blinds art thread

BlindPsychicBlindPsychic Registered User regular
edited June 2017 in Artist's Corner
Hey guys, I posted once here a long time ago, but I wanted to start a sketchbook thread in addition to my current plans of trying to really up my drawing game. Some backstory: I completed art school a long time ago and finished up an illustration program. I've kind of fallen out of rigorous drawing since then. I'm currently mostly doing design and layout things, and as part of my plan I do want to start knocking out some portfolio stuff for that. I really want to get a strong portfolio together so I can get out of my current gig, although that one would most likely be design focused rather than illustration focused.

But anyways, I really want to improve my art, I feel like I've stalled pretty hard and haven't been improving. My battle plan right now looks like this (and ideal after work plan):
-Knocking out a lot of gesture drawings/life drawings (60-120 second poses)
-Anatomical study
-Try and draw something mechanical (something which I'm terrible at)
-Start working my way through the exercises in a few books I have lined up (Loomis, Robertson's Perspective book, and a few others)
I've also been experimenting some more with doing just contour line drawing just to break myself out of my symbol drawing, I'm kind of sick of the way I draw things and I'm trying to add some fresh ideas into my brain.

I'm also hitting a life drawing session once a week, possibly 2 if I have the cash.

I just really want to improve my draftsmanship and then move on to some other stuff like getting better at digital painting. So I turn to you guys for some crits and advice. Here's some stuff from my comeback:
Some inktober doodles, these have been mostly for me to just draw out of my comfort zone subject matter wise.
Some sketches from life
And some paintings.

BlindPsychic on


  • BlindPsychicBlindPsychic Registered User regular
    And some from life drawing

  • IrukaIruka Registered User, Moderator mod
    First off, welcome back!

    I think you are doing the right stuff. If you have the cash, I suggest picking up Scott Robertsons "how to draw" books, as they will get down to the roots of draftsmanship (And frustrate the hell out of you as doing the beginning exercises and sucking at them makes you wonder if you EVER knew how to draw).

    You may want to think about watching some proko videos about anatomy, as they can help add some structure to what you are looking for in life drawing. There was a great review of his premium options over in our online class master post:

    If you think you'll probably end up pursuing design work, I'd encourage you to mix that in with your studies too, trying to push into design work that interests you over your current job. We have some assignments and enrichments that may give you some guidance and inspiration, too.

    I like the three paintings the most. Your eyes are a bit flat, which generally comes from a lack of understanding the structure before attempting to simplify. I would dig in a bit in that area.

  • BlindPsychicBlindPsychic Registered User regular
    Oh yes! How to Draw is what I have! I actually really liked that one from the little I read, I'm going to move to that one after I'm done with 'Fun with a Pencil'. I'll check out the proko things too. I'm satisfied with the paintings, but I feel like a lot of the time it's helping to shore up some weaker pencil work.

  • BlindPsychicBlindPsychic Registered User regular

    Some more inktober

  • BlindPsychicBlindPsychic Registered User regular
  • BlindPsychicBlindPsychic Registered User regular
    Also been reading through Vilppu, his drawing handbook thing. I really like the exercises he has, and I've been trying to implement the drawing things he talks about. I want to go through and study is drawings more closely.

  • BlindPsychicBlindPsychic Registered User regular
    Some more drawings

  • WankWank Registered User regular
    hey these are neat ! i'm no expert but i'll ditto Iruka on the brow / eye area looking kinda flat on many of the faces, not getting much sense of the depth of the socket and protuberance of the eyeball itself.

  • lyriumlyrium Registered User regular
    Your figure drawings are looking nice; I also really like the dog and the bird. If you keep up this practice of mixing both drawing from life and then drawing from imagination (trying to remember what you learned while drawing from life), you'll keep making good progress!

  • IrukaIruka Registered User, Moderator mod
    It seems like most of your eyes are missing any sort of lid structure. You aren't afraid to try to add a bit structure to the men, but the women seem to suffer from a fear to add any additional lines.

