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135

Posts

  • IrukaIruka Registered User, Moderator mod
    I think he means you defined that left eye, even though its pretty much completely hidden by shadow. Only his lower lid and the smallest blip of a highlight in his eye are visible.

  • ScosglenScosglen Registered User regular
    edited February 2013
    Some quick observations about this last portrait study.

    ninjaip.jpg

    1. Make sure you appropriately choose values that match the strength of your light sources, i.e. if your secondary light source is weaker then the values must be weaker. Here we have an off camera bounce light that is generating prominent rim lighting, but we have to be careful to make sure that the rim light as drawn isn't as bright as the part of the head that's in full direct light. In your drawing, we can see that a section of the brightest part of the rim light and the brightest part of the directly lit side are nearly the same value, but in our reference we can see pretty clearly that there is a marked difference in value. There is a similar misjudgment with the slice of weakly lit skin below the eye in the shadowed half of the face being roughly the same value as the fully lit half-- it ought to be much darker (or, with other media, the light side needs to be much lighter. The important part is separating the values), there is a pronounced difference.

    2. You are declaring a lot of somewhat hard edged shadows in forms where they do not exist. The most obvious spot in this one is that same slice of barely lit cheek on the shadowed half of the face. In the reference it's a pretty soft and tender transition between the light and dark, and in your drawing it's an edge that is essentially a line with dark on one half and light on the other. Controlling your edges between light and dark is extremely important, it's not a thing to overlook.

    3. In the reference, look how much more shadowed the eye on our left is-- We can hardly even see the eye! A narrow contour of the lower lid, a pinprick of a specular highlight, and the faintest hint of the sclera are really all we can see. It seems to be the case that you were more caught up in representing the shapes and lines you expected to be there than with paying attention to the actual reference. I also suspect you might have been a little afraid to let your lines be "lost" and allow the eye be described by shapes rather than linear detail.

    There are some fairly significant drawing mistakes and some issues with control of the media throughout the study, but I wanted to hone in on edges and value relativity specifically.

    Keep up the good volume of study.

    Scosglen on
    SeveredHeadninjaiAngel_of_BaconIruka
  • ninjaininjai Registered User regular
    edited February 2013
    Scosglen wrote: »
    Some quick observations about this last portrait study.
    There are some fairly significant drawing mistakes and some issues with control of the media throughout the study, but I wanted to hone in on edges and value relativity specifically.

    Keep up the good volume of study.

    Thanks so much for the detailed response. When I finish a drawing only to realize I had made some pretty severe mistakes, it's pretty disheartening. Almost every day it feels like I'm going to sit down to draw, only to forget everything I've learned and be back to square one. :/ Idk how to tackle that particular issue, until then, I'm just going to pick up the pencil and keep making the mistakes. Hopefully that works.

    Can you address anything specific about control of the media? Or maybe something I can do to focus on and improve in that area?

    ninjai on
  • MangoesMangoes Registered User regular
    edited February 2013
    Just wanted to say that you're making some really nice improvement in this thread. Keep up the hard work.

    Mangoes on
  • ninjaininjai Registered User regular
    edited February 2013
    @Mongoes, thanks so much. I actually teared up when I read that. I appreciate the encouragement. I swear it feels like I'm running in place trying to get somewhere and not making any progress.

    Speaking of which, another fucking hideous abomination. This time a friend of mine. I shrunk the picture, it's somewhere around 1200x something. I
    wp000449e.jpg
    v3926.jpg

    I think I'm going to take a break from doing these for the moment, go back and refresh on structure and whatnot. Also work on some of those exercises from that video that flay linked in the questions thread.

    ninjai on
  • MurdokXMurdokX Registered User new member
    great job ninjai, you defined the core shadow. eyes a bit large in relative to the rest of the head. Try drawing a head without the eyes make sure you do it last, get the measurements correct. eyes distract us from seeing the structure and angles.

