Sketchbook: Biting the bullet- daily drawings - Page 5
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Thread: Biting the bullet- daily drawings

  1. #121
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    Veshkau: Thanks for the comments and the advice. I think I exaggerated the curves that I saw in those figures, something to keep an eye on. Thanks again.

    Chris: I hope you found the comment useful in some way. Thanks for the feedback. I have been blocking in the darks and erasing for the reflected light as youíve said. Iíll try out what youíve recommended; Iím interested in seeing if there is a difference doing it the other way. Correct value relationships are a big weakness of mine and something Iím trying to work on. See you tomorrow, glad youíre going

    Drawings: Iíve been reading Loomisís book creative illustration- I started with the tone section. It is really eye opening and is changing my views of picture making altogether. I want to make good tonal designs and schemes, regardless of subject matter. Now that I am aware of such things I might be able to see them better in subjects- practice and time is what is needed now. As well as the feedback Iíve got from a critique thread, Iíve really had a great change in thinking about tone and about pictorial design- hopefully I can show that in recent work. Iíve been doing studies in black ink of masters work and from life- they are not easy to read but Iíll get there- and I learned stuff from doing them.

    Iíve done a portrait of my granddad and a sphere from imagination (not enough reflected light though) in charcoal- Iím trying to get myself to widen the value range. Also trying out Utrecht charcoal and straethmore paper- both work really well. Some gestures of horses from life, some observational drawing and copies of vanderpoel. Included some thumbs I do before paintings and some landscape thumbs.

    Still working on the bargue, the head was a bitch to get to that point. Only the fabric and outline to go, not long nowÖ

    All oil paintings from life (Iím been doing a lot of painting, now I donít have the space to dry them out!) Some from a recent critique thread. Some monochrome studies of still lives in raw umber and white (3o mins each, I plan to do 20). Two colour paintings of a life model- 45 mins or so each (burnt sienna, Prussian blue and white) and some 10 minute oil studies of the same model in monochrome.

    I went out to the preseli hills yesterday and did three landscape paintings in oil, second time out doing plein air- itís a lot of fun, I love going out and painting! It was 1 or 2 degrees out though, a bitterly cold wind. My feet and hands were dropping off after three hours!

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    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  2. #122
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    Hello. I'm quite impressed with the sheer volume as well as the diligence of the studies here. If I may make a suggestions perhaps some more focus on your values would be good. They seem to stop short of getting some really dark darks that may help add some pop to your practicing. Your anatomy still needs work but so does mine and I'm sure everyone could stand to work on it on a regular basis.

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  4. #123
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    aron_Radney: thanks. You're right about the tones, I tend to faf about with them a bit and don't commit to really dark darks. My anatomy is better than it was, but still has a long way to go. thanks again

    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  5. #124
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    You're welcome. Yeah, an unwillingness to commit with tones was a problem I had too and sometimes still do. Perhaps working with ink for a bit might help. I had a link to something one of my teachers suggested when I was in school and the exercise did help. I'll see if I can find it and get back to you.

    If you're wish my blog and thus portfolio are available for comment. I can always use critique.

    http://aradneyart.blogspot.com

    Also, my concept art sketchbook can be found here

    http://conceptart.org/forums/showthr...g-in-headfirst

    Insanity
    Definition: Doing the same thing over and over again and expecting a different result.
    "You must first learn the rules. That way, you can learn to break them properly"-Dahli Lama
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  7. #125
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    nice start on those plein airs. id really like to get into oils, i might give that a go in march.
    you seem to be focusing on painting, i don't know enough to offer anything constructive, so ill just say keep up the good work

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  9. #126
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Size:  111.1 KBaks9: Thanks for the encouragement. Since starting oil painting it's become a bit of an obsession, I hope you give it a go

    it took a lot of effort and time- but I go there. I finished my last bargue drawing! Now I can go onto the really exciting stuff- cast drawing!

    I've also included some life drawings in this post and some plein air studies of Sandy Haven. With the latter I used oil paint- raw umber and white. I need to make my lights brighter I think, still have a long way to go regarding edges too. It was so nice to go out with calm weather!