  • BlindPsychicBlindPsychic Registered User regular
    Thanks Iruka, I tend to dial back more on women because I always make them look haggard, with guys I just go all out cause its fun to add character

  • IrukaIruka Registered User, Moderator mod
    edited October 2015
    There's more to women than a pretty face, and there's more to a pretty face then no lines. You can define form without making women look haggard, you'll probably draw a few along the way though. Dont be afraid to make some drawings you aren't sure about from the onset.

    I'll try and dig out some examples in a bit

    Iruka on
  • IrukaIruka Registered User, Moderator mod
    It going to depend on your style, for sure, but here's a handful of examples:
    First, with some more realistic work. I think it's easier to understand how to apply volume when you are dealing with media you can more subtly apply than ink.

    The right face on this little page is more inline with what I mean though:

    If you want to think about it in a stylized realm, I've been looking to caricature for inspiration:

    The more understanding you have about anatomy, the structure of eyes, and the face in general, the stronger your stylizations are going to be. You'll be less afraid to define a form because you know you'll be doing it in a way that means something. I suggest going at it from an anatomical angle first, it may not be the look you'll want in the long run, but breaking down the problem will really benefit you.

  • BlindPsychicBlindPsychic Registered User regular
    thanks man, I've been drawing some more just trying to construct that part of the face better. Drawing the socket, brow, and the eye and then going over it. c1m0g9ojyuzr.png
    This drawing from Loomis helped a lot. I'll knock out a few more and post them here

  • BlindPsychicBlindPsychic Registered User regular
    Hey again, its been a long time! After getting some surgery done that I needed pretty badly, I've been knuckling down on trying to improve since June or so. 16ish sketchbooks later here I am. Its probably the most I've drawn since I finished school. Possibly even the most ever. I've found a lot of help from online yt videos ( there's a lot of good ones buried in there), New Masters Academy for a little while, Bridgeman, Bammes and Loomis, Peter Han's Dynamic Sketching (probably one of the biggest helps), CTRL Paint and a lot of others.
    I don't have too many digital sketches right now, but I have stuff I've finished including some commission things

    In January I set myself of doing a painting every day from an old master, there's one missing here from a PS crash, and I ended up a couple days short, but I learned a lot. These ended up being mostly sketches, probably 2-3 hours each, it varied.

    There's still a lot more I want to work on. My big two things I want to lock down on now is accuracy and line confidence. They both kind of go hand in hand, but I feel like they're my two biggest weaknesses. Other stuff is mostly getting on perspective stuff more and getting more confident with hard surface stuff. More life drawing too.

  • IrukaIruka Registered User, Moderator mod
    Hey Man!

    Glad you are done with whatever surgery you needed, I hope recovery is going as planned.

    I feel like theres alot of overall improvement going on here, which is great to see. I love the light you have on the first drawing of your bird-dude, and the master studies are shaping up pretty well! Doing one regularly is a great plan, I hope you can keep up with it!

    You might want to mix in some landscapes, if you want that to be part of your skillset.

  • BlindPsychicBlindPsychic Registered User regular
    Thanks Iruka, I'm in much better shape now. Landscapes are definitely on the to-do I watched Noah Bradley's practice videos and he loves doing landscapes so I have a good template to follow w/ that approach. I want to get back to a painting a day, but its a tough trade off for me. I really love drawing so its what I go to first each day. I have limited amounts of time each day to actually work (like 5 or 6 hours tops), and at the same time I'm trying to actually finish more pieces so doing more painting studies means less everything else, but maybe for April I can set myself a landscape a day challenge for something new. I hope to post more frequently here too as well.

  • BlindPsychicBlindPsychic Registered User regular
    Hey guys, I need some help again. First off there's some new paintings up on my tumblr. And that relates to where I'm at right now. The process is working in digital has got me all twisted. It's mainly in the process of taking a rough I've drawn in ps and taking it further a long. I guess which is weird since I've done it but I feel like I'm not working it it in a logical way. I guess the two main ways I'd like to tackle things is either from the cartooning approach of inking or finishing a line drawing first, then flats etc, or the painterly approach of having a relatively clear drawing and then finishing it, like how Matt kohr does it.

