Sketchbook: Kamber Parrk's Sketchbook Volume 2, Book III (at p. 21) - Page 17

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Thread: Kamber Parrk's Sketchbook Volume 2, Book III (at p. 21)

1. Daily: 3rd, 3/4 image for the Randy Orton mugshot gallery.

Based on a 7cm tall box as above, 45/45 rotation.

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4. Great to see you're taking Randy Orton so seriously! Hope to see a daily comic strip (newspaper-style) from you some day, Kamber!

5. Hey Xeon! That's the plan. . . but, seems like newspapers are slowly becoming dinosaurs dying in the tar pits of ongoing history. . . May end up having to be a web cartoonist and make next to minimum wage selling T-shirts and crap.

Below:

Yet another technical study of that stupid banana box in 3 point.

I think I’ve finally discovered what I was doing wrong. I was trying to force the Central Visual Ray into being the one and the same with the corner of the box. AND, I kept trying to draw a line through the box’s front corner as if it were the line that’s supposed to intersect the CVR. This was messing up the location of Vanishing Point 3.

The Side View diagram places the Orthogonal VP, the corner of the box, the bottom of the box, and VP3 in the correct locations for a proper 3 point drawing.

When VP2 and VP3 are connected, a line drawn perpendicular to this line, from VP1, allows for the construction of the semi-circle of Thales and the location of SP2. The distance between SP2 and VP3 is used as a radius, centered on VP3, to cut the location of Measuring Point 3 (which allows measurement along the vertical axis).

I’m pretty sure that this process is geometrically correct. Further, it does (finally) relate cleanly to my scale side construction of reality.

So, I’m going to have to conclude that the CVR (for 3 point) is a composite of two coordinate systems and does not equate to the point that my eyeball is directly lined up with on the box. [This bothers me. But, until I gain a deeper technical understanding of the geometry involved through deconstruction of the Handprint stuff, I’m going to have to live with it. . .]

ANYWAY. . .

Dailies: multiple public bailouts and RKO from internet photo ref
2 public figures
public man, public head construction, couple gestures

6. Several Days Of Back Posting:

Cow on art bin.
Composite studies of soulless little waiting room.
3 of the usual daily stuff.

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8. Straggler from the last couple days: mom and kid in grocery store cafeteria.

9. Ballpoint on 3.5" X 5" Strathmore.

10. Randy Orton strangling a guy.
Toto and Dorothy.

(Both about a half hour each-- HB graphite on Strathmore, Orton inked (rather badly) with Pigma and Uniball 207.)

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12. LOL I like that Randy Orton strangling the guy! The expression on his face screams BADASSERY!

13. Hey Xeon! Yeah, despite the poor inking and some wonkety arm proportions, I managed to keep the gesture of that freeze-frame pretty solid. Glad the expression reads as you said-- it's a bit weaker than the original-- from the bad inking I'd say!

That, the below, and much of what I'm not posting comes from RKO's "entrance video" with all his characteristic behavior things-- he hears "voices in his head!" LOL!

Below: RKO screen capture, .5mm Pigma over HB graphite, 40 to 60 min.

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15. Coon skull.

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17. Girl HB graphite inked with Pigma .5mm (about 10 min. total)

Yet another Daily incomplete drawing of a guy with a laptop. (If he were totally stationary, and if I could just plain stare at him, maybe hold the thumb and pencil up for a measurement or two-- I think I'd be making a much stronger drawing inside of 60 minutes.) As it stands, this is in that weird twilight zone between hard cartoon lines and subtle pop-off-the-page realism. . .

I need to do some master studies of cheek bones and jaws.

Blah. Blah. Blah! I'll stop now.

18. Raccoon structure studies and Starbucks mannikinized people. (HB graphite).

19. Daily Backposts:

Shirt sleeve studies.

Note To Self: "A" and "C" are regulars that I want to start doing intensive studies of-- like RKO-- I have a couple more in other locations that will join them. Otherwise, I need to do more studies from quality photo ref so I can get that rendering practice I'm not doing.

