surrealitychecklonely, but not unloveddreaming of faulty keys and latchesRegistered Userregular
edited February 2010
Okies, the thing you need to REALLY look at is chins. You're often drawing the mouth way too high up close to the nose - it produces a characteristic look, especially in your drawings of females. Also, your usage of heavy lines varies and so do the qualities of the pictures - those where you have been quite gentle with the lines are SO much better than the ones where you are heavy.
i'm fine with chins as long as im using a reference. when im guessing, thats when things go to shiz.
I posted this one in the doodle thread earlier, and mustang pointed out it looks like a mask EDIT: cos of the chin i believe
Doodles from today
Also, just out of interest, in the photo below, the top pic is what ive done in the last three weeks. about 80+ pages of A3 (all decent quality drawings). Below is the pile i want to get through in the next couple of months.
Been a while since I popped in here, and you've really kept up with all of the hard work. Good jorb!
Specifically, some of you're pencils are looking rather nice.
You might want to work some color studies into your routine, too. Take it from me, it's no fun when you a disproportionately better at drawing than color. It can hold you back big time!
These are some of the best pencils I've seen you do. The shading is a lot smoother and blends really nicely, and the greater tonal range/contrast makes the drawings seem both a lot more confident and solid. Do more of this.
Cheers folks.
Colour study of one of my pencil sketches. I've been reading up on the American cival war lately (just out of interest) and decided to do a paint.
\
WIP so far
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited February 2010
I'd like to see you drop back and do some cube and sphere studies. I think they would really help you with your more complex stuff. Structure is still a big weakness, it's almost like your very very good at synthesising it, but you'll trip up every now and again that will show up your weakness in the area.
I'm always like "Oh cool, you've got it!" and then there will be something, like the left hand (his left) above and it all comes crashing down. I still don't think you see your objects in a 3d environment yet. The thing is, when you do, I think you're going to take a massive leap forward and start really kicking some ass in a big way.
I agree with Mustang. Many of your works look really good, but are not as strong under close scrutiny. You've shown tons of improvement, just make sure your fundamental structures hold up.
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surrealitychecklonely, but not unloveddreaming of faulty keys and latchesRegistered Userregular
edited February 2010
You're only getting better. Push it to the limit, walk along the razor's edge don't look down just keep your head or you'll be FINISHED
Mustang - some sphere/cube value studies is definately worth doing. cant argue against that. in regards to his hand, definately agree, can see that it is lacking structure. Im not confident blocking in shape and value with colour at the moment. I think i need to push the shadows and highlights more to give it more volume.
NibCrom - Im glad you're seeing improvement
surrealitycheck - are you playing a little too much GTA 3? (thats the only thing i know that song from)
This one is of an Australian politician Peter Garrett, with Kevin Rudd hiding behind his back.
I was going to draw press mics in front of him, but the idea came around a little late. I'd like to develop this further into a type of editorial illustration
[IMG][/img]
Studies practicing women
Actress Linda Darnell
A few nights ago i decided to finish this off quickly. Was going for a bit of a complementary colour scheme.
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surrealitychecklonely, but not unloveddreaming of faulty keys and latchesRegistered Userregular
Surrealus - Appreciate the time you took to post that. It definately made me think.
:^:
I recently picked up "Drawing on the Right Side of the Brain" by Betty Edwards. Supposedly it's a real classic and was a big part of popularizing the up-side down drawing exercise, judging by a quick google on reviews it holds up still today.
Anyway, it's very good and one of its goals is to make sure the reader really learns to draw realistically, without having to resort to tricks. I'm not going to say anything extreme like that you should go thoroughly work through the whole book, but just borrowing it from your local library and flipping through it to find any tips and exercises that are useful for you might help. You know, if you feel like it.
I'll keep lurking this thread now and then, looking forward to see where you've come in a year or two.
I hope you continue to check it out dude! I won't dissapoint.
Heres an oil painting i've started for my mates 21st birthday. He loves old pin-up girls (i think everyone does). I was thinking of doing a 'dirty' one, but decided to keep it 'clean'.
It's basically a direct copy of Peter Dribens work. Though not my composition/design, i'm sure it will be good practice for oils and mixing colour.
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited March 2010
That face is horrifying on so many levels. I insist you paint over it as quickly as possible.
Started using drying mediums on this now. I'm pretty happy with the proportions, so its basically just going over everything smoothing it out. Her face is shit though. Im going to have to go in with smaller brushes.
Any thoughts so far?
