Mm... first trick to composition, I've been told, is to treat your entire piece as... well, one piece. None of that "here's a person. here's a foreground. ummm... background too." The environment is the character as much as the character is the environment, if that makes any sense. If you consider the two separately, then you have the environment reacting to the character OR the character reacting to the environment, and it's not as enmeshed a story as it could be (a dialectic) which is a stronger narrative.
Think - this dude. He's swinging a hammer. Why is he swinging a hammer? Is he fighting? Well, his pose is not as tense, maybe he's working. He's a miner, maybe, or a slave. If he's working in a mine, then the environment has to be a mine. And he's shirtless, so it's probably hot as well, maybe there's lava. If there's lava, then he's probably a slave because no one in the right mind with would work next to lava. That shit's crazy, yo.
If only I could apply the thinking above to my own pieces T_T
Also: anatomy note: you see how your study above has a tiny little ass? You forgot the crotch. Check out an image of the pelvis. It's kinda got two layers - the top of the pelvis is the bowl that catches all your organs and keeps them from dribbling down into your legs. They kinda open up like a stage at an angle. Then you've got these two half rings of bone at the bottom - those are where the adductor muscles on the thigh connect from the femur, and the strange dark place between the nuts and the ass. That's where all your pelvic meat went. Good first shot, though!
Thanks for droppin' by my SB.
You've got some good stuff going here.
I'd suggest focus on your construction and valuework. Build your shapes up from simple objects, like cubes and spheres, try to see them in 3D. Form first, detail second.
Do some quick and slow gesture studies to get a better understanding of form and line.
For values, some good grayscale studies will help you tremendously.
Yes, the attachment manager is an abomination.
Hah! Yes, you can't put a finger on your hand studies. Excellent.
Your muscle stuff is good. I think it's vital to learn the muscles and anatomy before heading off into studies, you gotta balance that technical stuff with the observational. Once you know your basic muscles, you gotta overlay some reality learning over the knowledge you've studied.
Keep it up!
How are you studying your hands, by the way? From sight or what? Try spending an entire half hour or hour on a single study, even if it feels "done," I remember being assigned to do that in art school and it was a real ass, but it forced me to see past my own expectations.
Karmi (can I call you that? haha. Or better yet, tell me your name!), I'm studying hands from sight, yes. The scribbly left hands are mine. And the neater ones on the last page are from photos. Just got a bunch from dA by typing in 'hand reference'.
Also, yeah, I'll try that sometime
In the mean time, a self-portrait.
I gotta confess, though. I've been a baaad boy . After sketching the proportions I double checked those by overlapping the photo over the drawing to see what is off.. And later after I blocked in the shadows I placed the photo right next to the drawing again to check everything, cause something was clearly off, and I didn't see it. Is that cheating?
Otherwise I draw on one monitor, and the photo is on the other.