20. General Note: I've determined I'm down about a couple "months of Sundays" on the daily-- so, as before, the beginning of a few days of "quad-posts."

2 on one page: Daily of a woman in Starbucks, page of coons
page of coons 2
pages of coons 3
[All HB graphite on Strathmore 400]

Coons are <5 min. each, captured from various internet sites, standardized in size with Preston Blair type proportioning-- mainly done just to force me to actively look at raccoon heads in various positions.

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22. LOL, I spam gestures and you spam Racoon heads.
COOL!

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loving those raccoons

24. Hey Xeon: drill is an important aspect of practice! Can't find a good coon maquette, yet, so using dozens of internet refs to do "rotations" like I've done for the cow. [Trying to draw them all at the same size from different size photo refs is a new ploy.]

andres333: Thanks for the drop-by! Buzzed your SB real quick-- you have some really nice structure studies-- going to have to do a detailed lurk of your book!

"Quad Posts" continue: (I'm considering each set of Orton heads to be a "page" and the second sheet of 5 min. Starbucks heads is a stand-alone "page" for the equivalent of 4 pages.) Ortons are 15 min. each. And, both sheets incorporate my trying to draw to the same size like I was doing for the coon heads supra. HB graphite on Strathmore.

As usual, when I get close to starting a new 100 pages book, I'm already experimenting with the direction I'm headed for.

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26. Third Quad Post: first two are proportion studies for my little coon characters-- been working up a "model sheet" for them-- I have a lot of "visual garbage" like this in a variety of SBs-- but, this gets drafted as a Daily catch-up-- I guess, because, this stuff often cuts into the time I use for the Daily! 2nd two are pages of cat head rotations based on my toy cat. Cats are close to coons re perspective/proportion, so until I get a good coon maquette, this guys gonna be a problem solver for cartooning.

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28. That drawing with the racoon sitting on a box in 2-point perspective = technically sexy and funny at the same time!

29. Hey Xeon: Trying to get some scaling and regular units in my little coon universe. The box is my perspective unit-- an 18'' scale cube-- this essentially is the size of the seat of a standard wooden chair.

I've decided that the cartoon coons are going to be more or less real-coon-size in a universe populated with "Archie Comics" style humans. I've vacillated between making them 5 or 6 coon-heads high. Six gives me somewhat longer legs to work with. But, I may backslide and redesign everything on Calvin & Hobbes type proportions, which is to say the coons would become bobble headed Preston Blair critters, like Calvin. But, I'm greatly taken by the works of Beatrix Potter and her real scale anthropomorphized animals-- so, who knows!

Below: the badly drawn circle represents the 60 degree non-distorted area of view for the cube and its environment-- this is an experiment for workable drawing area using 2point perspective for my cartooning. I've determined that, using my big (11" X 14") SB, I have a big enough active area to work for the size panel that I'd be using in a 3 or 4 panel cartoon.

Also Below: Abandoned Randy Orton Study-- this is from his opening video where he's standing menacingly in front of a church type arch. The screen capture had a lot of camera (barrel) distortion. I was having a hard time copying the distortion and making the arm proportions look right in comparison to the arch. So, said t'hell with it-- racked it up as a study.

Finally Below: couple more of the usual Dailies-- group and a teacher checking papers. These illustrate the problem the "cafe studies" present-- the need to track movement. Thus, in the upcoming Vol. 2, Book II I'm going to be doing more studying from high quality photo ref and master works so I can shoot for more polished/professional results and more detailed handling of features, expressions, hands and postures.

30. Cribbage players.
Raccoon mugshot: HB graphite inked with .5mm Pigma.

31. Volume 2, Book II

Starts Today!

I figure that I'm slightly over (or under) the obligatory 100 images that I call a "book"-- so here we go.

