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October 7th, 2009 #1
A thread with artwork and words (Nov. 25th MASSIVE ART DUMPING)
This went from my collection of school to becoming my second sketchbook here. I'm going to keep posting both and as often as I can to improve as fast as I can. Just by trying to draw daily I can already see an improvement. I like comments but I like critiques even more. If you have ever anything you want to point out, feel free!
From 2009: I've been at the first Life Drawing class for about a month at school now. We've done many gestures and contour drawings. The class will be moving onto shading the figure next week. Gestures done in conte, contours done in charcoal pencil. Critique is appreciated as always.
Last edited by Adam Nowak; November 25th, 2012 at 02:01 PM. Reason: Thumbnail change
Hide this ad by registering as a memberOctober 7th, 2009 #2
I really like the drawings of the drawing horse! Great perspective. Also the clean and illustrative line of the last few drawings is really pleasing.
Except for the last drawing, nearly all of your figures have proportional issues especially the head in relation to the rest of the figure. The gesture is pretty good and has a nice sense of energy, but your since of line seems confused and lost. I would recommend learning the proportions of the head to the ribcage to the torso: these are the three most important masses of the figure. Focus less on forms and more on structure and your lines will flow more easily along the forms. Great dedication and repetition of the exercises. Can't wait to see more!
"Art is the invisible, rendered visible, wrought with love"
- Frank Mason
MY SKETCHBOOK http://www.conceptart.org/forums/sho...d.php?t=143696
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October 8th, 2009 #3
Yeah, I've noticed that a few have heads too big and others have feet too small. I gotta keep working on that. It seems fine before I go into it with the contour lines and then it hits me like a brick in the face. I gotta take it a bit slower. And I'll definitely keep posting these whenever I can get a hold of my friends camera.
October 23rd, 2009 #4
2- 30 second gestures
3- 45 second gestures
4- 1 minute gestures
5- 5 minute gestures
6- 5 minute gestures
7- 15 contour
8 - 1 hour 30 minute contour
9 - 1 hour 30 minute contour
10 - Some more gestures before I started moving onto shading the figure. The last two were done using my right hand. I couldn't stand how rigid and stiff most of them were turning out.
Last edited by Adam Nowak; January 12th, 2010 at 01:26 AM. Reason: Moved down from first post
October 23rd, 2009 #5
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October 24th, 2009 #6
October 24th, 2009 #7Registered User
- Join Date
- Sep 2003
- San Diego
- Thanked 2 Times in 2 Posts
These are pretty cool man. Especially the contours.
On the gestures, there's two things to remember:
1) Just because the time allowed changes, doesn't mean the speed at which you draw changes. Draw at the same speed regardless of time frame.
2) The only other thing is, find a few more straights/construction lines in the gestures. This will help with proportions and solidify the figures.
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October 25th, 2009 #8
The life in your sketches is present but proportions is an issue to consider addressing. Look at the femur length in all your sketches and notice how short they are for the bodies they belong to.I guess once you revise your proportions you can move with confidence towards the next step.
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October 28th, 2009 #9
TheYellowDart - I definitely tried to finish too fast when I started out. You can see the same thing happened with my recent head studies. I gotta keep that in mind, thanks. As for the second part, well, if I can ever get something like kevinwueste's figures: http://www.conceptart.org/forums/sho...d.php?t=162263 I'll be a happy man. He can definitely block in the figure while still maintaining that sense of "energy".
ElenaM - Yeah, stupid femur, why can't it be shorter. I try to keep my stubby legs in mind every time I draw now.
I got everything uploaded all the way up until yesterday morning so I'm all caught up. Keep in mind the gestures were done about the time I created this thread so... they suck. I still see a 10% okay 90% garbage ratio. I have no camera so every one will have to stare at 2MP, non auto focused, phone pictures.
1 - Paper bag, about 5 hours with charcoal
2- Gestures, 5 minutes
3 - Shaded figure, 8 minutes each
4- More Shaded figure with gestures on one page
5 - Yeah...warm up head gestures. No measuring, just eying the proportions and loosely describing the forms and planes of the head. 5 minutes
6- Shaded head, 8 minutes
7- 1 hour head study. I totally screwed this up by going in too dark from the beginning and trying to fix it by erasing it. I had the outline pretty down too. Always next time.
November 2nd, 2009 #10
Got some of last weeks studies. I'm having trouble trying to get tight rendering. I'm not sure if that will come with time but I guess I just have to get more practice in. Again, to bring up kevinwueste's work, I mean something like this:
compared to my very last portrait.
November 7th, 2009 #11
We went onto focusing on the hands and did a fully rendered drawing for the end of the week. Had some time in between classes and started to draw a skull the model used as a prop.
Ever since September I've been attending an oil painting club in another room of the school. It's an after school type of setup where a model is hired to pose for two weeks, 3 hours a day, 4 days a week. So essentially you could get some nice studies in and it's been getting very busy in there as more people find out about it. I used to only be able to come in once a week but now it's on for two. Starting from top to bottom it's my first proper oil painting and the bottom is the most recent one finished yesterday.
The first two are 9x12 the rest are now 11x14 all on canvas board. I use turpenoid and the medium is 1 part linseed oil and three parts turpenoid. I use 3 flat brushes, a 1, 3 or 4, and I think a 5 or 7. I got cheap oils that don't even have a name. They were left over tubes from high school. Again, super terrible camera phone quality totally screws up each painting. But at least it's here.
The instructor (Don Yang) had me start in a ivory black (I think, I don't remember) + burnt sienna underpainting for each one to get the form and proportions right and the second time I come in I come in I add titanium white to the palette and get a midtone, light midtone, and dark midtone. Though on the last one he told me to push it a bit further with some shadows and highlights. It's been tough but I love it so much and I actually feel like I learn something every time I start a new painting. Next week a new model is coming in and I will start to incorporate color. I can't wait to completely screw it up.
Last edited by Adam Nowak; November 7th, 2009 at 03:27 PM.
November 14th, 2009 #12
November 20th, 2009 #13
So I'm kind of nervous as I'm finally transitioning into using color in my oil paints. The last one I posted now has black, white, and burnt sienna all acting as colors instead of just mixing black and burnt sienna and adding three gradations of white. I think I pretty much failed and I'll get to work on it tomorrow some more but I feel like it's a failure in the right direction. I did however get a copy of Richard Schmidts All Prima which I heard so much praise about around here and am so amazed by reading the first 50 pages. I can't wait to finish it.
Here's a drapery study I just finished a few hours ago. Took about 12 hours. Used vine charcoal and a charcoal pencil.