Cool drapery/fashion studies, again. Got some good shapes going on there.
I completely endorse your proposition to push yourself and do more creative work. This is where you'll be tested to see what you've really learned.
Something that's taken me a long time to realize that doing studies to supplement an original work is far more educational and efficient than arbitrary studies, but I suppose it's one of those things that you can only say after having been through it.
Looking forward to these creative pieces.
yeah man push it push it, draw everyday force yourself - it would be a shame if you dont push it cant wait to see some colored works from you, these last lines and drapery studies were awesome - so damn clean and accurate!
"you have to consciously destroy things and be brutal to work out what you do know"
Thanks. All good process advice.
I'm trying to combine building my visual library with *applying* skills (IE construction, anatomy,
mark making, drapery, etc.). Not entirely with a clear archetype in mind just yet more just an
aesthetic exploration of a personality and mood.
p sage -
Always working man, just not always posting. How about you? Hope your not too deep in the
doldrums man, always got to stay positive, ok?
Your welcome...now, MORE MORE MORE!
Thanks. Trying to encode the line styles and rhythms into my muscle memory.
Yeah...I am learning lately that real growth comes from pushing yourself just beyond what you
think you can do. However for myself the trick is not to GET PSYCHED OUT. As always I find
myself repeating "Take your time, just take your time, but don't think, just DO". Its sooo hard
Drawing every day I do, but trying to not be lame and just stay in my comfort zone, constantly going in circles.
Thanks. Now if only I could be that clean and confident when working from memory
lol, if you think that is weird you have not spent enough time on the internets...
Well folks, been working, sorry for not posting, I am a selfish man. Actually I have a backlog
of stuff I think is moderately worth sharing soo...lets get started.
Didn't make me vomit. Also I realize again that I REALLY REALLY need to ditch
my crappy all-in-one scanner and set up a photo stand or something. Unfortunately
I need to make some space...and that's time taken away from drawing...ugh
Yes, it's always hard to push yourself knowing the inevitable failure, but I guess it's easier once you accept that fact and become accustomed to it (to some degree).
The guy who's never asked a girl on a date will be scared for his life at the prospect. The guy who's done it a hundred times won't bat an eye.
On the other hand, that second guy might lose all hope an never try again... So... It's all about your out look I guess, ha....
The lady in the middle of the panel of characters is the best, naturalistic posture and nice shapes.
Just because you're drawing from imagination doesn't mean you can't look at reference. Draw it how you think, then check out some reference and adjust.
In respect to gestures and poses, don't forget to get a feel for it by doing the pose yourself, preferably with a mirror.
hmm....or you could just do this for the rest of your life. Its worked pretty well for me, so far
Yeah...I think I'm at the point now where I can just sketch it out and quickly grab specific reference as-needed, without getting bogged down by research or the need to render every last fold.
I think with poses its very important to be able to 'feel' the the pose. I think that doing physical activities that force you to actually think about your precise body parts and movements helps a lot. Just simple things like how we shift our weight on our feet, something you do subconsciously every day, hardly ever think about it, that can really improve your ability to create natural poses.
Thanks once again for your council, I appreciate it immensely.
Looks like you're getting a good feel for the head structure, the second and third page of heads are great.
Drapery studies coming along nicely. I would recommend making some refined rendered studies to further your knowledge, because drawing folds with line and with tone are quite different things and each method imparts another insight.
Very true about tonal folds vs lines. Right now I'm kind of trying to capture the rhythmic sense of the lines, and also focusing on the design stage.
Gonna be honest with you, the people on the Sartorialist always look to me like they got dressed in the dark in a theater prop closet
Sometimes I go to Style.com and grab a few runway shows or troll through some fashion blogs. Yes that's right I am a closeted fashionisto,
now my shame will be known to all
I will try, but I'm only 'human, after all'
P.S. Yeah been taking a break from digital for a while now to focus on drawing. I'll come back to it soon enough...although right now my computer is in a different room than my studio...
Well folks, this backlog is getting disgusting. I am now going start DAILY UPDATES again, until it gets utterly obnoxious.
you are mastering that structural form beneath the mass, excellent structure studies.
work more on your values and solidity of form by using values properly, remember that the values are what makes something truly look 3D.
Nothing much I can say just keep practicing and draw every day as much as possible.
Thanks for coming back in my SB and throwing those nuggets of knowledge every now and than, much appreciated bro.
I think the most left guy looks good. What looks unnatural are the ones where you've emphasised the outer rim of the eyelids too much. The two women on the right, especially the one with her eyes closed.
Personally, I would never close the lines that form the outer rim of the eyelids, these boundaries in real life are far too subtle to convey with a solid line and also the fact that when they become closed shapes, they are 'lifted off' and separated from the face.
It;s nice to see that you are always working on studies.
I don't have much to write, considering your dedication.
Keep working on values and sharp edges.
Maybe try to avoid the outlines for start.
Thanks? The purple is a bit darker than I thought it would be...a good excuse to buy more inks
The drawings and big shapes are very nice.
An example of the small shape thing is the contrasty shape on the stomach of the lying down figure (3rd one). The high contrast suggests a hard light. The white shape is fairly complex and contrasty, which will draw the eye. That's all
(I'm by no means a master of implementation; merely a keen observer)