You are consistent and great in your studies.I find them all well done, solid and with a lot of understanding.The flaws will be visible on some illustration piece or another work.In this stage you are definitely great.I love the simplifying you did in some of them!!!
maybe check yourself with some non study piece(i cant believe i am saying this )
I agree with king kostas 3 fold.....you are a serious studies and ref type of artist....perhaps some love for the free hand and finished work would be awesome.... would LOVE to see final renders of your constant practice put into action for a full piece.
Got the lazy thing ( x'cuse me for living....just teasing ) The hip girdle and the musculature around it is a very interesting area to work...I like what you have going....I think this is one of the most revealing feminine or masculine areas (besides the obvious). Very good stuff.
whooooa thanks for the cirt man it means a ton! you and novbert are totally right about everything.. man you must have spent ages on that crit ha, thanks allot!! I wish i could return the favor but it looks like your already doing whats needed ie lots of studies.. Thanks!
hello mate, i wanted to really thank you for the great critique in my SB.i hope you will post some works soon.As you said the problems will may exist in your value works, so i guess we have to see them.
keep up mate!!!
You have a very methodical way of going about things, it seems. It's good - always analyzing things, checking yourself. It speaks in your progress alone.
It feels to me that you are often getting caught up in a myriad of things to remember when doing a painting, resulting in some of those things being neglected. A thought you might want to entertain is to tweak your process as opposed to the results. By that I mean that if you can get the process to do certain things for you, you'll find that those aspects seem to take care of themselves, instead of you needing to "fix" them.
For instance, I always had issues with edge control (and by god I still do). But's it's come along nicely since I started with what I like to verbosely call a "unified painting process." That's merely pretentious-speak for a process that pigheadedly disregards the goal of the painting. So whether I am doing a speedpaint of 20 min or a marketing illustration, I always start off roughly the same way (depending on what is required). I begin with softer, fuzzier brushes and often allow for colour variance (sometimes forcibly adding striking colours in early on and working them as the painting goes along). I also had issues with actually finishing stuff and the unified approach allows me to stop at more or less any given time and wind up with something that feels fairly complete. In this way I was able to let my process take care of things I always seem to neglect, allowing me to focus on the issues I really struggle with (all the rest).
Obviously take this with some salt, as the most essential attribute of the process should be being comfortable working in it. Unless you're a fine artist
keep up the studies, and don't forget to have some fun too!
Hey great methodical studies you've got going. I think your figures are quite strong and learning the structure is one of the most important things you'll ever do. One of the things I"ll compliment you on is keeping the sense of symmetry in your construction - Keeping features on their respective plane. This is key to keeping the perspective in any given pose. The proportions may not be spot on (eyes are larger than usual on a human) but, I think getting the construction to work first is really valuable in bringing the other elements into the ballpark, sorry anther baseball reference. Thumbs up.
Originally Posted by BludHund
I do feel like, in my life-drawing sessions, I'm concentrating too much on lines, particularly outlines, and not enough on form and gesture...blahhh.
Actually there is no other way to explore these without a line, and in my case, particularly outlines. It's in the path your line takes. Gesture is the life of a drawing, Think of it as blood coursing a path through the entire body. The line that explains the gesture also seeks to unite the forms in one or 2 flowing lines. I use the silhouette to help me find the biggest lean or curve/balance of he body, but for those that follow a more voluminous path ala Vilppu, the line flows within uniting these forms as well.
Yes. From life, sometimes I am running out of space on the page, sometimes I am not grasping the foreshortening.
From imagination I think most of the time my proportions are okay, but frequently the torso and the legs are mis-
matched. I need to be more consistent.
Hello Vritra. Thank God someone cares about the poor kitties...
Hehe, I guess that was my perverse side...LOL Really I guess I would say that posting online about your troubles
is typically a cry for help, and much better than silence. There is no answer to silence. Whining on the other hand
is a way of saying "please kick my ass and put some fire back into my spine" which is an invitation that I can't resist
Plus there's the element of shared experience of suffering bringing comradery.
As to your advice, I agree. I think I've come to the conclusion that the problem with my life drawings is 90% pure
psych-out and 10% not being able to draw insight quickly enough from the poses. Bottom line, I guess is that I need
to be more, as you say, 'in the zone'.
I CAN believe you're saying it. You're absolutely right, I need to do more exercises to check myself, and to stretch
those 'invention' muscles (boy are they stiff!)
Hehe...my studies look tight and insightful because I only post the last ones in a series of dozens where things finally
'clicked'. Usually the ones I post here are more by way of a 'summation' of my insights rather than the raw studies
themselves. As I like to say... studies do not need to look good.
3 fold? Oh shit!
Yeah I know, I really really do need to go back and finish/polish/rendewr some of my 'orphans'. My excuse would be
that I'm trying to really lock down a level of competence in drawing (and generating ideas...whoops) before I attack
the principles of lighting and rendering. One issue of rendering is that there are so many different types of materials
to learn...excuses excuses
Yes that's right, I have no time for other human beings...I should be like that guy in the Twilight Zone who survives
a nuclear war and is happy to be the last man alive because he can catch up on his reading...yup, that'll be me.
