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Thread: Vib's Sketchbook

  1. #1
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    Vib's Sketchbook

    hello,


    i'm 23, and a graduate of 'computer games art BA'. that is a confusing title for a degree, but it was basically a mixture of drawing, 3D modelling and animation.

    regarding the specifics of my drawing education, i was taught perspective, objects, and people. teaching consisted of life drawing classes, lectures on general theory (composition, line, form etc.), and classes where we would draw objects in class and discuss progress.

    although it sounds pretty comprehensive, students were expected to put a lot of effort in in there own time, and we didn't have that much contact with the drawing tutors. speaking of which, i had a variety of tutors including an ex-animator, an ex-comic artist, a painting teacher and a life drawing tutor. we were encouraged to learn from all types of drawing and art.

    unfortunately, it wasn't a fine art or illustration course. drawing was only one of the modules and most time was taken up modelling and animating in 3D.
    i wanted to focus more on my drawing. the thought of being a character designer or concept artist was more desirable for me.

    when i left university i felt i knew how to draw well enough, but i began to forget things and it became apparent that even though i drew alot, i didn't understand or learn as much as i should have about what i was doing. for example, my life drawings were terrible because i wasn't thinking, and i didn't know how to approach the model.


    ----


    at the moment i am attending life classes again and drawing every day for maybe about 8 hours or so. i didn't draw anything over the summer, and began trying to fix things around september.

    i don't have any strict career goals at the moment. my aim is to get to a level in my drawing where i no longer have to problem solve, and can concentrate soley on expression and having a direct connection between my thoughts and feelings and the marks.
    i am also designing a game with a programmer friend at the moment. the conceptual stage is over and we need to start designing soon.


    please aid me in my goal of total freedom of expression with no limits! thank you~
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  3. #2
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    comparing

    to give you guys an idea of where i was back in august last year, here is a concept sketch i did for a game character, from imagination.
    the lines are really scratchy, and my knowledge of anatomy is weak.

    the drawing of the intimidating woman (from imagination) was from early december last year. so in four months there is some improvement.

    and the gesture sketches from imagination were done a couple of days ago, and it's where i'm currently at.
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    recent gestures from imagination

    even though i've been helped by tutors, i'm pretty much self-taught. i try to use my own mind to work through problems instead of reaching for book on 'how to draw'. i did all that loomis stuff at uni and that is fine for a while, but i found it didn't help me learn my own way, and i needed to break from it and teach myself, how i want to draw. so i spent a long time failing and ignoring anatomy. but during that time i learnt rhythm and flow and discovered lots of different lines.

    my tutor gave me a .pdf on 'force: the key to capturing life through drawing' by 'michael D. mattesi'. i kind of ignored it for a few months, until i was stuck and started reading it and it's proved very useful. i'm using some of the principles in that book, such as 'anatomy as shape', and 'applied & directional forces'.

    here are some recent gestures, all from imagination. i work through problems as they arise and log them in the sketchbook.

    please give me any advice, and always offer different avenues, because even though i'm concentrating primarily on efficient lines and movement at the moment, eventually i will get tired and need to change my ideas and do something different.

    recently i've been concentrating on how to approach a drawing, fundamental construction, and essential lines and shapes.
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    recent life drawings

    here are some of my recent life drawings. most of them have the time i spent on them in the corner.

    you can tell which ones were done before i adopted principles of force, and after. the forceful life drawings were done earlier this evening, and the other ones were done in november and december of last year.

    all done on A4 sketchbook - the paper is fairly thick and rough but not too rough. i mostly use a HB or 2B. sometimes i use coloured pencil.
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    Ok, I see you're doing gestures and taking life drawing classes. Keep doing it, this will help you improve immensely. It's hard to critique all of your work because of the volume. In general I'll say this for your work: linework is great, but not when trying to do something which is intended to appear realistic. There are no black outlines around shapes irl. Instead really work on bringing out the values of light and dark by blending appropriately. Lines should be faint and used only at the beginning of the work to outline the shape of the human/object that you're drawing.

