hey hala, great update totally digging the bridgman and hogarth studies and showing a lot of improvement, i agree with Jailhouse on the proportions, i think a great way is to start off by looking at yourself in the mirror or picture of body and hold ur arm straight out with the pencil in ur hand and measure the length of the head with one eye closed (important to use the same eye or else it will be distorted and to keep the arm straight) then measure how many heads tall you'll have ur length to get width use the width of the head usually it lies about 2.5x same goes with features on face use features on the face for instance the eye, it generally runs 5 across for the width of the face
i know this sounds really technical but the more u practice this, will help u naturally produce proportioned figures; poses can also get real stiff if you utilize this too much and lose that great gestural quality you have so i think finding a nice balance in between both is important
oh i also forgot to mention glen vilppu's drawing manual is really f#@!ng awesome for figure developement, i think he has videos of his lecture as well
Jailhouse, thanks! You are right, I definitely need to watch my proportions and be more conscious of it. thank you for pointing that out
Thanks snootchy! You are always a wealth of information, I can't thank you enough
Inversion, thank you! I will never give up--I gave up art for most of highschool, and that was the most miserable time of my life. I'll be pursing and art career till the day I die
Ai ya, well a really crappy update for today. I haven't had much time the past two days to do any studies, so I tried to fit in some 30 sec gesture studies, they are absolute CRAP though. I'm not used to the weird perspective of posemaniacs. At least it is challenging though
I have a question: at the point that I'm at now, is it better to churn out more quantity, or more quality? I have made a goal to churn out more figure studies and drawings monthly, but I'm wondering if all the focus on quantity will take a toll on quality? What is your experience?
And I broke out the oil paints today--to do a simple still life. WIP--just blocking in the colors--I need to change the hue of the red though. it is just not right. ANY ADVICE WELCOME. Oil and acrylic paints have intimidated me for years (though I've gotten a stronger hold on acrylic from churning out 16 paintings a week in art school x___X)
"Be either full-assed or no-assed. There is no half assed."
I think its good to churn out as much figure drawings as possible. But make sure you spend some more time on things like still life's. So maybe have a longer, more quality based drawing or painting on the go as well as the quick studies.
Oil paintings looking good. And try experimenting with thicker paints as well. Don't be afraid tho try new things with acrylic and oil, there great to learn with!
Keep at it,
Originally Posted by gutss
yesterday, God came to me in a dream and told me that if I don't become a comic book artist, he has decreed that I shall instead be a burlesque dancer.
And I said, "But God, nice panties are so expensive!"
And he said, "Welp, I suppose you better shut up and draw."
Yoo Hala wicked update digging the oils! As for your take on quantity over quality. I think it's more a matter of where you feel comfortable stopping or saying 'hey i'm happy with the way this looks and want to show it'
I'd focus on getting things accurate as possible and spending more time on observing, because it's like taking an exam u don't just glance over the material but you study it in depth. That kind of focus helps to store it in the memory file where as a quick glance just goes in one ear an out the other. I feel like when I try to focus on getting things more accurate I learn something new and I get that 'AHA!' moment if you know what I mean. I feel like this is the most rewarding part of art because you're always challenging yourself to learn something new, of course some days are better than others but the most important thing is to push yourself to be the best you can do!
That's not to say that quick gestural studies should be omitted. This is an important aspect for looking at the picture as a whole or figure for that matter and focusing on big shapes rather than detail. I think a fine balance of both is really important to grow. As for gestural drawing, I notice that you go over some lines that you don't like; rather than fiddle with a curve or line you don't like force urself to make a decision and stick with it or else you'll miss the big picture. Also the same with the take out box oil paint, it looks like the brush strokes are a bit overworked on the sides. If it's a flat block in just load your brush with a good amount of paint and lay a stroke down don't overwork it. Because the side of the box looks like it has texture on it, and that is going to confuse you when you go back into put the designs on the side. It's like if you were doing a speedpaint then your trying to focus on all things at once, like composition, color, tone, texture; but when doing an observational sketch try to simplify things and work from there to more complex.
Another point on the take out box oil paint is that, it does appear to be darker on the side facing us but it isn't, if I'm correct on the light source being up and facing toward the box on our point of view that cannot be darker than the left side. It appears that way at a glance but a good technique is to squint your eyes (your probably familiar with this) and let little light enter into your pupils so that you are only seeing abstract simple values without the lettering or cast shadows. Another note on color is that as more light is available hitting a surface it will expose more of the base color in terms of saturation and value all the way to the point where if it was extremely bright light you'd get almost white, but left side doesn't have as much light source so the color starts to lose saturation and retains a darker value. Also don't forget about bounce light, the green paper is going to bounce back some of the green onto the side walls of the box so slightly mixing (better not to mix thoroughly and let some of the paint mix on the canvas) so that you get the bounce light coming up from the green paper. That's the great thing about oils is that you can work wet into wet but requires a bit of prep as colors can mix on the canvas
As for picking colors, it's good to break it down systematically:
1. decide what is the hue - red orange yellow green blue violet, in this case the box looks red orange (leaning more towards red so mix more parts of red into yellow)
2. next decide how saturated it is - this goes back to what i was saying about determining saturation which is determined by the amount of light available on the surface it is hitting, in this instance the top of the box appears to be hit by the most light so it's gonna lose saturation because it's getting closer to white (which is the warmest of all the paints), so it's not super bright light but still hit with a lot of light so it's gonna be a less saturated or greyer version of red orange (if it was to be mixed straight out of the tube) so you would need to add a little black and white to the mixture to neutralize it or if you have a payne's grey you can add a dab of that to the red-orange color mix
3. you need to determine value (this can be done before saturation, there's no hard rule just depends what your used to recognizing first) - so look at the paint u've mixed up so far and the color your trying to get and adjust the value accordingly
Here's a picture to visually demonstrate all that gibberish above, hehe; oh if you want me to remove the pic from ur SB just let me know and i'll take it off asap
hope this helps, sorry if this is redundant and stuff you already know; i could be really wrong about this stuff as well, since i only started painting about 3months ago
Here's a picture to visually demonstrate all that gibberish above, hehe!