  • ninjaininjai Registered User regular
    edited February 2013
    Doing the line tracing and ellipse exercises from that video that flay put up. The only decent paper I have is bristol. Instead of wasting the paper on a new sheet, I just put the circles on the same sheet after tracing the lines. Didn't do so hot today, lots of mistakes, but I'll keep doing these. I definitely see how it can help.

    wp000455g.jpg
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    This fucking sketch paper. Idk how to get smooth tone on it, no matter how hard I press or how soft the graphite, it always comes out spotty because of the papers texture. So I use a tortillion. I don't know how to use it so it looks like this.

    How'd I do?
    wp000461.jpg
    [ref]
    66446959.jpg

    [edit:] GAH!! My dudes head is way too tall and narrow :C why can't I see this stuff until I see them on the screen!?

    ninjai on
  • ScosglenScosglen Registered User regular
    When I draw in graphite I almost exclusively use mechanical pencils, so my expertise here is limited, but I want you to try two things.

    1) Stop using the broad side of your pencil to shade large areas. This is an effective, quick technique for massing in large areas of value when you're making a sketch or other kind of loose drawing, but it usually looks like shit if you want to try to bring something up to a high level of finish or are making any kind of thorough study. You will achieve much more uniform results if you use the tip of a sharp pencil to create a field of value one stroke at a time, like a seismograph.

    2) Stop smudging with tortillons or anything else, for now. Tortillons are a perfectly fine tool, and I will often employ my own filthy fingers to smudge graphite when drawing, but you have to know what you're doing, and right now you are just getting messy results.

    ninjai
  • ninjaininjai Registered User regular
    edited February 2013
    Thanks scos. After I read that I went to watch a few videos of pencil drawing (including the pencil drawing proko did) and sure enough, they all shade with the tip. Ty for that


    I'm getting really fed up with my figure drawing teacher. Here's the course of events that transpired in her class today.

    1. Watch a dvd of portrait drawing
    -This is the 5 or 6th class we've had to sit through watching videos of SOMEONE ELSE TEACHING HER class, instead of HER teaching... I'm not paying the school for her to show me youtube videos, many I've already seen.
    -The guy rambles get's off topic a LOT
    -Does not teach drawing from sight, rather teaches to use shortcuts and "tricks" to the features of the face
    -Completely skips over the nose
    -Does not cover anatomy or the actual structures that make the features under the skin
    - If we had to watch a video in class, Proko would have been MUCH better option
    2. Model shows up
    3. She says "Whaddya say we just skip the gestures today. They're not all that important for............"


    `Gesture is the single most important element in the drawing.'
    -Glen Vilppu

    I mean... The only thing she's "TAUGHT" is shortcuts and tricks to cheating at drawing the figure. Thankfully I've had other good teachers (loomis, vilppu, hogarth,alvarez) to teach me so that I can do SOMETHING.


    That being said. I'm a terrible artist and I hate everything I do :C. I suppose that means I'm doing the right thing. I really liked the line drawings for these. The gesture for the bottom one was lots of fun, and it looked great before I started shading it.
    wp0004631.jpg
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    Back to drawing!

    ninjai on
  • ninjaininjai Registered User regular
    edited February 2013
    This was lots of fun. I may do more of these just from imagination.

    What I did was fill the page with circles and then arbitrarily picked which angles they were looking and did a face (except the skull ones) I had to rewatch the proko video on head from any angle, and I was rereading some parts of the loomis book because I felt there were some parts that I didn't really quite grasp yet, namely how tall the sideplane on the head is supposed to be (I kept making it too short on the photo referenced drawings.) It felt like less pressure since I wasn't trying to get likeness or anything down, just making sure stuff was placed properly. Idk.

    Any suggestions for doing these in the future? What should I focus on here?
    wp000469d.jpg

    and something else, saw it in google images so I tried it. Need more practice :(

    wp0004661.jpg

    Also did my daily line tracing and circle exercise. Not much to look at or critique I think so I won't post those.

    ninjai on
  • ninjaininjai Registered User regular
    So I took a picture of my process so maybe I can get some more specific feedback as to WHERE I'm skrewing up at.
    wp000471.jpg
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    dramaticlightingportrai.png

