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Creatures , Hands and Feet, etc
NightDragon
6th Grade UsernameRegistered User regular
6th Grade UsernameRegistered User regular
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also the painting is nice, what medium?
oh, der. I forgot to write that in.
Done in gouache. 16.5" x 23" on oaktag........which suddenly makes me wonder if this is going to yellow in the future or not...I really don't know anything about oaktag.
Google-time go!
Thankee! Gouache is pretty much like an opaque watercolor. When I wanted it watercolor-y, I would water it down...and when I wanted it more opaque, I would use less water, or I'd just mix paints straight out of the tube. I would hesitate to say that the paint is a little "thicker", or that it dries faster, because those perceptions could, in part, be a result of my not having used watercolor in years. But overall, it pretty much handles like watercolor.
I've never really 100% "gotten" watercolors - it's an odd thing for my brain to grasp, I guess...using layers of paint, overlapping washes, having to know where all your highlights are going beforehand...I just work so much better knowing that if something needs a highlight or a lighter color, I can just put it there. Definately something I plan on mastering one day, though.
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Then I'd have to kill you.
*dead serious stare*
But seriously, your figure drawings motivated me to enroll in a figure drawing class... because... because... I secretly want to draw like you!
I'll start this Saturday, any tips for a first timer?
A lot of people also have trouble with placing their figures on the page when they start out, so it can be a good idea to indicate the top, bottom, and furthest left and right points of your figure on the page with tick marks first thing, and then find mid-points on your figure to start constructing the form from.
Taking extra time in the beginning to make sure everything is in proportion and laid out correctly before you commit to rendering and tighter lines is probably the most important thing to do on extended studies.
On your heads,
When drawing the head, the best way to go about it is to look for the bones first. They key is forming the eye sockets and jaw correctly, then the feature will fall into place. Also, on a couple of your drawings you are really avoiding hands (and feet a little too it seems). I would say at very least put some kind of mitten shape in to represent where they are and what kind of form its taking. I say this with the 4th and 5th ones in mind.
overall though good stuff, that painting is straight baller on top.
Probably should have made that clearer, but really, it's good advice for anyone to keep in mind. >.>
As for ND's figure work, most of them look like pretty good studies. The only thing I don't like to see are some pretty strange looking "slices" of shadow visible on the backs of the third and last full figure that could be rendered a little more gingerly--but without anything to compare it's possible the light just looked weird from that angle.
Keep it up!
Art school is totally what you make it. And high profile schools like scad have great faculty, which for those who care enough, you can absorb large amounts of information from. The school isnt going to do all the work for you, just because you are paying ridiculous amounts for it.
Not to mention you can learn a lot just by being in a creative environment, even if the teacher suck. Which I highly doubt is the case.
Great advice that isn't limited to art schools
I know what you mean about hands and feet taking along time to draw. That is, using lines to describe an outline and then shading it. That proccess doesnt lend itself well to hands, and seems to be how your aproaching most of the figure. For the hands, I would suggest trying to use a basic mitten just to get the form of the fingers and palm, if the fingers are apart the mitten shouldnt be very definate. Break down the form of the hand like any other form, look for plane changes as a whole, based on your mitten. The fingers from the first knuckle to the 2nd knuckle often make a plane. The top of the hand is often two planes. The top of the thumb part of the palm forms another plane. Then, understanding that these planes come from the fact inside of the palm is convex and bends you can figure out how these planes move and accomadate themselves to forms (like a hand on a knee, or side).
/edit
One of the single greatest things ive learned in figure drawing, one of those "wow" moments where by simply realizing it it made my drawings at least twice as more effective was this-
When drawing a form or shape, always have a visual of what the other side of that shape looks like. If you can't visualize it, get up and walk over there. Being able to see through the forms, through the bones and being able to follow all of the contours around and in the form will help you immensely in being able to break it down. After you can do that, you can make much more sense of where forms insert into eachother and overlap. Just something to think about...
I do this quite a bit when figure drawing, but especially when constructing figures from imagination. I find it helps quite a bit to lightly put in a quick "cross section" type contour line in sockets or joints and places like the neck where two major masses meet or change. I spend almost as much time examining the "volume" of the figure like this as I do actually putting down the final contour.
Heh, I do that too.
Thanks for the advicements, Scos/Nation.
Man that's really good. If I were you I'd put a face on there anyway, because having it blank just totally kills it.
Whee!
Galen - I'll probably add a better face in and make it a part of the portfolio. Thanks for the comment.
I realize the knuckle may be too far over on the first one - I've fixed that in the original.
good work
Lol, that face just makes it very hilarious.
Howso? The way I placed the legs in the grass? It seems kind of screwed up there, I think.
And those hand and feet studies are super...
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Those figures are really nice... finish some of them!
:^: :^: