Another update, lots of charcoal drawings and some pencil drawings, all from observation, most from life. Below the male pencil life drawings some stuff from the first post that I decided to move here in case of avatar image changes.
Last edited by Rengin; August 4th, 2011 at 11:58 AM.
Another update: some figure studies among other things, I tried to use the direction of pencil strokes in the last drawing to lay more emphasis on shape, but I need to practice more. =) And a more or less finished version of the self portrait I had shown earlier, though it still lacks some definition in surface detail. The last two are self portraits too, although the first of the pair was edited somewhat after scanning it in. I added some more hair at the back of the head and touched up some shading. The last image is actually the exercise I did first, to really get to know the features of my face before I attempted a "freehand" portrait.
Last edited by Rengin; July 2nd, 2010 at 05:37 PM.
Hi! You have some good studies here! I love your charcoal pieces and your paintings seem solid. The only think I would say is, in post 3, the profile view of the boy, has good definition. I think that you could probably define the hair a bit more with a few more strands. It looks like you did this in your other portraits, which are great. Maybe try and push your values more so they don't look so light. That's basically all I have. Keep up the great work and I can't wait to see more from you!
Thanks! One of my aims this summer is to make at least 2 sketches a day since I don't have a lot of time for it the rest of the year, so I hope to be able to update this SB with a lot of art throughout the next few months.
As for the portrait: I wish I could have put some more detail in there. As you might have noticed he has a first attempt at shading on his forehead, but he moved before I could finish it up. Better luck next time!
I have my own issues with depth in drawings so I'm by no means an authority or anything but perspective can be a very powerful tool. Renaissance paintings give wonderful examples of this; da Vinci's Last Supper [http://media.photobucket.com/image/l...astSupper.jpg] could ban analysed as a model for using implied lines to focus attention and create depth in the picture plane. The general ideas about perspective, objects appearing larger the closer they are to the viewer and collors being more vibrant, can be applied in the absence of the strict system for linear perspective aswell. In other words, you can rough it. If you were to take one of your portraits which is currently an isolated figure you can change the figure's apparent position by introducing background of foreground elements. You can also turn to the late renaissance for examples of creating atmosphere. With artists such as Caravaggio [http://media.photobucket.com/image/l...astSupper.jpg] you can see how sfumato is used to both model the form and creation interactions between figure and background. It can also be interesting to note the qualities of the light used in a painting, in the case of the Caravaggio above the warmth of the light suggests illumination by candle and the relative dominance of shadow indicates a dim space.
Hope this helps and best of luck too you
Strange1900, thanks for your suggestions! I'll try and keep it in mind next time. I'd just like to ask you if you could repost the link to the work of Carvaggio you had in mind since you linked Da Vinci two times. =)
oh, sorry about that XD. Here's the Caravaggio: http://www.dl.ket.org/webmuseum/wm/p...gio/judith.jpg, you might also want to look at another painting of the same subject by Artemisia. I find it to be a more engaging painting and it still serves your purposes in giving an example of creating atmosphere.
That last sketch you have of the seated man is really great I can really feel that he's in the chair that's quite something.
You seem to be having trouble with heads an I'd suggest that you try using the box as the simplified form to represent it rather than the oval. I've found that boxes make it easier to conceive of the tilt of the head and everything because it allows you to select definite points for the chin in relation to the forehead; it provides a simple way to get the perspective for the head as you see it rather than the indefinite reference to form provided by the oval. It's especially useful when the head is tilted back because it's a simpler way to understand the underside of the mandible and it's connection to the neck.
Thanks for the compliment =) As for the heads, yes, I've been having a lot of trouble with them. I've been learning to draw bodies better during classes in the past year, but I've never focused on faces that much. Thanks for the tip, I'll give it a try today or tomorrow.
always cool to see more dutch people working hard on this forum! I really dig the figure drawing in your first post, its beautiful! If i may give a suggestion on the head thing, i would recommend studying some loomis "drawing the heads and hands" that really helps! Keep it up!