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Thread: Darkstrider's digital demesne
April 9th, 2014 #241
Haha thanks Grumpy! I was just getting my fix of inspiration and motivation from your sketchbook. This is crazy, right? I've never drawn so much in my life! Pushing myself to do things I always avoided before or just didn't know about. And I know, you're definitely right about the photoshop texture brushes - I really don't have any problem with the fact that I keep trying out new ones because that really is helping my work a lot. Seems like everyones studies start to improve after their initial struggles with texture.
Hide this ad by registering as a memberApril 9th, 2014 #242
Hi Darkstrider, some motivating work here, I like how you don't just post your pics but also write about your insights and process alongside them. It's good to be able to see how someone else thinks when they work on art.
Keep up the great progress, man.
April 9th, 2014 #243
Thank you! Yeah, I use my sketchbook as a personal journal, I want to be able to look at it years from now and remember exactly how I did things and what I was learning when I was doing each piece. It's really frustrating to look through an old sketchbook and you didn't date anything, and don't know when you did it or what else was going on at the same time. So the internet is now my journal, it dates everything for you automatically, and if you just jot a few notes down it keeps everything in perspective.
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April 10th, 2014 #244
April 11th, 2014 #245
April 12th, 2014 #246
April 12th, 2014 #247
It was this section of bridgeman that you are studying i finally figured out what the hell wedging is! Its not bloody explained!
April 12th, 2014 #248
Haha! I know, NOTHING is explained!! It's just like - here's the drawings - figure it out for yourself. I wish somebody - like maybe Robert Beverly Hale, who taught after him at the Art Student's League, would write some text for it. Apparently what little text there is was cobbled together from notes made by his students - I just wish it was a bit more complete. But I guess you do figure it out as you go, if you're really trying. Heck, maybe this way it forces you to think more about it - might actually be better? Ah well, it is what it is - I'm just glad it exists at all!!
April 13th, 2014 #249
Hey dude! was looking at your sketches and noted something which may help. Im no expert, but the following are two things i am working on and i think are considered very important - stroke economy and using your arm rather than your fingers or wrist to draw. Your sketches already have character - but have you ever considered trying smooth sweeping curves for sketching? Your contours may be suffering as they can sometimes be ill defined. Drawing things in one confident stroke (or trying to) forces you to know where to place your stroke, before you place it. I've heard people also say to 'draw big' as it forces you to draw with your arm rather than your wrist. e.g. It is usually easier to draw a circle in one go using your arm, than using your fingers/wrist.
I hope that all makes sense, i dont mean to piss on your parade, i mean you are doing really well! Let me know what you think.
April 13th, 2014 #250
I do that when I draw bigger but these are in a small sketchbook. Plus I'm not trying to make art here, just studies of anatomy, and when I notice a line is going a little off I restate, resulting in some hairy lines sometimes. Add to that the fact that I'm also trying to practice using line quality to define form, thicker in places, thinner in places, which means going back and thickening some lines… the result is what you see. Trust me, I do know about drawing from the shoulder, which is the way Bridgeman did these originally - with a long stick and drunk. It makes lines that are beautiful in themselves but far from accurate - it's more like shooting from the hip rather than bracing the gun for accuracy.
April 13th, 2014 #251
April 13th, 2014 #252
Awesome then! Keep that wedging going
April 13th, 2014 #253
Haha! Wedging away!! I notice I did clean up my line work a bit after reading your comments (during a little break between spreads while waiting for the fixative to dry). I also noticed it's basically impossible for me to draw from the shoulder the way I sit when I'm doing Bridgeman - this chair has arms on it, and my own arms are jammed in between them and my body - they're basically trapped, with only my hands free to move!! Lol weird! But when I do figure drawing on newsprint I free myself up and draw from the shoulder, trust me. Thanks for the reminder - my lines do get better when I keep that stuff in mind.
April 14th, 2014 #254
April 14th, 2014 #255
April 14th, 2014 #256
April 14th, 2014 #257
Keep that wedgin' gooooing. After a while you won't be able to help seeing people around you in blocky forms
I like Bridgman but man, I wish the print quality of the plates in his books were a bit clearer, some of them are a bit sketchy/scratchy. I understand the drawings are pretty old but if they'd just darkened them a bit I wouldn't have to feel the need to squint so much heh heh heh.
April 15th, 2014 #258
Thanks to Kimonas for making me pay attention to my sloppy-ass linework, even though I didn't want to hear it at the time. I did listen, and now my lines are gettin' all purty! All I had to do was wrestle my way around in the chair to free up my arms, and sit up straighter. Heh - suddenly I;m picturing a commercial that ends with the line "Don't draw like a T Rex"..
April 16th, 2014 #259
Last edited by Darkstrider; April 16th, 2014 at 08:06 AM.
April 17th, 2014 #260
April 18th, 2014 #261
April 19th, 2014 #262Registered User
- Join Date
- Jun 2008
- Thanked 288 Times in 264 Posts
Some serious studies happning in here mate! Looking sweet, I do prefer the bridgeman blocky approach compared with Hogarths more rounded stuff, there's something about those straights and angles that are pleasing to the eye. But like you mentioned, not so great for delicate female hands Really like the fluid lines in your drawings, they feel very direct and confident. Keep it up man!
April 22nd, 2014 #263
April 23rd, 2014 #264
Very nice studies indeed. If there's anything to comment, it would be the second dude in #261..his arm looks a bit dislocated, perhaps too narrow. Is it from reference?
Sketchbook .....critique appreciated
April 23rd, 2014 #265
Post 182 is really nice.
Also, your linework when practicing anatomy and stylized stuff is reminiscent of Stan Lee.
It just has a "correct feel" to it...like the lampshade in post 260/brilliant.
do some comics!!!!!
April 23rd, 2014 #266
April 23rd, 2014 #267Sketchbook .....critique appreciated
April 23rd, 2014 #268
Good to see some larger studies of the figure here. Some of the body's "visual weight" feels missing from a couple of the earlier torsos though, it may just be a values issue but have you done studies focusing on the basic body planes? Kind of like these (not my drawings), focusing more on the basic shadow shapes that create form, rather than solely the lines of the figure.
Keep up the good progress!
April 23rd, 2014 #269
Hmmm good point - light the big forms first, then develop the sub-forms on top of them. It can be hard to pay attention to the big forms with such muscular torsos. But if I keep that maxim in mind I should be able to ignore the muscles and see the larger forms first. Might also help if I move my light so the shadows cover more of the front of the body rather than a sliver along one side.
This is where it would actually be better to have sculptures of soft-bodies like the ones in the pics you posted.
Last edited by Darkstrider; April 23rd, 2014 at 08:33 PM.
April 24th, 2014 #270
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