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February 23rd, 2013 #481
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February 25th, 2013 #483
March 1st, 2013 #484
March 2nd, 2013 #485
March 3rd, 2013 #486
March 7th, 2013 #487
March 8th, 2013 #488
hey, flash! wow, it's really cool that you are so divers in your practises. like, you do completely different things next to each other. as a result, your work can really jump around from on things to the other, but thats fine, as long as you can bring it together in the end.
on being back, yes it's great to be back. recovering from a wrist injury so taking it slow and limiting drawing to one-hour intervals. that should help :p Anyway, it is great to at least find a few friends still out here. (a lot of people have fallen away, yet again. why does this happen? is not drawing an affliction caught for life? I thought it was :p)
March 10th, 2013 #489
Thanks for the link flashback - I have that guy's Drawn to life books- I never manage to read the whole thing though - just chunks in pieces. Maybe I should start bringing one on the train with me! but they're heavy >.< need a digital version!
Keep up those studies! They're good for you
March 13th, 2013 #490
March 14th, 2013 #491
I'm becoming a bit more comfortable with drawing gestures, I always tend to think that I miss that emotional factor in the gestures. I need to work on emotions, and cut down on lines, so it's easier to translate the sketches.
March 14th, 2013 #492
March 20th, 2013 #493
March 20th, 2013 #494
hey flash! good sketching there!
hmm.. let see. well, I think maybe a good idea would be to choose a point of focus. this could be how to represent 3d shapes on paper, or give extra attention to getting relative proportions just right. or maybe getting a gesture to read well. whatever you pick, stay with that through your sketches for at least that 1 session, and then you can choose a different point of focus next time. I like to do that, and it definitevely gives me the feeling I learn more from the exercise!
March 22nd, 2013 #495
March 28th, 2013 #496
ah great! nothing like dynamic poses. these are nice, but you do end up a bit with messy silouettes sometimes. there's a few techniques that are usually implied. my favourite is using lines to show the positions of the limbs, and only later (if you have time) fill in the volumes only after. I think it would work well for you.
June 13th, 2013 #497
July 7th, 2013 #498
July 11th, 2013 #499
Fucking Canon their fucking scanners never work, "You want options" says canon "Well you can't have any options."
"Lower brightness, well fuck you" "Oh, you want scan a pencil sketch, fuck off! I'm going to make it as light as possible. So, you want to scan 25 more pages well use the flatbed, you won't touch my document feeder."
Anyway, pencil sketches work from Blair, Loomis, and basic ball animation using pencil 2d.
July 20th, 2013 #500
Love the bridgeman stuff in 498 - I found Bridgeman really helpful because he breaks things down into chunks that are easy to cope with.
I recommend bringing those simple shapes into your studies more consistently. I love the work you did with the twisting boxes - try to carry that over when you're cartooning or doing gestures.
I feel like you have a bunch of pieces working independently - your gesture is good, your perceptive studies are good, once you bring them together you'll get that big leap up.
P.S - don't forget to update your signature for your SB- they have changed the URL
July 29th, 2013 #501
July 31st, 2013 #502
August 4th, 2013 #503
flashback! you been at it man.
hey, I was looking trhough your stuff, and I thought, you've gotto start using boxes for construction.
did one for you, as an example. try it!
August 5th, 2013 #504
August 12th, 2013 #505
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August 26th, 2013 #508
September 18th, 2013 #509
September 20th, 2013 #510