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Brilliant oil sketches you have and oil self portrait too. Your figures have improved so much and are really nice, keep going!
More figures and some sketches of made-up places.
EDIT: Forgot to say: The electricity was out yesterday, so this is from today and yesterday. Some might be from Friday.
Last edited by Craz; June 6th, 2010 at 05:50 PM.
care about your proportions, especially with the head
But the amount of sketches is growing so good You'll make it!
Jeff: That's good to hear coming from you, dude.
Lumos: Thanks. I needed that reminder pretty sorely.
This scan contains two thumbs for one of my future projects... I'm just starting to grab onto the end of the tail of its visuals.
And this is from one of Bobby Chiu's Chiustreams. The prompt was "Big arm vs. big head." I wasn't there for the live stream, but I'm just finishing watching the recorded.
I've also started writing advice at the top of every page when I get a new sketchbook. Started doing it about 3/4s of the way through this one.
Last edited by Craz; June 8th, 2010 at 05:41 PM.
I've got one exam left, now. Guess when it is. That's right, on the second day of the first TAD workshop! I need to miss three weeks of art training for one day of conventional schooling. Why couldn't the exam have just been this week? In conclusion, there is no god.
Haven't updated in a while... no good excuse. One more exam left and then I'm DONE with school.
Here are some compositions.
Guess who just finished school!!!!!!!!!!!!!!!
Some unsuccessful compositions...
Went to a place today. Pictures of it tomorrow.
Composition 'scapes looking pretty good, i think you should do more still life stuff, i know your doing live figure drawing, but try to do some of inanimate objects, like fruit, flower pot, cup, etc. Just expand your boundaries and not limit them to just the fundamentals.
Last edited by Exon-Ion; June 17th, 2010 at 02:16 AM.
Some reference that I took.
Got my Wacom back.
By the way, if you want to get better at environments, do them from nature. These are from partial reference, but I drew the referenced place from life first.
Escape from hell. Boats supposed to be rowing towards us, but I forgot to suggest that before saving the jpeg. This is a WIP.
Giantess battle nun.
Those enviroment references you shot in a couple of post back are pretty amazing, your digi-enviros are coming along nicely too. Colour in the foliage looks great, too bad i live in a pretty built up urban area...
The Velazquez copy.
So, as you've probably guessed, TAD started a couple of weeks ago, so I haven't been updating this thread. Here's a taste of some of the stuff I'm doing.
These are done in Conte Carre pastel (should be using Nupastel but they aren't easy to get outside the U.S. Conte Carre, I'm told, is very similar- a hard pastel that's still soft enough to blend, be sensitive, and not scratch the paper) from photoreference provided by TAD. They follow a procedure designed by Mark English to help students see the whole silhouette of a figure. 15 minutes each.
This one uses the same procedure, but was not for a class, and was copied from a photo of my own. The original photo was taken with the flash on; I designed the lighting for the drawing.
Straight lines from Marshall Vandruff's Perspective class. This was my tenth page.
Colour and Composition:
An excersise in creating composition with a specific emotion with abstract shapes and two values.
Anger. Improved after some feedback from Dorian Iten:
Last edited by Craz; July 23rd, 2010 at 07:10 AM.
Figures look great looks like your learning alot, can't wait to see more!
Wow, was my last post really that long ago? TAD has been keeping me hella busy, but here's an update on where I am with those figures.
In media class, we just finished the ink section, taught by George Pratt, and Android Jones is coming in for the next few weeks to teach us digital painting. We're wrapping up vignettes in Colour and Composition. There's so much to tackle in a vignette; it's like bootcamp. I'm learning so much that I'm a noticeably better artist than I was two weeks ago.
Oh, and here are the improved versions of "Fear" and "Anger" from the mood composition assignment.
This is two months of TAD, people.
Some more figure drawings from TAD's figure class:
And some practice sketches. All of these next images were made in Artrage.
The first is from a photo of a holocaust victim; the others are from my own photography.
Craz!!! Man, amazing work on TAD, are you online student? if you are, how has been the process? I'm getting in in february!
Your progress is amazing, I look the 14 pages to be finally rewarded with your last sketches! great work and keep it up!
Hi, Vicente. Have you submitted your portfolio and application yet? If so, welcome to the program. You are going to like it here.
