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I decided to repeat chapter 10 last week, and I'm glad I did, because I picked up some things that I didn't get the first time around. In fact, I think I'm going to do it a third time, because I'd like to practice some of the things I learned. The drawings from last week don't look any different, but I feel like a few of the ideas Nicolaides has been trying to teach finally clicked for me.
you're much more devoted than I am, would probably be too lazy to go over a chapter three times, but I suppose we'll see when I get there
I like where your gesture drawings are going, I think the heads are too big and they are a little top heavy, just something to be aware of. But still, keep up the good work, Nicolaides is working well for you
Thanks for the comment on the gestures. I'm obviously ignoring proportions, but balance isn't something I want to ignore, so I'm glad you made me aware of that. Honestly, I'm getting a little burned out on that exercise, but I 'm almost done with Chapter 10 (third time), and I noticed that 11 doesn't have any gesture exercises. Perfect timing!
haha, it's the opposite for me, gesture drawing is my favorite exercise in the book, what I struggle on the most are longer exercises, especially contour drawings.Honestly, I'm getting a little burned out on that exercise, but I 'm almost done with Chapter 10 (third time), and I noticed that 11 doesn't have any gesture exercises. Perfect timing!
thanks for commenting on my sb, I appreciate the support.
I'm sure good weather won't deter you, you'll just be taking your sketchbook outdoors!
Nice studies and good job sticking to the regiment. One thing you definitely need is some heavier paper for your watercolor studies. Unless wrinkles don't deter you of course.
I'm finally done making awful watercolor paintings (art world breathes a sigh of relief). For your amusement, I posted my first and last attempts below. I'm still learning something new every time I try this exercise, but I'm ready to try something else for a while.
Nice progress. That is a respectable-looking foot. Like CarbonBased said, watercolors on cheap paper have a pretty stark limit on how good something can look on it. If you stick with watercolors then it's a good time to switch to better quality paper.
Thanks IntoTheVoid. I've got a huge pile of that cheap paper, so I'll save my watercolor masterpieces for another day
In the middle of Chapter 11 now, and it's all about diagramming folds in fabric.
That's a strong foot right there, looks really good. Folds must be an interesting change, huh?
Hmm, I liked the last study I did better than this one. Oh well, I'm going to study Chapter 11 again anyways.
BTW, being new to drawing, I'm learning things that are obvious to everyone else. Things like building tones with graphite--it's tedious and boring compared to the crayon and brush!
Nice folds! For added benefit, try thinking about the different types of folds as you're drawing them: A-fold, Y-fold, diaper-fold etc. Looking good so far.
Lots of these diagrams lately. If I do these studies before I go to bed, I see folds when I close my eyes
Some quick sketches from around the house.
I like the way you did the furniture and the drapery! Very pretty The dog is pretty cute too...
Keep up with the studies!
I took a short break from Nicolaides, but I'm back at it again, and up to chapter 13 now. I also finally finished Venon Blake's "The Art and Craft of Drawing," and now I'm reading Speed's drawing book. Blake's book was great, but he makes Speed seem downright diplomatic.
BTW, wife says the latest self-portrait still doesn't look like me. I see a lot of problems (and no doubt there are many more), but that litho crayon is impossible to correct.
The recent studies are all quite solid.
As far as likeness is concerned, that has to be done right from the very start: if it doesn't resemble you before you put in the details then it won't resemble you after you put in details. Without seeing the reference we can't be more specific, but the rule is not to add polish before the foundation is ready. It's looking good either way, so feel free to be proud of it
Random studies from life and photos.
Finished Speed's drawing book today--what a great read! After Blake's book, it almost felt like light reading. My wife scored a copy of Gardner's Art Through the Ages for free at a garage sale, so I've got plenty of reading to keep me busy.
Here's some stuff from last week. I'm still plugging away at Nicolaides' book; up to chapter 15 now. BTW, the drawing that looks like a blob is supposed to be a drapery study . The human gestures and portrait are from photos
Attachment below: me, annoyed 'cause my drawings look so goofy.
Seriously though, I had a question: Nicolaides talks a lot about sympathy for the subject, even suggesting that the student feel a figure's pose in their own body, but he also points out that all things have gesture (his example is a pancake). How does one have sympathy for a pancake?
First is a (incomplete) Nicolaides exercise: "extended" gesture + blind contour + modelling with light. Next is me proving I have no understanding of a figure. The rest are just misc. sketches from life.
BTW, I know I sketch that chair too much, but there's a really comfortable couch across from it, see...
Long study of a bookend where I tried to concentrate on form and light.
I'm about halfway through Ruskin's Elements of Drawing, and it's another great read. I love the unapologetic opinions that I'm discovering in older books. Whether or not I agree (or even understand), it's a refreshing change to politically-correct dithering. A few examples from Ruskin:
- "...the only rule which I have, as yet, found to be without exception respecting art, is that all great art is delicate."
- "No great painters ever trouble themselves about perspective, and very few of them know its laws..."
- "I do not think figures, as chief subjects, can be drawn to any good purpose by an amateur." Later: "the best answerer of questions is perseverance; and the best drawing-masters are the woods and hills."
- "...the real difficulty and masterliness is in never letting the hand be free, but keeping it under entire control at every part of the line."
- "Always remember that a little bit perfected is worth more than many scrawls..."
- "...if anything goes wrong, it is nearly sure to be refinement that is wanting, not force; and connection, not alteration."
- "All deceptive projection is obtained by partial exaggeration of shadow; and whenever you see it, you may be sure the drawing is more or less bad: a thoroughly fine drawing or painting will always show a slight tendency towards flatness."
- "It is one of the worst errors of this age to try to know and to see too much: the men who seem to know everything, never in reality know anything rightly."
- "If a great man...thinks his effect would be better got with two lines, he never, to show his dexterity, tries to do it with one."
- "...the rule that no good drawing can consist throughout of pure outline remains absolute."
Ruskin talks about "leading lines" (he also calls them "chief lines" and "awful lines"), which seem to me to be the same idea as gesture. Nothing new under the sun, I guess.
As far as actual work goes, I'm still crawling through Nicolaides' lessons. I'm not sure if I'm "getting" the B&W gestures, but they're fun to do, nonetheless.
Blown away by your progress!
Fabric study. This cheap paper is awful, and I have no idea how to use these crayons, so I'm just making it up as I go along
Really great progress dude! Uhm the only thing I can say, is these drawing manuals, they are great, but don't be afraid to break away and do studies that you regiment, and make sure you draw from your head as well, you don't want to fall into the trap of being a human photocopier.