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    Last edited by Mana16; March 14th, 2013 at 07:39 AM.
    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  11. #127
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    Currently reading: 'Figure drawing for all it's worth' by Andrew Loomis

    I've finished reading the above book, I figured i'd read it all first and then attempt the exercises/ methods within. Which is what I'll start doing tomorrow, tonight I can start to block in the cast and start drawing.

    I haven't had the chance to go to life drawing lately, so I have been largely working at night. When I do go to life drawing next week, I'll focus on contour work there (the lighting is from all directions at one venue, unsuitable for tonal work- it's not good to fake it!).

    My focus has largely been on tones these past two weeks, I've been doing oil painting studies in raw umber and white, in natural light and using one artificial light source. Raw umber from Jacksons is excellent, don't bother with Sennelier students oils (very weak pigment, not dark enough from the tube). I've been using very little medium/ thinners, so the paint is quite thick. I like using it like that, but I think I will have to thin out the darks in future so it's easier to paint in the lights cleanly. I've been working from dark to light, using 6 values I mix before commencing the painting. I've tried to separate my light and dark values as much as possible. I'm still not good at varying the edges, need more practice with that. Also been experimenting with white and black backgrounds, I've found I don't like doing high key paintings- I'd much rather some contrast for some punch!

    A few charcoal drawings of grandad, the dog and a tea pot from life. Some pencil drawings of my hand, some perspective drawings from memory too. A whole load of little thumbnail plans for painting, some linear arrangements and continuing notan studies of master works and random compositions.

    Two charcoal gradients, one in hard grade, the other mixed. Very difficult, charcoal moves around a lot on the surface of the paper, it's quite fiddly to get a smooth tone.

    Also gone back to 'The natural way to draw' by Nicolaides, I've included some 1 minute gesture drawings and some modelled form drawings in crayon of the skeleton and my hand. The focus with these was not proportions, but tackling one aspect of drawing at a time. Pure gesture, and the sensation of weight and form in space.


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    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  12. #128
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    Love the updates, Keep going!

    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.

    CA sketchbook: http://conceptart.org/forums/showthread.php?t=245741

    Deviantart: http://luthertaylor.deviantart.com/
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  14. #129
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    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  15. #130
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    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  16. #131
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    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  17. #132
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    latest cast drawing- medium difficultly

    Quite difficult, this time not at sight size, but I have chosen a viewing distance. At that distance the drawing is larger than the cast and the board placed higher than the cast, it's just a matter of maintaining the proportions of the cast at a slightly larger scale and on a different plane- not simple! I fear I may have gone too complicated, too soon, hehe, we'll see,

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    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  18. #133
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    I've started doing colour charts in oils after reading 'alla prima' by Richard Schmid, it's good practice and fun to do, also not too intellectually taxing after working all day. I went to an art-link away day the other week, the tree is the beginning of an outdoor painting, I wasn't having a good day that day, so went home early. Trying to do full colour painting outdoors in oils is quite difficult to do well, I guess I lost my nerve.

    A recent self portrait in conte and white chalk, drawings of my grandad, my hand and some drawings from today's life drawing class. I'm feeling really tired, and I think it shows in my work. Time for a kip I reckon, hehe

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    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  19. #134
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    Really interesting way of breaking down the form of the frog. I'll have to give that a try


    I'm new here and could always use some advice / criticism. Feel free to take a peak at my sketchbook if you have the time.

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  21. #135
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    Your figure drawings are getting much stronger. I wouldn't mind seeing some more still life drawings too! Watch that line weight!

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  23. #136
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    nick: Thanks, it's better to get the general proportions somewhat correct first before moving onto details. You can also choose 1 unit of measurement and compare everything else you put down to it- you've just got to get your initial measurement right with that approach.

    Octopi: Thanks for your kind words, i'm planning to do some more oil studies of still lives, I'll post some up soon. As regards to line weight, I just tend to put emphasis on what I want to, usually where I see dominant forms- still need to explore contour further.

