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Thread: My little sketch thread

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    My little sketch thread

    Hi and welcome. I now feel it is time to start a sketch thread to gain advice and criticism. Through this I hope to learn and develop my drawing and digital painting.

    Witihin thread I want to develop an understanding of values and form along with anatomy and use of traditional media. Pencils, ink and markers are my favourite so I will go with those.
    Last edited by Twelve; July 2nd, 2009 at 08:35 AM.
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    Ok so here's my start. Some images from the past few days. Please leave criticism, advice or anything you have got that can help me improve.
    Last edited by Twelve; April 23rd, 2009 at 11:25 AM.
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    Try work on yer stuff longer, endurance before speed. You probably know the rest, draw.
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    Konstruktion - Thank you for such a quick reply and your given advice.

    How long would one expect to spend on a single drawing for study? One, two or 3 hours? Or more maybe? Here's something from imagination. I quite like the idea and look of this character.
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    Another figure drawing from reference last night. This is about an hour. Lots of changes were made, erasing redrawing etc.. I left it when I started to feel tired. More soon....
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    How much time you spend on each study is not for me to decide, depending on what kind of study it is you should spend different amount of times on each. Maybe 20 quickies, a couple of long ones. If you're studying values and light it sure could be good to work on it for a couple of hours, really trying to see what it is you're drawing. Like this last one, finnish it, spend more time on it, get ride of all lines and try work only with value
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    Hey man, Thanks for stopping by again For warm ups I just scribble, get the hand moving you know. Then sketch from life or reference, I tend to just go with it until I feel I'm losing concentration, then move onto something else. I decided to set up a still life last night and started that. I want to finish it, but my light source is different right now. So I'll come back to it later this evening. My schedule is pretty wired, trying to get as much in as I can.

    Thanks Konstruktion I appreciate it.
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    Hey Daemien, Thanks for stopping by.
    Konstruktion is right, there is really no set limit on how long you work on a piece. It's basically done when it feels done. It's good to do warm up, and also vary in a few longer studies. It will help you out in the long run. Also don't just put them aside and leve the works for good when you loose concentration, you really should just go back even to look at them. Some of them will inspire you to work on them more

    All I can say is keep them up, and make sure to get all your anatomy studies and such in Check out Andrew Loomis and George Bridman. You will be able to find their E-books somewhere on this site (Can't remember where though lol)

    Good luck, and keep working hard!
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    Hey Daemien! Thanks for stopping by my sketchbook You have very delicate hatching here, nice. I think we need to work on the same thing though of staying more loose and less detailed with our sketches in the beginning. Keep it up though, more more more!
    "It's just that boys at their age have unchecked desires coursing, nay RAGING as a tempest would, through their tingling nethers!!"
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    I finally started a SKETCHBOOK! Hoorays!
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    Karein - Thanks for your suggestions I appreciate it. I have Both Loomis and Bridgeman. I'm also waiting on Dynamic Anatomy from Hogarth I ordered from Play.com today. I find it hard to get stuck into drawing from books, but I will give it a whirl. I also always look through what I have done through the day and usually think 'I should have done more'. Which spurs me on to do so. Thank you.

    Artangela - You're right, staying loose in the initial stages are key. I try do that, but it all comes with practice I guess. Thank you for visiting

    Today I thought I'd should go with studying some hands from Hogarth.
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    The hands are pretty good but one of them above this looks like it has some kind of cleavage for knuckles. I have Bridgeman and am borrowing Hogarth. Which do you prefer? Bridgeman seems less exagerrated and has a more classical style to me.
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    Value and form. What you're showing with value is the general direction that a surface faces into the light, and also where it faces in relation to the viewer. Mentler has a great quote that goes something like, "We don't depict light and shade, we use light and shade to depict." What that means is that there is a figure with gesture, gesture is the meaning of the pose, the meaning of the form, it's emotional content: there is a difference in feeling between a person going to hug someone, and a person going to punch someone. This action occurs in space, part of the meaning of forms comes from their locations in space, and where they are pointing, we show these relationships with value. Form and action come first, then they get depicted with light and shade.
    One of the first challenges we first face is going dark enough with our shadows, http://www.conceptart.org/forums/att...1&d=1240499878. Go darker. There isn't much more to say than that, since everyone instinctively understands the difference between light and dark, we see in the light, we can't see in the dark. Look at any dark you put down and ask yourself if you were in a room that had that much light in it could you see where you were going, if you could still see in there then it's too light. Use a brush pen, ink, black marker, black crayon, whatever's in shadow just make it black, screw the fact that you can still see stuff in those shadows. This will make you aware of shape, and the fact that you need to make the drawing either mostly light, or mostly dark, never make anything half dark and half light. Put most of your effort working on value, don't bother with texture since there are so many ways to do it, and it's worthless if you're values are all over the place.
    The values on here kind of work, http://www.conceptart.org/forums/att...1&d=1240499835 You're generally using frontal lighting, what faces us faces the light so it's white, what faces away from us is dark. The calf and the top of the leg follow this pattern, but the bottom of the foot which faces us contradicts it and is dark when it should be light. The top of the hand should be dark. Look at that whole picture and ask yourself what is pointing to us and what is pointing away. There are five general directions, up, down, left, right, forward. It's about looking for generalities, we can say one part of the surface mostly points towards us, and some part mostly points somewhere away from us, this is difficult to do on something like the lower leg since it's so round.
    A study should take as long as it takes to find it's solution. If you're goal is to draw a figure that looks like it's in light, then the study is done when that effect is achieved. Stopping before you find the solution teaches nothing.
    Last edited by armando; April 25th, 2009 at 06:07 PM.
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  17. #13
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    Sigma Thanks for stopping by. I do prefer Hogarth as it is more dynamic but I do know some of the hand gestures in that book are not physically correct as I cant do them with my own hands. I will take a look at Bridgeman.

    Armando Thank you so much for taking the time to put this up for me. That's been one hell of an eye opener and a good kick.
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