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  25. #203
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    wow man!
    i love your work!! ive recently tried to get into some environment design, and im really having a hard time, but the looseness and choice of colours in yours are really inspiring!! that one you did in ur car is rad! not to mention your figure work!! its breath taking!
    .......sorry almost passed out there hehe
    i can see that your already a master in anatomy, but if theres any advise that i could give from looking at your work, is to perhaps focus some more time to hands and feet. they are already very good! but it looks as though they are your weakest point. so close to perfection man! i hope i can get some what close to your level some day! cant wait to see some more!

    Last edited by tokotewhero; October 9th, 2007 at 08:08 AM.
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  26. #204
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    Nathan, as in Nathan Fowkes?? man, I'm so jealous! How was that class??

    Last edited by Extollere; October 9th, 2007 at 04:17 PM.
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  27. #205
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    This is one SWEEET ASS SB!!! Love that pen work, watercolor, and the advice in here!! Keep postin more of your eyecandy bro! U ROCK!!!

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    toketowhero, Extollere Thanks! I took an environment design digital painting class at Gnomon. I learned some stuff about painting digitally, sampling textures, etc., but some of the class was a bit too basic for my skill level.

    (Disclaimer: I don't want to give a specifically positive endorsement or negative critique of any school.)

    That said, the skill levels of the students varied A LOT. For me, the most frustrating thing was listening to basic explanations of drawing rudiments, etc. If the course catalog says a lot of drawing experience is necessary as a prerequisite... I don't know what some people were thinking...

    Nathan's class, on the other hand, was a great experience. I've taken his workshops before, but his class is so much better. The workshops are very inspiring and instructive, and they're very good if circumstances prevent you from taking his class. But the information he gives you will really hit home if you spread it out over the 10-week class and make the committment to sketch and paint (almost) every day.

    In case anyone was wondering, Nathan teaches three classes at LA Fig Art. (www.laafa.org) in the Los Angeles / San Fernando Valley area. (Van Nuys, specifically, if you know where that is.) The classes go in a cycle.

    1) "Sketching from Life" is a kind of all-purpose (quick) sketching class that starts with drawing the figure and works through color, costume, still life, animals, and landscapes. You get a chance to tackle just about anything you'll ever come across! His lectures are very informative and well-organized. And the in-class assignments are very well-structured and designed to take you along a pretty quick path of progression. (of course, the more previous practice you have and the more time you devote to putting in mileage, the easier it will be to fill in gaps in your knowledge.)

    2) Head Drawing-- I'm taking this starting in two weeks

    3) Head Painting--Plan on taking this afterwards too.

    my personal feeling is that if you can draw a good head, you can teach yourself to draw the rest of the figure. The head is relatively stationary, and small differences make a huge psychological impact on the viewer. Learning to see the head objectively makes seeing the figure objectively easier. Chances are that's why Nathan focuses on the head for these classes, but I don't want to put any words in his mouth.

    "Back in the day," Nathan taught at Mark Westermoe's school (which is sadly closed for good now). Nathan had moved on by the time I started learning from Mark, but he brings the same kind of large vision and the best approaches to his teaching as all the greats that came from that community--westermoe, kevin chen, nathan, sergio sanchez, paul wee, john watkiss, etc. etc. etc. Even when Associates was seeing darker days, the place still echoed with artwork from these guys hanging on the walls. You couldn't help but feel inspired.

    As a teacher, Nathan is incredibly thoughtful, well-spoken, well-organized, and generous. He gives extra demos in class if you're having trouble, explains things clearly and succinctly, and both inspires and demystifies with his work. You will probably learn the most from him if you have identified weaknesses and gaps in your own work--and he encourages you to find these things by being very supportive of putting in a lot of sketch-mileage. Be prepared to work outside of class--he will show you ways to make the most of every spare moment, no matter how limited you might think your free time is.

    So, that's it. I whole-heartedly recommend taking his classes if you are serious about putting in mileage, adjusting your eye, making conscious well-thought-out editing decisions in your drawings and paintings. He's a great teacher and an all-round good guy.

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  29. #207
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    gmags Thanks! i think our comments crossed. your posted while i was typing mine...

