No, but you can get a third page instead.
Here you go!
That third sheet is a real pleasure to look at, great job with the strong sense of light. I think the heads are too small on the third and fourth sheet (the woman's shoulders are also low and the neck is short adding weirdness). Some curvature on the arms and legs would do wonders to the standing pose's rhythm at the last image (like having the shanks a bit behind thighs and that kind of things). Hogarth teaches them great in Dynamic Figure Drawing but some Loomis studies would help a lot too. Good sketching though, keep your imagination working!
I love your colorful paintings
The main element to work on now is shape. More looking at life, photos, and other artists work will do you right. Some things to consider about shape: The most basic thing is perspective, consider a box and how each of it's angles and edges clues us into it's form, all your shapes tend to be round.
The perspective here works only becuase of the symetry of the body, I can follow the imaginary lines from the eyes and elsewhere to the vanishing point, however if you darken in that figure into a silhouette it'll look flat, because there are no angular clues.
Another thing to look at, regarding shape, is it's character. Rocks have a certain character, leaves, pens. The silhouette is the easiest way to study shape, you'll notice some silouettes appear to reach, sag, move in different directions, and all sorts of things.
Also keep an eye on proportion, the size of each shape in relation to the others.
Also look at the dynamic relationships of the shapes, where they are in relation to each other effects the impression we get from them.
I suppose Rudolf Arnheim's "Art and Visual Perception" is an okay place to start for more setailed info.
"Beliefs are rules for action"
"Knowledge is proven in action."
"It's use is it's meaning."
Diphallia: Thanks for the page jump.
smuli: Thanks for the crit, I agree looking back through my book almost a month later. Still workin it hard, but I feel I have a better sense of the whole Hogarth style overlapping of shapes. But still working on it daily.
Mex: Thanks man I wish I had photorealistic brains somtimes though.
ODISAP: Glad you like them, I'll keep them coming.
armando: You are my unspoken mentor, I will take your advice whole heartedly, I have been trying lately to break things down into more rectangular planes, but I might try doing some sillouette drawing to flex my shape muscle. thanks for the extremely helpful comments.
So almost a month later here is a measly scan and speedie. Been working hard at work. hmmm Ill post the starting of a sleeve Im working on too for retribution.
Cheers! its my weekend!
Clarifying my last post: In the original you can follow perspective lines to the vp, mostly in the facial features, but also in the chest and elbows. In silhouette those lines disappear, and because there are no angles in the shapes of the silhouette it looks flat. It's all the same idea, except that you're also putting the perspective lines on the contours. The box teaches everything there is to it. I realize now that I should have moved the left arm over to get that other perspective line through the elbows.
Do silhouettes from life. Concentrate on the ground plane, get the receding lines, the distorted perspective shape that cues our minds to see 3D objects..
"Beliefs are rules for action"
"Knowledge is proven in action."
"It's use is it's meaning."
Checking in to see how your work is coming along. Good to see you still pushing forward. Sounds like you've been doing a lot of different studies... you should post those too, would like to see them.
Tattoo work is looking good as usual. If the colored snakes on the feet took 4 hours, how long do the sleeves take?
wow that snake tattoo looks cool!
but i don't see much practiceeeeeee...
try and do more full figures without "cropping" them, it wil help with all the anatomy (you should avoid avoiding feet and legs) and it will help your sense of balance and proportion.
armando(from before : Ah! I understand what you meen about the angles now, especialy after checking out bridgemans stuff. Thanks for the explination.
AphexTweak: Thanks man, I have a really irritating scanner, so its hard to scan things in my sketchbook because of the larger size of the sb and the smaller size of the scan, you'll see what I meen in the "handyman" post. That took me about 15 minutes to get right. When I get my real scanner set up at home I'll post a lot more. The sleeves were 2 hours apiece worth of lining and the horse guy came back and got another 4 hours wich is just background shading. Sleeves depend on how much color and shading there is but a full sleeve is probably 15hrs for black and grey to 35 or so for full color, somthing like that but it depends on a lot of things and is kind of hard to estimate.
The Gnoll: So glad to see you stop by, I've tried to focus on the feet leg area lately, I know I've been avoiding it. still needs work, but I see improvment so far. Thanks for pushing me.
I spent the weekend up in Lake Tahoe chillin with the family and the baby and Bridgemans Lifedrawing. Opened my mind a lot, here is what I have so far, plus some older stuff too. Enjoy.
Attachment 308482 The further he pulled the more of his body he took.
Attachment 308484 handyman
Attachment 308483 bullocks!
Attachment 308501 Speedie 15m
Last edited by MonkeYoakum; February 21st, 2008 at 07:43 PM.
