Still impressed by the boxes! On the boxy figures - the construction looks good in general, but the connection of some parts (especially the head and arms) looks a bit off, and they're mostly a bit stiff. Maybe try alternating the construction studies with some looser gestures, so you don't lose the sense of flow? =)
such a big ammount of studies! i bet you rock those forms now, that is gonna pay off in the future im sure, keep posting more man i love seeing your progress!
You've become very skilled at constructing the figure from mind, great work! Are you doing life drawing too? While the figures look correct, they look a bit stiff and robotic. Maybe try doing a full picture from imagination and see if you can construct a figure from head that is more lifelike. You commented about "feeling" the pose when you draw a pose from mind in my sb. I think it's also important to "feel" not just the pose, but also the corporeality of the figure, the weight of the muscles, bones and fat. I hope it's understandable what I meant.
Nur die Harten kommen in den Garten
I like the figures more than the boxes. Line drawing doesn't give it volume, putting it in a setting does.
Really good stuff in the last few updates. I love the line control, and the general confidence that's starting to show in them. It's good to hear you're practicing daily, that will definitely pay off. Remember to keep the process fun, though-- and by that I mean don't push yourself to the extent where you begin to detest the very act of practicing representational art.
Keep up the good work, and keep updating. I'll try to drop by more often in the future.
Great sense of perspective with the boxes, I might try to use a uniform line next time I draw a foreshortened figure, there will be very little room for error, haha. How to draw a perfect circle is also very interesting, maybe that's how Raphael did it.
Your boxy figure drawings remind me of some of Luca Cambiaso's drawings, interesting. There is a somewhat lack of variety in drawing from imagination alone, I'd say keep drawing from life too- both are important, let one inform the other.
Thanks again for commenting on my sketchbook and for the encouragement.
art blog: http://hrartwork.blogspot.co.uk/
"Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
Yo dude! Great to see you back in the trenches
You are digging into this stuff like a buzz saw! Looking at your notes and your progress
you are absolutely on the right track for this stage. Your last mannequin figures look so
much more confident and clean, and solidly put together.
As far as applying form abstraction to the human body ...obviously the sense of volume is
important but it can also be misleading and give your figures a kind of uniform chunkiness.
A more sophisticated understanding I think, comes from taking the landmarks (bony pro-
trusions and especially the joints) as your symmetrical 3D 'vertexes', as a way to place
the figure in 3D space. Then you connect those points in space with more fluid organic
designed lines, describing not only form or anatomy but character and energy.
On describing form without resort to shading, atmospheric perspective, or line weight:
What you are saying is describing form with only line, specifically with only silhouette
or outline. I think the two most important elements of line that can describe form are
Overlapping and Contour. Of course the mind can infer a lot from silhouette, (only a
small part of which has to do with form) but add even some tiny overlaps to a silhou-
ette and form will be communicated immediately. Contouring marks added to that are
the icing on the cake, again communicating not only form but so much more, such as
shape character and texture.
Line weight is really a subset of something really important: Line character. This is
really the next technical skill set of drawing, after form, IMO. Line character allows
you to communicate energy, texture, and complex forms like hair and drapery, and
basic shape character.
As an animator, form sense will give you the tools for construction but chiefly
you should be a student of behavior and character. You need to be doing lots
of analysis of body language and the expressive use of shape character. Obv-
iously this should come from studying life...and not just posed models but people
(could be actors) in various situations.
If you are not already familiar with him, I would really check out Rad Sechrist:
his website is really a goldmine of animation-oriented drawing tips and techs.
Hehe...enough blather. For now.
Last edited by BludHund; November 4th, 2012 at 08:34 PM.
sketchbook...a kitten dies every time you don't comment
“When forced to work within a strict framework,
the imagination is taxed to its utmost – and will
produce its richest ideas. Given total freedom,
the work is likely to sprawl.”
- TS Eliot
Been a while... Thank you for the e-mail you sent me a while back. I always thought that if you leave this site you would be forgotten and people will move on without a second thought of you. You proved me wrong and I feel honored that you remembered me.
I like your studies, its been ages since I did studies. You got nice form and the execution is ok. I think you could work more on balance and weight. Really try and give the figures the pounds that they look.
Im gonna try a and stick around. Who knows, it might be good for my productivity.
Thanks again friend.
good to see the depth sense in your understanding... I think there are principles of art that are very if ever rarely covered. That became my mission sometime back, and that post about depth sense with only line, and "innateness" is a good point for those seeking such principles; or maybe you and I are just abstract thinkers in that aspect. I dunno...
