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)
The male portrait on the last page is ace.
The planes of the face on the female are kind of distorted.
The brow and forehead area are nicely done, but the cheeks, I think are over stated and the nose lacks the sloping transition into the cheeks which you've done nicely on the male.
Generally when modelling the female face, extra care should be taken to be subtle with the planes and their transitions.
PS I friended you on Facebook, David Benson is me.
You are definitely right. I think way over-emphasized the highlights especially on her
cheeks, but I didn't even notice about the nose. Thanks.
More marker madness, 45 minutes I guess. There are a number of structural flaws
especially around the chin, but I think the overall value choices worked out pretty well.
Prolly gonna step back from these more involved renderings tho.
PS laptop shopping soon (by the end of the year anyway), any advice? I really want another tablet or a slate.
I am basing my feedback off of the last page and the 2 entries on this page.
From what I saw overall is that you need to work on your line weights, you even mentioned this in one of your posts. A simple method to approach line variation is to have at least 2 clearly discernible lines of thickness, the thicker lines being on the outer edges of the larger shapes and having the thinner ones on the inside of those larger shapes. It really doesn't matter how many lines of thickness you have, so long as you keep them controlled. The way to control them is to follow the "rule" of working from thick to thin, outside to inside or general to specific ('specific' being thinner and 'general' being thicker). Of course, this is easier said than done and will require consistent practice, but it wont take that long if you have guiding principles to assist you.
Another tendency I noticed in some of your drawings towards the end of last page is the elongating of necks and shortening of the skull. The jaws on those heads look like have been shoved up into the rest of the skull. It looks odd and I think what the problem you might be having there is a struggle of balancing the proportions on your figures. When constructing a figure of any kind (human, monster, animal, mech, etc...) always keeps proportions in the back of your mind. Think about how the variations in shape and form relate to one another. Next time you're drawing a portrait from imagination, ask yourself "how does my head relate to my neck? are they in proportion to one another?" If your intention is to deliberately distort proportions, then the same applies as well. In fact, the artists who proportionally distort the figure best are the ones who understand realistic proportions best.
Your figure drawings are looking solid. I'm glad you're challenging yourself with marker and that you're incorporating the shadow shapes into your sketches. This will further deepen your understanding of form. Although you could push yourself to work more cleanly when doing figure studies, it doesn't really matter at this point. Cleanliness in your work can be handled at a later time.
As far as your understanding of values goes, it seems like you're pretty much a natural at it and dont have much trouble rendering form and making clear distinctions between values. However, even if values are your strength you must always practice. If its your strength, you it to be as strong as possible. Have you made your own value scale? Those are super helpful. Let me know if you dont know how to make one and I can help you out. It's not hard to make.
All in all, things are looking solid. Just keep at it.
Also, I get the feeling that you can be too hard on yourself at times. I know how that goes. I still do it a lot even though I've told myself countless times to just relax, so remind yourself to just relax and that its pretty okay to make mistakes. Making mistakes means you care about what you're doing.
"understanding of values goes, it seems like you're pretty much a natural at it and dont
have much trouble rendering form and making clear distinctions between values"
I don't know how much of a 'natural' at it I am, definitely my understanding of values has
been formed by a lot of reading and study. Photoshop is good for iproving your judgement
use the eyedropper to measure brightness and check your guesses...Loomis' section in Creative
Illustration on value scales is invaluable, everyone should read it. I've also watched some of
Scott Robertson's videos on matte rendering and I've done some independent 'scientific'
observations and conlusion myself. One of these days I'll make a values tutorial...ehhh.
Anyways, as I said, much appreciated, I've taken notes on all the advice you guys are giving