Sketchbook: Colin's Daily Timed Thread 2011-2012 - Page 8
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Thread: Colin's Daily Timed Thread 2011-2012

  1. #211
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    love those heads man!
    and this last 3 min it is really sweet aswell
    i had a go with a conte 2B or something, veryyyy good! but i found that i couldn't really spend much time with them, when i was on a 15 minute pose i could get it down in 5-10 minutes D:
    anyways, keep up the great work!

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  3. #212
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    Teapo: Thanks man! I've adopted the attitude of freely sharing everything I know, It seems to come back to me ten fold! Everything so far has been from observation, but I have been experimenting with quick gestures from imagination. It's a bit unusual if you've been doing them from observation for a while.. suddenly you have twice the time to draw! It's a bit different from the way I usually draw from my head, but still fun to play around with. From now on I'll list in the description: observation or imagination
    ps: nice stuff on your blog!
    Ryanoir: NICE! I'm glad to see you're experimenting! Find out some new tricks and get back to me!

    4 min gesture (imagination)

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  5. #213
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    Grat work as usual. It looks like drawings from observation.
    I think your combination of lines and broad strokes is fantastic. It creates great sense of space.
    Waiting for next.

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  7. #214
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    grzessnik: Thanks again! I'm having fun doing these from imagination, very liberating, and it teaches you a lot about your weaknesses.

    2 min portrait gesture (imagination)

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  9. #215
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    Hey Colin!

    Great work as always; it's a treat to see your updates, because you're livin' it... your passion shows.


    Thanks,
    C

    Thinking connects desire with creation.
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  11. #216
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    love the line. Do you happen to study with Henry Yan? A couple of these remind me of some stuff I saw in his book.

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  13. #217
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    You have great memory, imagination, drawing practice or all together
    I'm afraid of drawing from imagination (human body especially) becouse it shows that human body is mystery for me. But i'm working on it
    Waiting for more. It's pleasure for my tired eyes

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  15. #218
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    gorgeous lines man! love the life in them


    - C






    the sketchbook :

    http://conceptart.org/forums/showthread.php?t=111671

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  17. #219
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    psage: Thanks! Life is what makes Art worth living!
    bpic: Nope. You are the second person to mention him to me. His book looks ace, definitely getting it! Thanks for the tip!
    Grzessnik: Thanks, but I'll always take my slice of humble pie.. I have a long road ahead! I know where you are coming from with being afraid of drawing from imagination. Learn to appreciate that feeling, it is a signal that you are about to learn something... but only if you act!
    Charles Ratteray: Thanks man! That means a lot coming from you! Your stuff is just killer all around! Cheers!

    15 min pose (observation)

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  19. #220
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    Decided to bust out my china marker today. It is smooth like conte, but requires a lot of pressure to get darker, thicker lines. So, if you press down really light and just sweep your arm around, you can get lots of interesting ghost lines to "see into". I often squint my eyes when working from imagination, something about fuzzing up your vision allows you to see into the minds eye better? This exercise is great fun and you can easily get a hundred heads in a few hours.

    1 min heads (imagination)

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  21. #221
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    As I drew today, I took on the facial expression and emotion of the face I was drawing... It's tough to do from imagination, need more practice.. but it's great fun! Just like the old school 2d animators!

    1 min heads (imagination)

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  23. #222
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    1-3 minute heads (imagination)

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  25. #223
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    Great as usual.
    Have you tried with different medium? Maybe you should try with bamboo pen or brush with ink and water?
    Switching tool can give you deeper insight in your technique.
    Waiting for next

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    Really admire how much information and personality your getting with as few strokes as possible.
    Looking forward to seeing more
    have a good one

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  29. #225
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    grzessnik: Thanks for the suggestion! I think I will switch out to some ink for a while.
    Omerta: Thank you!

    4 min gesture (observation)

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  31. #226
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    The heads look great, Colin; but the values in this latest one look good enough to eat... they're kickin my buns. Lovely treatment of the hair.

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  33. #227
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    psage: Thanks P'! I tried out a General's extra smooth Jumbo sized charcoal with a flat rectangular shape and a tapered end. you can use the edges for sharp lines or giant abstract shapes of value. Real fun! It's amazing how the shape of the tool you use can affect your entire approach.