  • ruzkinruzkin Registered User regular
    edited February 2013
    The first thing I noticed was that his lips are too low, which indicates that you aren't spending enough time planning the drawing and measuring relative distances. Remember, when laying out, don't just measure the distance from one feature to another. Compare every distance to every other distance as you plan, and adjust accordingly - in this example, distance between nose and lips vs lips and chin. Those sorts of eccentricities are vital in accurate portraiture.

    ruzkin on
    g4OlSIF.jpg
  • ninjaininjai Registered User regular
    edited February 2013
    Hey ruzkin, thanks for the feedback. I feel like I'm taking a long time in the planning, but that's because I've never payed much attention to it. I'll be sure to focus on that for the next several heads that I draw. :)


    Oh man. I feel like the drawings from this morning and these drawings that I did of the same model just a few hours later (as in just now) are night and day. These are the best life drawings I've done all semester in my opinion. Had a lot of fun with these. There was one piece of charcoal that was so soft. Barely touching the paper, super dark tone... fun fun

    wp0004891.jpg
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    except this one... this one can0 die
    wp000486u.jpg



    ninjai on
  • ninjaininjai Registered User regular
    edited March 2013
    So I have a pretty loose description of a homework assignment that I have to do for my drawing 1 class. We're doing a perspective demonstration, that we grasp the fundamentals of linear and atmospheric perspective. Cool! Heart of the Swarm is almost out, so let's make a drawing of that! Here are some thumbs of a Viking (starcraft unit) flying over cityscapes

    wp000495v.jpg

    I did these, then remembered she told me I have to do a 3pt perspective drawing, and it has to have some type of cylinder in it. I'll do a few more larger thumbs before I start on the big one (has to be bigger than 11 x 14) I'm pretty excited, though I might be over doing the scope of the assignment :/

    ninjai on
  • SeveredHeadSeveredHead Registered User regular
    yah drawing a viking just sitting would be hard, let alone doing a storyboard of one flying around and shit.

    glad to see you keeping active! keep rawking.

  • ninjaininjai Registered User regular
    edited March 2013
    Hey so my figure drawing teacher is such a bad teacher it's starting to make me laugh. "Hey guys, I'm going to introduce you to light and form today, so let's only do like 15 minutes of basic shapes, and then transfer that right over to the most complex form in existence, the human body."
    Lol. It's a good thing I have a little more experience. The rest of the class is visibly getting more frustrated with her inability to transfer information.

    Like I said we didn't get very much time for this, this was done on 18x24" pad so it's pretty large. I liked where it was going, getting some of the folds and wrinkles in the cloth, but I didn't even have time to get the midtone on the paper... Never worked with a charcoal PENCIL before, was more fun than I thought it'd be, though I hated the pencil I used, I'll probably look for another brand.
    wp000504t.jpg


    This lady again. We tone the paper and used the eraser to establish light planes. Was going ok until the newsprint stopped cooperating. :/
    wp000503r.jpg

    ninjai on
  • ninjaininjai Registered User regular
    edited March 2013
    Hey I need some quick feedback. I know it's hard to see. I'm almost done with the rough layout of my cityscape from those thumbnails I did. Is there anything glaringly wrong? I had a pretty hard time getting that cylinder to look right, but It has to be in the drawing, so there it is. Any advice would be great since I have a long way to go after this.

    wp000512e.jpg

    I'm going to have him chasing few mutalisk and maybe another viking to give it a reason to be there, rather than just some dude flying around a city.

    I'm pulling from a bunch of different cities. Any suggestions?

    My PS isn't working so idk how else to adjust the contrast.


    edit:

    OK, I'm done with this for today. I wanted to get more of the foreground stuff done before I started adding detail to the buildings.