    From your humans the faces are most apparent as the place you need to work the most. The bodies are hit/miss. Look at the last one, the guy's jaw and neck really don't come together well at all. Also his right arm has bent bones and I don't think you meant to do this, instead you were probably looking at the cloth and tried to show the flow but right now it just throws the piece off. I'll tell you that the feet you drew on that last sketch are excellent, most people (including myself) struggle with feet.

    Hope this helps, good luck!
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  8. #6
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    thanks n1va~

    i think i know what you mean. when i was in life class the other day, i found it difficult to shade my drawings because the lines were so bold, and even though i'm 'drawing through', and around the subject, sometimes it comes off as flat.

    by blending, do you mean going from line to shading; blending outside shape with inside volume? for this, do you recommend a more ambiguous line; something looser? or is that not necessary?
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    Yeah, start your life stuff light and loose, this way any inaccurate mark you make isn't a "mistake", it's a "reference". Those refernce lines become less noticeble as you work towards building up the marks that DO represent the figure... the keepers. If you leave in some of those reference lines then the drawing has a bit of texture to it, or might be more interesting as a drawing as viewers get a sense of your process from those marks.

    I think you're doing a nice job on those gestures btw.

    My 2 cents
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    sketches from observation (out on the street)

    here are some sketches from observation i did earlier today. i just sat down and drew people walking past as they were shopping and going about their business. i haven't sketched people like this in ages, haven't done it for about a year.

    i'm lacking on details, i know. it's hard enough trying to capture a stance when people are constantly moving, and harder still to add smaller details - faces for example are really hard for me to capture.
    one approach is a direct recording, and the others are generalizing the shapes of the people i saw. then there is a 'broken line' sketch i did on the bus, because i had time to log the little details.
    advice and critique is welcome! how do you approach drawing people on the move?
    Last edited by Just_Nonplussed; January 13th, 2009 at 05:01 PM. Reason: ammending title
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    character ideas and storyboards

    here's some character stuff i've done. mostly from last year. the storyboard is from a uni project (a game concept).
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    gestures from reference

    here are some sketches from the posemaniacs reference site. i was too slow to capture the 30sec poses! so these ones are about 50secs each. after drawing them i added annotations and went over in crayon (i like to analyse what i've done >.>)
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    thanks bill~

    fear is a problem when drawing. i've managed to eliminate it almost entirely from imagination sketches, but not from life drawing yet. i think it has something to do with just the presence of the model in front of me. it's hard to tell myself that i'm not copying, but using the model as a reference to create my own lines.
    for some reason, i need every line to be perfect and confident, or i lose confidence and enthusiasm to carry on.
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    I know the impression of the fear while drawing ^_^
    The only suggestion I feel to give you is to use some light lines at the start of your drawing.
    I see your lines are approximately all of the same weight; it could help you to make the first ones very light, and then build the figure up on them; a kind of structure reference. Maybe this could help you also to loosen up.
    Keep up the work and goooood luck!
    I have a sketchbook!
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    approaches to construction - 'building up'

    before i started drawing force and finding the energy in the body, i was drawing in a different way. i was using 'line of action', then layering spheres to build my characters, then adding contour over the top. i will post some sketches to show what i mean.
    i've been wondering....regarding life drawing, when people say 'build up' and 'start by drawing loose', whether that kind of approach results in a certain type of life drawing, different from how you would forcefully approach and bring to life a model using line as 'acceleration' and 'feeling'.

    for example, i want a confident and defined drawing, full of energy, but i want to flow only through rhythm and connection...the loose approach (by loose, i mean 'wandering' and 'ambiguous line') i feel would not/does not help with this, but instead reaches its own conclusion in a different interpretation of the model...something more painterly, more of a western idea of 'realism', as opposed to capturing the essence of a pose.

    any thoughts on this would greatly be appreciated.
    Last edited by Just_Nonplussed; January 14th, 2009 at 02:48 PM. Reason: ammending title
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