    8 min (observation)

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  35. #228
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    3 hrs (observation)

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  37. #229
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    Awesome... the Ingres paper texture... the sensitive drawing... everything. Beautiful. Saving to Dark_Eyes_Inspiration Folder

    Thinking connects desire with creation.
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  39. #230
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    psage: Awww come on you can find better inspiration out there than me lol. Still, I'm glad you find it inspiring and thanks for having stopped by!

    30 min (observation)

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  41. #231
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    4 min (observation)

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  42. #232
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    lovely work as always, thanks for sharing.

    Princes of the Universe
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  44. #233
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    Incredible.
    Don't stop.

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  46. #234
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    Beautiful work as always, havent dropped in in a while and I feel so rewarded. So much amazing work.
    Thanks for posting.

    Andrew Porter - Andy - Phandy - PHATandy

    www.phandy.co.uk

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  48. #235
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    i love your gestures! Great stuff. Also like your faces! Your 3 minute faces are great, it always takes me forever to get the face right T_T

    My observational skills may be great but i said nothing about my drawing skills


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  50. #236
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    There's so much to be learned from this thread about the subtlety and complexity of line.

    You mentioned something of abstraction in your shorter poses, and I must say there really is something wonderful about it that doesn't come across in the 15 min+ poses. This one in particular really captures that.

    http://conceptart.org/forums/attachm...1&d=1299212504

    May I ask, when you think about how much pressure to apply when drawing a line, how do you go about deciding what gets the the darkest/lightest value? Or is it a matter of focal points, etc..??

    Thanks for the inspiration!

    ...the imperfections make it interesting...

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  52. #237
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    adamsimons: Thanks for the visit!
    Grzessnik: Awww thanks! I don't think i know how to! lol!
    PHATandy: Thanks man, means a lot!
    My57: Thank you! The tricky part about heads is getting the big shapes down first before jumping into detail. I've been studying frank reilly's methods lately, and they are fascinating. He has a proportion grid that you use to find the relationships between planes on the face/head. (scroll down last image) http://www.learning-to-see.co.uk/sargent-head-copies
    Hard to find other stuff on him, but I found these two, excellent links,..GOLD MINE here! http://ennisart.blogspot.com/ http://www.dhfa.net/Artiststatement2.html
    Dope Fiend: Thanks! I'm really happy to pass on what I learn here! I agree, the abstraction in my shorter poses hasn't carried well into my process with longer drawings. I'm learning to pace myself, and stay loose...I'm hoping that with time the kinks will iron themselves out!
    In regards to line, there are lots of ways to use it... You can certainly use it to create focal points, placing your darkest darks in areas of interest. Lines can be sharp, firm, or soft. They tend to be darker on the side away from the light. They can get darker by either receding or approaching through space on the form, depending on how you want to use them. Lines around large forms tend to be darker then the smaller forms within them. Core shadows along the terminator have firm lines, whereas cast shadows have sharp lines...Soft lines tend to happen around rounder forms whereas more angular forms are sharper. You can have "lost lines" where form falls away into shadow. Also, remember that implied lines are created where two different shapes with different values meet. Again, these are just "rules" you learn so that you can break them, so .... I'm sure there are other little tricks, I just can't think of them ... Hope it helps!

    15 min (observation)

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  54. #238
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    Hello,

    Just wanted to drop a line to say I really like your gestures and this sketchbook. Totally amazing stuff and a great inspiration! Simply beautiful!

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  56. #239
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    Thanks for sharing those great links.

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  58. #240
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    kitfox: Thanks! Good luck with your 10,000 hr challenge! I remember sitting down and averaging out how many hours I had drawn in my life, and I had already passed 10,000.. so I figured, hell I need another 10,000! It's a great benchmark for learning!
    Grzessnik: You're welcome! It's become apparent to me that the Reilly method is EXCEEDINGLY useful for artists, LEARN IT!... in fact, I'm a bit pissed that NOBODY mentioned him AT ALL throughout my entire experience at "art school" lol!

    3 min (observation)

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