    So the assignment. I'm being graded on my ability to demonstrate 3 point perspective, atmospheric perspective, use of light and shadow, ability to draw ellipses in perspective (demonstrated by a cylinder, which I've incidentally hidden, will probably have to add another tier to that building to meet the assignment criteria) as well as appropriate detail in perspective (i.e. windows, doors, etc). This was what I did those thumbnails for earlier. I wanted to challenge myself and go a little farther than the assignment criteria and bring in composition and action as well. How am I doing?
    wp000520.jpg

    I am really sorry about the image quality. I have no idea how else to get an image of 18x24 sized paper

    ninjai on
  • ninjaininjai Registered User regular
    Rough pass at doing some windows. I still have the roof detail to do, lots of AC and generators to draw, YAY!
    Feedback?
    wp000531q.jpg

  • ninjaininjai Registered User regular
    edited March 2013
    img8275d.jpg

    Made a little more progress on this. Fixed that middle building there, did a bit of work on the foreground duders. And I really can't figure out how to fucking light this thing. I've tried a few different cameras and they all look like this.

    ninjai on
  • ninjaininjai Registered User regular
    edited March 2013
    Figure drawing class. I love this model. He's really fun to ddraw

    I really really really really want to get back into the local studio's figure drawing sessions on weekends, but I don't have any money. :C
    wp000537.jpg
    wp000538y.jpg

    ninjai on
  • ninjaininjai Registered User regular
    So the time between the last picture and this picture is about 6 hours. I did spend a lot of time away from the picture trying to work out some stuff. I still have a long way to go :/
    wp000543.jpg

  • ninjaininjai Registered User regular
    edited March 2013
    YAY! I made it downtown to the open studio figure drawing (so these are not my college class). These are the better ones that I did today. I used the Conte 1710 2B charcoal pencil for the first time, and its really awesome how easy it is to get a smooth midtone out of it, but anything other than that I haven't the slightest idea how to control it, as you'll see on the longer poses. I feel like I've made some great strides in seeing the forms of the figure, though now I feel that rendering the shadow shapes accurately is going to be my next step.

    I tried to focus on shading in the direction of the form, like AOB suggested (iruka linked in one of my older threads) but I seemed to forget every so often.

    Thanks for all the help you guys have given me thus far! Anyone have any suggestions as to where to improve?

    2 mins
    wp000545f.jpg


    5 mins
    wp000553q.jpg
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    10 mins
    wp000548n.jpg


    20 mins
    wp000558.jpg

    edit: here's one I forgot
    wp000560.jpg

    ninjai on
  • ninjaininjai Registered User regular
    edited March 2013
    I swear to god. One moment, I think, hey this drawing is turning out pretty well, look at that I'm actually learning, the next I'm left with a terrible drawing that I'm embarrassed to show anyone... Let me walk you through what I'm thinking with this for a moment:

    reference:
    havenslportrait.jpg

    "Hmm, her left eye is too big, I should fix that."
    wp000561.jpg

    "Ok, her eye is fixed, I measured with a ruler, they line up and everything is peachy."
    wp000562.jpg

    "WTFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFF... Not only is the eye TOO BIG AGAIN, but her mouth is rediculously SMALL..."
    wp000564.jpg

    If you just cover up that left eye, the size of the mouth is negligible...

    Another thing, 7 and 8b pencils REFUSE to blend smoothly. I just don't get what the hell I'm doing wrong here.

    ninjai on
  • ScosglenScosglen Registered User regular
    edited March 2013
    ninjai wrote: »
    Another thing, 7 and 8b pencils REFUSE to blend smoothly. I just don't get what the hell I'm doing wrong here.

    Well, how are you manipulating the pencil? It still kind of looks like you're using the broad side of the pencil. The reason you get white spots is because the paper is not a perfectly flat surface and so the recessed areas are not going to pick up graphite from a broad pass. That's why I suggested working closer to the tip with a sharp pencil and building up value by creating many strokes, so that you have a more nimble instrument that is able to get into the texture of the paper and better saturate it with graphite. Use a harder graphite if that's what it takes to keep a sharp point. Or use a mechanical pencil and then you will have no choice but to use the tip. Buy smoother paper if you must. You can tell how dramatically different the surface of paper can be just by running your fingers across different varieties in an art store. Try charcoal if you want. A lot of students find it messy and unwieldy, but that same quality also makes it able to effectively saturate a page like few other dry media can. Whatever you do, your materials probably matter less than you think.

    Regarding this last portrait study-- it has basically the same problems as the one I commented on at the top of this page, even the lighting is a bit similar.

