LastGen cheers thats very encouraging. Trying to commit myself to updating regularly to commit myself to working constantly. Plus over time I can chart my own progress easily spot holes (well not hard to miss at the mo) and hopefully see improvements.
PigeonKill LOL those early post yeah super bad. Think I am still getting used to woking with the pencil again and getting smooth lines quicker. Well the good thing is I am using the earaser less and becoming more confident with my mark making. Although curved forms like breast and nipples are still a challenge.
Thanks again for all the support. Really trying to keep it moving. Aware that I need to get back to do some longer more finished drawings to work on values ect and think about light and shdow shapes ect. It's hard to do that at the moment in life drawing as the poses are so quick. 30 mins to me is a short pose. So it's hard to work on construction and rendering. I ll ned to explore more expressive media like pastel and chalk this should be fun. At least I can feel like Michelangelo if nothing eles.
Mate your development from march to now is...scary. the Improvement is there definitely.
bear with me for what I am about to say, I usually have trouble focusing my thoughts, and I've just gone through your sketchbook so thinking up critique on the fly based on my now fading feeling.
also everything I say is not fact but merely things that work for me, so when I type i'm not trying to impose "do this, do that" but merely things you could consider so forgive me if it comes across that way.
I see you are doing barque drawings now, that initial block in phase of a barque drawing i.e. simple straight lines, can be applied to anything! I noticed a change (rather than a improvement) in my drawing when I opted this style, and it suits my learning style. it will help not only with figure work, from life and from imagination, but will also help with learning placement of values. the way barque drawings to me are done, is it is started in a very simplified manner with the basic block ins and left that way as a gesture drawing, and if you want you can push it to a more detailed finished. more simple things are, More easy it is to remember it. you remember what 1+1 equals dont you? imaginative drawing is actually just memory drawing but playing mix and match with what you know. the better you know the better you are at getting it out. To that end, regardless of whether or not you practice imaginative drawing, it will improve, it's down to what you study and how you study, can't draw armor from imagination well if you never studied it. So with that in mind it is all just a case of learning the best way for you to memorize what you draw. simplification is one way, and it's a skill in itself. another is drawing what you want to learn in repetition.
starting to lose my train of thought
when you are drawing from pose maniacs are you draiwng with advanced mode on? that is what is making the figures the wrong way around. pose maniacs is good for gestures as I find the angles thrown at you in varying perspective angles you cant find on pixel lovely or other photo ref life drawing sites. the 30 second tool is a brilliant way to not only practice quick barque style gestures but also train your eye for accuracy and confidence in line placement, you are not given time to rub out a line and try again, you gotta place that shit DAOWNNN lol
on the site itself there's a youtube video of one of the artists doing very small clean finished gestures with a broad marker. watch it. that's the size I think is good for such a quick drawing.
normally when people start draiwng, they start from the top of the head and then work their way AROUND the body, trying to finish a drawing as clean as possible in such a short time frame, trains you to gauge distances and completely jump from one area of the body to the other with confidence. watch the video and try emulate how he draws.
yeah the barque style also helps with shadow as you are blocking in the major shadow shapes in a simplified manner. I've noticed as well that since I start drawing the shadow line, I know the form a lot better compared to just rendering right off the fly. both methods are stil valid, just dependent on what you want.
now there is two ways for me as to which I class drawing in concentrated repetition. 1st is just choosing an aspect you are weak at, break it down further and then just hammer out studies. instance (humans >limbs> torso) (heads>skull>varied angles) (landscapes>quick simple value gesture of overall scene: tress; rocks; branches) etc.
2nd is actually drawing a single pose repeatedly, spend like 10 minutes on it and draw it about 3-4 times, doesn't need to be super rendered drawings, just sketch getting in the general shape and values. there's a recent example of this on my sketchbook (haha trolling you back to my sketchbook kidding here ya go)
i think I'm pretty much spent on ideas. but in general you are heading in a fantastic direction, big jump in skills since you started which is ammazing! and for you to be working full time and still having the energy to spent time on drawing, admirable man! many people have tried that and failed.
