Those are some good studies of arm structure there.
Those are some good studies of arm structure there.
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Thank you both. NM, I tried to be as loose as possible with a few studies I'm going to show now. I think working bigger like at A3 paper size, will be a good excersize. That I don't held my pencils like most artists is also a bit of a burden voor looseness, but I'll try.
More arm studies from Bridgman. The whole idea is to work trough Bridgman's book as well as from other sources to study different body parts. I began with the head as you could see from the last page, although I'm not satisfied "how" I studied those in order but still glad I started with the skull, followed by the flesh etc. At the end of each anatomy excersize it's drawing a lot from imagination as well to work at other fundementals then anatomy. Most important thing is for me: I take the time and try to enjoy the process as much as possible, even I don't have much time these days.
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I have now closed Bridgman's arm chapters and the next arm study will be based on other sources. I'm planning to do some paintovers of photo's where certain muscles are layerd down in the arms, with and without reference. Doing various arms in different poses from imagination and I'll try to draw some arms from life of my own.
My learning experience so far: I noticed how other muscles then the deltoids, biceps and triceps are so very important as well. Learning the under muscles and smaller ones make a lot of difference if you know how they are placed, what they exactly do and how they feel like. This all sounds obvious, but I think that a lot of artists that dig for the first time trough anatomy, forget the little details, because it's other wise overwhelming. It's good to dive deep into it and focus on one aspect, or else you don't see trough the forest the trees anymore.
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Yo Bapsi, thanks for your reply. As for focusing, I was and sometimes I am still, am a person who wants to learn everything at once. Doing this is okay as well, but details in general are most of the time forgotten or left out for the next time. I will soon reply at your sketchbook as a reply-in-trade.
I did some imagination studies this time, as well for the third that's from a anatomy book. I redid these arms later from imagination in the 4th drawing.
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Last edited by Whitevillage; January 22nd, 2009 at 09:32 AM.
Very good working hard through hard times man. I'll have to give Piranesi a google through or check WGA.hu...
I can understand the amount of stress that life can hand someone (more so than most). Not only do you have to work and sleep but there is so much more that can inhibit your ability to 'get into the mood' so to speak. (i.e. disheslaundrylovelifevacuumingpostinghavingfunvehi clemaintainencecastingrevengeagainstyourenemieshel pingyourfriendsandallthelittlethingsinbetween) It can be rather daunting to squeeze drawing in, sometimes it is just a matter of being a good manager of your own time.
I think that the previous statement would easily make me seem to presume that your lazy or something and I don't intend anything like that (in fact I think I'm the lazy one of this whole sketchgroup [insert the 'kick in the ass' smilie]).
The arms are starting to look really good and Bridgman has been very good to you... Be careful of how the muscles insert and are placed on the bones of the arm. Like the lats/pecs/deltoids/shoulderblade muscles help move the Humerus, the Bicep/tricep/and rotation muscles move the Ulna/Radius and the thin wiry muscles on the U/R move the fingers/thumb (with some exception with the thumb...) A lot of it all deals with how it works and the form follows that plot.
Bapsi: Thanks, glad to hear. I really need to improve my inkings.
SRD: I'm glad you can understand and I'm sure it's a matter of time and period. I don't blame you on being more lazy then someone else or me, I bet people have good reasons for having not much time and energy. I could draw in the train for example, but I'm honestly too tired and out of focus to actually do it properly.
Some good advice and teaching about the arms. I still haven't finished my arm studies, can't do them justice or learning from it these days.
With that said, prepare for some rusty yet fun doodles to break the ice after a little while!
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Equality: Hey thanks for the stars and even better yet, you gave a reason why you gave them! I'll try to do my best. I have thought about torso studies, although I wanted to do hands as a next themed study. I'll see what I can do.
Kind of reference work, I picked some poses and kept looking from anatomy books to look where thes muscle should be placed. Yeah background color got messed up.
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Good work White Village! I can see alot of progress from the later pages of this thread compared to the first few pages.
What can I say except go go go
Keep drawing more, everyday. Bridgeman & other books are good for references in understanding how things go, but try to also draw human figures from life rather than photographs or books. Literally get in the mirror in underwear and try to draw self, or go get some life drawing classes (I am sure you would love those). Drawing from photographs or books as guides, rather than references, is alittle funky. The perspective can get alittle weird, or so I've been told.
