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  1. #61
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    Hey Dan the studies are looking tight and the portrait at post#43 is lovely and i love the snoop meister keep at it



    The most beautiful thing we can experience is the mysterious. It is the source of all art and science.
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  3. #62
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    Hey, Dan! Sorry for not responding earlier.

    Nice progress there! I see the face angled upwards (your last post) has some distortion at the chin. I agree with remembering about the sketch! Do keep records of how a face at those tough angles are drawn. You might need to draw it a few times and analyze, maybe make a few measurements (not precise) to really get the picture.

    Great movement!

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  4. #63
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    I haven't responded to this in at least a month. My bad.
    Keep going at those studies, man.

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    Quote Originally Posted by Morgado View Post
    Hi danlucas!

    You are starting on a good foot (dunno if this expression applies in english lol) by studying those books about anatomy, your sketches are very gestural and dynamic, which is good!

    However, when you are attempting more rendered work, you seem to forget the basics of the sketch, and that is causing distortions in those images. Always remember that the sketch is the base of a finished work

    Keep at it!
    Your Absolutely right Morgado, I do need to spend more time on the sketch and getting it right before the rendering. Sometimes perhaps I get quite into the habit of rushing so I can get to the rendering. But I will take your advice and give it an honest try. Thanks for your good critique, i'll check out your SB soon.

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  6. #65
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    dans Sketchbook

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  7. #66
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    I'm fond of the rendering you've accomplished on that new study. It looks like you're using a fine variety of values.

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  9. #67
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    Updates...
    dans Sketchbook
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  10. #68
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    Hey nice to see you are posting again.

    The rendering of the shoe is rockin man! My only crit would be that either you have really long feet or the shoe is too long.

    Keep updating...

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  12. #69
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    Looking good here, mate! Keep it up

    The Latecomers SG
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    Whirly, TomFenton

    Friends Sketchbooks
    witcrack, Bman, purb, Jeff
    kostas, danny


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  13. #70
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    This is a drawing I drew upside-down, from an unknown German artist.

    dans Sketchbook

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  14. #71
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    dans Sketchbook
    Colored pencil an .7 mechanical

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  15. #72
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    God, you're a whole lot better at rendering with pencil than me.

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  16. #73
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    Keep up the studies! They're looking good.

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    self portrait, trying a new shading tek
    dans Sketchbook

    Last edited by danlucas; January 19th, 2010 at 04:02 AM.
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  18. #75
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    Heya danlucas, sorry for not showing up before, but I haven't visited CA in a month due to lack of time.

    I think you are still suffering from the same issue I mentioned before. But its interesting that on those figure and skull studies, you nail everything perfectly, without much work. That study of the knight is also cool.
    The problems come on those 2 portraits and the still lives. I'd say mainly because you are using pencil to render light perfectly (on the portraits is again evident the lack of structure). Pencil's strenght lies in the line, not in mass.

    Perhaps its my own aesthetic sensibilities, but I really think you loose the pencil's appeal when you render things very smoothly. First because you loose the pencil's "harsh" nature, second because things end up too greyed out, and third because you loose any suggestion you might've had in a more "crude" work, which is what really separates a drawing from a photo. And a pencil image, no matter how brilliantly rendered it might be, will always loose to a photograph when it comes to light.

    I'd try refering to those figure studies you did, and try to apply that to the still lifes\portraits.

    That was a big rant, but I hope it is usefull

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  20. #76
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    sounds like a good idea. I'll start doing self-portraits tomorrow.

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  21. #77
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    dans Sketchbook

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  22. #78
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    First, I think you should reply here when talking about your work, instead of on my SB, to keep things neatly organized (not that I don't appreciate the bump )

    Quote Originally Posted by danlucas View Post
    So basically you're suggesting to do more structure and line drawing than trying to get the light perfect? That is what I'm gleaning from your critique.

    (...)

    I think when it comes to the outline I feel that there's not enough and then I go shading and filling in, rendering.

    Yes, I'm suggesting something like that.
    But keep in mind that when I say "line" I'm not saying "outline". For instance, on the Bridgeman studies, you have used line very effectively. In this last post on the other hand, you went more for "outline". So as you can see, they are very different things

    Also, I'm not saying you should disregard light, quite the contrary. You should hint at light, although IMO you shouldn't do it in a super smooth way like what you did for instance on the shoe. Instead you could make it like you have been doing on the bridgeman studies: a quick, but somewhat precise scribble. Keep in mind that having something scribly isn't in any way less precise, as long as you do it right

    You will also notice that by doing this, you will start to loosen yourself up, often making high contrast drawings (white of the paper vs hard dark lines, and very few greys), and you'll notice that whatever you draw will start to "pop" more and become more appealing

    Take a look at Craig Mullin's work, especially his finished sketches section (www.goodbrush.com). Of course, in this case is painting, but you will notice that he "hints" at light in a very scribbly form, often exagerating differences, and yet things look precise and realistic.

