@ felix_bambaboy: Thank you so much for your reply! Now that I think about it, I can see the similarities between the form manipulations and some of your figure drawings that I have seen, although clearly you've spent a considerable amount of time refining your approach!
Regarding my age and practicing hard towards my aspirations, I've definitely decided on my aspirations, but I haven't been practicing nearly as hard as I should be. But hey, that's one reason I joined this place.
Anyway, more spherical form manipulations. (You probably could have predicted that. )
Unfortunately, I tried to watch the next video in the perspective thread I've been working through and it wouldn't work, even after I spent a while troubleshooting. As a result, I'm not sure that I will continue with the class (I probably won't), but I will persist in my study of perspective of course!
Here's some form doodling and more linear still lifes. I really need to get cooking if I'm going to reach 100 of these anytime soon. The scanner was acting up again. Ugh!
Good still-life studies keep on practicing! An advice from me if you don't mind... You can add 'quality of line' to your stroke thickness. It will make your objects more live and not flat. Thick stroke is for object closer to our eyes and thin stroke is for object further from our eyes. I picked one of your pic as a sample. I hope you are okay with that... And also one of my still-life drawing during college. You can see my study of 'quality of line' on the watch.
@ springofsea: That's a nice watch! Thanks for the advice on line quality. I've played with it a bit before, but it never crossed my mind for these linear still lifes. I need to expirement with that pronto! And by the way, I don't mind you doing a draw-over at all. In fact, that's super helpful! Thanks for stopping by!
I did most of the top half of these form manipulations in a moving car, which certainly didn't aid my line control.
I tried implementing springofsea's suggestion about using line quality to create depth. Hopefully, you can notice it in the scan of the linear still life. My main qualm with this technique is that the bolder lines in the foreground make inserting details or smaller/thinner features (such as the parting in the blade on the peeler or bevels on the edges of the peeler) more difficult due to the limited capability of the larger strokes. This is unfortunate because the closer objects would be the ones with more visible details. Perhaps I am thinking about this wrong though? Sorry if I utterly confused you as well.
Hi there! Good work, feels like you have a passion, that's great =)
A little bit critique - looks like your drawings (studies) skewed to the right for some reason. You can check and see it, here's the hint - take your drawing and flip it so you can see the back side of the sheet and look at the picture against the light source. How to fix this - always check your vertical axis, it should be parallel to vertical edge of the sheet, and of course horizontal axis should be parallel to the horizontal edge of the sheet.
Hope my explanation is clear, if not - feel free to ask)
Also about perspective. You have good understanding of perspective as I can see, but for some reason you don't pay attention to perspective in your smaller studies. Try to apply your knowledge about perspective on your studies from life.
@ Aya-kun: Thanks for the critique! I too have noticed that many of my drawings are skewed usually a good way in or after finishing them as I look over and anaylze the piece. The trick about the light source is pretty cool--I'll have to try it some time! I'm wondering if I could solve this problem by using a ruler (I don't have any T-squares) to draw a series of vertical lines in a different colored pencil to serve as a reference for my verticals, almost like a perspective grid, without the VP's. I guess I'll try it! As for your point about perspective, I have probably ignored using it in these linear still lifes due to laziness and trying to focus on learning the "drawing what you see" thing. If you don't mind me asking, how would you go about applying perspective knowledge to these linear still lifes? Thanks for the reply and for your encouragement. I appreciate it. By the way, your art is amazing!
Hello dragning! Nice start there... For smaller/thinner features, you can leave it with thinner stroke, because they are minor part of object. Don't worry. Keep practicing with the quality of line, you'll catch what I mean soon Try to explore and analyze everyday's objects wherever and whenever you go. Or you can also check comics/manga for stroke reference
You're 13, holy smacks. You're doing amazing, and have the maturity to understand that the only way to improve is to put in the hard work...I wish I was that mature at your age, hell I wish my 18 year son was that mature!
Hello again, look, I've made a perspective grid based on your photoframe in the last of your drawings Attachment 1964103
If it's two-point perspective you know that all the parallel lines goes to this two vanishing points, and vertical lines stay just vertical (vertical = parallel to left and right edges of your sheet). Check your vertical lines, it's skewed again in some places.
Your life drawings a bit complicated, I'd advice you to draw one thing at the time, like only photoframe, only glass, only jar, then combine composition of two things, then three, ect.
And btw, you know how to build ellipses? Hint - first draw a square in your perspective, then draw ellipse inside.