BTW, the high contrast against her left shoulder and hair is caused by reflection from the paint.
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited March 2010
I'm not really buying the skirt right now, it looks more like two red blobs than fabric. It's a bit hard to crit when it's still this early on, but I the torso area is looking convincing.
It's a bit hard to crit when it's still this early on,
lol. i actually considered this to be quite far in to the process. I guess it needs lots of work then.
CheerfulBear - My noses probably all look the same when i draw from imagination. it's a bad habbit. But most of the noses i've drawn the last two pages in this thread are referenced from photos. So im not sure why they are looking the same.
Kendeathwalker - The fundamentals are off in the painting? My pencil sketches? I need to practice my fundamentals? I'm confused
Take a photo of the surface straight on next time plz k thx
Hmmmm... ok. Its a bit hard because the oils are always wet, the light in my room shines on the paint when i try to take a photo front on. I'll post one up tomo.
EDIT: Actually, here you go. its a shitty photo
Reworked the skirt like mustang pointed out. Hope its more believable now.
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited March 2010
You need to so something with the face. She still has the expression of a blow up sex doll or that she just been struck by rotten case of gastroenteritis and is moments from shittig herself. The eyes are the biggest problem. We're going for sexy here, not "Oh fuck I think I left the iron on"
Here's a very quick paintover tidying up the features a little.
The thing that immediately stood out to me when I painted over is that your not measuring out the face before you draw it, there's an awful lot of sturctural issues there. Also the calves and shoes are reading at angle thats a lot more turned in than where the thighs indicate they should be.
But most of the noses i've drawn the last two pages in this thread are referenced from photos. So im not sure why they are looking the same.
They look that way because you're still not observing accurately. It's gotten better but you are still not hitting it 95% of the time.
When Ken says "Fundamentals Fundamentals Fundamentals", that is what he means (not to put words in his mouth). Sketching off some Loomis heads and a few celebrities is fine and dandy but you should be doing some work where you slow down enough and take the time to slog through and actually get it right. Do you feel that you've hit a perfect likeness, or even a "great/good" likeness with any of these studies so far? If it doesn't look perfect then you need to figure out why it doesn't and fix it. If you can't figure it out, or if you DO think it looks perfect then put it along your ref for us and we'll break it down for you.
Volume of study is important, but it's equally or more important to temper that with some involved, thoughtful, methodical study that you sink many hours into and penetrate into those deeper layers that you are totally missing with a "mile wide, half-inch deep" approach.
I'm not going to ask you to do a 40 hour Bargue copy, but there needs to be some kind of in-between with the fast loose sketches you're doing now and a long academic study.
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MustangArbiter of Unpopular OpinionsRegistered Userregular
Do you feel that you've hit a perfect likeness, or even a "great/good" likeness with any of these studies so far? If it doesn't look perfect then you need to figure out why it doesn't and fix it. If you can't figure it out, or if you DO think it looks perfect then put it along your ref for us and we'll break it down for you.
Something to try doing when doing a photo study, is to get it as close as you can to a likeness and then lay the photo over the drawing in photoshop (using transform to get the sizes generally the same). It'll instantly highlight the areas where you were off.
Important to emphasize that you should only superimpose work over your reference after you have completely exhausted your other basic tricks and guile to get the work as close as possible.
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MustangArbiter of Unpopular OpinionsRegistered Userregular
surrealitychecklonely, but not unloveddreaming of faulty keys and latchesRegistered Userregular
edited March 2010
Another thing you could try is just going really overboard on the measurements. For every single plane line it up using a pencil while you observe and see how much of a difference that makes. I tend to find that accuracy is just literally about how long you spend laying down all the angles and measurements you can do - it's pretty linear in terms of return. Although this probably becomes less true as you get better, but I'm not good yet.
Im going to call this quits now, otherwise it wont dry by saturday. I fixed the eyes which mustang pointed out where off (though not as successful as his paintover as she still looks like she left the iron on ) and i touched up some of the legs, hair and background colour.
Fun study. I think i'll be using oils much more now.
Hi folks. Considering i've got too much time on my hands at the moment, i've decided to start a graphic novel. At the moment i'm going to be doing two spreads (4 A4 pages). I'm treating these as an initial practice mock-up before i try to aim higher.
I've doodled up one of my spreads layout, and i've started refining the compositions on seperate pieces.
Im working in pencil atm, and my plan is to ink these later on, then colour digitally.