Keep it up man.
ah! if you read comics! gesture some panels from them! any panel that interests you, draw it, for the worth of its composition. that stands for anything actually, composition wise, if you like it, gesture it.
best of luck and thanks for the comment on my sketchbook, I'm 'scribing to yours because I know your journey is gonna be brilliant.
will be in touch.
If I happen to comment on your sketchbook, please don't feel obliged to comment on mine. use that time instead to get back to work.
luthertaylor what can I say thanks for the love. Man your getting deep with your critique you remind me of myself. I like the thinking keep it it will work well for you. Yeah this is my first Bargue still so much to learn from it in terms of values, edges ect appreciate that your into this academic side of the drawing.
I agree about the block being applied to anything if you pick up a copy of the Lessons in Classical Drawing by Juliette Aristides you can def see the block in tchnique applied to various subject matter. I have not evebn began to scrape the surface of it to be honest, but I use the basic principlas to guide my eyes and inform me about realtionships betwenn shapes ect. Really helps with life drawing. Need to start creating time to do those still lifes again you got to love them. So safe to set up and you learn a tone from just a small group of objects.
Glad you noticed the improvements. To be hoonest its only since thse star of October that my work rate has been consistent and I plan on keeping it that way for sure. Really want to get my basic down right. Drawing to me is about translating the world honestly and that means, you got to pay your dues at the begining working on the basic ect. Plus I have like 12 years of drawing time to catch up on so got to keep it moving. Left posemaniacs alone for a bit find quickposes better. Prefer looking at real models then distorted anatomy. But the best is life drawing class helps you make sense of the anatomy studies from books. Thanks for the subscription hope my journey does not disappoint. Def be keeping an eye on you we, can share tips for sure. I like the way your mind works.
AangeUnge yeah I love the way skin folds and curves over the body and over muscle the way it cahnges with tensio ect. I always have been obssed with detail and anatomical elements, its why I am a huge fan of some one like Michelangelo and what makes figure drawing so much fun. I am really trying to capture the individual flow of the body and the movement in the body parts when i am drawing, trying to let me eye trace over te skin an zone out and just let mty hand replicate whats taking place in my mind. So glad you can see that in my work. I have been using pen for this very reason to keep me loose and stop me worrying about corecytions and just focus in onthe subject. Its easier to work from life in this way but can translate to phto ref. Think you just need life observation forst to bring that back to your books thats my theory.
Some more figure studies. Will I ever move on from knees lol. Got out my book on David and used photo ref to work on more kneed a bit of hands and some feet from other sources. Want to see how much I know about the forms and shpaes of the hands and feet before sitting down with my anatomy books them spot my weaknesses and target those.
Hey, thanks for taking the time to comment in my sketchbook. I really appreciated your comments. I think you're doing excellent work with form studies of the body, but one thing I would do is to simplify your forms. I can see that you're really paying attention to detail, but I think that it might be better for now to stick to condensing your understanding into simpler forms -- like your drawing of the gluteus muscles in #215 for instance; you could easily eliminate many smaller curves that make the silhouette look 'bumpy'. As for anatomy, I would focus on the function of the muscles and bones, not just on how they look. For instance, the knees-- you really only need to focus on how it works when it flexes. And there is only ONE way the knee flexes! You can only flex the knee up and down, because it is a hinge joint only. There is practically zero sideways movement in the knee; any sideways movement comes from the hip joint. That is what the Bammes diagrams are trying to say. Once you understand the function and which muscles and bones are responsible for the action, you can probably move on.
Always study from the skeleton/bones to the muscles because studying muscles without knowing their attachments or function is like.... studying without a purpose haha. Understanding the forms of the parts is good (like a block for the end of the knee like I'm seeing), but imho you would greatly benefit from studying the skeletal structure. Because in many cases, the underlying anatomy is what dictates the forms, for example the triangular calf -- that's because of the position of the soleus and gastrocnemius muscles relative to the tibia. It is triangular because those muscles are only on the back side of the lower leg as opposed to the thigh which is square because it has muscles on both the front and back in roughly equal proportions. Again and again you will find that the skeletal structure dictates many of these conventional forms we see in books. Our palms 'cup' things because the tarsal bones in the palm itself are arranged in a slight curve themselves. Our fingers curl at the joints only in succession (you can't naturally curl just the tip of your finger without curling the first joint before it) because it is one single tendon pulling on all of the joints.
