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  1. #211
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    more informations would be great about your gallery! any website?


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  3. #212
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    Thanks for spoiling my eyes

  4. #213
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    Quote Originally Posted by Dibujio::Guru View Post
    Wow holy bananas!!

    You should be making books already with this kind of work.Because if you were,i would be the first one to buy one for damn sure.Loving every single piece of art work in here from start to the end of this thread you my friend make me want to get better.
    couldn't have said it better myself. this is great! i caught myself with my mouth wide open numerous times while scrolling through this thread

  5. #214
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    Your style of using light and shadow to determine plans is very good indeed.

  6. #215
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    Gorgeous pencil works , awesome!



  7. #216
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    So pro. I try to give constructive criticism instead of just compliments but aint really to criticize. Only pic I don't like that much is the guy in post number 5 his chin looks sorta weird and the way you outlined the shadow coming off the nose is confusing, but really that's only as compared to all your other sketches. Keep turning out that heat.

  8. #217
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    Lightbulb

    Quote Originally Posted by Raileyh View Post
    Here's the progress for the last drawing. I don't usually start on a toned surface, but I chose to do so for this drawing to try it out.
    dude that shit's just the freshest. she looksalive

  9. #218
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    duuuuuuude

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  11. #219
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    Your pencils and charcoals are great. If possible, i would like to see some of your older work, before you studied under Glen Orbik. I look forward to seeing more!

  12. #220
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    This thread is fantastic. I wonder if you could talk a bit more about "shape construction/abstraction" and designing it. I understand the handouts and constructing the face like you talked about but how do you get the "style" or "abstraction" in your headshots and especially the facial features.

    I've seen this similar block, full volume, angular style coming from people from Watts and artists (E.M. Gist, Lucas Graciano, Ron Lemon, you) who learned from the Reilly method but I don't understand the connection between this method and getting that particular consistent look.

    How does everyone seem to "abstract" the eyes, mouth etc. in such a similar and consistent fashion?
    http://www.bfowler.com

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  13. #221
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    Wow. Such beautiful works, and with so many great insights as well, I've been busy reading through the whole thread. Thanks so much.
    My Site
    Please comment on my sketchbook!
    Sketchbook

  14. #222
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    In response

    Quote Originally Posted by bfowler View Post
    This thread is fantastic. I wonder if you could talk a bit more about "shape construction/abstraction" and designing it. I understand the handouts and constructing the face like you talked about but how do you get the "style" or "abstraction" in your headshots and especially the facial features.

    I've seen this similar block, full volume, angular style coming from people from Watts and artists (E.M. Gist, Lucas Graciano, Ron Lemon, you) who learned from the Reilly method but I don't understand the connection between this method and getting that particular consistent look.

    How does everyone seem to "abstract" the eyes, mouth etc. in such a similar and consistent fashion?
    Hi Bfowler,

    To answer your question. The difference in terms of abstracting and drawing something is "translating a shape (describing it)" vs. "copying something". It's true that the drawings have a similar look. This is mainly because the students are copying similar marks that their teacher is making - as well as a step by step process. They are still learning how to "translate" by copying what the teacher is translating. I hope this is all making sense - of course - we are all used to learning visually and not solely through words, so I hope you understand what I'm saying.

    Abstracting a shape is part "translating the Form" (spelling it out for the viewer) and being able to "see" the light and dark patterns as abstract shapes and not an Eye - or at least not what your brain recognizes as an eye. The abstract shapes that make up an eye (or anything else for that matter) is truly an abstract thing.

    Representational artists are truly the abstract artists of the art world. Some might not agree, but I think it's truly abstract to be able to translate a 3-dimensional object onto a 2 dimensional plane using mark making and shapes that have nothing to do with what our brains recognize as reality - but tricks our brains into making it into reality.

    I'll post some examples of abstract shapes and how the artist has more control over the shapes than you might think.

    -H

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  16. #223
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    Do you feel, that using the abstractions of
    the Reilly method are an effective practice to
    eventually be able to draw figures from the mind?
    Or is this method more geared particularly
    towards referenced drawing?

    Fantastic works, thanks much for sharing!

  17. #224
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    answer

    Hi Phight,

    The Reilly method isn't a set method. It just means that the artist is finding simple ways to connect the figure together to create continuity in the forms and construction. Like finding the longest lines or drawing through the form. Some artists have their own unique way of simplifying out the figure. Sometimes this greatly affects their style or outcome of the drawing.

    Some people's abstractions are unique to them - so when the model changes, the abstractions used change. It's what's fun about learning to design shapes - it gives the artist a lot of control - so you don't get dragged around by the model.

    Memorizing the basic abstractions of the face and figure are great because we are all structured the same basically. It's a great way to learn how to draw with confidence from the mind. You don't want to 'have' to look at the model for the basic structure. It's better to understand the form then apply your knowledge to the model. When sitting for very long periods of time on a drawing or painting then I'll begin to focus more and more on the specifics of the model -- since the basic structure is correct -- it's quite easy to hone in on the specifics. It's like a polaroid coming into focus.

    My advise is to memorize the basic construction, you can use a simplification method like the Reilly method, or any other means of simplifying construction and anatomy, make it up yourself. Then from there you can apply your knowledge to the figure and hone in on technical aspects of drawing or painting and furthering your knowledge of the figure in specific areas.

    Hope this helps
    -H

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  19. #225
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    Some drawings from the Spring

    Here's a few drawings from Spring.

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