HewViana's incredible journey into mastery and himself!
My name's Matheus, 20 years old, male, from Brazil. Or Mat(hew)s.
I found out about this place and then after passing by a couple of times I decided to join the boat.
I am currently studying Photoshop and anatomy in the hopes of becoming a fine artist.
Hope to hear your feedback. Thanks in advance.
Last edited by Hew Viana; July 6th, 2012 at 10:52 AM.
A couple more drawings from the last weeks. The stick figure drawings helped a lot.
I find that I am not quite the sequential learner when it comes to learning to draw.
At one moment I could not do figures and when I trained with the sticks I suddenly could.
The date and time I wrote, marks the time I became more confident with figures.
Last edited by Hew Viana; June 29th, 2012 at 06:41 AM.
I need to work on my gestures and shading skills. I'm gonna read some Vilppu today.
After that I'm gonna improve my portrait skills. Draw someone from life. And maybe do a self-portrait. And work on some other stuff.
It looks like you're off to a good start here. Definitely stick with the anatomy studies - they'll take you far. I'd definitely recommend looking into Bridgman's stuff. I've found him to be the most helpful. (His line work is beautiful so, if you draw from the book and try to emulate it, your line work improves.. and his anatomy is awesome, which you're learning at the same time. Two birds, one stone!)
The last couple sketches definitely look better line-quality-wise. The strokes are much more confident. Never 'pet' your lines in (when they look sketchy, like the first few pages in your last post) because it makes things look wrong/unsure. (Even when they're right.) If you're going to make a mistake, you'll look far less mistaken if the line work is confident! (So never be afraid to make big sweeping marks on your page!)
I'm in high spirits today. So much work to do. And I'm planning something special. (Just wait and see)
Riley Stark, No problem. Thank you very much. You are much too kind.
I'm definitely gonna go carefully thru Bridgman stuff. The few of the anatomical studies I've done helped me a lot.
"His line work is beautiful so, if you draw from the book and try to emulate it, your line work improves.. and his anatomy is awesome..."
That's awesome. Let's wait and see what will come out of this.
I'm gonna start doing sketches with the tablet soon.
Speaking of awesomeness, I'm definitely gonna seek advice from you on painter if you're available. Those portraits of yours are (in loss of words here).
"The last couple sketches definitely look better line-quality-wise.
The strokes are much more confident. Never 'pet' your lines in (when they look sketchy, like the first few pages in your last post)
because it makes things look wrong/unsure."
Your advice was spot on. You pretty much described my whole mindset. Too much hesitation. Those sketches are awful, line wise.
After reading your advice I did a bit of work on my line. I fell much more confident now. Thank you.
"Stick with it and keep up the good work!"
Stuff I did yesterday.
Last edited by Hew Viana; July 2nd, 2012 at 01:24 AM.
Yesterday I did some 30 second poses from http://www.posemaniacs.com. My first experience with the poses, but the 30 sec ones are just too fast for me at this point. I'm not satisfied with them. I'm going to train with the 60 second ones and when I get better, I'll step it up. I'm gonna do this every day, whenever possible.
I'm keeping a little sketchbook for recording useful info.
Designs, interesting concepts, etc. I'll post those later on.
I'm currently working on shading, perspective and the figure.
I'm getting a strong base before moving onto the digital stuff.
Every day, whenever possible, I do 45 sec poses.(They help a lot to get a feel for things.) My sketches became a lot more fluid.
Still life studies are immensely important too.
I' looking forward to hearing constructive tips, suggestions and critiques.
Last edited by Hew Viana; July 4th, 2012 at 10:11 PM.
I never knew keys were so interesting. I spent some time with them, just calmly observing the details. I learned a lot from this. I'm gonna continue doing that. And later I can integrate those little details in my drawings.
Sorry for the strange smudges all over the paper. I had to clean it up a bit. The originals are fine, but the freaking scanned pages turn out with black smudges.
The scanner is doing its magic wrong. Or I'm just erasing to much and screwing things up. Or both. Now I'm using two folds of paper. One is half of a page and the other one fourth to keep things clean. And as I draw I keep them both under my wrist. They seem to help.
I'm researching other artist's drawings like Alexandr Pascenko and Marko Djurdjevic. They are awesome and I'm gonna learn as much as I can from their works.
I'm almost finished reading Drawing on the Right Side of the Brain.
Loomis just started clicking for me.
After that I'm gonna focus on the figure for a week.
I'm learning to use more features of Photoshop and will soon begin begin studying color theory to supplement it. Experimenting with colors, playing with layers, etc. But the thing is I still don't have a tablet. So I'm using the mouse to do digital work that is just too awful to show here. But by next month I'll be able to purchase a tablet. Until update. Have a nice week. And I leave you with some nice quotes:
“Nothing is really work unless you would rather be doing something else.” ― James M. Barrie
“I know you've heard it a thousand times before. But it's true - hard work pays off. If you want to be good, you have to practice, practice, practice. If you don't love something, then don't do it.”
― Ray Bradbury
“I don't wait for moods. You accomplish nothing if you do that. Your mind must know it has got to get down to work.”