Again, study inside out. The contours of the body will be that way BECAUSE of the underlying structure of muscle acting on bone.
Sorry for the long ramble, but I hope it helps.
Last edited by Cadaure; December 5th, 2012 at 09:45 PM.
Hey Medelo thanks for the detailed feedback you have left, its all ways very touching when some takes the time to leave you some detailed thoughts to help you improve so its really appreciated. You have some great work in your sketchbook hope you go far.
I agree with you functionality in anatomy is key in terms of understanding what you are looking at and if you want to build a figure from your mind you need to know what the body can and cant do. So your poses are realistic. For example can the arm really bend that much or would it be bent more in a particular pose. Functionality is at the forefront of my mind so I read the relevant chapters before trying to draw. Briedgman is a God for functionality he goes into its so deep. Its only since I have been going to life drawing and doing my own studies that I can now go back and understand what he is talking about and his illustrations. I don’t find it particularly helpful just copying his or anyone else drawings. I want to retain my own illustrative style just get the info and apply it to other sources like life drawing or photo ref, that’s the only way to gauge if you are learning or you become a copy machine.
Think there are many approaches to anatomy and drawing in terms of look. It all depends on what you are after. If you want to be a concept designer then speed is going to be imperative so you will need to know how to simplify forms to the barest minimum to style your characters. In the same way that a comic book artist wood but still retain hat real world human knowledge to guide you. For example Marko Djurdjevic from what I have seen does not even build a frame or gesture. He has all that info in his head and just build his figure with an outline and clothes on top. But I bet he knows how to draw a detailed realistic arm, its just he does not need to do that in his work.
Its hard to show ones thinking in your work. All I can post is the final image but there are stages of thinking that get me there, and its that knowledge that I am trying to focus on rather then a particular look.
I am also as much into fine art..its what got me into art in the first place. I am huge fan of the old masters and guys who try to show as much real world detail whilst still being creative. So guys like Michelangelo or Caravvaggio or even modern masters dare I say like Donato and Liberace. They try to stay as true to life as possible. So they don’t simplify their limbs they want to show all those bumps and curves because to them thats where the beauty in the human form comes from and thats what viewers respond to when they look at their work. I am not trying to copy anyones style this is how I have always drawn. I am obsessed with detail and always will be thats why I would not want to be a comic book artist as I would not want to simplify to that level. So when you see me drawing those lumps and bumps lol its because thats what I love drawing. It will always be part of my work no matter what type I end up doing. I am trying to learn to draw the body realistically not learn enough anatomy to move on so I can start building my own characters as quickly as possible. I am not nocking anyone just saying depending upon your long term goals you will use different approaches. But thank for the feed back its great and please don’t think I am being defensive just sharing views its good when people are analytical.
But I do like drawing the knee because it is so bloody complex and to be able to draw it realistically from any angle like the hands or the feet is a great accomplishment. In my opinion it makes drawing others things seem less challenging. Plus if I draw 100 knees I am cementing all thats knowledge and furthering my understanding and putting in drawing time so its a win win to me. I am in no rush to get to where I want to be just want to get good enough to please myself first, then the rest will take care of itself.
Some more life drawing from latest session. We had a very curvy female was a lot of fun and she really understood her own body and how to present it, I know can see why Rubens enjoyed drawing all those lumps and bumps. Again starting off with the short poses 1 min working up to the longest which was 30. Everyone in class is commenting on how much I am improving and learning, which makes me feel good because it means the work is paying off even if I can’t always see it. I can only put this down to time spent drawing and reading hampton and Bammes and now when I add in Briedgeman think it will really move me on again.
Just a quick update going back to doing some object construction studies from life. Doing these in pen, means lines will be sloppy, but will make me work more quickly. I am more concerned about learning proper perspective and using simple 3d forms to break down the objects line accuracy will come in time.
Hey man very nice studies!!! before you freehanding elypsis you might wanna check out the anatomy of a elypse that make things a little bit easier but i know freehanding elypsis is very hard
keep up the good studies