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July 9th, 2012 #1
Never Give up Never Surrender: Learning is KEY!
Draw MORE CRY LESS!
Current Paint Is photo ref. Last page to see both.
And THANK YOU for stopping by.
Last edited by Pete Hidalgo; February 13th, 2013 at 10:53 PM. Reason: Title
Hide this ad by registering as a memberJuly 9th, 2012 #2
One full figure study for the end of the night.
About 10-15 min- there is a lot of work to be done and will have to wait untill the morning.
July 10th, 2012 #3
I was at work today but as soon as I got home at 5 and I have spent the last 4.5 hours doing as much as I can. I really need my own space with no distractions to focus, study, and nurture my creativity.
Here are some loomis drawings of the figure from memory to test what I could recall from what I did yesterday.
Some 60 second gestures which I was attempting to keep a long line and not nit pick to much as well as create the form and shapes.
The brown bag I spent about 30 min on purposely timing my self to see how much information I could see in with a dead line.
The Hand signs I wanted to do since I started work but I did not have the chance to reference the Alphabet in sign language. They were done pre reference and hand studies to gauge how close I could come. Lol Epic FAIL. Well tomorrow I shall Work on Values and tones cause after that Bag exercise I really need to focus on form and the effects of light and shadow.
July 10th, 2012 #4
July 10th, 2012 #5
July 10th, 2012 #6
thanks for stopping by! Since your'e just starting out to draw seriously theres very little critical advice I can give on what has been put down so far. The most important is to keep drawing every day and never give up. You'll inevitably have ups and downs but if you can keep it to about 2 hours a day you'll improve loads!
Remember that drawing is more about thinking than just moving your hands. The more you can internalise what you're doing, the faster you will progress. So even if it means you take a long time to do a simple study; you'll get more out of it the more you keep analyzing what you're doing (before, during & after) when drawing. Keep it up!
also in regards to what you asked in my SB:
my studies were done digitally, just using a 15% Gray and a 85% White. Its a good way to study silhouette and negative/positive shadow/light spaces.
July 11th, 2012 #7
keevy39- Thanks man the idea was very frustrating though ha ha. Especially because I didn't use reference (Well REAL anatomy reference) before HAND!!! ha ha. Ahh Im so not a comedian.
element1988 Thanks dude- I will indeed. I know I need to just stick with it no matter what. And I will for sure.
Little-Maiden Ha ha! I had a good feeling they were digi's but again Cant always be sure. And I will make sure to keep posting so there will be plenty of stuff to show. I am trying to focus back on many fundamentals so I can build a better foundation.
So here are the things from today. Very light in the art area mostly my fault but work doesnt help. (Not an excuse) Just a reason for me to remember to draw every second I am free.
First are some loomis heads which are HORRIBLE!!!! ha ha ha
Second is a sad excuse attempt at a sphere. (PS Any good shape/form/shadow links to reference would be awesome)
Third is a pic which is lacking any understanding of light and form. Gotta move away from drawing what i think I see and actually draw what I see.
July 11th, 2012 #8Registered User
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Thanks for stopping by my sketchbook :>
I really like the variety of stuff you're doing here, keep it up! :>
(sorry that I don't have any suggestions or anything, that's something I'm very bad at haha)
July 12th, 2012 #9
Read up on some Value and light information trying to hone in on my understanding of values. Though creating a solid 10 shade value scale is pretty difficult. Attempt after attempt I could only hit a range of about 5-7, although I feel I really only managed to make a solid 3-4. Honestly I can not wait for the weekend to hit the park and Draw. I need some life in my drawings ha ha.
Any who. From top to bottom:
1: Horrible attempt at a Value Scale
2: A few form studies of light and shadows. (I actually learned a bit from what I read which prompted me to do this.) The lighter side should always be lighter than the darker side (Common sense I know ha ha) and the dark side should always be darker. Given that even reflective light on the dark side (Of an object) should not be lighter than the mid tones on the lighter side.
3&4: just the good hand studies from reference. I did some imagination and stopped to use my own hand.
Any advise on bettering my understanding of light, shadow, shape, and form would be greatly appreciated.
July 12th, 2012 #10
Keep it up man! My value studies are also weak, lemme know if you discover anything useful!
MY SKETCHBOOK OF CRAPTASTIC CIRCLES
"Just as food eaten without appetite is a tedious nourishment, so does study without zeal damage the memory by not assimilating what it absorbs."
