Results 170 to 182 of 190
January 28th, 2014 #170
Thank you for your continues support ecki, it means a lot, haha!
Master studies before bed, It was tough using a dull conte to work the details of the head, sheesh! (Sharpener was useless)
Hide this ad by registering as a memberJanuary 29th, 2014 #171
You did a great job on the legs in that recent study! I'm able to feel the form in them
The torso is a little long and her head is a little small, but all in all, you're doing pretty well! (And also I don't know the original master-painting from which you worked off – I somehow can't find it with google, maybe it looks just like that...?)
The main thing that I don't like with the portrait, is that the left eye sits directly on the outline of the head. Usually, it shouldn't look like that. I'd suggest to take a look at the Loomis approach for constructing heads, it's a good starting point to get a feeling for face-structure.
Remember to take all my anatomy, proportion and facial structure advices with a grain of salt, for I've still got a ton to learn myself
Just keep grinding, because in the end – with a lot of work, it's hard to go wrong
January 30th, 2014 #172
Thanks Ecki, The figure drawing was a study after Francois Boucher and the portrait was Jean Clouet. I referenced those drawings off my French Drawing book. There is a break in between the eye, it's very subtle but I do agree with you on the torso being a little long.
Also, I don't use the constructive Loomis approach when it comes to master drawings anymore, I use the method I learned at school, finding big abstract or animal shapes, making sure my tilts are correct and at the end, refining the details to really think about what is happening. It definitely helps me achieve a stronger accuracy in my drawings But I most definitely use the Loomis approach for my imaginative drawings!
Attached is just a still life, these past two days my wrist has been in pain, I guess I'm pushing my body to the limits. I've been able to only keep up with the still life, going to give it a rest and save my energy for school only for a few days.
Last edited by TNiznet; August 15th, 2014 at 09:39 AM.
February 2nd, 2014 #173
February 2nd, 2014 #174
February 4th, 2014 #175
February 4th, 2014 #176
Great updates and great work – Those still lifes are getting better!
I would suggest doing a still life where you go all the way. Just take as much time as needed and try to push it as far as you can. Just spent up to a week on in. If you do it, use artificial lighting
Keep up the great work man!
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February 4th, 2014 #177
tNiz - nice book you have here. stopped by lots of times, but never left a comment before. awesome awesome job with the Bargue stuff. your control of values and edges on those is really really nice. however, it doesn't look like you put as much observation time into some of your still-lifes. this last mannequin looks really good, the pen (red thing?) in the previous post seems off somehow (perspective on the front tip?). sometimes it looks like the objects are just floating on the shadows, like they're not necessarily under the same lighting conditions and are just slapped on at the end. do you use black for your shadows? because of reflected light, almost no shadows are absolutely black (or even gray, for that matter) unless the surface they're on is black or gray. with the exception of a strong secondary light source, the shadow will always be an altered form of the surface color. so like in your apple pictures, you seem to have pretty desaturated gray shadows on a green-yellow table, and that makes your picture look kind of lifeless. so i would recommend more work with lighting and shadow and reflected light. i know of some good tutorials and exercises for that on this forum if you're interested. if you're not, that's ok. anyway, i hope this helps. i'll be back around; take care!
February 5th, 2014 #178
Thanks Ecki, you been kicking ass like always and I promise I will if I ever get a day off from school.
Thank you purb, the hand is a cast drawing from life and not a bargue plate, ha! I have been using black on some of the cast shadows and also kind of been overdoing the occlusion shadow. You pretty much nailed me in the head with every points you made. Purb, I really do want to spend longer on my still lifes as much as I do with my life drawings from school, It's just really difficult coming home late everyday since I am a full time student at GCA and constantly running on 5 to 6 hours of sleep. I follow a schedule when I'm home that I carry through till 12 at midnight. So It's always been a process with my still lifes that I wrap it up if the time I have set aside is ending regardless if I succeeded or failed miserably because I also have to work on drawings that benefit my school endeavors (A lot of plates) and other drawing activities. Hope I don't sound like I'm making excuses. Purb, I would more than love to view the tutorials you know will benefit me! Also, thank you so much, your comment really shined light on a lot of things that I will keep in mind for my future still lifes. Please visit often, I never take any critiques personal so never feel the need to hold back.
Thanks again guys.
Torso study and imagination.
Last edited by TNiznet; August 15th, 2014 at 09:41 AM.
February 5th, 2014 #179
try to dont be so sloopy with the constructiosn and the muscles, if you are more accurated your final piece will benefi from it, about imaggination, well its hard, keep on it, and remember there is a huge diference betwen copying and understanding wgats happening, when you understand, the info get stucked in your brian when you copy receiving much more but you are doing great, take your time,
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February 5th, 2014 #180Registered User
- Join Date
- Jun 2013
- Turin, Italy
- Thanked 6 Times in 6 Posts
I see you are pushing to get better and that's great, keep up with this attitude!!
But i think you should do more stuff from mind, stuff that you like on the side of the studies, its usefull to maintein the motivation and also to directly apply what you studied!
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February 5th, 2014 #181
hey dude, i hope my critique wasn't too harsh in the way i said it; thanks for taking it the way i meant it, just as a helpful observation. anyway, here's a link to the tutorials and exercises i was mentioning. Tom Scholes (aka IdiotApathy) started The Peer Project almost 10 years ago, and he's currently working as a concept artist, having worked on titles like Halo 4 (maybe you've heard of it? ). anyway, he knows what he's talking about. i hope it's helpful.
February 13th, 2014 #182
Thanks guys, your comments mean a lot to me. Really appreciate it.
Thank you again for the link purb, I have come across that thread in the past. Very useful and informative, I just never gotten past the sphere exercise since at the time I felt I wasn't good enough to move on and oh yeah, Tom Scholes is very awesome!
Edit: PAGE 7..YEAH BABYY!
Last edited by TNiznet; August 15th, 2014 at 09:33 AM.