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Thread: scribble-dee-doo!

  1. #1
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    scribble-dee-doo!

    .... i am too much of a slacker.
    here are recent sketches. need to draw more.
    ...

    *Edit: removed old sketches from here. The thumb in the forum was driving me batty.*
    Last edited by AmiimA; August 25th, 2010 at 09:17 PM.
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  3. #2
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    What great sketches! I love the way you draw legs and hips, they really feel powerful and not at all flat. Really beautiful work.
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  4. #3
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    hey amiima, these are some really good sketches,. i like the studies that you have done. but although you know soe proportions of the anatomy try doing more and work with shading on some of them. but other then that you are doing great with the job and quit slacking, i would like to see some more of your work. best of luck man,


    "EVERY GOOD PAINTER PAINTS WHAT HE IS" Jackson Pollock

    "I am obsessed with the process of creation" Zdzislaw Beksinski
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  5. #4
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    Hurray, glad to finally get you posting on here. Make a habit of it (unlike somebody i know >__> )
    Lots of work here i had not seen before, had fun rifling through it all. Ill try and keep the critiques more general for now
    Proportions look correct, anatomy is definitely improving, there are some issues here and there (joints mostly, such as elbows and knees) but your studies from photos show that youre looking at these things, just incorporate them in your other work. Limbs are still looking a bit rubbery, remember that there are bones underneath, parts where muscles attach (ie near joints) as well as joints themselves are bony and hard, so they will have straighter lines and harder edges. Im seeing this as more of an issue in your arms than legs, legs usually are pretty spot on, occasionally with a funny ankle.
    Other than taht, drawing wise everything is looking good, youre definitely improving in confidence with lines and ideas in general. I wanna see you step outside comfort zones a bit more often though.
    Youre having a lot more trouble with shading though i think. The drawins are shaded very generally, other than your studies there seems to be little consideration of light source and form, more like indication of where a shadow is here and there, but not how it describes the texture and curvature of the planes. Of course its kinda hard to tell if its a problem or if youre just not spending time on doing it cause none of these seem like even half finished rendering wise, but the problem does occur in your pastels too.
    Colour-wise i love em, theyre gutsy, and shading wise there is indication of form, but it is very general. Next time you sit down to do one of these (they both self portraits?) take a closer look at the exact shape of shadows, midtones and higlights, as well as whether the edge is soft or hard, and try to indicate this accurately. The general approach of "i see a shadow, so ill put some dark there" or "i see midtone/higlight, ill put some lighter tone there" doesnt describe form. Soft value gradations can be seen as spheres, albeit more complex, and sharper values are closer to cubes, try to simplify in this regard (at least in your mind) and consider how the light is hitting the surface and gradating to shadow. Does that make any sense?
    post more
    Nikola Odic
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    you got them purty lips, boy
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  6. #5
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    .. i'll try to work on more studies. trying to especially look at arms.. but we will see. i see myself struggling with the joints too.. so.. yes...

    some schoolwork, painting and lifedrawings(bad blurry pictures :/)
    I should be doing more studies I know.
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  7. #6
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    Was that a portrait of Scott up there? Love it!
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  8. #7
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    Argh, I'm sorry for repeatedly skipping on critiques!