Behind every great master is a great student...
Imagination is more important than knowledge- Albert Einstein...
NEW SKETCHBOOK -- http://www.conceptart.org/forums/sho...40#post3743640
OLD SKETCHBOOK: http://conceptart.org/forums/showthr...25#post2543225
My goodness I can learn so much from you! Such an amazing skb--!
& those cubes... whooooooooooooooaaa *drools*
cannot wait to see more from you!
I'll be here with the Daggers for the rest of my art journey.
Keep pushing people, let us be great together-!
This is amazing,thanks for checking out my sketch book!
Your SB needs a 'sort by original poster' button haha. Great stuff in here- love the cube fields and gestures .
I hope you post some animations once you find a good software
Some pretty hardcore anatomy studies right here, keep it up man, your lines are getting better, though watch your proportions!
I reeeeeeeeeeeeallllyyy like those box exercises, wow.
facebook | tumblr | art hangouts! (get your friendly ol' bum over here and get arting with us!)
"[...]as we gain facility of hand and travel further afield, we discover that we have a key to unlock the wonders of art and nature, a method of conjuring up forms at will: a sensitive language capable of recording and revealing impressions and beauties of form and structure hidden from the careless eye[...]"
-Walter Crane, 'Line & Form'
Thanks, all. I will come back later and respond to each person.
A quick note: if you're bored and have a few minutes, check out the latest post on my blog... which explains what I'm working on right now as far as studying and animation goes.
Pigeonkill Thanks, Homey.
bish0p2004 Much appreciated, man.
Umbravita You should try them! They create learn-ding
kingkostas LOL! Thanks Kostas! Nitro Boosting, eh? From the guy who knows all about nitro boosting his own art!
Revidescent Good eye. I think you're right about the stiff figures.
lionheartGFX Thank you!
erdbeerfeldheld Indeed you are right about the figures needing to be felt, weight and all. Thank you for the feedback.
Flaskpost Always a pleasure, Internet Argument. Thanks.
kevin_ Thanks man!
Black Spot You're right that the eye needs to compare shapes to discern volume.
Just Call Me Bruce! Thanks dude!
Kerah Thanks, Vlad. No burnout, just a major gear shift.
Vritra Thank you for your kind words.
black-swan Thank you very much. I'm honored by your visit and comments.
Mechanical Man Thank you. That means a lot from someone who works as hard as you.
Wow, such a feast. Thanks up front, brother. You're right about using the bony landmarks and connecting the figure through gesture. That is difficult to do without a model, and my box figures were an attempt to grasp the relative relationships of body masses so that I could apply them to figure drawing. But digging deeper into anatomy and understanding the landmarks is definitely important.
Cheers for pointing out Rad Sechrist to me. I looked at a few of his vids and checked his blog. He's absolutely doing some great stuff. I would study with him, but I'm already booked for the semester.
MrFrenik Awesome. I'll have to go look at your SB then
Cristina Zabava Thanks Blackie!
Kungfoowiz Thanks Edward.
Dude, the place wasn't the same after you took off. Good to see you poke your head back in here.
Agreed about the weight issue... edbeerfieldhed said something about that too.
Don't be a stranger!
Grandmassssa!!! What's happening?
poetry man Thanks man. Glad it struck a chord with you. It proves there are at least two people like us!
Ian Barker Thanks Liffey life!
smrrfette Thank you.
Danny_K Someday... (possibly soon?) figure drawings will return.
Alex Pencil Thanks for appearing here, wild sketchbook!
Rhubix Hi Rhubix. Really honored you came by. I hope to post some animations and junk before you get all professional and leave. Thanks again.
XpRnz Yessir! Proportions are important! Thanks.
So now starts a new era... apparently... of this sketchbook. In the early days it was about Vilppu, and not understanding a damn thing I was doing. Then skip forward to this 'newer' SB, and it was practice and homeworks from Barnstone. After a little time, it became about the life drawings. Then it turned into a quest for 'depth sense'.
I'm tired of horsing around, and beating around the bush. It's time to do it. Going and getting classical art education is great, especially if you want to do fine art. But Animation is a different ballgame with different rules.
If I'm going to be an animator, it's going to happen now (the start of it anyway). I'm enrolled in a character creation class starting soon, and also am hardcore studying Preston Blair's "Animation" (the original text with updated drawings). Don't have anything scanned here, but if you want an update, check my blog. I will periodically post some crap here just to keep things different.
Thanks again everyone.