    With inking I feel like i just end up weakening my sketch in the ink phase instead of helping it. Mostly because the wavering line weight I think.

    And on the painterly front it's mostly in brush control. I've been practicing with just a solid color brush first and then softening edges where they should be. It ends up getting over worked and not helping.

    So basically I'm just wondering how much it is is just mileage. But I'm wondering if there's a logical way to practice things in studies so I don't get rattled. Trying to do my own pieces just frustrates me more than anything because of those process things. So any help would be appreciated. I wanna post some sketch pages soon too just to get some feed back on that and so this isn't just a text dump. Thanks y'all

  • IrukaIruka Registered User, Moderator mod
    I'm starting to learn to sketch in ink. I find that for me, personally, I need to start with a drawing I'm not afraid to ruin, and learn to draw with the ink rather than try to plan everything out down to the letter and ink over it super carefully. Your results may vary, but to me ink is a media where you have to learn to not be afraid of it. Even if this doesn't end up being your main process, it might be worthwhile to try. Learning what you can do with your brush while in the moment, and not second guessing each stroke can help. And if you goof just a little, you can save it bu scanning it and digitally fixing it.

    For painting, often studies of maters sort of have that effect of looking way better than what you can currently paint. The source material is better than what our imagination produces. You can combat it with gathering reference like hell, with lighting schemes that are about what you are going for, and studying those before you embark on your painting. Its a pain in the ass, but it does work.

    I think process itself is more personal, unless you are on a production timeline (or want to be in a studio environment) you can have a bit of a messy process if it still nets you results. You'll benefit from watching other artists tackle things, so If you have a schoolism sub, or favorite artists who stream, spend time just casually watching them and trying to dissect how they tick. Despite the way it can feel sometimes, there are multiple approaches to getting the same results, and few of those approaches are "wrong" though some are inefficient.

    I feel like some of your paintings would benefit if you eliminated the lines and went fully into painting. Sort of a personal preference, but thick, black lines flatten things out, and you are clearly going for light and volume. It maybe challenging at first, but it'll afford you some new avenues for learning how to finish things.

    Anyway, be sure to post some images inline if you want people to look.

  • BlindPsychicBlindPsychic Registered User regular
    edited May 2017
    Thanks Iruka, I've been doing studies of ovopack bc his combination of painting style and colors is basically what I want to shoot for right now.
    First here's the new paintings since phone posting prevented it:

    And some sketches. sorry for the cam shots

    BlindPsychic on
  • BlindPsychicBlindPsychic Registered User regular
    @Doodmann 's post made it occur to me that I should post some design stuff, even though my day to day design things are zzz. Here's some little fun things:
    Here's some older stuff from ~6 mo ago


    And here's a Rembrandt study I was working on this week

  • IrukaIruka Registered User, Moderator mod
    Your inking doesn't look bad! It takes time to get used to and in my opinion its one of those medias where you are just always going to have fuck ups every now and then.

    Those plant sketches have a lot of life to them, and the study is alright too.

  • BlindPsychicBlindPsychic Registered User regular
    Thanks Iruka, those were done from life, I was basically taking a weekly trip to the gardens last summer.
    Here's some
    art from this week

  • BlindPsychicBlindPsychic Registered User regular
    This one was a very long painting for a change. I probably could've kept working on it but I want to move on from it now. Back story on tumblr

  • BlindPsychicBlindPsychic Registered User regular
    edited June 2017
    Brought my sketchbook into work and came in early to scan some pages in, so here you go. Definitely looking for crits on that front. Its a mix of life drawing, photo refs (mostly) and imagination

    BlindPsychic on
  • BlindPsychicBlindPsychic Registered User regular

  • IrukaIruka Registered User, Moderator mod
    Horses have the weirdest fucking proportions, but I find the head on your belgian sketches to be a little small. Its a weird, stocky breed. Also, when you look at horse skulls, they have alot of real estate in the back of their jaw. Capturing that goes a long way in getting their horsiness, down.

    I like your sketches though! Nice to see the exploration.

