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Thread: Kapri's sketchbook
October 19th, 2011 #31Registered User
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- Jul 2011
- Boston, MA
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Your gesture drawings are great! your grasp of anatomy seems solid. i wish my quick sketches could look like that, haha. I especially like a lot of the stuff in your 3rd post. Good job! (:"the world is full of magic things, patiently waiting for our senses to grow sharper." - w.b. yeats
sketchbook. comments/advice appreciated (:
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October 28th, 2011 #32
Egg0 & neonndreams: thx guys!
Here's a gesture / portrait (both from photo ref) and some perspective stuff.
Just finished Chelsea's "Perspective! for Comic Book Artists" and reading "Creative Perspective for Artists and Illustrators" by Ernest W. Watson now. I've been trying to create a perfect cube in perspective and Chelsea's floorplan method gave me the results below.
The first 2 are way to distorted. Maybe I placed the cube too far outside the cone of vision?
November 2nd, 2011 #33
November 3rd, 2011 #34
First one's from my second day of classes @ Wackers academy Amsterdam. I'm taking a 7 month weekly course which takes up all of my saturday. Loving it so far doing still lives and practising perspective.
The rest are from my sketchbook and the last one is my first attempt at painting a color study a few weeks ago. Done on an iPad from live reference while riding the train.
November 3rd, 2011 #35
Nice artworkIt's just a signature:
November 9th, 2011 #36
November 23rd, 2011 #37
November 23rd, 2011 #38
November 25th, 2011 #39
Overtoom: thx mate, I think I'll do some more fighters gestures soon.
One of the sketches I did on the Rubens trip turned out bad. I have looked up the original painting again online and tried to fix my bad sketch digitally. Still a WIP. Anyone got some pointers?
1st = original from Rubens
2nd = bad sketch from trip
3rd = digital sketch done on top of the scanned sketch
PS: I think Rubens made a huge perspective mistake with this guys back. We shouldn't be seeing that much of his back. Kinda like this captain America one lol: http://www.sequentialtart.com/archiv.../0700/bb_1.jpg
I tried fixing this in my version.
PS PS: just noticed my version kinda looks pregnant, lol. Will have to fix that later on.
November 28th, 2011 #40
November 28th, 2011 #41Registered User
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- Dec 2008
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Keep on an on your proportions, you make some things too big and other things too small. Read up on Loomis' figure drawing book for a good crash course on proportion! Also, keep in mind that proportion is just the relationship between the parts. In your recent study, you made the figure too skinny, and some of the things don't line up. Try to measure angles, look at the negative space and think of the proportions before really setting anything down. http://conceptart.org/forums/showthread.php?t=14119
Other than that... keep up the good work! I love the energy in your lines! Try to keep that while improving your sense of proportion and anatomy!My sketchbook
metalhead3 -> http://www.conceptart.org/forums/sho...d.php?t=222988
Trailblazer -> http://www.conceptart.org/forums/sho...d.php?t=179035
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November 30th, 2011 #42
Some more fighter gestures done on the road. Used photo ref as a starting point but changed the poses from imagination.
December 7th, 2011 #43
Nice to be able to take a better look at the results of our last sketchtrip. Not Deadman mentioned the proportions and I'll add to that. As far as I know, there are many ways to measure and check proportion. I noticed you did measure up using your pencil last time, but I'm not too familiar with that technique myself. Checking the angularity of body parts can really help, especially in the initial sketch. Checking negative spaces works too. For instance the small window in between the legs of the sitting man (Rubens' St. Rochus+Melaatsen) differs in shape and size in some of the studies. Not sure if it's a good measuring device, but its nice to figure out mistakes. Comparing the 'surface area' of body parts for size differences works too.
I've noticed it's easy to lose track of proportions when you're too focused on replicating the studied image. Especially a problem if you're getting immersed in details. I usually try to prevent that by taking small breaks and quickly glance back and forth several times between the overall image of your own drawing and the original work. For instance, I too noticed the man's slightly bulging stomach in the original work. Details like these that catch the eye get blown out of proportion easily when you draw them (you mentioned pregnant). I think people tend to draw facial features (eyes, nose, etc) too big for the same reason, and it's a tricky problem. I find that keeping the 'overall shape' in check helps.
Not sure what they advocate at Wackers'. I personally think that trying many different approaches works best. Same applies to the books; checking out everything ranging from Bridgman and Loomis to Hogarth and Hamm ensures you get different views. They have their own strengths.
I like those boxers. The easygoing, organic drawings without much too much rigid construction can often end up looking most natural.
Also- more stuff from imagination!
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December 7th, 2011 #44
Getting hung up on the details is something I'm trying to break out of. But I still catch myself diving in too deep too soon sometimes. I guess checking the larger proportions will take a little while before becoming something I do automatically.
At Wackers I get 7 lessons from one teacher, then 7 lessons from another etc etc. Each one has their own approach: some force you to use a knitting needle for measuring (lol), others forbid the use of any measuring device but the eye. It's a really nice school so far (even if I only go on saturdays).
I enjoyed the sketchmeet at Rubens. What do you say, do another one in januari?
For now: after reading the following quote in "Creative perspective for artists and illustrators" I realised I need to study the basic geometric shapes more and more and more and more and more...:
"We drew boxes each day of class. This went on for six weeks"
So here's my setup and some results.
Edit: process in drawing these: drawing the shape from live first. Then I take a photograph which I lay over the sketch to check for errors. After that I do a value study from live > desaturate the photo and check for errors again.
Last edited by Kapri; December 9th, 2011 at 08:13 AM.
December 9th, 2011 #45
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