    The bakery painting looks good, i think ive said a lot about it before. The pastries look delicious, the dude looks gross. Aside from his hands being weird (which we talked about) the pale face and super red cheeks thing you like looks more like welts than rosy cheeks. If he had more colour in his face it would work fine, but i guess for pictorial effect it works?
    We've also already talked about the pidgeon picture, the improvements you made really helped, its still a bit unclear, but maybe its not a bad thing cause it makes the viewer think a bit. The sketch on the other page is much clearer, but of course that'd have sacrificed composition for clarity, not worth it.
    Faces from life look good, youre improving in that regard. Watch the direction of your hatching, consider it a bit more, dont just lay down value in any direction you feel convenient, direction can give as much information as the value youre putting down.
    Creature guy is fun, as i said before, i love the texture on the tail, would have had a bit more pop if colours werent so muted. Generally looking at your watercolours you could definitely use a few points of stronger colour, seems youre a bit reluctant to hit it hard enough. It dries lighter, dont be afraid to go slightly overboard.
    FIgures/anatomy studies look good, glad to see youre looking at arms finally, watch the messy linework!
    Next couple drawings all have the same issue with the directional hatching flattening things out. Watch your feet, on the trio theyre too spread outward, looks unnatural, practice foreshortening em in different poses.
    Painting of scott painting is alright, you botched up his face, but im sure youre aware of that. Compositionally id have made the blackboard darker to frame him more, bring some more interest in there. I like the lower area, the variety of shapes makes it interesting.
    The portrait of scott almost looks like him, its really exaggerated and distorted , dont know how much of that was intentional. Colours and values look correct (you love that blue eh), just tighten on the proporitons and shapes. This one and the next paintings both show that you need to watch your shapes and edges a bit more, tighter areas, especially around noses and lips get to generalized so the value shows no form. Also consider whether the edge of a shadow or form is hard or soft, it goes a long way toward both leading the eye and showing the curvature of the form.
    I really like the life drawing with the helmet, most of it is very strong and confident. The right area gets a bit washy and insecure, sharpening up those details would really make it a strong piece.
    Compositional studies are a good start, but could be taken to more interesting levels. You tend to stick the figure on the left or right thirds, and almost all of em get cut off around the knees. Try some closeups, some full figures, and placing the figure higher or lower on the page as well. Dont be afraid to make a terribly awkward composition, its good practice to see why something doesnt work as much as trying tomake things work.
    Portrait of me looks nothing like me () , colour wise its pretty good, technique wise its too busy.those tiny textured strokes can only work in small doses, remember to balance it off with larger areas of colour or less texture to ease the composition and give the eye somewhere to rest. Contrast between the two will move the eyes around a lot more.
    i promise to update soon?
    Nikola Odic
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    you got them purty lips, boy
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  9. #8
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    some paintings and sketches form the summer..
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  10. #9
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    stuff from school and sketches......
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  11. #10
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    everything seems to be going well the only thing i can crit is your faces you need to work on them.
    i will check back l8er and see what you've done
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  12. #11
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    Hi!
    There are way too many to crit individually so ill be fairly general for most of them.
    Starting from the top (bc stuff)
    your watercolours definitely show improvement over time. You generally have a good eye for value (eventually after all the brushing over), the earlier watercolours have a lot of issues with colours and getting muddy without any bright areas, which gradually improved over time. You still need to keep your focus clean, get it nice and bright with good contrast the first time, and then dont touch it ever again! If you do it wrong the first time either fix it with only ONE other pass over, or work around it, its better to be slightly off and clean than correct and overworked. The other thing that needs work (but shows improvement from the earlier work) is control of shapes and brushstrokes. Just as you muddy your colours, you tend to overgeneralize shapes, which sometimes works (ie the hoodoos) and at other times makes a big mess where everything looks the same. This may be a bit much now, but try and analyze the exact shapes more, as well as what is causing the shape (ie light and texture) so if you dont copy the exact shape you suggest the same idea (paint foliage distinctly from rocks and water and so on). This also means varying the kind of brushstroke, brush and technique you use (drybrush, wet in wet, glazing etc) for the appropriate effect. As much as you hate to, id recommend doing a couple of study sheets playing with different techniques with watercolor, which can be quite fun if you start finding new techniques you can use.
    This same thing applies to the pencils; the loose scribbliness takes a lot away from what is there, and is generally distracting. practice tightening up your hatching so that you can create areas of flatter values and smoother blends. Dont lose the scribbliness altogether though, its useful for its textured rough look, and can look good if youre varying it with some flatter and subtler work as well. Linework isnt as scribbly as it use to be, so youre definitely improving in that area. Sometimes you need to force yourself to stick to the line you already made, or erase the wrong line and redo it, or at the very least sketch in very lightly and then go on top darker when you find the right line.
    Oils are stronger than watercolour in terms of colours, mostly cause you can paint over without making mud. Same issue with variation and sharper shapes though.
    By the way, look at the girl with the animals original drawing again. You captured some real nice qualities in that one that youre losing in the digital. Theres some real strong contrast cause of the darks on her and the cleanliness of the animals, and her face looks better here where it is more suggestive, the animals linework is also much cleaner. Maybe consider revisiting what works in the pencil drawing and reintegrating it into the digital?

