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  1. #136
    Join Date
    Dec 2006
    Thanked 1,950 Times in 776 Posts
    Yeah, but judging by their doorways, the Krell were easy to draw - they were just a big pentagon shape. That's why they didn't have any pictures of themselves - they could remember what they looked like.
    From Gegarin's point of view

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  4. #137
    Join Date
    Sep 2012
    Near Philly, US
    Thanked 343 Times in 190 Posts
    Quote Originally Posted by Velocity Kendall View Post
    They need to string that cap up with heavy gauge wiring and amp that sucker up, to get to 1% of the VM that this guy’s got:

  5. #138
    Join Date
    Jun 2010
    Thanked 3 Times in 3 Posts
    My main dilemma here from reading all the advice on these forums is that there is a central conflict that even the pro artists disagree on.

    One voice says to "Just draw". Just draw. Just Draw?

    Just draw.

    Then, the other voice says "No, that's dumb. There is practice and there is good practice"

    And then myself and other beginners end up going "f this" and log off and continue drawing.

    I've been 'into drawing' for my whole life. I've started 'seriously' being into doing art professionally a few years ago. I've been following a dedicated daily schedule of serious practice for the last few months.

    Over these last few months I've seen major breakthroughs in my drawing. I've attended figure drawing classes (these always bring improvement in my human figures, improvement that does stick in my memory) and started to 'get' perspective and drawing shapes in 3d space.

    But still, there are those 'blocks' that come really really slowly, but always remain 'unsolved' in ways other artists appear to eventually overcome (maybe that's just me being insecure or too self-critical). I wonder if I'm 'doing it wrong', and wasting my time on certain things.

    Like using photo reference. I think I'm getting to the point where I'm wasting my time with photo references, or that I am too dependent on the photo. I become a slave to the reference and take the sight-size method to its absolute limit. Sometimes I feel like I'm just mindlessly copying. Not retaining information of a 3d shape or understanding the proportions of the features of that 3d head. The Reilly method is helping though.

    Now, I do think I get better at getting likeness from drawing from photo. I've had my drawings critiqued by Chris Legaspi in his weekly webinars and he can tell the likeness from the refs I draw from. So in that sense I am getting better. But the whole structural feeling of a 3d object is still missing.

    Proportions of the face are that stumbling block for me. I can focus on a photo ref and create a passable drawing, drawings that get better with time, but there is an enormous gap in quality between my drawings done from from photo ref and drawings done from my memory. My heads from memory are still pretty bad at this stage. I don't think I'm making any headway on understanding the proportions of the features of the face.

    That could just come with time. But how long would it take if I stick with photographs? Would I be wasting my time?

    I think continuing to practice drawing heads from photographs is what is keeping that an issue. So I need to draw from life more, start with my mirror and really try to study my own face.

    So I guess for me there is a better way to practice the face other than what I was doing before, and it's not by saying 'just draw' and burning myself out by trying to be a machine copying an already flattened 2d image. I won't stop using photo refs entirely, but I will focus more on the self portrait.
    this is an exciting, interactive and ballin sketchbook sig

    ᶑ( ʘ؀ʘ)╜

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  7. #139
    Join Date
    Feb 2006
    Thanked 5,197 Times in 1,728 Posts
    And then myself and other beginners end up going "f this" and log off and continue drawing.
    Always listen to the artist whose work is so good that you trust their advice.

    The quality of an artist's work is in large measure due to their understanding of the extent of their craft and how it can be used to maximize their talents.

    So, ask yourself... who are you absolutely favorite artist... and then see if they wrote books, left lecture notes, sell dvds, write posts, etc.

    I mean, there is a whole collection of posts by Craig Mullins out there that is full up of good advice, if he's someone you respect as an artist.
    At least Icarus tried!

    My Process: Dead Rider Graphic Novel (Dark Horse Comics) plus oil paintings, pencils and other goodies:

    My "Smilechild" Music. Plus a medley of Commercial Music Cues and a Folksy Jingle!:

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  9. #140
    Join Date
    Jun 2003
    Thanked 914 Times in 458 Posts
    Quote Originally Posted by Cortes View Post
    And then myself and other beginners end up going "f this" and log off and continue drawing.
    i cant help myself but envisioning the situation of a kid running up to his/her parents and their friends after they had a healthy argument all evening long, asking "and what am i supposed to make out of all this?"

    the correct answer is "nothing. you werent supposed to hear that."

    go for the things you can gain something from, but dont complain about others having fun argueing about matters that dont suit you.

    the internet is full of possible answers... you are on your own, spotting which ones speak to you and which dont.
    Last edited by sone_one; December 25th, 2012 at 10:55 PM.
    "Have only 4 values, but all the edges you want."
    Glen Orbik

    "To any man who has slaved to acquire skill in his art, it is most irritating to have his ability referred to as a 'gift.'"
    Andrew Loomis

  10. #141
    Join Date
    May 2005
    Thanked 1,406 Times in 344 Posts
    During the latest blackout James Gurney posted a piece promoting a new book by Darren Rousar that covers many aspects of memory drawing. I was pleased to see from his post and the comments that more people are aware of the importance and long history of training visual memory than it might have seemed from this thread!

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