    I want you to really look at the (our)left half of the girl's face in the reference and notice the dramatic value difference between even the very lightest spot just below her eyelid and the fully lit right half of her face. The difference on the reference is huge, and it's not represented in your study. The value is basically the same on both sides of her face in the study. I made a quick gif to demonstrate just how much further you need to go to bring the value relativity in line with the reference.
    valuegif.gif

    So that's the value, the other issue is the drawing. It sounds like you made a valiant effort to try to correct your mistakes as you were working, but the scope of the problems with the drawing go beyond just an eye or the mouth. I can see you made some basic construction lines in the early stages, but it looks like you are relying a lot on your gut intuition for measurements, and you are simply not at a stage where your gut is going to return accurate guesses yet.

    I'm going to suggest you try a grid drawing. Nobody ever does a grid drawing when I suggest it, but I'm still going to suggest it. Gridding something out breaks down your reference into bite sized chunks that make it easier for you to tackle individually than dealing with an entire portrait at once. The sections will be small enough that you can focus on the shapes within them, and to some degree it will become abstracted by being broken apart, and you will be less tempted to draw a boilerplate "eye" or "nostril" or whatever. If you notice that something has gone wrong with the likeness, you've got dozens of reliable points to measure and compare from for you to scan over the drawing and figure out what isn't matching up.

    If you don't know what a grid drawing is, you take your reference and print it, then draw a grid on it. Use something at roughly this scale, but not necessarily this exact grid.

    griddin.jpg

    Put the same grid on a piece of blank paper and then copy the reference. Working at a 1:1 size will make corrections via measurement easier. Try to be as accurate as you can. Spend a long time on it.


    Scosglen on
    tynic
  • ninjaininjai Registered User regular
    edited April 2013
    Hey guys so it's been a while. I was going to start a new thread for this, but it doesn't seem like I can at the moment, so here goes reviving this one.

    Allllrighty, a lot has been going on during my hi-atus. I've been working a lot with my new Lamy pen quick sketching, I found a great midtoned sketchpad called Earthbound, I discovered Ryan Woodward (thanks @Angel_of_bacon) and have just been doing a shit load of drawing!!! Here's some stuff.

    I started reattending Chris Alvarez's classes. He is a really great teacher, and keeps things really high energy and fun, I love this guy. He has everyone start with sharpie so that you can't erase and can only restate lines, and he FORCES you to look at the model more than your paper. I'm really happy with these :) We started off with a whole half hour of 6 second poses :O That was really fun. I forgot to take pictures though. Usually it takes a while to graduate from sharpie phase, but I graduated in one attempt :D These are done in sharpie
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    These were done at cottonwood open studio (local art venue). I was really really inspired by Ryan Woodward so I bought his book on Gesture Drawing. I decided to tackle his approach using Conte 2B and learned HEY!!! There are core shadows on the human form! So like anything else I first learn, I over did it a bit :) This was a lot of fun, and I think I'll stick with it for now.
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    This is all done with my new awesome, super fun Lamy fountain pen. I am loving quick sketching. I bought the fountain pen, some grey markers and a white gelly roll for highlights on my awesome mid toned paper. These first ones are done with Fountain Pen and water brush for the wash.

    WP_000640_zpsfce58d7e.jpg
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    Fountain pen and grey markers. Mostly on mid tone, some white sketch paper too. All these are photo referenced. It's easy to clip my phone on my sketchpad and draw from photos anywhere, and sports have really dynamic body movement so I stuck with that.
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    These are done with ink and wash. I didn't really like the effect on my mid toned paper, so I went back to the grey markers.
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    Noses. I decided that I was struggling with the parts of the face and how they relate, so I started doing some anatomical studies of the individual parts. And since I'm doing pen anyway, I figured I'd try experimenting with mark making at the same time. Some work, some don't LOTS OF FUN :D
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    This is for my drawing 1 class. We're working on a still life in ink. Here's the WIP of that, but also some of the practical exercises she had us do before hand, and Tard
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    Figure drawing class. I hate this class and am bored there. She has taught me nothing over the semester.
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    ninjai on
  • ninjaininjai Registered User regular
    edited April 2013
    I saved this for a new post because I wanted it to be seen apart from the huge dump.

