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I draw stufffffffff AND PAINT!! (NSFW STUFFZ AND NSF56K)

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    LoomdunLoomdun Registered User regular
    edited December 2008
    I establish a basis of what I can perceive the head from what I see but I do not apply it in proper proportion and I account all measurements with the head that should be there but which I do not apply

    Edit: also I'm not sure if your thinking of the same type of studying. It will all be fine once this weekends comes. My studies arn't me spending time to make a detailed picture.

    Edit again: I think what I said might be confusing. Scroll the head off in a picture then picture the size of the head, then count that measurement through that body, it = 7 and 1/2

    Loomdun on
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    LoomdunLoomdun Registered User regular
    edited December 2008
    This is probably... The most... BORING PROJECT I HAVE EVER HAD THE HONOR OF WORKING ON.

    IMG_0235.jpg

    Some call it 21st century art. I call it douchebag art. No offense to anyone that likes this type of stuff, why oh why is my teacher making me make this. Should I even use this for my portfolio?

    Edit: and its so bad, this is like some crappy outline I had to salvage that I had to draw in class at the beginning of the year so I basically I have to fix the crooked and wobbly lines while I shade through everything, it pisses me off its so repetitive and mind numbingly easy yet long.

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    winter_combat_knightwinter_combat_knight Registered User regular
    edited December 2008
    Yeah man, if you don't like this stuff there's probably not much point using it, especially if you don't think it's one of your better pieces. I had to do a similar thing at uni last year. I guess it forces you to look at shadow and lighting differenly, but still... Boring.... zzzzzzz....

    winter_combat_knight on
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    NappuccinoNappuccino Surveyor of Things and Stuff Registered User regular
    edited December 2008
    I think, more than anything, it is an attempt to get you used to applying different values, not so much showing you anything about an actual shadow. (i.e. its good for a beginner at shading to do so they can apply the concept to more realistic things later)

    Nappuccino on
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    Rorus Raz wrote: »
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    ManonvonSuperockManonvonSuperock Registered User regular
    edited December 2008
    cakemikz wrote: »
    Honestly I have never really understood how other schools do gestures. For us they are just like quick miniature normal drawings.

    Cake, what you're describing would normally be considered thumbnails. I believe that 90% of drawing classes use Nicolaides' definition of gesture.

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    sportzboytjwsportzboytjw squeeeeeezzeeee some more tax breaks outRegistered User regular
    edited December 2008
    Loomdun wrote: »
    Edit: and its so bad, this is like some crappy outline I had to salvage that I had to draw in class at the beginning of the year so I basically I have to fix the crooked and wobbly lines while I shade through everything, it pisses me off its so repetitive and mind numbingly easy yet long.

    If it's any consolation, it's kind of fun to look at for a minute.

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    LoomdunLoomdun Registered User regular
    edited December 2008
    AWEIHJTAWORIJTAWROIYJOWARIJYOIAJYOIAJOY MY STATUE IS ALMOST DONE FOR THE LOVE OF GOD I HAVE SPENT LITERALLY 35 HOURS NOW DETAILING EVERY CRACK

    Edit: and i'm gonna pose it hereee even though I update the main part with it because its SO SWEET THAT ITS SO CLOSE.

    IMG_0237.jpg

    I'm going to finish the buttom section so that the statue does not fade off. But end through the page, And then mix media it, by using a thick dark charcoal to make a black background

    Loomdun on
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    ScosglenScosglen Registered User regular
    edited December 2008
    Regarding that bust, it sort of looks like you've lost sight of the forest for the trees--which is to say that you've spent so much time detailing every scratch and nick and minor detail that you've neglected to actually sculpt out the form of statue itself very well. It's very flat and busy. The little bumps and ridges aren't as important to reading the 3D form here as the actual planes of the sculpture.

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    The_Glad_HatterThe_Glad_Hatter One Sly Fox Underneath a Groovy HatRegistered User regular
    edited December 2008
    what Scosglen said.
    Try making a photocopy of the drawing, and add some deeper shadows to it using broad strokes. give yourself 10 minutes tops.