Yes, I'm an online student. The experience of TAD has been amazing so far. I, of course, would really like to have the full immersion of a POD, but POD and online students all attend the same classes in the same online classroom, and online and POD students are treated no differently. As a student of TAD, I've experienced wonderful and enthusiastic support from the faculty and been able to give feedback which I know has been listened to and taken on board. There have been bumps along the way, being that it's the first semester of TAD, and the first of anything is going to have problems, but nothing major has gone wrong and I'm sure, thanks in part to student feedback, that these issues will be mostly ironed out by next semester. I'm sure that technology will always find a way to misbehave, but things have been working very smoothly for the past few months.
The online program we take classes in is stellar. It doesn't have many shortcomings, and nothing we can't work around, and technical problems are very limited. I'm only 18, so the technology isn't as impressive to me as it is to people who have been in education (as a student or teacher or both) for many years, but I can recognise that it gives us a very versatile and powerful way to bring the live classes to anywhere on the globe and operates very smoothly.
Not having to commute is probably the best thing about being an online student. The flow between class, work and home is absolutely seamless and allows for a very efficient and comparatively stress-free workflow.
I don't think I've got any real complaints about TAD so far.
Dude!, thanks for your kind opinion! yes! i'm on board! I'm really waiting for february!!! It's really awesome to know the excitement you have for the classes and believe me, makes me eager to study!, i'm revisiting the discovery classes to get all that knowledge on my mind, this is my msn if you wanna add me email@example.com
got a question about the materials, I know in the student pack there is a huge list of them, But I want to know which ones are you using the most
Thanks and I hope to share more and more, I think i'm gonna update my sketchbook cause it's a little bit old hehe
First of all, you will definitely need lots of nupastels and large midtone paper for figure 1. You don't need a wide range of colours. The least you need is a light colour and a medium dark. For my light pastel, I use either Naples Yellow (247-P) or Shell Pink (366-P), and I use primarily Sepia (293-P) for my dark. The colour of your midtone can be any hue, but it would be best to find a nuetral colour (i.e. not saturated/intense) so it doesn't overwhelm the drawing. Make sure it's pretty big. I think John English recommends that the drawings are at least 18 inches tall. That number might be a bit off, but they should be pretty big.
If you can't get Nupastels (It's really hard to get them outside of the U.S.), you might be able to find Conte Carre more easily and inexpensively. I used these for the first several weeks of TAD, and they work pretty well. I don't think they're quite as good for the method as the Nupastel- they're a bit harder and they don't last nearly as long- but if they're an easier purchase it might be best to get them instead. If you do, I can't help you much with the colours. I was using naples yellow and van dyke brown, but Conte's version of naples yellow doesn't go as light as Prismacolour's nupastel version. I'd recommend playing around with different colours. Remember, you want colours that work well together. The nupastel colours I recommended do; you'll have to experiment if you're forced to go with conte.
I use digital media a lot, although it's only been required for one section of the course- Android Jones' Corel Painter section of the Media class. If you don't have a digital painting program, I'd check with John English to see if Android's Painter section is going to run again next semester. If it is, I recommend getting Corel Painter as the main painting software and downloading GIMP (free software) to handle complicated adjustments of tone and colour. Painter's colour adjustment abilities are very, very poor, but GIMP's work well enough to handle anything you'll have to do for the course. You will have to adjust photographs a lot, as the instructors will want to see an accurate representation of the work you've done, particularly when it comes to cast drawing and master copies.
You will need a camera for photography class (obviously). It does NOT have to be an expensive, state-of-the-art piece of equipment. A simple digital camera that affords you decent control of the settings will be just fine.
You'll need a sketchbook that you can carry around with you.
You will need charcoal (both kinds: vine/willow and compressed) and a range of pencils, as well as a couple of kneaded erasers. A dip pen, ink and some brushes you can use for inking won't be required right away, but will be for the pen and ink section of the media class.
It will be immensely helpful to have a good scanner.
It's worth noting that we haven't needed to use oils or acrylics until just recently, but if you have the money I don't see any harm in getting some colours now, especially since the course might change a bit from how it has run this semester. I know that Jason will want you learning the four colour palette in his colour and composition class after you've got through the greyscale section. For that you'll need Burnt Sienna, Yellow Ochre, Indian Red or Venetian Red, a white and a black in either oils or acrylics (or both).
As I said, the course may change, but we haven't needed watercolours this semester.
And, of course, you'll need lots of regular old white paper to draw on, mostly for perspective class.