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  1. #31
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    Nice work on these recent digis, and the storyboard studies! and your dog portraits are really cute =) keep up the good work, and happy painting as always!

    -and yep, I have the same Louise Gordon books, and did the exact same studies before, but not to the level of detail you achieved in your drawings the rendering's really good in them, can really feel the form in the studies
    "The secret to doing anything is believing that you can do it. Anything that you believe you can do strong enough, you can do. Anything. As long as you believe."
    Bob Ross
    'Updates every other decade' Book
    Death by Hue Shift!


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  4. #32
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    Solid studies here, dude, you're gona eat up LARA!

    16 frames Aliens is brilliant would love to see you do more.

    Catch you soon.
    ShootTheWorks
    lens flare renaissance

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  6. #33
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    Drawn at the V&A yesterday.

  7. #34
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    On the second sketch the nose is out of proportion on the close-up, I think... BTW: for what "V&A" stands for?

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  9. #35
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    DoktorNo
    I got lazy and was tired :/
    V&A is the Victoria and Albert museum in London

  10. #36
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    Quote Originally Posted by flurry View Post
    DoktorNo
    I got lazy and was tired :/
    V&A is the Victoria and Albert museum in London
    Good to know.

    Anyway, excellent studies.

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  12. #37
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    2-3 hour study of Charlotte Casiraghi and a concept for a stormtrooper, loosely based on the original one by Ralph McQuarrie.

  13. #38
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    New stuff!

    My time at the London Atelier of Representational Art:

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    And some life drawing
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  14. #39
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  16. #40
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    Amazing progress since I last visited. Love the princess portrait, the only thing I'd say is that both cheek's glare might be a little too white. Also, those pencil pieces are really sweet.
    Keep working, you're definitely improving!

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  18. #41
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    your studys of the human bones are very clean
    I am searching for a "Mentor" who will give me some hint's and an ass-kick when I get lazy

    NOW or Never --> Last Chance SKETCHBOOK _____ deviantArt _____ CW-Sketchbook(Blog)

    Any Question? ---> PM pls

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  20. #42
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    Liffey
    Thanks! I need to do more of those

    Abrodos
    Thank you, in the photo there's a fair bit of highlight on the brow and cheeks, but now you say this I see there's a little patch of dark midtone missing on her left cheek. And probably more mistakes.

    JiR
    Ty

    Bit of an update now: I followed Loomis' instructions with the 'variations on ideal proportions', turn out ok i think.
    And some concepts for a star wars comic.

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  21. #43
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    End of another term at LARA. First is a cast of Saint Benedict (or so I reckon), and some 4 week life drawings. I also drew people on the train to the school, so there's a selection of the best. Finally there's a random concept influenced by a sci-fi novel I read ages ago.

  22. #44
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    alo andy
    that cast drawing of beardyman is really nice, it looked great all cut out and framed. your figure drawings have also come a long way, ill just reiterate what i said before about value transitions on skin, it is usually good practise to downplay them for various reasons. but your developing a good sensitivity for it

    on the commuting portraits, it feels like ur perhaps breaking down the forms too much at the expense of naturalism. eg the third face on the first row, the nose is almost a completely straight line, you also simplify the eyebrows into straight lines a lot of the time, bear in mind that eyebrows follow the changing contours of the head, which means that the way you draw them will also convey quite a lot about the angle and form of the portrait.
    lookie here, since i know u luv loomis
    http://fineart.sk/photos/figure/162.JPG
    see column in the middle, and bottom left. even from an isolated eye you know exactly what angle the heads at, because the eyebrows tell u the form of the head they're on

    the angles ur using feel a bit forced, the eyebrows are a part of that - like the second head on the second row. the head seems especially square. remember the angles are there to break down what you're seeing to make it easier to draw, like curves etc. dont impose the angles if they arent helping u see something. i think this style is more appropriate for static subjects like models,casts, portraits personally

    on the metal head thing: be wary about drawing things flat on like that. the symmetry is hard to pull off n compromises form. it seems weird to me that the helmet is face on but the tube at the front protrudes at an angle, and i dont understand where the eye things are sitting in terms of depth. youve drawn them with completely flat edges, which suggests that they just stick out sideway from the eye which is kinda awkward. would have been nice to see more variety in the line and some shading to make part of the eye panel recede

    well keep it up man. youve come a long way since the start of lara, keep me updated!
    porn

    p.s. blog

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  24. #45
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    sean
    Thanks for the help, I see how the eyebrows can really help find the shape of the forehead. Each face in the commuting portraits are about 5 mins or less though, so I felt I could only block them in. I guess it was a warm up to the approach at lara each morning... But yeah I should get quicker, and remember the details of the faces.

    So update time, first up are some concepts for a comic:
    Attachment 1026967


    Some figure drawing from imagination:
    Attachment 1026969

    Attachment 1026971

    Attachment 1026972

    Attachment 1026973


    And Andrew Loomis studies on my A6 tablet. I'm just straight copying these (spending ages on each figure too :/) until I get to the "caped mannequin". From then on I'm gonna spend a couple of weeks drawing that caped guy...
    Attachment 1026975

    Attachment 1026982

    Attachment 1026985

    Attachment 1026986

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