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  30. #208
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    I've heard that Fowkes teaches very well. It's nice to hear you reaffirm that. I'd love to make my way up there soon when I have more time and money for some classes. By the way, I forgot to tell you how much I love this thread

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  31. #209
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    i know this isn't a tutorial thread, but i figured i would kill two birds with one stone. there are a few minor insights on how i approach eyes, you can see some crappy hatching. (i like chromosome's hatching effects on his sketchbook thread). and i can start warming up in preparation for nathan's head drawing class next term.

    step 1
    first things first...

    this isn't going to be a dead-accurate likeness. i'm not worried about that kind of accuracy when i'm practicing. i do look at proportion--spacing between eyes, spacing between eye line and nose, placement of brow, etc. all competent artists do that.
    the farther the distance your eyes move from point to point in a drawing, the less accurate you are, generally speaking. although you can usually subdivide proportions in half or thirds pretty accurately regardless of size if you practice regularly. some things are basic, how the wings of the nostril line up with the inner corners of the eye, etc. then the likeness is mostly noticing how those proportions deviate from "the norm."

    there are also construction lines that i use. it is important that the eyes rest on a common base line. important that their corners, etc. line up. unless there is a peculiar facial expression. sometimes i draw these construction lines, sometimes my hand moves along them before the pen or pencil touches and lifts off. but basically, i look for certain "rhythms."

    sometimes they are straight, sometimes they are curved. i think up a lot of them, edit them into the picture to "solidify and harmonize" the forms, etc. today, i mostly felt like drawing with straight lines. a good book to reference is Jack Faragasso's "mastering Drawing the Human Figure" although I'm not a big fan of his drawing style. he goes off the deep end in the middle part of the book, but there is some useful information.

    he had the same teacher as my teacher's teacher's teacher. (my teacher = Westermoe; teacher's teacher = Fixler; teacher's teacher's teacher = frank reilly at the Art Student's League back around 1920-30 (?))

    another good place to look is nathan's blogspot page.
    <a href="http://nathanfowkes.blogspot.org">nathanfowkes.blogspot.o rg</a>

    i haven't taken any figure or head drawing classes from him yet, but i already know where he's coming form more or less as far as construction and form.
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    step 2
    if you're right-handed. it's a good idea to start with the eye to your left. that way you can see it and relate to the shapes when you draw the other eye. there are important things to know about expression with the eyes. to make an eye &quot;smile&quot; there has to be a puffy bag under the eye and usually a crease. it's more pronounced in older people, but present in everyone. sometimes it is tricky to draw it if you don't have really subtle tonal control. sometimes you have to suggest it. for this person's eyes, it was pretty obvious. i also left that little rim on the edge of the lower eyelid because it helps the effect.

    the distance from bottom of eye to nose is pretty important in a likeness--not that i've done that well here. when i looked at the reference i was paying attention to the distance between that bottom crease of the bag under the eye to that little indentation above the wing of the nostril--the negative space. that small of a distance is pretty easy to get right once you have an eye to measure off of.
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    step 3
    makind eyes &quot;smile&quot; is a useful fact. when a person really smiles, there is always some degree of puffiness in that bag of flesh under the eye. older people crease very easily. younger people and some ethnicities only show a crease when they're laughing their asses off. you can also spot a fake smile easily when the person shows no sign of that puffiness under the eyes. and it's almost creepy if they're showing teeth. looks like an alligator smiling.

    i also left a little light area on the lower lid edge. it helps the effect.

    when you're drawing eyes like this. it's a good idea to focus on the negative shapes. by that i mean the whites of the eyes. draw them and you will have the shapes of the mass of the eyelashes and iris/pupil by default. two little triangles of light give you all that information. always try to simplify.

    i don't like the hatching on the cheeks here. not rounded enough, doesn't feel round like the form.

    but one thing i did do right: do not completely outline the lips with a continuous line! only outline them if the person is wearing HEAVY amounts of lipstick or makeup. and never, never, never outline them on a guy unless you have some specific reason.

    with other media, use a soft edge. exaggerate the lighting effects a little if you need to create more form. vary the line between the lips so it doesn't look like a slit.
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    step 4
    with that much of the face done, i loosened up and just roughed in some of the hair and hat shapes. the focus is supposed to be her face, particularly her eyes. noodling around with other details will pull the viewer away from that.
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    step 5
    end result... abstracted the flower shapes, zigzag hatched the underside of the hat and hair. tried to incorporate some kind of suggestion of curliness to the hair too. kind of successful at that.

    whatever...

    some things i did right some things i did wrong. not a great likeness by any means, but then again i only spent about 4-5 minutes screwing around with pencil. spend more time at the beginning if it's that important to you.
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    something to try next time
    this is what happens when you use red, burgundy and black sakura pigma-liner pens. you can get interesting effects. basically, i sketch in red, add some core shadows in burgundy, and then drop accents or adjust with black if i have to. lots of fun! that's my foot up on the couch in the background. now, i'm gonna have a drink.
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    extollere thanks again. you guys's sketchbooks are good too! there are about 6 or 7 guys from (or formerly from?) san diego / watts / lemen that car pool up every monday. i drive about 200 miles roundtrip from home to work to class and back. i know how much it sucks. do try to take it someday though. worth every penny.

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  33. #210
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    wow, you have an awesome sb. I'm so glad I stumbled upon it. It's very inspirational and makes me want to grab my sketchbook and run around the city drawing all day. Keep posting, and sharing.
    cheers!

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