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I have been over on tsofa.com for a little while and thought that I would check this place out too.
I'm gonna start posting my sketchbook entries here and be as daily about it as I can. I am going to start in a real sketchbook, but the drawing from lastnight was just on loose paper. I am starting to feel some progress, so I am trying to keep the energy bumped up a notch, and keep meeting new people.
Thanks for the comment. Yes it does a bit. I may have to correct it as I finish the legs. The way the hidden leg's heel pokes out also gived an odd but false impression that that is the end of the foot, and not in fact the heel.
Nice! Keep going!
I think you are awesome, and I wish you the best in your endeavors, but I am tired of repeating myself, I am very busy with my new baby, and I am no longer a regular participant here, so please do not contact me to ask for advice on your career or education. All of the advice that I have to offer can already be found in the following links. Thank you.
Perspective 101, Concept Art 101, Games Industry info,Oil Paint info, Acrylic Paint info, my sketchbook.
nice stuff, like your shading technique, I'm needing alot of help in that area myself, also like your first image very warm colors on the lady
Thanks Deckard. I need to do some more finished stuff like that first drawing. Lately, I have been trying to draw on my imagination more and more. I'm enjoying it
I unfortunately did little sketching at all the last few weeks because I was to busy visiting friends and family and having fun in general over the holidays.
My goal this year is to draw everyday. Here are yesterdays drawings.
Here is todays drawings:
Here are some Durer studies:
...update on the Rhino. It is nearly done, but I just have some touching up to do. I tried to do the text atop, but I didn't get it to align with the right edge correctly. I have some work to do on that.
ur rhino is mad and by mad i mean just (just in case u took it the wrong way lol) ... got so much detail which i like in that pic.
but with the male hunter pic .... u prob noticed b4 but his eyes seem off but other than that ur studies seem to be going good
Looks very good! Nice drawings. Just keep on posting!
I am going to begin a series on Watercolor in which I will organize some learning materials and tips having to do with watercolor. If you are interested, please follow along. It may take a little time, but we'll figure it out.
To begin with we will start far before the placing water and pigment on paper. First we must begin with ideas and how to come up with good ideas that make a painting. I will begin to take some inspiration from the sources that I know and combine them with my own insights as few as I have. Some of my list of inspirations would be [url=http://www.arnewesterman.com/Arne Westerman[/url], Burton Silverman, Ivan Shishkin, Albrecht Dürer, Wyeth, Homerand others.
As for me, I find it best to find inspiration in what is part of daily experience, and real. There are works that struggle to find meaning in well crafted art, and ideas that are outside common experience, and in many cases they fail if there is no personal connection in them. Sometimes we use these ideas as a means of travelling to unknown parts, but there should be something that strikes some chord of emotion or interest in us.
What does it mean to relate to or feel art? I have had some interesting conversations on what art is recently. Not always easy to pin down. That could diverge into an entirely different thread of discussion. Perhaps in the case of realist art, you connect to the expression in a person's face, or the unique way they carry their baggage down the street stopping for a moment to rebalance their load. Perhaps it is in the mystery of what is being communicated between a couple in conversation. Perhaps it is in the winding curve of the road and the path it takes to higher ground, or deep into a valley. Perhaps it is in the glistening projections of light in a set of colored bottles on a windowsill. Limitless and dependent on time, place and person.
Last week I sat at a bus stop and watched a couple in the parking lot a block away. I couldn't see the detail, but I could see an exchange in which the two moved closer, then far away still talking, they came closer again and then she placed a firm but pretend punch in the center of his chest, pushing off of him. He came closer, she backed away... they then went a car length apart again and back close as they exchanged words.
"Ball Cap Man" above by Chris Manzo
Life has so much dance and performance for me. It is often so fleeting. Sometimes an idea comes and goes in a mere second, at least visually. For me capturing those moments is a way of connecting with and understanding the greater picture.
In non-representational art or other forms, perhaps it is in an assembly of pleasing, or provocative colors, shapes and textures.
I have had projects in which I have tried to reproduce something I saw, or a complex idea and had no idea how to approach it. The more I thought about it and it's details, the less able I was <span style="font-weight:bold;"></span>to deal with the idea well.
For me, ideas must begin with some sense of rapid response to the fleeting event. I must capture at least a concept fairly rapidly like language and then explore it deeper from there. How do you experience ideas?
Idea Visual Brainstorming
I believe that ideas rarely come in a perfected form. In fact, I think that I have realized that the only challenge in capturing an idea is in being open to the eventual idea. We must prime ourselves for this particular successful occurrence, with a succession of at best partial successes, and at worst complete misses. Like our first horrible attempts at language learning and communication, we bungle them. We learn only through using ideas, our mind, observation skills and communication efforts endlessly.