Better make sure I keep 70 years worth of pencils on me at all times...
heh...obsessive behavior can be a useful thing, right? Just don't wonder about the endless lines of notes covering
all the walls in my house...
...what? Did I write that? Oops!
Thanks for stopping by, Benjy!
Thanks, its a discipline...I have to fight my scribbly nature at every turn
Not Hogarth, "Drawing Drapery from Head to Toe", by Cliff Young. Its quite excellent. I don't have Hogarth's
drapery book, I've heard its not very good. I do have Bridgman's drapery 'book' (pamphlet, more like) but I didn't
find it much use, yet. Its funny though, if you look at the drapery chapter in Faragasso's book on the Reilly technique...
it looks to have been copied directly from Cliff Young's book...thievery!
You're welcome. Double response...D'oH!
dammit I've dragged my feet to update....
...yes, value is a thing that exists (hangs head in shame)
Brendan N -
Yes, process, and consistantly following it, is very important. Yes, also, I do get brain-blocked by all the things I'm
trying to do when painting.
Right now I feel like my basic ability to accurately capture likeness and proportions is so supremely terrible that
process isn't helping all that much.
That, plus, at the time when I was working on several of those paintings, the purpose of the exercise was to FINISH
SOMETHING at any and all costs...even if the end result was ugly and full of 'cheating'. Some times you just have to
do hings the wrong way, just for the sake of doing something, and conquering your fear and laziness...
I promise when I take up painting again in earnest I'll be rigorously applying a consistant process...
Thank God the cavalry arrived! Hehe, I've been trying to work up the nerve for a couple months to beg a crit off of you...
So you think things are going well, figure-wise? Any trends I need to correct?
I guess I meant 'concentrating on lines' not in the sense of using lines to explain or understand, but in terms of thinking about lines instead of visualizing the flow of energy (mass, action) and the cues that suggesting dimensionality.
Yes, I realize now that I'm in the Vilppu camp, so to speak...I lust after Form. All I can do is stare jealously at the elegant
design of Reilly and pretend I don't want to be that cool...
LOL, that was a fatheaded statement...I'm just pushing buttons. But I do love me some Form. Kevin Chen....I must steal
his soul...yes, yes...*evil cackle*
The feedback is piling up...looks like this up-DATE is an up-LATE!!!
I tried to take what seems to be a consensus of advice, and which jives with my instincts, and work on creation and
invention for a week or so. The results speak for themselves...LOL
My inventive muscles are severely atrophied...I really cant get the frenetic sense of brainstorming, or even of steady thoughtful
experimentation. Clearly I need to keep this up on a weekly/daily basis. I also need to absorb some more 'subject matter' besides
anatomy and figure-forms. Even my form construction has falling into laziness...need to think through the form every time...
Scott Robertson is spiritually paddling my ass right now...
I also need to improve my inertia...I keep getting to a certain point on an idea and either becoming indecisive or getting caught
up in over-thinking and not being able to finish. Bad bad bad artist! *Slaps self*
hello there bludhund very nice sb i enjoy reading your comments as well as looking at your work very entertaining esspecially the last one where you *Slaps self*
i really like your aproach to the studies and how you come at them in a mathmatical and symetrical kind of way. it makes your underlying structure really good also its very accurate something i im so bad at being is symetrical and accurate. my crit would be to do some long rendering sesions where you work on your values. you have such good structure you should be able to build up over the top of the structure . i guess im just echoing kingkostas in saying show value work... anyway great stuff cant wait to see more
Wow, long replies are long.
Nice retro looking spaceships. Not really feeling the left most design, due to the long tail I think, but the others are cool.
"I also need to improve my inertia...I keep getting to a certain point on an idea and either becoming indecisive or getting caught
up in over-thinking and not being able to finish."
This exactly why I was talking about just 'diving in' on a picture. I personally believe it's better to finish a half decent idea/concept than to not finish a brilliant idea.
Ideas are plenty and you can always do a better one, and each completed work will get you closer.
That's not to say you should render the shit out of everything. I like to say, use the style appropriate to the picture, or 'let the picture draw itself' if you like that poetic stuff.
I'm saying this coz' I used to suffer from this 'syndrome' severely. Draw, quit, new idea. Draw, quit, new idea. Draw, quit, new idea. I never got anything finished.
It's good to have a plan but if you find that's starting to hinder you then don't do it. Go to the other extreme and just do it all impromptu, and it doesn't matter if it turns out bad because you can always, always, always draw another one (unless it's for a job in which case you would be screwed so don't do this ).
Anyway, I know that you already know lots about the theories of drawing and you have the right mentality, the main thing is you must draw moar.
Theory is nothing without action!
Keep on truckin'
P.S. LOL 'Finisher'. You better live up to that title!