Most important thing is draw everyday, draw all the time, draw what you see in real life. I highly recommend life drawing classes if you haven't taken them already.
Go go go, keep drawing
Some more, curvy arms from imagination. Still problems at connecting and giving the realistic volume. Although I paid hardly attention to them, the hands are really crap, that's the reason I'm going to do several hand studies after this one. Quick observations from an muscle building book and picked up good ol' Loomis again.
Something else for now, mainly concepts for usual use and a paper filled with scribbles. I always scribble everything on the paper, it's the feeling of drawing that matters not the outcome with these.
I have chosen the colours not just they look fancy, but they have a meaning as well. Green stands for vertility and healing and blue for calm and peace. This goes for the character's peronality and class as well. Go figure why I chose turquoise for the second concept. Her clothes are inspired on traditional Greek and Turkish clothes, that kept warmth from the oustide to remain cool, I believe. The spikes from the left dude's hands are his knives though.
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Killer work so far... I'm also wondering if you have viewed any of Gottfreid Bammes' books. Even though the books havent been translated the illustrations that he portrays are very VERY useful for understanding some of the bone forms and muscular forms on top.
Keep on analyzing! Dicect those drawings/forms and pull yourself into that next level!
I already got an English book from Bammes and even made some studies from it. It's not as complete as his original German book of over 200 pages (which I have digital), but it's at least something I can read and look into while not using a computer.
I'll be looking forward to that next level even I'm not aware from it at the moment. I just need a stronger foundation.
I made a scedule to do at least some work everyday. A ecoline bread study from life and a pencil portrait from a photo. I tried to manage to keep it to my own way of drawing instead of drawing it representational.
I wanted to work more on character designing, especially citizens and other daily life people in my stories. Background characters need some good design as well ofcourse.
What be happening...
I see your arms are getting a lot stronger and you got some good views of the carpal and meticarpals going on. Now about the still life, I see that the light source is either rather close or you're dealing with multiple sources... This can be seen with how the toilet paper roll's cast shadow is heading to the viewer's right and the chisel on the left has a more left boud cast shadow. It's often best to keep the light source to a minimum of one and if you have to deal with multiple, keep concentrated on one.
I have found it to be easier to draw an arrow to depict the direction of light. I'll also have to warn you to keep your cast shadows toned down as too much will destroy the form of what you're trying to draw.
I hope I've helped a bit with something here, otherwise have a good one.
Thanks Shawn for the still life critique. I believe I had indeed two light sources, one from the window and a light spot. I try to experiment with the values and try to add some more contrast, which I hardly did with my older stilllifes for shame.
Two more still lifes, I spent some time on the boot, I believe it was more or less then 3 hours. The wooden bird was actually just an hour. I tried to use hatchings for the volume and value of the drawing. The light source is from the left, by the window (The sun hardly shines in my working place... )
Very nicely done with the last two. Work that form, master it and it will be your best friend. It is all about the ultimate in abstraction, to make someone believe that the page before them is actually a window that space exists in. This window can be instilled with ideas, thoughts of how this world is/should be/shouldn't be, memories, but the most important aspect of any artist, the ability to comunicate those things visually onto others.
In order to do this the artist must not only understand what an object looks like from the angle that they are wishing to describe. the artist must understand that the object holds volume and mass. It is a form that holds not only height and width, but also depth. Analyzing the object not only from the one angle you wish to describe, but also all others help you bring the drawn object into 'reality,' instead of being a bunch of scribbles...
I hope this was a bit useful to yeh.
dude !! those anatomy studies are kickass !! i can definitely see them helping you out !! hats off to your dedication ..
(sorry for not being around for a while now , had been busy with exams and such .. )
WEBSITE : http://www.vibhasvirwani.com
Crazy Dude SRD: Thanks for the information, my lifedrawings are getting better and more control in how decepting depth.
Vibhas Virwani: I'm glad to hear that! I was really dedicated with the anatomy studies, but did hardly anything else for my own! And it's okay that you where nog being around due to your exams. I'm at the moment very busy as well with artwork that I will show you guys later.
Sorry no updates, I was thinking to start sooner or later a new sketchbook with less studies and more own work. I keep these days the studies mostly for my self or I will scan them and make a compilation of it in one big image.
This reply is just for saying I still haven't give up here on my sketchbook due my absence. I really appreciated the comments from the few people that like to help me out or apreciate what I'm doing.
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