July 12th, 2012 #11Registered User
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Hi mate, thanks for your comment
10 values is a lot for pencil, it's probably not worth worrying about too much. 3 or 5 are way easier to keep track of. E.g. with 5 you can just say 3 is the midtone leaving you with 2 shadow and 2 light tones for modeling.
Take a look at this; I rendered a few spheres in blender for comparison. Look at how the reflected light works. The first one is a matte sphere as you've been drawing. The core shadow is pretty subtle. Also look at the dark area above the cast shadow - almost no reflected light comes from the cast shadow, so we have a dark area before the reflected light begins.
Now check out the second ball, this is all exactly the same, except the ball is more reflective, and the ground has a texture making it easier to see what's really going on.
Again you've got the dark area above the cast shadow, and you can see what it is... it's the reflection of the cast shadow, almost no reflected light gets in here (reflection of a shadow is a bit of an oxymoron, but whatever ).
Also check out how the horizon line is visible on the reflective sphere (the ground plane is actually a square which is why this is a bit bendy). This is basically all the reflected light the sphere is receiving. I think the reflected light moves up into the top hemisphere because of diffusion, but I'm not really sure how that works. At any rate, in the last one you can see where the reflected light is strongest, and how it gets almost everywhere.
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July 13th, 2012 #12
Man I am not drawing as much as I would like to be. Need to broaden my studies or pick something and focus on it. Not much worth showing tonight it was a lot of chicken scratch and failed attempts with my tablet and photoshop. So I figured might as well stick to pencil and paper until I am comfortable enough to carry over.
1: Doodles from work. Was playing around with placing the head in different posistions. (NOT TO SELF: PRACTICE MORE FACES AND HEADS)
2-5: Figure studies timed from 3-20 min. I was not concerned tonight with just pumping out tons of gestures. I wanted to take some time and study what I was looking at and focus on understanding WHY I was drawing the lines I made. I might have babied my lines a bit but It will be something I work on in the near future (TOMORROW)
On a side note I think my XP bar just gained .000000005 points Ha ha ha ha.
July 13th, 2012 #13
July 13th, 2012 #14
i can already see the progress, i suggest you set short and long term goals for yourself, for example to draw 100 bodies from reference by a certain date and 100 bodies from mind also by a certain date, also be consistent and find motivation keep it up!
July 13th, 2012 #15Registered User
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Man, looking at the amount of fundamental studies you do reminds me that I've been kinda slacking off on that. Thanks for that, I'm going to do some of that now.
I think you're doing pretty good. I would like to suggest you try a few drawings where you hatch along the form. I find that is a very good way to learn the form of the things that I draw. I have an example of this that I found that first got me to do this myself to improve my drawing skills. It's kinda too big to post here so I'll try to send it via a message.
Edit: Guess I can't send it via a message. I'll post it here for now, just let me know if you want me to delete it later.
Last edited by FenixN; July 13th, 2012 at 10:02 PM.
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July 14th, 2012 #16
Hey Pete, thanks for stopping by my sketchbook. Pretty good start you have here.
You definitely have good eye, although your line control could be better. I wouldn't
worry too much about anatomy, or even value scales, just yet.
Concentrate on drawing simple geometric solids. Learn to judge foreshortening as if it
were an instinct. One trick is to memorize the ratios of common angles such as 30 degrees
or 45 degrees.
Once you have the basic line control to accurately render cylindrical or ovoid forms in
space you can understanding how to apply mass conceptions (such as the Loomis
mannequin) to the figure.
Line control and 3D solids are frustrating and tedious but these simple skills will apply
very well to nearly every area of art.
If you are going to study anatomy I would recommend concentrating on the bones,
especially the joints. The key to understanding proportion is largely based on the bones.
Also you can use the joints to gauge foreshortening.
One thing I recommend is to use the cranium and the eyeball as units of measure, not
the 'head' as many books recommend. The reason for this is A: the 'head' is not a
uniform 3D shape, as a sphere is, and B: the key landmarks fall very close to 1 cranium-
diameter or 2 cranium-diameters and so forth from each other.
Don't get frustrated by the Loomis' model of the head. I think the main problem is that
Loomis is so masterful that its quite hard to read his examples. The only real solution
is to really spend a lot of time looking at actual heads and skulls from different angles.