Are these two full pages in succession? Here's what I don't dig: an establishing shot on a full page and then another similar establishing shot done right after it, which is very similar just a little closer and at a slightly different angle. It looks like these guys are getting something out of the trunk and bringing it into the building?
Here's a different way to do it that I think would be more interesting:
Make a page with 3 – 6 panels.
Show a wide shot of the car driving through the city.
Focus on the car.
Show the guy inside, maybe we see the driver's face, but the passenger is in the back seat, his face covered by shadows.
The car parks and the guy gets out and we see him pull package out of the trunk.
Then on the next page, have a full page of just this establishing shot, showing where this guy is and making the audience wonder what he is doing.
Obviously you could start this a million different ways, I just think you could challenge yourself to make this more interesting. Using two full pages to show very similar things is not dynamic and is not a good use of your pages. Hope that helps!
I probably havn't explained it well, but those two images are individual frames on seperate spreads (not full page images). The close shot will be the 'intro' establishing the arrival at the location, while the wide shot will appear on spread two when the dudes are leaving the building.
Your crits/advice on how to begin showing the car, close up, inside etc is all good. Cheers dude.
Man, this is taking longer than i thought. Started inking a little, practicing the technique. This is really putting my understanding of lighting and shape to the test!
WIP
EDIT: BTW, im inking digtially... so i guess its not really inking. You know what i mean
Looked at that dudes work. Really inspiring.
I finshed these two images. I referenced his process as examples (that 70/30 rule is awesome)
I printed off waht i had started doing digitally onto good quality cartridge paper and inked the rest traditionally. I felt i had more control and didnt need to aim for perfection (like i always feel i have to with digital). Man, inks are freaking awesome.
Critique away. Any areas which dont work, dont show form etc i'd like to hear
Posts
Compare http://i849.photobucket.com/albums/ab57/atm89/img032.jpg to http://i849.photobucket.com/albums/ab57/atm89/103_4936.jpg
I posted this one in the doodle thread earlier, and mustang pointed out it looks like a mask EDIT: cos of the chin i believe
Doodles from today
Also, just out of interest, in the photo below, the top pic is what ive done in the last three weeks. about 80+ pages of A3 (all decent quality drawings). Below is the pile i want to get through in the next couple of months.
Specifically, some of you're pencils are looking rather nice.
You might want to work some color studies into your routine, too. Take it from me, it's no fun when you a disproportionately better at drawing than color. It can hold you back big time!
These are some of the best pencils I've seen you do. The shading is a lot smoother and blends really nicely, and the greater tonal range/contrast makes the drawings seem both a lot more confident and solid. Do more of this.
Colour study of one of my pencil sketches. I've been reading up on the American cival war lately (just out of interest) and decided to do a paint.
\
WIP so far
I'm always like "Oh cool, you've got it!" and then there will be something, like the left hand (his left) above and it all comes crashing down. I still don't think you see your objects in a 3d environment yet. The thing is, when you do, I think you're going to take a massive leap forward and start really kicking some ass in a big way.
NibCrom - Im glad you're seeing improvement
surrealitycheck - are you playing a little too much GTA 3? (thats the only thing i know that song from)
This one is of an Australian politician Peter Garrett, with Kevin Rudd hiding behind his back.
I was going to draw press mics in front of him, but the idea came around a little late. I'd like to develop this further into a type of editorial illustration
[IMG][/img]
Studies practicing women
Actress Linda Darnell
A few nights ago i decided to finish this off quickly. Was going for a bit of a complementary colour scheme.
Listen to that and feel your skill jump 3000%
My computer melted and the only CD I could find in this house was a set of old 80s cheeserock. Shit is amazing.
Shit man, i can't believe i've been listening to the wrong inspirational song all this time!
http://www.youtube.com/watch?v=-Qae_TUTeGo
Cheers for the link. i'll keep it on loop all day! :P
:^:
I recently picked up "Drawing on the Right Side of the Brain" by Betty Edwards. Supposedly it's a real classic and was a big part of popularizing the up-side down drawing exercise, judging by a quick google on reviews it holds up still today.
Anyway, it's very good and one of its goals is to make sure the reader really learns to draw realistically, without having to resort to tricks. I'm not going to say anything extreme like that you should go thoroughly work through the whole book, but just borrowing it from your local library and flipping through it to find any tips and exercises that are useful for you might help. You know, if you feel like it.
I'll keep lurking this thread now and then, looking forward to see where you've come in a year or two.
Heres an oil painting i've started for my mates 21st birthday. He loves old pin-up girls (i think everyone does). I was thinking of doing a 'dirty' one, but decided to keep it 'clean'.