Total immersion in a language is the only way to excel. It means that if you desire to be an artist you must use a language to a level that is relevant to the amount of fluency you want.
If you seek to be a craftsperson of ideas, that means one thing, if a reporter of ideas, that requires another. If you seek to be a poet of visual ideas, or imagery, that takes another level of dedication understanding and listening. Because I am neither a poet of words or of music, I seek to be a poet of visual ideas.
[quot"In the landscape of spring there is neither better nor worse, the blossoming branches grow naturally, some long, some short..."
I am somewhere on that tree now, how far makes no difference. I am growing and I yearn to reach for the sky. So, it seems I yearn to reach as high as my branches can reach.
The idea of immersion is to get familiar with the language, use it in challenging ways, manufacture a need for use, and do so in ways that require quick response and dynamism. Only after versed in language basics do you sit for a lengthy conversation about the depths of a topic. You build from a point of frequency of use to the more specialized. This means you might do some brief activity over and over again until you are ready or informed enough to tackle the subject in a more rounded sense. As you do so you come about the subject hacking off pieces of understanding like a sculptor revealing the picture that potentially lies beneath.
In watercolor you may be after the layering of colors, or you may be after the kinetic energy in a sort of Chinese simplified direct impression way. I admit I admire the many approaches possible. For me most times I like the confidence of being able to grasp a situation quickly and in a way that leaves certain details to be guessed. Like they say in language, it is often as much what is not said, as what is stated clearly. Musicians for instance may leave out a note that might seem to be the natural sequence just to leave the message open to interpretation and engaging.
This is a particularly attractive concept to me. I may have an idea of what is in the void, or hidden in the shadow, but what would be the point of thinking we know or can state it all clearly or rationally. I honestly have to struggle against stating it all and focusing on the detail.
Metaphor time again:
Ok, so I like metaphors; perhaps I like them too much. Well lets take the example in the "First Things First". Look the video up if you like. It's an interesting diversion...
Are the details of an image the big rocks, or the small ones? Does the color of a person's shirt say enough about the image you are trying to convey that it should be a big priority rock? Does the sweep of an arm amount to a big rock? It all depends on what turns you to this image and speaks to you. If you are Richard Deibenkorn, you might find color and tone fairly important. If your style is Chinese, placement, balance, and the Chi of a stroke may be important to the image.
For your style you must define how to weed out the big rocks first for the sake of efficiency and beauty of communication.
Sketchbooks and Gesture:
Because of the need to deal with the big issues first, we must build a method of trying things out. We seek to discover what is unknown, by testing out an issue. This works out in Graphic design, architecture, science... As an artist we cannot grasp blindfolded what an elephant is by only feeling its foot, then going on to it's tusk, the texture of its back, etc. It may take to much time and we may get stepped on in the meantime. Someone describing it in an informative way to a blind person would say generally that it is a relative big, heavy and powerful mammal with a long trunk and round body.
Drawing above by Henryk Ptasiewicz
In the same way, artists must for the sake of clarity state the big, heavy and powerful trunkiness of the idea.
In the next exercises we might look at different ways we could approach capturing a variety of idea styles. What if color was your thing? What if gesture was it? What if the sense of wateriness of the medium is your thing. How do you try out the 100 ideas it is going to take to capture the good idea?
Last edited by rakuda; September 13th, 2009 at 11:24 PM. Reason: spelling
iphigen: Thank you, It has been a while since I shaded that way (with parallel lines) I play with a variety of marks. Not sure whiuch I'm completely partial to?
In this part I will talk about Sketching more. So to continue with the idea of trying out ideas and eliminating the non-essential from our trials I will realize that I am either plucking an idea from my mind, and trying to resolve the big rocks in sketch form, or I am trying to take what I see and sift out the ideas I want to keep from the others. I am completely free to choose my image from the sea. I choose the language that I will frame it in the syntax and cultural references it may link to for continuity or context. Pretty near to never is anything without context.
How do you use sketching?
For some sketching has nothing to do with finished work. For other people it lies somewhere on a continuum of seriousness or finish. Some people sell their sketches and others feel that runs counter to the freedom they seek. However you see it, sketching and weeding out of ideas has a beauty of its own and is admirable as an art by itself.
My approach may change, but for now I seek the immediacy of ideas and the dexterity of hand at expressing. In language they call it eloquence in being able to find the most succinct word. If my sketches happened to be a saleable product of their own, they would have to be not by direct intent, but by circumstance of skill and practice.
As an example I went to a Sketchbook Project show and saw many sketchbooks that were finished pieces. I had a hard time imagining that some of these artists were trying out ideas. Perhaps that was not the case, but these people were so dexterous that they made no mistakes I could perceive? I don't think so though. My point is I try for a certain amount of messiness and accident because want to not feel burdened by destroying an idea. In a way I break it slightly from the beginning. Does anybody else feel the same?