    I was talking with Iruka over my hiatus. I've been growing quite a bit I feel, at least that I've been learning, and I didn't know what to do with all that learning. Apply it to more practice? I was already doing that. She suggested that I do a finished piece. This is something I'm not comfortable with. What is a finished piece? When is it finished? AOB says as long as it takes til it's good... ok. Where do I start, what subject matter should I do, what story should I tell, is that story interesting?

    It's the expressive part of art that I'm the least familiar with. Everything I've done and everything I've been taught is all from observation. So I decided on a futuristic cityscape with an extreme perspective on a guy in a flying car. I KNEW I didn't have the proficiency to pull of what I had in my head, and I was extremely frustrated after doing just the thumbnails. I did some more designy sketches and thumbnails, and I was really having a tough time stomaching my lack of ability to draw what I see in my mind. I'm really sorry for the poor quality pictures, the pencil is just too light on most of these.


    The question that I have for you guys, is how in the hell do you CREATE something? This is so abstract to me, I feel like I'm groping at air here.

    Everything here is mine aside from the bottom 2 drawings on the 3rd photo. Those are drawn from someone else's design.


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    ninjai on
  • ninjaininjai Registered User regular
    oh, and I almost forgot, I did these today in class. First page inspired by Bottom of the Ninth.

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    Geth
  • ninjaininjai Registered User regular
    edited April 2013
    I bought a book called The Art of Urban Sketching Super inspirational book, full of amazing locations and art. I'm dedicating myself to doing at least one picture a day drawing my environment on top of whatever else I'm doing. Doesn't take long, and is a lot of fun with my Lamy :3

    Did these at work where I don't bring in my sketchbook, but we have pads of paper laying around. Sorry for the lined paper.

    It didn't occur to me until I did that huge upload up there how much I draw. I need to draw more ;P

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    figure drawing class

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    ninjai on
  • ninjaininjai Registered User regular
    edited April 2013
    So i went out and sketched today because it was beautiful outside. I did more than just this one, but this one turned out the best. Lamy Fountain pen about half an hour

    WP_000044_zpsb655d2fc.jpg


    also bought some stuff that I'm really excited to use :D

    WP_000045_zps3e86a475.jpg

    ninjai on
  • ninjaininjai Registered User regular
    edited April 2013
    So this is some more sketches out and about. @Rendezvous. I spend a lot of nights there. Lamy and white gelly roll.

    I should start adding faces, even if they're terrible and detract from the drawing because I'm avoiding them like the plague. I'm afraid of them :C

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    This is a WIP from my drawing class. 2 classes worth of time so about 8 hours. There could be some better value separation. Will just have to plan better next time. I tried to reduce things as much as possible for time management and because I'm trying to learn from other artists approaches at the same time. Done with Prismacolor Technical pens and my Lamy fountain pen.
    WP_000050_zps603a93cb.jpg

    ninjai on
  • ninjaininjai Registered User regular
    So there was a lot of waiting in line at drill today. That means a lot of drawing. This is less than half of what I did.

    Question time, need some feedback. How do you get better at drawing people who are moving around? I'm not very quick, and when I force myself to work quicker it looks horrible.

    WP_000075_zps5047a470.jpg

    I was standing pretty close to the guy on the right, in a narrow hallway. Getting the perspective was kind of fun
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    meh
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    Drawing things
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    some people

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  • ninjaininjai Registered User regular
    So I drew all that stuff while at work, I left work to get food with a friend and drew all this tonight :P I'm drawing a lot. This is really fun :P


    Sitting outside enjoying the warm weather. Then it started to rain, so I didn't get to finish :P If you look close you can see some of the rain drops bleeding the ink
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    After the rain we relocated to Rendezvous (again) different view with the scaffolding in it.
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    Some people at Rendezvous.
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    So one day I was walking to the back door of rendezvous and I noticed that in the back alleyway directly behind it was an art venue. I stopped in and saw some awesome local artwork. Well "first Friday" in colorado springs is art venue openings and a local guy did some awesome oil paintings, and even did a study of Caravaggio's boy with fruit if that's what it's called.