It's basically a direct copy of Peter Dribens work. Though not my composition/design, i'm sure it will be good practice for oils and mixing colour.
Webcomic Twitter Steam Wishlist SATAN
The light in my room is very poor at night. Calling it quits for tonight.
also some other shit ive been doing
Neil Diamond! * i think thats the best hand i've drawn (except for the ring on his small finger)
Any thoughts so far?
BTW, the high contrast against her left shoulder and hair is caused by reflection from the paint.
CheerfulBear - My noses probably all look the same when i draw from imagination. it's a bad habbit. But most of the noses i've drawn the last two pages in this thread are referenced from photos. So im not sure why they are looking the same.
Kendeathwalker - The fundamentals are off in the painting? My pencil sketches? I need to practice my fundamentals? I'm confused
Hmmmm... ok. Its a bit hard because the oils are always wet, the light in my room shines on the paint when i try to take a photo front on. I'll post one up tomo.
EDIT: Actually, here you go. its a shitty photo
Reworked the skirt like mustang pointed out. Hope its more believable now.
Here's a very quick paintover tidying up the features a little.
The thing that immediately stood out to me when I painted over is that your not measuring out the face before you draw it, there's an awful lot of sturctural issues there. Also the calves and shoes are reading at angle thats a lot more turned in than where the thighs indicate they should be.
LOL.
Cheers for the paintover dude, helps a lot.
They look that way because you're still not observing accurately. It's gotten better but you are still not hitting it 95% of the time.
When Ken says "Fundamentals Fundamentals Fundamentals", that is what he means (not to put words in his mouth). Sketching off some Loomis heads and a few celebrities is fine and dandy but you should be doing some work where you slow down enough and take the time to slog through and actually get it right. Do you feel that you've hit a perfect likeness, or even a "great/good" likeness with any of these studies so far? If it doesn't look perfect then you need to figure out why it doesn't and fix it. If you can't figure it out, or if you DO think it looks perfect then put it along your ref for us and we'll break it down for you.
Volume of study is important, but it's equally or more important to temper that with some involved, thoughtful, methodical study that you sink many hours into and penetrate into those deeper layers that you are totally missing with a "mile wide, half-inch deep" approach.
I'm not going to ask you to do a 40 hour Bargue copy, but there needs to be some kind of in-between with the fast loose sketches you're doing now and a long academic study.
Something to try doing when doing a photo study, is to get it as close as you can to a likeness and then lay the photo over the drawing in photoshop (using transform to get the sizes generally the same). It'll instantly highlight the areas where you were off.
http://www.youtube.com/watch?v=dMwhZryRUr4
Fun study. I think i'll be using oils much more now.
I've doodled up one of my spreads layout, and i've started refining the compositions on seperate pieces.
Im working in pencil atm, and my plan is to ink these later on, then colour digitally.
WIP pencils
also, some paints i've done the last week.
acrylic and ink
acrylic
Are these two full pages in succession? Here's what I don't dig: an establishing shot on a full page and then another similar establishing shot done right after it, which is very similar just a little closer and at a slightly different angle. It looks like these guys are getting something out of the trunk and bringing it into the building?
Here's a different way to do it that I think would be more interesting:
Make a page with 3 – 6 panels.
Show a wide shot of the car driving through the city.
Focus on the car.
Show the guy inside, maybe we see the driver's face, but the passenger is in the back seat, his face covered by shadows.
The car parks and the guy gets out and we see him pull package out of the trunk.
Then on the next page, have a full page of just this establishing shot, showing where this guy is and making the audience wonder what he is doing.
Obviously you could start this a million different ways, I just think you could challenge yourself to make this more interesting. Using two full pages to show very similar things is not dynamic and is not a good use of your pages. Hope that helps!
Your crits/advice on how to begin showing the car, close up, inside etc is all good. Cheers dude.
WIP
EDIT: BTW, im inking digtially... so i guess its not really inking. You know what i mean
http://www.youtube.com/watch?v=-oO2J2ponho
you also should take a gander at his work..adds weight to his words
http://seangordonmurphy.deviantart.com/
I finshed these two images. I referenced his process as examples (that 70/30 rule is awesome)
I printed off waht i had started doing digitally onto good quality cartridge paper and inked the rest traditionally. I felt i had more control and didnt need to aim for perfection (like i always feel i have to with digital). Man, inks are freaking awesome.
Critique away. Any areas which dont work, dont show form etc i'd like to hear