    The_Glad_Hatter on
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    rtsrts Registered User regular
    edited December 2008
    I also agree, I am not really sure what you are trying to accomplish honestly.
    cakemikz wrote: »
    Honestly I have never really understood how other schools do gestures. For us they are just like quick miniature normal drawings.

    Cake, what you're describing would normally be considered thumbnails. I believe that 90% of drawing classes use Nicolaides' definition of gesture.

    Sadly true. If I were going to follow an example I would probably pick a vastly superior artist to follow, but well...that is the state of art training in this country. And the world for that matter. Though I think you are mistaken about them being called thumbnails, I have definitely never heard them called thumbnails. We usually call them quicksketches or gestures at my school, but most often quicksketch to better distinguish them from the normal concept of gesture (which I find completely ridiculous).

    rts on
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    LoomdunLoomdun Registered User regular
    edited December 2008
    When you say the form, do you mean what the sculpture itself looks like its wrong, or the shadow or the consistancy of a shadow that would give it a form?

    Edit: and for cakemikz It was something I decided to do for fun, I was curious as to how much detail I can put in something.

    Edit again: if darkness is mixing to pull the image out more, I can alter that very easy.

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    rtsrts Registered User regular
    edited December 2008
    Well detail is kind of moot without accuracy. You have put in so much 'detail' that I could barely tell what I was looking at. And this is actually common in a lot of the work you have posted so far. I think you need to focus more on the big picture and work down, not the other way around.

    It's not really wrong to experiment, but be careful that you aren't creating bad habits by focusing on your strengths.

    rts on
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    LoomdunLoomdun Registered User regular
    edited December 2008
    When you say alot, are you talking about all the portfolio work I have posted? I seem to have difficulty understanding the trouble with seeing what it is part.

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    rtsrts Registered User regular
    edited December 2008
    Almost all of the work you have posted focuses on the small stuff, and never on the big picture. For example;
    IMG_0185.jpg
    Here you focus on the halftones around her body, indicating ribs, scapula etc, when the figure itself still needs a lot of work to get the forms to read. This is why anatomy study too early in the process of learning to draw the figure can actually hurt you. You haven't learned to create a real three-dimensional form yet and you are already worried about getting each little anatomical indication in there. Even the ones you can't really see. While I am sure the model or figure you were working from in this drawing was emaciated, some of those forms would still disappear into shadow or light, because a three dimensional form turns in space.

    I did, and still do this same thing sometimes, but it works a little better for me I think because I don't know much about anatomy. All I have to work with is what I see, I am not putting anything into my drawings that I don't see. And while you may see some or all of what you have drawing, you are focusing on those tiny things which do not matter, and not on the big picture. Remember that you are capturing a moment in time with these drawings, you have to TELL your audience what to focus on, the same way a photographer does. If you give everything equal importance then nobody is going to want to look at your drawing because they don't even know how. You have to help them.

    Think big, then think small. But the big picture, should always read, from 100 feet away, 10 feet away, from 2 feet away.

    And the only reason I am being this hard on you is because you seem so serious about studying the figure and how to draw in a fine representational manor.

    rts on
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    LoomdunLoomdun Registered User regular
    edited December 2008
    Oh I see, Thats a really big step for me I've still been finishing studies on leg muscles, and still going to have to go over another study on the head + feet. But since i was spending so much time on my sculpture I decided to try to make some focus point. Making the face the main drawing point and the neck a side thing, I was actually experimenting since this thing lasted with me for a month and a half, over 7 variations of applying shades as well as seeing how it looks with a high exageration to specific cracks in order to give everysingle part depth.

    It was really fun I'm about to update the near finish thing, I plan adding a bit more shade. Then I plan spraying it. Then I plan making the background black.

    Edit: also the picture can be seen literally from 100 feet away

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    LoomdunLoomdun Registered User regular
    edited December 2008
    So basically some people where curious about the progression I was making so I decided to pile through some of my old stuff (I have literally saved everything I ever worked on) my closet stores like... 10-20 shirts, and everything else is sketchbooks and paper, and projects.