    Further refinement of the frog, may need further corrections. Also, I have done a colour chart for lemon yellow dominant and chrome yellow dominant- also included is the palette I am using. The charts look better in life, sorry about the poor lighting in the photo.

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    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  24. #137
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    basic 2 tone block in of the frog, pretty much line free. It was hard to obliterate all those lines in the shadow areas, but it's a stronger block in for it, I think.

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    Last edited by Mana16; May 19th, 2013 at 04:08 PM.
    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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  25. #138
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    such a cutie pie lol really liking the tone as well

    I'm well thanks (can't remember If I replied) still going strong, just can't be arsed to upload (still) just passing through. looks like you are devouring your materials with hardwork! nothing to say as you know what you are doing.
    I'll drop by again soon

    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.

    CA sketchbook: http://conceptart.org/forums/showthread.php?t=245741

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  26. #139
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    Hey Black Swan, thanks for visiting my sketchbook. I think you are doing very well with your studies and your
    approach, especially this last study. The simplicity of the tones and shapes is very effective.

    You should really try applying the same approach to your figure work. Also try to design your contours and
    shadow-shapes in a way that the the shadow-shape is echoing the silhouette, reinforcing the sense of planes.

    Try drawing the outlines and contours with the idea of being planes and outlines of a VERY SIMPLE geometrical
    shape such as a block or a cylinder or an ovoid broken into planes.

    Think of how, for example a hexagon can be seen as the outline of a cube, in an isometric view. Then think of how
    a rhombus-shaped shadow describes one plane, and also echoes the outlines of the far side.

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    Just another technique / way of seeing, to try

    Keep up the good work man!

    sketchbook...a kitten dies every time you don't comment

    ďWhen forced to work within a strict framework,
    the imagination is taxed to its utmost Ė and will
    produce its richest ideas. Given total freedom,
    the work is likely to sprawl.Ē

    - TS Eliot


    Bloooooooog
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  27. #140
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    Hey Swan, Thanks for criting my sb.

    I'm seeing some major improvement here which is really cool. That horse bust study is amazing, love the way you handle such thick loaded strokes with good accuracy; I'm starting to do more painting and invest in some oil painting equipment and am finding just handling the texture of the paint more difficult than i'd anticipated; so i have even more respect for your stuff than i did before . I love the break down of your drawing stuff aswell. You seem to be taking the opposite approach to studying than i am. I mean in a regards to the patience and accuracy you display especially in the resent posts. You have some beautiful studies indeed.

    I also spent a considerable amount of money i got from a freelance job on a pochade box. Set myself a goal of being a competent traditional artist.

    Anyways, Keep on posting. A crime this hasn't got more followers.

    Chris.

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    "Don't Stop 'Til You Get Enough" - Michael Jackson
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  28. #141
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    Luthertaylor: thanks glad you’re doing well, hope you’re ok now a couple of months down the line, hehe.

    BludHund: Thank you. The problem with the life drawing is the lighting situation during the sessions. They’re held in a studio with global lighting, so windows from above, and from all four walls as well- hence you don’t get any clear form or cast shadows with the models. Thanks for the advice anyways, flatness is something I need to try to get away from and conceiving forms as 3D objects would be a good way to go

    Chris: Hey man, thanks a lot for the encouragement and support. All you need to do with paint is keep practicing, it must be quite a switch from digital work. I’d avoid thinning the paint down too much or adding more oil, it tends to blacken whites and cause cracks over time, straight from the tube is pretty good after an initial thin wash with paint and turps. I think your approach to study is equally valid, plus your goals are slightly different from mine so that reflects in what we do.

    That’s great, you can do plein air work with a decent pochade box. I bought a maybef easel for £150, so I know the feeling about spending money. Check out Rosemary and Co if you want really good brushes, they should be pretty easy to find via google. Thanks again

    new thread, as I haven't been updating daily,

    http://www.conceptart.org/forums/sho...d.php?t=270697

    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
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