I just found these on my laptop, from a long time ago but I thought them good enough to post now. I think they are from a chow that never got submitted. The clockwork colosus seems strikingly similar to somthing I saw on a game box, but I drew that piece before I saw the game. Maybee its just generic oh well. Enjoy!
Cool works, I especially like the tats.
I flipped it, I dont know why, but I see people do that so Im doin it too. Also I moved him over, I think its somthing about composition or somthing I dont know, but I think I read somthing like that too. So yeah and then I added some shit.
Heres another .1k
Lot's of people flip their work so that they can have a fresh look at the picture and they are able to see mistakes easier. It's kind of like when you leave a drawing overnight and you come back to it and you think 'damn, what the hell is that doing there', it's just quicker.
I think you should practise painting in greyscale for a while, you can always use a colour layer later on.
Keep up the good work.
personal reference. trying to see incrimental trends in tonal value
Last edited by MonkeYoakum; March 22nd, 2008 at 10:40 PM.
hey man thanks for the comment. your development of form is really coming along. keep doing those bridgman studies.
Lots of nice anatomy work lately. Muscles are finding their places but seem to have wonky proportions at times. One thing that pokes my eye is that every time you draw a raised arm, it's really wide at the shoulder and tapers towards the elbow. I did some torso/arm studies from mirror the other day and learned a lot, I think those are just the kind of things it would help correct. I'm sure Loomis, Hogarth & Bridgeman will too though. I like the faces on post 68 and the snake/deer/human combo. Keep at it!
Thanks for support, means a lot to me.
Since you ask for crits here, I can only suggest to try to simplify the composition and try to work monochromatic for a while. It helps me whenever I feel stuck with certain problems.
Nice stuff, I'll be lurking from now on.
I must say your tattoo work is very nice, you have to have great confidence and patience to make a permanent illustration on someones skin. Your SB is showing nice improvements, keep studying and practicing is my only advice right now. I will be back to see more.
i thought i would pop by and try to offer some advice as we discussed. First off i just want to say your tattoo stuff is great and i like your overall feeling of creativity and fun in your digital paints.
I have read through most of the comments in your book and my good friend oishiiniku and a few others have already offered some of the best advice that you will get. I Agree that it is very important to try and get a hold on the basic skills so that they can then feed back into your more creative work. I am very guilty of not doing this enough myself and i find it hard not to just rush from idea to idea without making time for practicing studies and doing exercises. I think oishiiniku himself is a great example of what you ought to be doing: he has the self discipline to pick something that he wants to get better at and then work at it for a few months until he has captured it. Check out his book and you can see him do faces and later characters and then enviros all in blocks. He still does other stuff at the same time but puts lots of effort into his main objective at any point. He is a constant inspiration to me and a daily reminder of what you can achieve if you work hard at it.
Mr Glen Vilppu has a mantra that goes like this:
"First, you must have a plan of attack or approach; second, you need the knowledge to put that plan into affect; and third, you must have the tenacity to carry it through to completion."
i think this is a great ideal to follow in art. I often find myself struggling because i have not done enough ground work. All the efforts you put into developing a better sense of tone, color, composition, perspective and anatomy feed back into your work to help you complete the problems you find in your art with ease and efficiency.
I would say sit down and decide what you want to improve at first and then do studies and exercises to help you achieve this goal. In you pm you mentioned poses and grounding figures: A good exercise here would be pull up some ref of figures- from fashion pictures, sports photography or whatever- do a google search or pop along to www.corbis.com – (its ace) for whatever you fancy drawing.. Then do lots of quick gesture drawings from these images- do not try and slavishly copy them – instead aim for a few broad strokes that capture the essence of the pose. The vilppu drawing manual has much more detailed instructions on this process. He starts with the head and then goes from there. I tend to start with a curve that is the general motion of the pose- the line you would draw if you had o draw just one line to describe the whole figure, and then add shoulders, arms, legs and head. Do not try and describe the outer contour, more the general direction of each limb. Do say 50 of these over a week. Once you feel like you are getting a grip on it, start trying to do some without ref- see what you have internalized. If you find its not much then try doing some studies where you look at the ref, take it away and then try and draw without the ref. Then get the ref out again and check what you did against it- your mistakes are your best teachers.
For whatever you want to learn there are h that can help you do it.. the concept art community as a whole know so many useful techniques. Just shout up with things you want to get better at. I have to say though that it is all about mileage really: you have to stick at it and put the time in if you want to get the results.
here are a few books that have had a big impact, helped or inspired me and my peers:
Glen Vilppu Drawing Manual. Vilppu Studio Press ISBN 1-892053-03-9
The Skilful Huntsman. Design Studio press ISBN-13: 978-0972667647
Vision, Composition and Photography. Ernst A. Weber ISBN 3 11 006903 2
Hop this helps and makes sense, shout up if you need anything clarifying!
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