  • BlindPsychicBlindPsychic Registered User regular
    Yeah I find I have a tendency to shrink the heads on horses, I ended up working the horse in the painting over a lot to get it to where it is and its probably still a little on the small side. Thanks for taking a look though. I'll practice some more on that since I want to have a horse buddy to go with the soldier character.

  • BlindPsychicBlindPsychic Registered User regular
    This was another 'fast'ish one in that it wasn't meant to be a full illustration, just an idea of a pose I had. something isn't clicking with it and I'm not sure what. But I feel like I'm improving with each one of these I work out. I think working through resolving all the parts of a picture is worth it for my development and not doing things flippantly which I've done too long.

  • IrukaIruka Registered User, Moderator mod
    The sparks(?) dont seem to be originating from where any one point actually contacts the ground, which makes for a poor sense of motion. Its also probably just a but hard to pull off this high velocity action post with no other visual context. It looks like they are just kinda lounging with that gun, and also sparks are happening.

  • BlindPsychicBlindPsychic Registered User regular
    Yeah I can see that. I wanted to start adding in some bg elements that I wasn't too happy with, but its a pose/concept I'll revist again cause I think its cool. It was mostly inspired by pics of motorcycle racers falling and the sparks coming off their armor. Thanks for the response Iruka! I have another piece I want to do with the moustache guy that will probably be a longer more involved painting like the last one, but I want to get it done over the weekend hopefully. In the mean time its more master studies for me I think. (Like doing more landscapes)

  • BlindPsychicBlindPsychic Registered User regular
    edited June 2017
    edit double post

    BlindPsychic on
  • BlindPsychicBlindPsychic Registered User regular

  • Angel_of_BaconAngel_of_Bacon Moderator mod
    Her right (our left) ankle would be broken in that position. The ankle rotates up and down, but any significant left/right rotation actually happens at the hip. Try turning your ankle and see how the whole leg pivots in turn with it- in the painting the leg and the foot are facing different directions.

  • BlindPsychicBlindPsychic Registered User regular
    The other way around you mean right? The legs got a little funky, I didn't watch the perspective on them. I'll see if I can fix it

  • BlindPsychicBlindPsychic Registered User regular
    Hows this?

  • Angel_of_BaconAngel_of_Bacon Moderator mod
    edited June 2017
    It's still got the same problem. Let me try to illustrate the issue-
    The top 2 sketches are possible solutions to the problem: either orient the foot so it is inline with the leg, or rotate the whole leg at the hip to match that orientation of the foot. Trying to maintain the current orientation of both makes the ankle look broken, because the ankle does not have the ability to rotate that much in that direction by itself.

    EDIT: On second examination, you might be attempting the second version, but it's not coming across because of a lack of definition and structure to the anatomy- bending the shinbone and misplacing the calf muscle has warped the initial read of the anatomy.

    Angel_of_Bacon on
  • BlindPsychicBlindPsychic Registered User regular
    edited June 2017
    is this the right idea?

    Oh I am reading it backwards, this leg look better now?

    BlindPsychic on
  • Angel_of_BaconAngel_of_Bacon Moderator mod
    Started painting over before the update, but here goes anyway-
    My initial confusion was about where the placement of the knee was- it's not very well defined, and given the silhouette I thought it was in a different location altogether.
    The new one is a bit better, yes, but I feel like leaving the knee and shinbone not having any shading to indicate them makes the leg still feel a little unstructured. Also, it's worth noting that in my drawings and paintover I'm making a point to have the front contour of the shin be a straighter line (to indicated the hard, straight shinbone) versus a more curved contour on the back (to indicate the fleshy gastrocnemius muscle). Opposing curves versus straights in this manner is a pretty standard way to add strength and structure to a drawing- having symmetrical curves on a limb can make the drawing seem flat or like the limbs are being puffed up like a balloon, rather than being a structure of bones and muscles and tendons all interacting with each other.

  • BlindPsychicBlindPsychic Registered User regular
    @Angel_of_Bacon thanks so much for the paint over. I totally get how that is unclear. I'll try to tighten the anatomy up some more. Thanks for the crits I really appreciate it

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