man...im very embarrased at how long it has been since I've dropped in here...you're making great progress dude!
I think that portrait is very successful due to the value and edgework:
for your recent updates i suggest pushing the contrast more (darken the coreshadow to separate the highlight and shadow from the midtones). and soften some edges to push back and bring out the facial structures. keep it up man!
You gotta let the negativity go...or, better yet, channel that drive further into your commitment to becoming a better artist. Your frustrations with not getting it to look "perfect" is a reflection of internal drive and the high standards you set for yourself, which is a really good thing. You've just got to own that negative energy and reclaim it as a force for positivity. It's really all the same thing, it all comes from the same source. Positivity and negativity are just inversions of one another. So, don't be so hard on yourself.
Just get up and keep going! And remember, you can always return to your old drawings and revamp them. This is the digital age, we can practically do whatever we want to our artwork :-)
Novbert - Thanks for the in-depth analysis. I agree with each of the points you made about errors in the portrait. I just don't know about the process right now...I've been trying to follow the advice of the experts as much as possible. I think perhaps much of my problem is a mental one, as well as just not taking my time enough.
paperX - That means you'll be dropping by more often, right . I screwed up the eyes, but I think it was a good exercise.
Pigeonkill - Thanks.
Peetaer - Thanks for the encouragement. I realize that it is good to have rigorous standards, but I also know that I sometimes take that too far. Its just that with likenesses right now I'm quite frustrated at the lack of improvement.
Happy 2010 everybody!
Well I guess 2009 was a bit of a rough year, what with the economy and everything else, but I feel like it was a tremendous year of growth for me, personally. Its been one of those times when you feel like you've been sleep-walking for years and you suddenly just woke up.
Thanks to everybody who gave me support and criticism along the way. I hope everyone had as much a sense of accomplishment and that we all have a great year going forward.
Enough Hallmark crap then...here's some arts:
some digital gestures. There are some nice poses in there, although I think the technique is crap.
Still working on head construction...realizing that I have a total lack of consistancy which is related to just working willy-nilly without any intent or purpose. I think that this may be my single greatest bad habit right now, aside from general impatience and timidity.
The bulk of my efforts over the past two months have been in trying to work out my process for figure drawing. Trying to apply my gains in 3d form construction, to the figure, and trying to understand the step-by-step of the "general to specific" approach. A key point has been to get familiar with rules of thumb to gauge and measure foreshortening...things really began to click when I could visualize depth-wise proportions better.
Ah some work done while you were away from CA. Good stuff. The digital gestures look very linear in comparison to your pencil work. I would say the gestures were done fine just the line work makes it look less human. Really like the face work even without purpose it seems to have come through well.
A critique just for you, bud.
Definite improvement on that last batch of life drawings!
The tonal portraits are looking nice too, especially Carter Royston. Good shapes going on there.
I think it wouldn't hurt for you to do more figure studies from photos.
The trick though, is that you should keep in mind the same techniques and process you would use for life drawing.
I did this for awhile and I found it really helpful to ingrain techniques and I wouldn't fumble around so much when it came to drawing from life.
I agree that last batch of figure drawing is improving. I notice you got the land marks better established. I like the clothing studies and the break down. My only suggestion is to go easy on the wrinkles in drawing, even though in real life they do look that way. Simplify like wrinkles on faces. But I also need to study up on folds too.
Make a sketchbook happy, feed it a tip to improve!
liquidjack - *ashamed* yes I still have to work on being more involved and updating more frequently. Yeah the hardness of the lines is a factor..but also I think just the general approach...I need to be thinking in terms of the 'essence of motion and mass' rather than just outlines. Its really hard for me. Thanks...I know some of the faces look decent, I just want to be more consistent.
HunterKiller - thanks, man. I've been thinking the same thing about the life drawing...I'm guessing also that I need to strike a closer balance between 'from life' and 'from memory'
p sage - Thanks for the suggestion. I checked out the 'vignettes' on Barnstone's site. To be honest, despite his compelling declamatory style of speaking, a lot of what he's talking about is not strictly new to me. Plus I'm kinda resistant to a classroom environment nowadays. However, I may purchase his DVD set and see where that leads me...
Pigeonkill - Yeah...I need to up my tempo and get beyond the landmark stage, but I do think the whole exercise is paying off. On the drapery: yes of course, really it seems that drapery is mostly a means to express posture and form *through* wrinkles...the wrinkles are the trees that make up the forest of the pose, so to speak. In these cases I was being so detail-obsessed because I was not create a composition, but rather trying to drill the vocabulary into my memory.
So, after this last batch I've definitely decided that its just not healthy for me to update monthly anymore. For one thing, its too much scanning, for another thing, I don't get enough interaction/involvement with y'all. I think I'm going to shoot for weekly updates...just got to budget the time. I think I'm making regular enough progress that it won't feel like I'm sacrificing so much precious precious drawing time...
...and hopefully I won't be so damn wordy, either
drapery studies...barely starting to make sense..this stuff is hard
For the most part I like this crusader guy. Mean looking SOB. Really good to see the process work. That sword wielding right hand though is weird to me. I am not sure if you are showing his hand is bony and the skeleton is pushing up on the skin or maybe he is really squeezing the sword, but the rest of his pose is not dynamic so I doubt that. Those lines are probably better off removed.