    Well tonight apparently it doubled as a music venue. The only way I know how to describe it is Scott Pilgrim in real life and everyone was in costume. I drew this of the guitarist playing.
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  • ninjaininjai Registered User regular
    edited April 2013
    started playing with my watercolors today. I pretty much copied the techniques I saw in another video, then played around with the remaining area I had blocked off. Some of the technique stuff didn't turn out the way it was supposed to. Getting used to how slow it dries, when during the drying process to do certain things, and the idea of transparent layers are all things I'm going to need to get used to.

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    it was a busy day so I didn't get much drawing done. Had work and homework for other classes most of the day. Must study more
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    ninjai on
  • lyriumlyrium Registered User regular
    On your drawings with white added, I'm sure you had some basis for putting it down where you did, but looking solely at the drawing it looks a bit haphazard and distracting. Adding white to the drawing should be a tool to help you show a more clear representation of the lighting, and you need to consider how it factors in to the composition and where it pulls your eye. Having a bunch of tiny spots of white all over the drawing looks like it got sprayed with milk or something.

    Figures are looking nice.

  • ninjaininjai Registered User regular
    edited April 2013
    lyrium wrote: »
    On your drawings with white added, I'm sure you had some basis for putting it down where you did, but looking solely at the drawing it looks a bit haphazard and distracting. Adding white to the drawing should be a tool to help you show a more clear representation of the lighting, and you need to consider how it factors in to the composition and where it pulls your eye. Having a bunch of tiny spots of white all over the drawing looks like it got sprayed with milk or something.

    Figures are looking nice.

    How can I narrow down when to do that? I'm only adding where highlights are, though the gelly roll pen does tend to get away from me. It will flow sometimes, other times it pours, other times it doesn't flow at all...

    Color theory question, what mixes to make skin and earth tones? Tan, brown, etc

    ninjai on
  • ninjaininjai Registered User regular
    edited April 2013
    The first is lamy pen with noodler's bulletproof (waterproof) black ink and india ink with wash, the second is me trying watercolor on a model for the first time. I learned a few things, you can use the
    complimentary for shadows (sort of, though I should probably stick with doing multiple passes with the same color for darker areas to start) and to use a lighter touch with the paint. I went really muddy in a few places. Color theory, mixing stuff to get the color I want is going to take some practice. Any advice or useful resources would be greatly appreciated.

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    ninjai on
  • ninjaininjai Registered User regular
    edited April 2013
    I'm not quite sure what I should be doing with watercolor, so I drew then painted a thing...


    Well here it is, I don't rightly know what. I felt like I was doing really well with the first few passes, then as I added more and more forms disappeared and colors became wierd looking and I had a hard time fixing it. My shitty camera isn't picking up the color very well for some reason. I don't now really how to fix that, I'll try scanning it when it dries.


    edit: oh shit, proportions and placement are way off. I'm embarrassed now....
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    it was loads of fun in any case
    the original is from skydoll. A comic I guess. The image had a very graphic look to it so I thought it would be easy to approach. I was right for the most part, I just need some practice mixing colors and being patient with letting each layer dry.


    Did these at work today.
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    ninjai on
  • IrukaIruka Registered User, Moderator mod
    Ninjai, try doing some thumbnail sketches, where you box off an area to work in and then try to work on a whole composition. A lot of your studies are sort of floating in the middle of the page, and that detracts from them becoming more finished images, in my opinion. This will help with landscapes and room studies.

    Not everyone likes working in a border, but its worth a shot.

  • ninjaininjai Registered User regular
    edited April 2013
    Thanks iruka. I've been thinking that my stuff either looks unfinished, or I just don't finish it. I'll give that a shot next time I am out drawing. I definitely need more practice with composition


    Speaking of unfinished...

    With my car being borked and trying to get from work and school, I didn't have much time for doing anything today. The bottom is for an assignment. It's Mr T painted with Tea and coffee. Isn't dry yet and still has grounds and loose leaves on it. I'm going to wait for it to dry tonight and I'll try to scan it.

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    ninjai on
    Enc
  • EncEnc A Fool with Compassion Pronouns: He, Him, HisRegistered User regular
    That coffee painting is an awesome idea.

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