Think about head as a fusion of a few major geometrical forms (cranium, jaw, cheeks,
etc.) and look to the symmetrical landmarks to get a sense of the structure. Two key
points that may be confusing though: The eyes are slightly recessed from the rest of
the face, not lying on the surface, and the skull narrows to the front, so the forehead
is a smaller diameter (varying a lot by individual) than the cranium as a whole.
Looking forward to more!
Last edited by BludHund; July 14th, 2012 at 05:28 PM.sketchbook...a kitten dies every time you don't comment
“When forced to work within a strict framework,
the imagination is taxed to its utmost – and will
produce its richest ideas. Given total freedom,
the work is likely to sprawl.”
- TS Eliot
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July 15th, 2012 #17
keevy39- Thank you! However I have a long road and A LOT of Pencil mileage to go!
IsaacEs- Thank you. I have set goals for the end of this month. They were higher But I didnt want to overload myself
FenixN That is some very useful info. I Have tried that and I must say the hatching Idea definitely helps. I will be trying that more often for sure.
BludHund- My Line control is definitely bad. I am trying to beat years of drawing that way out of me but at times it is hard. Ha ha but that will be in the front of my mind from now on.
Thank you all for the feed back. Didnt get a chance to post my stuff yesterday was busy with, well Life stuff, but I was drawing actively.
1: Anatomy study of the shoulder bone from "Anatomy for the artist"
2: First of many Self Portraits. (Vomits!!!) Wasnt feeling it after almost an hour but I did learn that I have to practice more skulls to get shape of the head correct.
3: Some more loomis heads.
The rest are actually from today A little disappointed though. Drew 12 hours today and I dont think I accomplished much lol.
July 15-31, 2012
Digital or traditional
50 figure gestures (From Ref)
50 " " (From Imagination)
50 Environment studies (Ref ONLY)
50 Head studies (50 ref/50 Imagination)
50 Anatomy Studies (Refrence)
30 Perspective Studies (15 Ref/15 Imagination)
5 Still Lifes (Reference only)
July 15th, 2012 #18
Perfect then wow you sure are drawing alot made me realize how little i draw everyday, must draw more! When doing the loomis studies analyze how everything relates to one another every little line, sometimes a few good analyzed studies are better than 100 30 second gestures, you know what i mean? Do whats best for you though not everyone learns the same
I admire your enthusiasm and hardwork! Youll make prOgress in no time!
July 15th, 2012 #19
IsaacEs: Thanks man. Yeah I do understand the quality vs quantity. And the enthusiasm I have comes from failing to stick with it because I had a mentality of "my work doesn't look like theirs" and I let my self become discouraged. Man I was young and Naive.
So not the mentality to have with art. And recently I have found my drive and set a goal to just do it until I understand what I am doing. and Because I enjoy creative pieces of work so I want to express my own creativity in a beautiful way.
July 15th, 2012 #20
Great sketchbook you got going here, my biggest piece of advice at the moment would be to keep pushing those values, practice makes perfect, especially when values are involved. Keep up the good work though. Looking forward to seeing more.
July 15th, 2012 #21
A quick 30 min still life Digi paint. Not good at all but I wanted to king of mix things up since a lot of my work has been straight pencil and paper. I actually went out to get fruit for this ha ha.
(Used Photoshop and used the magic picker attachment. FUCKING Awesome tool)
July 15th, 2012 #22
Thanks for stopping by my sketchbook. ^_^
Some good stuff going on in here. Definitely stick with the anatomy studies - they'll help you a ton as you continue to work. (Both with anatomy and practicing your line work -- win/win!)
When you paint digitally, make sure you stay away from using blacks for shadows and whites for highlights. In real life both those colors tend to reflect/absorb colors around them and they always turn shades of whatever they're reflecting or absorbing. You'll never actually see black or white in real life, they're always a shade of another color. If you paint with either black or white in your digital stuff, it'll always dull the colors and make it look more flat / less real. Try to stick to actual colors and stay away from those two and you'll notice a difference.
Keep up the great work!
July 15th, 2012 #23
I agree to stay away from the blacks and whites too, i suggest studying some color theory in order to get a better understanding of how light and color works, and yeah i feel you ive always wanted to be a concept artist but my laziness gets in the way and sometimes im just frustrated until one day i decided i was going to grt better, no regrets here ive ben drawing 6 days a week everyday although its only for like an hour or two :/ im lazy haha
July 16th, 2012 #24
Riley Stark : Yeah I forgot to switch to a dark grey when laying the shadow. And Thank you for the painting tip. I really need to find some good color studies but I really need to focus on pushing better values all around.
