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francium
Registered User regular
Registered User regular
Yo, I'm just introducing myself and I heard some stuff about cool people here I guess. Here is some stuff I did.
I'm getting ready to submit applications for art school. I am curious about who(where) teaches some of the really finished styles of the pro's that post in this forum? I'm looking for direction on what I should be putting in my portfolio if I have no intention of doing "gallery work". I want to be able to draw anything, fast, like live action animation fast... But perfect.
I know when I get there I won't think it is perfection anymore, but that's when I can slow down.
Go add to The aging court battle thread!
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There are some great schools out there with some great teachers like Ringling (Wakkawa and my alma mater), RISD, MICA, Pratt, Calarts, etc etc etc.
But, to let you in on a 'secret' - art school is less about the teachers and more about being in an environment with peers who push (either through competition or friendliness) to improve youself. I don't regret going to Ringling, I learned a lot and met my wife, but on a purely drawing level, if I were to do it again, I would possibly pursue something currently non traditional (or REALLY REALLY traditional depending on how you look at it) and go to an atelier. Ateliers are non accredited (IE no diploma) schools where you learn the very traditional way. Bargue drawings, figure drawings, oil paintings, still lifes. This may sooooound dull right now, but its the best way to learn quickly. You arn't going to be drawing 'live action animation fast... But perfect' unless you REALLY know your foundation stuff. Life drawing will need to be your new god.
I don't really know my ateliers but @angelofbacon , @lyrium , and @rts should know as they all went to one.
Is animation what you want to get into? Art colleges tend to have a few departments that are known for being really good. As an example - I went to SCAD for Illustration, and I know that their Architecture major is really highly recommended. Likewise, there are certain places known for offering good animation courses. Is that what you want?
Regardless though, learning your fundamentals (like Wasser mentioned) will benefit you a HUGE amount. Anatomy, painting, drawing, color, etc...I've seen kids in college who were graduating with very little actual skill (many of whom, I noticed, just seemed to go through the motions of their assignments, and didn't personally push themselves). On the other hand, I also saw students graduating who were absolutely amazing at what they did. Those students tended to have a lot of motivation to learn outside of the classroom, and aim high. I'd suggest you do the same! Never get complacent with your skill - there is always more to learn. Art school and ateliers can be great environments for you, but they're not a magic pill that suddenly makes you a really good artist after 4 years. That's all you.
Y'all made my day. I forgot that there was an academy not far from my house. I tried to sign up for classes today but I got there too late. 4:30pm???
I'm not interested in animation... Yet. I just want the animators skill at drawing.
Thanks for the encouragement,
I guess I'll go draw some...
The only constructive criticism I can offer is that the back of the shirt where the neck slopes into the shoulder feels "off" to me. It seems to me that the shirt is riding too high on the back of the neck.
This is pen and ink I'm doing for a project w friends. I do not have the control over the brush that I would like and it makes me feel very awkward sometimes. I guess that's why I'm not doing it digital.
I'll post more stuff late.
@muddyparasol, thanks. I will look at that neck shoulder thing and post any change I can make. I see it too.
18x24 pencil on paper
Because of the poor quality of photos I can provide, I included close ups.
This is a work in progress, I'm going to put it away for a while to decide if I like it.
I wouldn't mind hearing what people think good or bad.
...
Is there a quicker way to lay down graphite evenly than grinding it out with a pencil? I like playing with the amount of detail pencil provides but I've never been instructed on the process to use to ensure I nail my texture values.
I FEEL like I am getting lazy when I am not working on details because of the amount of time it takes to complete large area tones. I know it shows,
Any advice on drawing endurance?
-Thanks for looking
P.s. And in advance if you leave a comment.
You could try using the side of a graphite stick, or applying graphite powder with a brush or cloth. Not sure you'd necessarily want to try these things out on this drawing considering how far along it is already- it might be easier to just go ahead and finish it as you have been than throwing a new, unknown element into the mix- but it could be worth trying on future works.
http://www.dickblick.com/products/generals-kimberly-graphite-sticks/
http://www.dickblick.com/products/generals-powdered-graphite/
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The arm, pants, chair seat, and drawing board are unfinished yes.
I like powdered graphite, and the stick idea sounds like a good option for future works.
The critique from scosglen really sunk in, I'm glad I did something this huge cause it's been years, I didn't know how much patience I had. (not enough yet
Regardless of my mistakes in this drawing I feel like I've gained in observational skill. I'm starting a still life tonight so this time I will take photos of my subject so everyone can See what I'm working from.
I feel like I would like to boost some contrast but I can't decide where yet. I'm aware of the dark spot in the coffee pot grip is making that oval look all wrong... it's the curve of the glass, I'm Not sure if I want to make it make more sense to the eye or leave it.
Take a blender stick to the whole thing or leave it all textured? Or texture more smoothly?
Thanks for any input in advance guys.
Pencil and charcoal on toned paper 3"x4"ish
I'm going to stop on this now because I need to work larger to address more subtle lighting +linework details.
seeing it blown up, i notice i messed up the eyes (they are not looking at the same thing).
The assignments name is "what we leave behind"
I focused on a narrative, and a mood. I'm pleased for really the first time effing with charcoal.
I'm still getting better at it.
Figure studies soon!!!
I want to get better, so if you pro draftsmen got tips and tricks, or drills that boost skills help a brother out. I'm active in the life drawing on campus here. I draw my friends (as seen below) even when they don't know.
I got a huge homework piece In two weeks. It's a cityscape, and my charcoal skill has improved yay! Will show.
Ciao
This is some sketchbook work I just did the other day. The girls were done while a little drunk, and It had been a while since working big with a brush pen. Then the markers were added to not such great effect. So I did the second spread (disregard The word bubble it is an inside joke).
While mica assigns me fine art I try my best to keep it looking commercial. But I don't feel like I can bring something like this to a crit.
Do y'all think it would be a good idea to draw like this in a life drawing class? Or for homework?
i always feel guilty for not having a better way to make photo's of my work. these are some of my homeworks from my first year at MICA. i have not taken an illustration class yet. i got life drawing out of the way, thats where the pokeball and the woman come from. and i half finished this painting using a gresaille technique i sort of winged. i get value, and i think in many aspects, or maybe just relatively i get color. but i dont get them together without a lot of work, or isolating the value first, then changing all the colors.
tell me what you think, any advice on painting techniques? i want to speed paint in oils, but aparently thats not the same as on a tablet.
i hope to be doing some more still life that deals with vast space, like landscapes in the near future. in part to practice atmosperic perspective, among other painting techniques.
Did this little gresaille tonight.
Oil paint is the hardest thing to control, it is equal parts frustration and fascination.
The pokeball one looks pretty messy, The textures in your larger areas of value are just too distracting. The oils are looking pretty sound, though. You seem to have some fuzzy edge work here and there, making your shapes not look quite committed to. That box the mug is sitting on, for example, I have a feeling its not supposed to be a perfect geometric object, but there isn't quite enough information to tell me what it actually is. It makes it just look like there are some wiggly edges.
If there is one thing that mica does well, it's painting. Seek out the teachers that you respect, and I think you'll do great. I hope you keep posting!
I agree about the texture in the charcoal drawings! They were 40"x25" and I just wasn't taking my time on them. I could have used charcoal powder, but speed and value became my objective in life drawing.
It sounds like you are getting frustrated with the oil paint; what is your process? Also, what colors are you using? It would be good to see the darks pushed a little bit more.
Like Iruka said, make sure to stay diligent about your shapes! Even when it's hard because there are a million other things to think about :P
Also that pokeball/Escher one is great
facebook.com/LauraCatherwoodArt