Pearl S. Buck
“Don't wish it were easier. Wish you were better.”
― Jim Rohn
Last edited by Hew Viana; July 11th, 2012 at 11:29 PM.
You are improving but I would highly recommend you measure out every human figure you draw. I am assuming you have Loomis figure drawing for all it's worth. There is a measurement guide on one of the earlier sections. Copy that till you are confident with it and you can draw it with out referring to the book. That should help abit.
Also as mentioned before, switch to a darker pencil or a black biro.This will make your lines stand out more. Keep up the hard work and you will get there.
phoenicorn , How nice of you to notice. Sometimes I think I'm going backwards and I use that as an incentive to work harder. I'm almost finished with this one book I'm reading. When I'm done with it I'm gonna do an extensive study of Loomis' books. Thanks for the tips.
Here's today's stuff.
A crude tennis sketch in the ophthalmologist's waiting room
My black boot
Sargent's Mme. Pierre Gautreau
Augustus Sandys' Proud Maisie
The tennis I drew while in my ophthalmologist's waiting room yesterday.
I had my pupil dilated for the exam. My vision got blurry. When I got home I took a shot at some sketches, but I didn't do much that's worth uploading anyways.
And I drew my black boot as a still life study. It was challenging. With its intricate contours and the different textures, but there's much to improve upon.
A nice start. You're doing great and are on the right track. Just keep practicising and building your confidence with mark making and shading and it'll get easier.
I second the suggestion about learning figure proportions but not so much about using darker pencils/pens. I also find it difficult to see your work, but I wonder if thats more a case of lack of confidence on your part in making marks on the page, coupled with your scanner. Maybe just up the contrast on the scanned pages once they're on your computer so they show up better. But I wouldnt worry too much about using really dark pencils. I mostly use an F and H when sketching and havent had any problems with them. It's all about confidence and you'll develop that as you go along.
Also, the smudging thing can be a problem if you're resting your hand on the page while drawing. I think there are links somewhere to a blog about how to hold a pencil/brush correctly so that kind of thing doesn't happen, but I cant remember where it is. Or, I sometimes work from the top right corner to the bottom left (I'm lefthanded) if I'm working on something I don't want to smudge and already know where all the shading will go.
Anyway, sorry for the ramble. I hope my comments help a little, and good luck!
Candra H, Thanks. Notes taken. Learning figure proportions - next thing I'm gonna do.
This one? http://chiseledrocks.com/main/musings/
I can draw a circle with my left hand. Does that count?
No way! Just ramble all you want. Keep coming back. We share cookies and drink coffee. I befriend you. Thanks for the tips and the encouragement.
I'm meddling with color theory.
And I intend to experiment before doing a shity copy of a Monet that cached my eye. It is a really beautiful, brightly colored landscape. He really was a phenomenal painter. But one thing that stroke me as interesting was his obsession with painting a zillion times a single view or a subject. Like the house in the hills, the bridges, his famous water lilies and numerous other ones. It's almost as if he wanted to posses the object of the painting.
I had some things to tend to those days, but here are some of the things I managed to work on.
Henry Fuseli's Portrait of the Artist with a slightly skewed proportion in relation to the original, but I quite enjoyed the process of making this one less stylized(An accident.). Now he looks like an Old German Mann. Perhaps Beethoven. (Insert Smiley for punchline).
A Rushed Copy of Self-portrait, Gustave Courbet
Some experimenting. (There's something very poetic about turning the dirty graphite into an image. But I'm gonna leave that to the poets out there.)
And some other things I'm gonna post latter.
Last edited by Hew Viana; July 20th, 2012 at 01:27 AM.
School is going to start soon. So for me it's not going to be possible to upload daily.
I am drawing from Dynamic Figure Drawing from Burne Hogarth and I'll use Bridgman as a supplement. I like the feel of it. There's so much quality content in Hogarth. It's gonna occupy me for some time.
Hey dude, this last post is a massive improvement. One thing I noticed from the earlier posts, is that you aren't really paying attention to the underlying structure of the figure. What I mean is the skeleton, a lot of your figures...uhm...are kind of lacking bones, they are very...well they look like jello. Studying Loomis, and his way of constructing things will really help with this kind of stuff. Otherwise just keep working man, you're certainly improving.
I'll second what Psychobuddy said about your improvement. You're doing great, and I especially like those dark experiments in graphite further up. Really nice too, the way you explored the light on the old guy's face - thats some really nice shading there.
Re Monet. I'm a big fan of his and what I love most is that a lot of his later work was done with poor eyesight. Apparently he developed cataracts (I'm getting those too but for a diiferent cause - I've got Retinitis Pigmentosa) which affected how he saw light and colour. I can identify with his obsession with different light and colour effects on his landscapes because I get the same thing with mine. Though, fair enough, I havent painted that much from life yet. It's a growing obsession though, I can feel it, heh.
Good luck with your figure studies. You cant go far wrong with the likes of Loomis, Bridgeman and Hogarth. And thanks for the friend request too!