Vol. 2, Bk. II will essentially continue on the same lines-- rough newsprint and HB Generals charcoal pencil. Changes: More use of quality photo ref. (I'm just not training as hard as I'd like to with all the coffee shop "bailouts.") Time frame? 20 to 60 minutes for my "public life," 30 to 60 minutes for my photo ref stuff (and master studies).

Being that I'm getting deeper into spending time on developing a pro-grade comic strip, sketches, roughs and experiments with my cartoons will continue to get "drafted" as Dailies from days I spend all my time on this and say t'hell with Starbucks, photos and masters.

Goal for Someday? "The Daily" turns into a watercolor moleskine and the SB includes an experimental web comic involving anthro coons.

Below:

Students.
Laptop man.

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33. Yesterday and today: Couple and a memory ballpoint drawing of the woman on crappy printer paper.

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35. Hey t.f.k/Andrew: thanks for the drop-by and the commentary!

I'll have to ponder this a bit more before I reflect on it and comment-- I agree partly with what you're saying-- but I'll have to reflect a bit before my usual long-winded whining and excuse making!

Below:

Woman.
Short study in Gimp: actually a good likeness, but a rather rickety drawing (about 10 to 15 minutes).

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37. Redux re "the fat kid":

Having reflected more, I agree whole-heartedly that I need to do longer, more detailed, and more complete studies. That, essentially, is the direction I’m taking the Daily in with more photo-ref studies.

Re life: I’m going to get back to life drawing sessions (though, they compete with my cartoon time). But, my problem, in relation to your advice, is that the sessions I have access to generally only have a 22 to 25 minute poses as the longest. While the inherent stillness (as opposed to my “public life” studies) would allow for greater attention to detail, they don’t do much for that 1 hour + area where I need to spend more time polishing my life skills.

Having done a mile-wide-inch-deep cursory review of your SB—it’s pretty extensive (!)—it appears that your skills have developed along the lines of the more traditional atelier type methods.

I would agree with the idea that this form of “see-and-draw” practice is probably the superior way to accurately draw from either life or photo ref. However, for my purposes—comic/cartoon drawing, the ability to manikin-ize the figure so as to be able to simplify it to draw it in deep space at different sizes is essential. And, I think, based on the works of Loomis, Hogarth, Reed, and others I have not personally studied, e.g. Vilppu, Hampton, and perhaps Bammes, diligently trying to apply these manikin methods to life drawing is essential for calibrating the mind to draw without reference or to modify “imperfect” reference to get the pose/action/dynamics that the draughtsman is searching for.

If you drop back, I’d be interested in your thoughts on this! (You’ve had a lot of interaction with Mentler and Hurricane in your SB, and your work is pretty solid, so yours is an opinion to certainly be reflected upon!)

That said, and despite the V.2, B.II mission statement, here's another rickety Gimp sketch from Starbucks, about 40 minutes.

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Heya,

Oddly, drawing from life to learn the figure doesn't mean you have to draw the figure from life. Obviously, there are times you can't learn what you want except from drawing a human, but you can learn proportion, lighting, simplification, line, value, shape relationships, and all that from drawing still lifes and what not.

The "see and draw" is to help you learn drawing figures in deep space, it helps develop a visual vocabulary to pull your non ref'd images from. Without the knowledges gained from time spent drawing directly from observation, you'll be crippled when drawing "mannequins" of your own design. I'm not telling you to stop drawing cartoons or not to practice drawing them, but the understanding gained from annoyingly long studies will behoove you. It's akin to a sprinter running long distances to improve their lungs.

Directly from life drawing is vastly superior to drawing from a photo. A camera has compression, it can only see into a certain range of values at any one time. If you look at a picture taken on a sunny day with the subject in the direct daylight, the camera will attempt to sort all the values in the light but will "crush" all the shadow values down to black. If you take a picture in shadow on the same day, the opposite happens, the camera sorts through the darker values but "blows out" all the lights to white. So the way to correct for this, when working from photo only, is to either know this is happening and have an extensive prior understanding of what's happening in the other value range, or to take multiple photos with the aperture settings changed in each and then to draw from each photo individually while simultaneously having to re-relate each set of values to the overall picture.

If you sat down in front of this same subject on that day and simply drew it, you could develop those relationships all at once instead of attempting to correct for it from multiple photos. There's a reason everyone can tell when someone works from a photo instead of life.

Another reason doing those long winded studies helps for the short, quick sessions: laying in all the shapes and working on developing the spatial relationships between the shapes will help you understand the most crucial initial steps of a drawing. The more times taken to work and rework these things the faster and easier they become. The little tricks and nuances you'll learn in the long drawings are directly related to the simplification and economy of a cartoon.

After a few painstaking drawings, and I'm not talking a bargue, since those are so frustrating and long its just obnoxious, a 40 minute sketch will look like a 6 hour drawing in terms of the decisions and marks you'll be making.

Give it a whirl.

~Andrew

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41. Hey That fat kid! Thanks for stopping back. I think I'm pretty much starting down the road you are talking about. [The manikins, though, aren't really my own mental creations-- they're an attempt to adapt a custom version of Walt Reed's system to individuals-- with varying degrees of success and failure.] Re "see and draw": I'm pretty serious about exploring the Reilly Method as a means of developing this approach, apart from my "construction" endeavors.

Anyway. . .

Over the last couple days I piddled around in Gimp while reading some rather bad "how to" books from North Light books on trad oil painting. It dragged into my weekend daily time, along with some reverse engineering of panel graphics from Calvin and Hobbes (not posted). I did a couple color wheels and fooled around with value scales and some human flesh photo color picking with interpretation to grey scale.

For now, I'm working out a method for sketching and painting in monochrome/grey scale. And, I'm doing some "book learning" on traditional painting. [It's a "back burner" project, but it'll pop up here from time to time.]

42. Looks like you're really having fun, Kamber! Now, that's what ART is ABOUT!!!! Everytime I look at your SB, you remind me of what art should really be like! The fact that you never seem to stress yourself by comparing yourself with the Greats is one quality that I hope to possess one day.

I must say that your SB can be summed up as: "Good old art; for yourself, by yourself."
The type of inspiration your SB consistently gives me can't be found in other SBs here!

43. Hey Xeon!I think in this field of endeavor concepts such as "experiment" and "play" are vital to progress. In essence, a person should train diligently with the skills they possess, endeavor to strengthen those skills, but still cut loose and have a little fun!

And, you also have to swallow your pride and do elementary exercises in areas where your skills are weak-- like color, for me.

So, here's another color wheel. This time includes: primaries, secondaries, and tertiaries produced using the slider tools in Gimp's color control utilities while looking at a color wheel from one of my library books.

[I actually understand some things about this stuff from my watercolor studies. But, figuring out best how to work with this electronically is puzzling-- especially mixing and blending colors.]

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45. Redux on Xeon: a buddy of mine down in LA who's kinda nuts on politics has a saying: "don't let the perfect be the enemy of the good." That's pretty much what goes on in my SB!

Anyhow, the two pieces that follow (despite all the foot-dragging and Gimping) represent were I'm going with the daily on "two fronts." The first is a rough, loose sketch of some WSP troopers having coffee. The second is a more painstaking 45 minute study of photo ref, free from Fineart.Sk. [It's the nude guy holding a sword like a baseball bat-- but, just his head here.]

I agree with That fat kid that an additional hour or two would probably make the Fineart.Sk study utterly utterly awesome. Obstacle? The 30# newsprint I'm using probably wouldn't hold up to that much "working." Erase it too much and you start to beat down the "tooth"--sometimes leading to a situation where the charcoal pencil just won't draw on it anymore! [I'm taking his advice to heart, and I think either graphite on Strathmore or vine on laid or Stonehenge paper is the way to go to really work the bejeezus out of some of these.]

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