IsaacEs : Yeah I would recommend getting away from laziness ASAP ha ha.
Few things from today. Started with a few warm up exercises just lines on paper trying to cover every inch.
Wanted to take a break from loomis and loosen up. The last week I have been very tight and stiff with my drawing trying to force correct lines instead of being fluid and loos while at the same time trying to keep clean lines. Needless to say I was lurking through tons of books today and found a post about a book by "Michael Hampton-Figure Drawing design and invention" Must say I really enjoyed the first chapter and it was perfect for what I wanted to accomplish today.
July 16th, 2012 #25
See much better already its funny how something simple like drawing lines can make our skills shine, youre showing tons of progress
July 17th, 2012 #26
Just wanted to make a quick update. (no images) I will be posting my stuff at the end of this week. Maybe Wednesday and Thursday also. I just have a project in after effects to do that I have been putting off and It really needs to get done for the film festivals it is being sent to. Lol. Any way I am sticking to my goals and nothing will break that.
Yesterdays work. Was pretty busy but was able to finish a 30 min study of my shoe and quick little doodle from a stature I have.
Last edited by Pete Hidalgo; July 17th, 2012 at 11:41 AM. Reason: uploading
July 17th, 2012 #27
Hey. Thanks for dropping by my thread. It's good to see someone starting out around the same age. What your doing is great. Keep up with the loomis!! And life studies. You will improve. Just don't lose steam. Stay inspired. All the best!!
July 18th, 2012 #28
You have gotten alot of great advice here, and you are on the right track. I am working on drawing from my Imagination, but before I could do that I needed to be able to draw from observation. I can give better advice on drawing from observation then drawing from imagination, so that is were I am going to offer my 2 cents.
"Draw what you see, not what you think you see." Stop and proccess that, even if you have heard it and "know it" I still see parts of your drawings that show represintations of things. I used to have real troubles with Calves, Ankles, shoulders and Eyes, drawing what I thought they should look like, I would tell myself, I got this, I know what an eye looks like, and drew it, not realising that I was no longer useing the refrance but some idealistic symbol of an eye I had stored in my mind.
Also, I notice you need to trust your gut more. If it looks funny, but you can 't see were it is going wrong in the line drawing stage. Start looking at the shades that define the forms, sometimes things are wider then they look, sometimes they are not as big, this is because the shadeing, or shadows define the form. So in a line drawing you do not have those refrance points, and you will start to try and correct things that need not correcting. Your mind says, "no it looks Skinner draw it skinner" and your Gut says "No I drew it exactly how it looks" and then you fall back and trust your mind and not your gut, and erase and draw it skinner,... Am I right? if not feal free to tell me so.
Good Luck man, you are at the right place , doing the right things
"I spent my childhood dreaming about who I would be as an adult, now I am an adult I spend my life dreaming of who I was as a child"
"I play Guitar because I like music, I draw because I have to."
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July 18th, 2012 #29
Damian Levs: Thank you much. I definitely like to switch things up with what I am doing through out the day and I think thats bad. I need to pick something and stick with it. But when easily frustrated I fell the need to break away from it and loosen up my mind by trying something like a still or just line practices and oval practices.
Stryno: Your analogy about the eyeball is pretty dead on. And thats exactly what I am wanting to drill day after day out of me. I have been drawing off and on since 13/ Being 25 years old now I figure I have years of drawing COMPLETELY wrong that I need to really change. And drawing what I think I see is THE main one.
Right now I am trying to refocus myself on fundamentals all over again to try and retrain my eye, brain, and hands to draw correctly. Thank you for that advice man. I will be constantly thinking of that for sure.
OKAY: I Totally put off my project again to do some anatomy. Just the bones today. Think I will do some legs and feet tomorrow. I cant stop wanting to draw and I want to keep that momentum. I feel if I break it it will disrupt my progression (If I am at all to begin with Hahahahaha. )
July 20th, 2012 #30
wow you've put a lot of time and dedication into your studies so far! Great work.
I can see you have been using some good books and images to help you draw the range of different poses you have so far. What I would say is they feel very static. Keep your lines loose, (without sounding really lame) try to imagine the motion as you draw it. The images you draw dont have to be drawn perfect right away. Just keep your lines light and loose. For me I think the motion and expression is really important when coming up with a pose.
Great work so far though! Keep it up!
and thanks for taking the time to visit my sketchbook!