Personal Assignments Critiqe
Hi there. This is my first post on this forum. I recently got myself back into trying to improve my art. Like many people I just relied on a little bit of basic talent and didn't do much of the work to try and improve. This left me with a style that always looked terrible and unsatisfying.
What I would like to do is get back to some basics, fixing up areas that I've been neglecting. Specifically perspective, composition, my line art light and colour... pretty much all the fundamentals which I haven't worked on since highschool
What I've done is started to try and give myself assignments and complete them. What I was hoping is for some advice on how to improve based on what you guys see in my completed assignments.
This first assignment I'm showing is an attempt to draw the same character 3 times in three poses using perspective. My focus was on perspective, anatomy and clean lines. The grey values were just thrown in later but they are also a bit of an indication of how I'm selecting where to place my highlights and shadows.
All that to say a critique wold be appreciated. Thanks for your time.
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That's a very interesting torso-hip twist in the leftmost figure you've got there.
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There's way too much guesswork here. Can you show a rough structural sketch for this, or did you just go and invent the contour?
Hi arenhaus. Thanks for taking the time to look at my work.
No I did a structural sketch which I then worked into a rough drawing and then did the contours over that. I'll include a sample below.
The figure on the left is an example of my more finished rough while the ones on the right are my base rough...which I think is really rough actually looking at it now. I did have references which I looked at when I was building the characters but none of the references where in these exact poses. The left figure I think I clearly put more time into to make sure there wasn't so many lines everywhere because I can barely see any rough lines around this sketch. I did a similar sketch as the one on the left over top of the two on the right so I was drawing my contour from something similar to the left one even on the other two. Looking at this I think I need to be more careful with my initial lines...but anyway, very interested in your feedback and how I can improve. Thanks.
Okay, I see how you are doing it.
Originally Posted by Linden82
In this case, what you ought to do is improve your awareness of the body's masses. You've got enough knowledge of the muscles for a workable mannikin, and your sense of body proportions should improve with practice. But if the difference between the middle figure lay-in and the more detailed muscle breakdown on the sides is typical for your work, then you must be having trouble translating the lay-in into the more detailed mannikin. You are losing the lay-in behind the formulaic lines.
To illustrate the point: compare the middle figure in the rough and the more finished version. In the rough lay-in, you have more or less correct proportions of the shoulders. In the cleaner sketch, the shoulders are way too massive, like a caricature. You were not following your own sketch, instead doing something formulaic, I think, - or attempting to refine the form and losing sight of your own prior planning in the process.
I'd suggest to add another sketching stage between rough lay-in and contour. Plot the major body masses (ribcage, head, pelvis, hands and feet, big joints and parts of limbs between them) as simplified blocks in perspective. Pay attention to their interrelationship. Observe people and study photos, learning to see these masses in relation to each other in an actual figure. Always keep track of them, even if you are drawing the contour. Any refinement you do to the contour must be a refinement of these masses. This ought to do what you need to improve your block-in.
I think I understand what you are saying. In the middle figure there is definatly a distortion between the original form and the final contour lines. I think it is indicative of how I've developed a habit of drawing a really rough sketch and then jumping right to a much more tight contour but in the process guessing.
I did this latest image last night before I read this post and in it I take a really rough sketch on the left, and jump right into the right hand drawing without sketching out the rough lines into a better version or a sketch with the desired mass. What I think I understas is that I need to work more at building the structure more accurately before guessing at the contour? Essetially I'm rushing past step 2?
Originally Posted by Linden82
I often do a loose rough first to get the hang of composition and dynamics; then I tighten it to get correct structure, perspective, anatomy etc. It can take multiple sketches focusing on different aspects of the piece.
It works for me. With what I see of your method, I think it should work for you too.
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