    i just noticed that you do too many straight on poses (figure facing directly at the viewer, or straight profile, or at the very least the shoulders facing the viewer with head slightly turned), these tend to be the most boring ways to draw a figure, look at more action photography (dancing, sports, fighting, movie stills) and study the twisting of the hips and shoulders and foreshortening that make poses more exciting.
    when youre studying faces you tend to make some distortions of the proportions, primarily in cutting up the jaw and/or skewing the cheekbones, epsecially if the head is even slightly tilted, which is natural cause the brain wants to make everything straight on, but you need to watch that the axes of the face are matching, simply drawing some quick axis lines early on is enough to solve this issue.
    I like the way the final boy on fish painting came out. you need to finish more stuff! the one thing id study more for the future is clouds, yours are fairly one sided because they just have one outlining thin highlight around them, especially on the bottom, so they lose some of their form and fluffyness.
    I like the first painting of scottie, especially value-wise. Colour wise its also an improvement, its way brighter and more lively than any of the bc stuff. I can definitely see how you got caught up in the values and strokes around the face, again, if its wrong by the 2nd try its usually a bad idea to touch it any more, just go with it cause after that point you start pushing pigment around and making a streaky muddy mess, Also, some softer edges would help a lot on the clothes to sugest folds. The pants and shirt have some folds suggestions that are too sharp to look like anything, simply softening one edge with a semidry brush would have given the illusion of turning form. Keep edges in mind, they really are what sells the form on anything but the most high contrast lighting situations.
    The second painting is definitely overworked in the details and shadows. The first mistake is probably that you didnt figure out the details before starting to paint, so you kept fixing and changing which makes a huge mess, the other being that youre not seeing the colour right the first time. You can definitely tell that you were trying to recover it which didnt work out. The strongest part of the painting is the skintone in the light, whihc you only hit once or twice and then left alone so it still looks bright.
    Life drawings are pretty good; the less you scribble the more youll pick up from it. Dont waste time scribbling, especially on gestures, if its wrong keep working with it, nobody is marking these drawings anymore, you can afford to make mistakes, its ok. Think while you draw and about what youre seeing and youll remember it the next time you wanna draw a figure from imagination. If this means not finishing a drawing cause you just focused on one section its fine, what youre learning should be more important than making a pretty picture here.
    Love the girl with the long neck thingie. DO me a favour; do a second pass over her hair, with a light, tight hatching to even it out and flatten it out. That'll make the marks on the face work rather than look like a mess and give the hair more solidity to contrast the lightness of the rest of it. just play around with little contrasts like that when you see the chance, it makes an image more dynamic and interesting.
    i really really really like the mask with flowers, and i think its because of all the variation of technique, value, edge and colour. I like the subtle wet in wet on the mask with some nice sharp edges like the teeth to contrast, and the sharp white scratches to make it pop. The soft cast shadow really grounds it and places it in the spot and adds quite a bit to realism, and the simplistic flowers and graphic red background add more fun and interest. I dunno how much of it was intentional, but i love the final result. favorite watercolor of yours.
    Didnt see the girl watercolor before i dont think. The difference in technique here is also fun, but the white is such an overkill that its hard to look at anything else. Keep this as a note of what it is to go way too far with the scratches. Without them it is a nice watercolour though, the contrast works well.
    the next big set of pencils is a big improvement. youre pushing darks more which makes em more interesting and finished looking cause of the whole value range, and youre cleaning up a bit. I didnt notice before that youve been playing with smudging to clean up, and its working pretty well to contrast the scribbles. I like it, keep playing with it, but still try and learn to tighten up the hatching more when you need to.
    Reference studying is paying off, your figures and faces are getting more interesting and varied.
    I like the piggie painting despite the hate you spewed towards it. Its fun and the colours (cept clouds) work well, technique couldve been more varied, with wet in wet in the clouds and a flat tone in the sky contrasting the glazing and sharper look of the rest of it. It wouldve helped if you did some preliminary studies of clouds and pigs and wings to figure out the best way to render them, rather than try to figure it out on the final painting, get frustrated and quit or mess it up. if youre not lazy about it and do some practice beforehand youll have more fun with the painting cause youll know what youre doing.
    phew, that was a mouthful.
    Nikola Odic
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    you got them purty lips, boy
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  14. #12
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    watercolour portraits and sketches. working on some oil paintings, have up next time.
    And. thanks nik every time. still need to work on.. interactivity and less straight on/profile things. always so helpful. love.
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  15. #13
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    Huh. don't really know why those last pictures didn't go through. must be doing something wrong.
    Ehn. Anyways here, some paintings for school projects and some of the sketches from the last while.
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