Whether that concept help or a hindrance to finish is a powerful question!
I am open to discovery, so multiple approaches are worth trying. It is important to identify where these decisions exist, how we choose, and what effect that has on the outcome.
As for me and my sketching...
I approach my sketches as non-finished works. I purposely divide my page in subsections that disallow me from focusing on detail if I am to sketch in a timely manner. It is only a side-effect, but a pleasant coincidence that It gives a comic book, story sense to it. As I choose a subject, my ideas are somewhat random. In one sense they are little pictures, but together they as a collage make a bigger picture. Some of them may end up on their own as compositions, or they might only speak as part of a page of other details.
In my process it is like divining ideas from my surroundings. I ask few questions, and then begin to point my pen or marker at a point that I see. The next question I ask might be what the scale from that point is and shrink the image in my mind up or down based on that intersection.
If I place my point above the page, how much of the image will appear in my box? Depending on how I choose to compose it, this might change where I place the starting first line.
Will I crop it like this?
Will I crop it like this in my mind?
Or, will I crop it like this? The ultimate question is how much of it speaks to me?
As much freedom as I have with composition I could see the composition as something I wanted to turn from a 59 to a 95. I could decide that I don't want to orient the figures as they are, but to freely arrange them.
As a general rule, I try often to bring shapes closer in together than they may be in reality so that they can interact in more interesting ways. Don't be afraid to be a typographer and kearn your shapes in an odd way that creates some interest. It isn't actually type, so it may retain it's meaning despite being re-arranged.
Last edited by rakuda; September 13th, 2009 at 11:35 PM.
Last edited by rakuda; September 24th, 2009 at 08:15 PM. Reason: enlarge images
I'm practicing my quick sketches in preparation for watercolors, although sometimes waterccolors work as nicely for sketching, they are just less portable generally.
That being said, a friend gave me a handy hollow Niji watercolor brush which makes portable watercolor more convenient.
Various projections (above) from memory
Marker play - Imaginary Landscapes (above)
I am trying to graduate from all the monochrome studies that I have done in the past to include more color.
Monochrome study (above)
Monochrome quick sketches (above)
Last edited by rakuda; September 24th, 2009 at 08:42 PM.
I'll preface my rambling with a recent watercolor attempt:
Watercolor: Rainy Day in the Park
This is a continuation from this previous post: Watercolor 101.2
John Sell Cotman
Is watercolor as difficult a medium that sometimes portrayed? Watercolor
can be seen as an unforgiving medium. This is partly because of it's
transparent quality and the inability to go lighter once the darks are
placed. Does it deserve the reputation it has and what are ways to
come to terms with it's difficulties?
Before Completion. Success.
But if the little fox, after nearly completing the crossing,
Gets his tail in the water,
There is nothing that would further.
The Down Pour: Bev Jozwiak
Some think that though commencing on a watercolor piece and things
may be going well, there is always the risk of one false move ruining a
piece and that it must be a cautious and deliberate affair painting on
paper. This is the paradox that goes along with the sometimes clean
lively and unfussy results of some artists. Mastery seems like a
hidden art with success due to some sort of magic, or innate ability
to strategize the game ahead a bit. It can seem more like a chess game
than many other mediums. The more successfully the artist captures
the "essence" of the subject and the more minimal the brushwork at the
same time, the more it is imagined that such facility is due to some
unnatural ability or mad dedication to the medium so as not to
John Singer Sargent: The Tramp
Are these ideas out of date with today's materials? Also, what level
if mistake is inherent in any process? For one thing, we know from
experience that 100% perfection in any thing is not generally achievable,
and often 100% success has the consequence of sacrificing some aspect
of the vibrancy of a thing because of it's protected nature?
Watercolor with a Safety Helmet?
I wonder what the experience of others is with the medium? What I
have discovered is that failures should be accepted enthusiastically
as a part of success and one of the few things that lends facility is
brute-force dedication and repetition of practice. By this one can
have successes more often and enjoy the greater distinction of their
successes as a result. Being thinking people as we are however it is a
good thing to understand the methods behind what is happening. As
we improve we make sometimes subconscious decisions how to use
our tools efficienty. Just like grammar or anything else, I would imagine
there are some common rules to govern success, or at least act as
guidelines in our effort. Besides, it makes us feel better to have a
conscious grasp of the mechanics in addition to our intuition. What are
some rules of success in watercolor?
Mary Ann Osko
Last edited by rakuda; October 4th, 2009 at 10:08 PM. Reason: fix image link
Figure Drawing 101
I did these last night at Chris Manzo's Figure Drawing 101. The models were great as was the lighting. There were plenty of new people and the food... Thank goodness after a day of starving myself and operating simply on coffee.