Following along another another step-by-step process by Gary Tonge. Also a cast drawing and setup that needs a lot more love (not really sure what I'm doing here but hopefully that doesn't mean I'm wasting my time.) And just for fun, the Hulk and Jarvis.
The digital stuff is nice like previously but seeing that cast drawing is cool! I'm still doing Bargues but I'll should be moving into cast drawing in a few weeks. If you don't know what you're doing with the casts, checking my Bargue process might help (it's in my sketchbook). I'm pretty sure you can use a similar process for cast drawings as I've done for Bargues. At first glance there seems to be some proportional problems with it but if you wanted to nail them you'd probably have to start over since you've already went into rendering.
To get really accurate proportions and angles you'll want to spend a good while on blocking in the cast and the shadow shapes with simple straight lines. Continually progress into smaller and more accurate details until it's near perfect, only then move into rendering the values. Doing things in stages and making sure all the proportions hold together through the whole process will lead to a good drawing.
kitfox glad you like seeing the cast drawing. You're right, I think my lack of patience hurts my drawings, will likely need to learn to be patient and go through the stages better. But will now consider doing a new one once I finish this one.
Another step-by-step from Gary Tonge's book "Bold Visions". I struggled alot with this one. Need to study light more (hopefully doing the cast is helping with that.) I feel like the book has been pretty helpful to me so far.
kitfox Good question, on Gary's original painting it seems pretty clear the stairs are elevating. Should have done a better job on illustrating that on mine.
Cast update. Got frustrated trying to get even tones so took a small piece of paper and did some small squares (paper hanging) which took 1/2 hour. Was more satisfied with the squares and I started to see the importance with keeping the vine charcoal sharp at all times. Afterward did a tiny rectangle area on the background (left of the cast shadow) and was happier with it. Will take a looong time to get that done on the rest of the background but at least now I feel like it's doable.
Glad that rendering sheet was of some use. It really does take a while to carefully render out everything to get super even values. I'm about to tackle my second Bargue's rendering stage, looking at a good 5 hours of work at least I think, and there's still some things to fix up proportion wise. So just take your time with your cast drawing and have patience to work on it. You'll notice that it will slowly start looking better and better.
that space craft painting is looking awesome! I think the cast drawing is looking nice too! more shading and more value range will give it more volume, don't be discouraged, achieving a nice even tone really needs time and patience and practice of course, so keep going !
ps: I just realized I had forgotten to subscribe to your SB, so I wasn't notified with your updates, sorry for not checking up on you
tronrobot Thanks! And drawing after a day of doing IT stuff is completely refreshing!
kitfox That's what I'm hoping, hopefully the patience pays off.
Miss.BonBon Thanks, I'm definitely learning how much patience a good drawing takes (and also a lot of thinking while drawing as well).
Didn't get to study as much as I wanted to the past few days, I need more discipline. Skeleton taken from "Atlas of Human Anatomy for the Artist" by Stephen Rogers Peck. I plan on taking my time going through this book to learn and be confident with anatomy. Also some faces from photo ref and a few bad gestures.
One thing that's really going to help you memorize and draw the skeleton from your mind is measuring out the proportions and making a simple system out of them. I did that a lot when I was working with Riven Phoenix's video courses and found it very helpful.
Loomis' Drawing the Head and Hands is a nice book to help with portraits and I suggest checking out Vilppu's stuff for gestures if you haven't heard of him yet.
It's not so important to know all the names of each bone and whatever.. if you thought it was. What's important is that you remember the shape and proportion of them and where they go and how they work.
Also. Try and theme every week. You get more done that way. Spend time doing anatomy and figures for one week then switch it up to still lifes one week and then go to photo studies, etc, etc. That way you get more repetition and you won't feel so overwhelmed, because you will eventually. When you start off everything feels like shit, and honestly.. it still does for me even though I've been going on for years now. But it feels better when theming up the weeks like this.
Hope that helps.
Also remember to do some stuff from your imagination after doing a study so you apply it to something.
kitfox Good idea, I can see how figuring out a simple system is helpful in order to memorize it. I'm looking forward to completely going through Loomis' "Drawing the Head and Hands", from the pages I have read so far, it has been awesome. I haven't heard much about Vilppu but will definitely look him up especially since I'm not too fond of my gestures.
ConnyNordlund I like the theme idea, I will definitely have to do it when I feel overwhelmed. And thanks for the reminder about how important it is to do stuff from imagination so the studies sink in, something I need to do more often...
The first two skeletons are Peck studies. The other ones are from imagination. I have a long way to go but at least I feel like I'm making some progress.
Very nice skeleton studies and the application after it is a good idea. While it's good to do accurate studies, I think it's also important to simplify the skeleton to an easier form to draw it more efficiently. Which is exactly what you're doing. ^^
The cast is looking better. I'll be doing cast drawings in my atelier studies after I finish my 3rd Bargue, so it's nice to see how you progress with yours.
the rendering of those skeletons are really awesome! love your studies
the cast drawing is coming along well, it's important to build up tones gradually in layers and not rushing to achieve a dark tone immediately
keep the good work up
Hey Browntear seems you've got a great start to your sketchbook. Some lovely lines going on here and welcome to the SSG! I've added you to my signature Thanks for stopping by my sketchbook and yes Hampton in my opinion is great, a book that I genuinely enjoy sitting down to read. Keep up the good work.
kitfox I'm pretty sure after seeing your Bargue drawings, that your cast will destroy mine. Looking forward to seeing you work on one so I can learn a thing... or many. =)
Miss.BonBon Thanks! And I think I may have had an easier time if I didn't go so dark right away and instead built up the tones like you suggest. Will probably try that when I do another one.
Trailblazer Thanks and I'm really glad to be part of the SSG. I can already tell the group will help me stay motivated and keep me posting. Hopefully I can play a small part in helping others do the same.
Following another step-by-step from Tonge, a couple skulls from Peck (many more skulls on the way, both from ref and imagination), an update on my cast drawing, and just for fun, a couple Andabataes!
Skulls, skulls, and more skulls. Most from Peck. A few toward the end (the really bad ones) from imagination. Gonna be MIA for a week but will be back with many more (bad) imagination skulls and maybe a few sketches for fun.
Some digi-skulls or as I like to call them... bad. I realized that instead of "line drawing" skulls digitally, I should try drawing silhouettes of them and then see if I can "carve" out the shape. Something to try for tonight. And spent a little more time on my cast.
Good stuff, man! Just keep consistently working on things. I had unintentional break because of work related stuff and it's hard to pick up things again.
Some of the skulls look a little deformed here and there. I would suggest trying to work a bit larger and spending more time on a single sketch. It's one of the things my teacher suggested for me to do. Really try to nail the proportion and shadow masses, work simple but accurate. It can be extremely frustrating to redraw until you get it right, but I think that's where the real growth happens.