Jailhouse-thanks! Hmm, that sounds like a solid plan. And thanks for the tip about the thickness of the paint. Thanks for always taking some time to view my sketchbook too
Snootchy-- Wow that's an epic post! Thank you so much! (I don't mind the pic in my sb at all, It will help me and I'm sure it will help others as well.
The color chart thing was especially helpful. I was trying to mix the yellow and the red to get the hue right, but I didn't add the neutral you were talking about. We did color theory so many times in school, but I totally missed that neutral, so thank you for pointing me in the right direction!!
Also the reflective color of the green--i didn't notice that till you pointed it out. I know my values of the sides of the box are wrong--I will correct them now that I know how to make the hue right
The perspective thing helped too, I am painting at a different level than the one in my photograph, but none the less i was getting terribly frustrated with that highest point there. How did you determine where that point goes in space?
Thank you so much for taking the time to help me too, I appreciate it so much ^^
PS: Lol I'm not Asian actually, but I studied mandarin chinese for 5 years (THOUGH I STILL CAN"T HOLD A CONVERSATION WELL T_T), went to a chinese sunday school, and my boyfriend is full blooded chinese, so he talks to me in Chinese and "ai ya" has just become habit. xD Half of my family is ukrainian, the other half is a euro mix XD
"Be either full-assed or no-assed. There is no half assed."
hahah that's so funny cuz i took mandarin for 2 years in high school and 1 year of college and the only thing i know how to say is 'ni hao' and 'ni hen ben' hahaha! How ironic cuz i was dating a chinese girl at the time but I'm Korean but pretty much consider myself American cuz I was born and raised in Jersey my whole life sad...sigh
As for discovering vanishing points, I just randomly picked because the shot u took it from which was above which looks like 3point perspective to me, if you take a look at the sides of the box and extrude the lines all the way out into space until they converge that's how you get the vanishing points. I was lazy and estimated and it was really off but the perspective concept is there. Just to see for yourself, you can take the picture into photoshop, shrink the image and use the line tool to make lines all the way out until the lines converge. I think things that throw people off in using perspective grids is confusing parallel lines for converging lines that vanish to a point. It's a little confusing and hard for me to explain but parallel lines exist on a plane of the converging line and never meet, k I'm confusing myself now but kind of the idea
sorry for the double post but i just realized what i did in the perspective was wrong that's only if u have a square, it's really not 3 point i guess to some extent because the bottom part of a take out box is tapered in so really that bottom part of the box should be tapered in more
[*starts taking notes. thank you snootchy. ]
*adds snootchy and hala to the smart list.
I say both. Quality and quantity. There's no two ways about it. They both couple each other nicely.
If I can apply my anatomy studies to a blob of spilled milk. *takes picture and be able to render out a figure out if it .... then ....a yea... what was writing about?
WOW' WICKED'' STUDIES AN PAINTS' i really dig' the red and the purple digi in post 25 an' the last studies in #18 an' the second to last in #5 but they all RRRRRRRRROOOOOOCCCKKKKK!!!!!!!!!!!! keep up the GOODS' cause ya ROCK!
Snootchy: LOL! Ni haooo maaa? hahah oh Jersey, no other place quite like it ;p
Lol and that is exactly what confuses me about perspective.
And know what? I'm stupid, because I was using alizerian crimson, and I don't have a cadmium red That's ok, your chart was helpful anyway, I'm thinking of doing the study again in acrylic, this way I can get the right colors
Dwardo: you are on the awesome list!!!! Lol sometimes man I think you need more sleep BUT NOT BEFORE YOU WORK ON YOUR NEWBORN ENTRY. NAO!
Grandmassa : Thanks man!!! Hahaha Grandmassa you kick ass !
Paper Vampire: Thanks!
Quikenobi: Oooo good adivce, thanks!
Ok, not much of an update--haven't had a chance to get to the scanner yet xx
I've been using hogarth's dynamic light and shade book
and this is one of the practices he suggests -- make a figure, make a silhouette, and pick a solid light source....etc etc
I actually feel like I progressed with the silhouette study, I don't know. Crits pleaseee
and here is the finished still life, even though I messed up the colors because I'm too dumb to realize I don't have the right set of oils *facepalm*
Hopefully i can use the scanner tomorrow
sorry for the small update :/
"Be either full-assed or no-assed. There is no half assed."