2-minute back-story: This is actually the second time I've applied to RISD. I applied last year and was accepted (after being wait-listed), but couldn't go because I had no idea how to pay for it (very last minute rush). So I spent the last year planning to reapply and attend there in the coming Fall semester as a transfer Illustration student.
I don't plan to work more on these pieces, so specific critiques on the pieces, while always nice, probably won't be applied. Sorry. I would, however, love some critiques on things you see I need to work on or improve. Don't go easy on me. Also, I'll be sending these out tomorrow or the next day, so if you see a particular piece that's really bringing down the rest of the portfolio, I might be able to find a replacement.
When I applied last year, I had no figure drawings (because I had never done any figure drawing), so I made sure to compensate this year. And as I'm sure you fully well know, two of the pieces you see here are RISD's drawing assignment pieces (the bike and river scene)--the third drawing is still being finished.
Thanks, Lazarous. The cast was the third cast-drawing I had done, but the first done in charcoal. It was a pain to do, and at times very frustrating. But a nice end result, and a great learning experience.
P.S. Does anyone know if it's possible to switch user names? This is an old account and I'd like to update it to use my real name.
Like your stuff! I think what would help in the future, at least from an illustration and design standpoint, is to design your lifedrawing.
Don't be a slave to the model. Think the leg would look better torqued a bit? Do it! Pushing past what you actually see has been done for centuries, and usually lends to things looking more real than they do right now. Adding weighted lines would help as well as atmospheric perspective (shading the human body as you would a layout...)
therefore, whatever plane is closest to you (for example, an arm) would be more detailed than whatever plane is furthest away from you. The closer parts of the body would have more contrast as well.
Just some tips and tricks for the future, i really like your shading style!
alicat08: Yeah, I hear what you're saying. That's probably thanks, in part, to those shorts the model was wearing. They were heavily patterned surfer shorts. I questioned whether I should draw the pattern at all, and ended up taking a shot at it. It was probably the wrong decision.
kadianimation: Thanks for the tips. You're very right: I often have a slavish devotion to what's in front of me. I'll try to loosen up and remember what I'm actually drawing.
solid work; but I do have some words of advice about "art school"
Expect instructors to attempt to de-construct and rebuild your skills... you have a solid base to work with and you should focus on broadening and strengthening your skills, and even practicing some very basic things you might not think you need to learn... but even the most practiced artists need a reresher every now and again.
Unfortunately I have found that many instructors are not interested in investing in growing your skill as much as elevating themselves in the eyes of their students and creating acolytes; so keep an eye out for them and don't let them get to you when you do come accross them (and you will).
THANKFULLY this is not always the case and there are some wonderfull professers in the world who want nothing more than to help guide you in your quest to be a better artist...
...good luck and I'd love to go 'back to school'
"The pressure to be something I was not was constant and unrelenting. It was a battle to maintain a sense of authentic self when that self was still in the developmental stages."