    Again, keep in mind these are my sensibilities. I'm fairly sure that someone else can come here and say the exact oposite of what I'm saying, and still be right

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  24. #79
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    Thanks for stopping by. Nice studies here. Your Brigdman work is really coming along. Betty Edwards drawing is good too and that's a nice portrait on page 2. I've been reading through what Morgado says as well, and it sounds like some solid advice. I would agree with him, and say that considering your intial lines/proportions/perspective a bit more carefully could lead to more dynamic/lively drawings. Heavy or uniform tone can often have the tendancy to flatten a sketch or distract us from the attempted illusion of the drawing. The 'power' or quality of the image will probably not be in the time invested, but in the consideration of each line and it's role/individual strength. Hope thats helpful!
    Keep it up!

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  26. #80
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  27. #81
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    Yes, I'm suggesting something like that.
    But keep in mind that when I say "line" I'm not saying "outline". For instance, on the Bridgeman studies, you have used line very effectively. In this last post on the other hand, you went more for "outline". So as you can see, they are very different things Also, I'm not saying you should disregard light, quite the contrary. You should hint at light, although IMO you shouldn't do it in a super smooth way like what you did for instance on the shoe. Instead you could make it like you have been doing on the bridgeman studies: a quick, but somewhat precise scribble. Keep in mind that having something scribly isn't in any way less precise, as long as you do it right
    You will also notice that by doing this, you will start to loosen yourself up, often making high contrast drawings (white of the paper vs hard dark lines, and very few greys), and you'll notice that whatever you draw will start to "pop" more and become more appealing
    Take a look at Craig Mullin's work, especially his finished sketches section (www.goodbrush.com). Of course, in this case is painting, but you will notice that he "hints" at light in a very scribbly form, often exagerating differences, and yet things look precise and realistic.
    Again, keep in mind these are my sensibilities. I'm fairly sure that someone else can come here and say the exact oposite of what I'm saying, and still be right
    Alright I think I get what you're saying. I was studying the bridgeman drawings that I have done to get an idea of what you are describing about the use of shading and rendering.

    I believe my problem is caused by the lack of knowledge on the form and what the planes are. I will be hitting the bridgeman studies and more anatomy. What do you suggest I focus on? (my interests lie in illustrating and I enjoy drawing people). I am going to study some of the old masters and copy their paintings to get a feel for the fluidity that they acquired through their painting. Maybe there I'll pick up the subtle shading tek that I am so terrible at. I definitely see where I need to cut back and minimalize on the shading.

    Wow, thanks for Craig Mullin's website. That is some fantastic work. i studied some of his sketches and saw that he doesn't really do an outline or delineate an outer boundary. He seems to put down paint where it needs to be which is pretty cool. I'm a fan of his work.

    I will be working on more still lifes to get your concept down. I'll try using more darks and white and minimal gray. I think you are right. i think I've been trying to hard to match the entire gamut of values that appear when I see things.

    I really want to start painting some still lifes and may do so soon, but for now I'm trying to focus on more studies and anatomy most of all. I have quite a few resources but nothing can compare to advice from such a talented artist as you. Thank you for mentoring me, I greatly appreciate your guidance.

    Checked out your portfolio website and you have some kickass art on there. Were those made in the 3d max you were talking about? I saw some of your paintings from your sb thread also.

    I'm also working on creating and building my own portfolio website. Should be done with it by mid summer. I have a lot to do till then. Pce

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  28. #82
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    Hey dan you should check these books out by andrew loomis!
    http://acid.noobgrinder.com/Loomis/

    The Sketchbook of Frittzell

    "The Imagination, the inside of our heads, truly is the most vast frontier" - Terence Mckenna

    "Nature is the great visible ancient of creativity"
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  29. #83
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    Hey dan nice updates!

    Those headphones are rockin also I like your watercolor piece.

    I do not really have advice because I'm way behind you. Maybe some stuffs from imagination ? Else keep what you are doing you are improving!

    PS: Figure 11&12 are doing nasty things on post #77 ^^

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  30. #84
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    PS: Figure 11&12 are doing nasty things on post #77 ^^
    hahaha, you're the first one that noticed! congrats!

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  31. #85
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    sp #7

    dans Sketchbook

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  32. #86
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    new sp #8

    Not especially happy with how this turned out. Its one more drawing. About one hour
    dans Sketchbookdans Sketchbook

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  33. #87
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    you look tired in number 7.

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  34. #88
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    Quote Originally Posted by GoGoJojo View Post
    you look tired in number 7.
    Yeah I think I was, although i had the mirror flat on my lap and was looking down. I've been staying up way too late. Need to get more sleep.

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  35. #89
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    Great stuff, you're moving very fast. We must all keep doing those figures. One thing that really helped me with the 100.000... figure excercize was to find a simple polygon shape for the torso that I got used to draw, and then try to make the limbs in right proportion to it. It's all about keeping the proportions in perspective. It really pays off. The more I do it I realize that after you handle to do it right in seconds in any position without thinking, everything else gets so much easier to draw and fun.
    If you really want to evolve, don't quit doing those exercices, even if sometimes they seem to be leading nowhere.
    Perhaps copying them is not as good as making them from your mind.

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  36. #90
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    Daaang dude, your self portraits keep improving, and I bet you're learning a lot about facial features from doing them; I really need to do this whole self portrait thing too soon. The watercolor still life looks really nice too, and it's good to see that you're doing more drawing from life, I think that will help you improve much faster.

    Suggestions: I'd like to see some self portraits in different media also, and some distorted ones in reflections in things other than flat mirrors. Also I'd like to see some more stuff from imagination to accompany the observational drawings. Keep it up!

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