    So anyways heres this is everything at the beginning of this semester to the end for everyones curiousity. And I guess I'll just remake this the Loomdun does art thread, I re-did the first post I placed all my stuff in number order for people who want to see progress there to.

    It was basically like 40% sketchbook, 45% newsprint, and 15% 10-30 hour project stuff
    here are my sketchbooks for this semester, I have alot more in my cabinet but that stuff. No. You will never. ever see what those drawings look like. EVER
    IMG_0243.jpg

    and then sketchbook work in progress order + a really really early semester piece (lol)

    IMG_0242.jpg

    IMG_0246-1.jpg

    IMG_0241.jpg

    IMG_0244.jpg

    IMG_0245.jpg

    IMG_0251.jpg

    IMG_0061.jpg

    IMG_0248.jpg

    IMG_0250.jpg ( This was when I just whent into my crazy mood swings on how I cant draw hands )

    IMG_0249-1.jpg

    IMG_0252-1.jpg

    IMG_0253-1.jpg

    and then I was starting near the end of the year to study how to apply the face more accurately and faster. That was cut very abruptly short by hence... Why I cant even draw right now.

    IMG_0255.jpg

    IMG_0254.jpg

    And then you can look at the stuff I did in between. + alot of the stuff I have earlier in this thread is alllll after this, I just never showed anything because I knew it was bad.

    Edit: except the last two I just placed.

    Edit again: and why am I posting this? Because I can't work, not atleast for a week, if not more. And someone wanted to see.

    Loomdun on
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    GodfatherGodfather Registered User regular
    edited December 2008
    I'm not sure if this will help you, but I thought i'd give it my best shot.

    If there is something that would greatly help your work, it's line quality control.

    Right now you seem to be applying the same hard, brittle outline to everything you're drawing. According to others your strong suit is in rendering values, yes? While that is certainly a desirable skill to hone as an artist, something that really brings it to fruition is pressure sensitivity with pen/pencil/ink brush/whatever. If your line quality is weak, you'd be very surprised how far it removes a person from the illusion of reality on paper when combined with even fantastic values, regardless of medium.

    Something I would strongly emphasize you practice is various blind contour studies. Don't believe what anyone says about blind contour being a warm up exercise, it's horseshit. Blind contour exercises are so important it's not even funny; to do a successful blind contour, there are two things to remember:

    1) Don't worry about what it looks like. Seriously.

    2) Slow down. A LOT.

    The point of a blind contour is to get a feel for the model. Pencil pressure on the paper should be extremely light, as if you're placing the utensil on the model itself. Think about how hard you're pressing: would that put the model in any pain? Judging by how hard you press down on your exercises, you're practically digging into their skin. The only way to get a grasp on this idea is to slow down when drawing blind contours.

    A whole hell of a lot.

    For example, at our school we spent either thirty minutes to an hour on a single blind contour. If you have finished the entire figure by the end of the hour, or worse during the thirty minutes, you are moving far too fast. Finishing the contour isn't the point of the exercise, but rather to analyze the model. You are supposed to be thinking that your pencil is on the model, as if you're feeling every bump, every cranny of the figure. The only way to do that is to move at an almost glacier pace, and trust me when I say it was difficult for me at the start. Sometime during next semester we're going to do a five hour blind contour!

    Now as for the first bullet point, make sure that you're not looking at the paper when doing these. A mistake that everyone makes is when they worry about what the blind contour looks like, so they keep glancing down at their drawing, trying to make it look like a piece of art. This is a terrible practice and it should be avoided at all costs. Again, an artist should not care what these look like, and should immerse themselves in the subject at hand. Follow the line into wherever a curve goes, and then and only then are you allowed to look at the drawing, pick up your pencil and relocate at the next point. If you do these correctly, you will not only train your hand to move at a steady pace, but will create a contour that is (for the most part) proportionately accurate and sensitive to the figure.

    Something that i'd like to get into as well is cross contours, but to be honest those are difficult to describe and every teacher has their own way of doing these.

    All of the exercises we do during first semester here are based on line control/quality, and are entirely based off of Nicolaides' book, so you can find all of the in-depth descriptions in there.

    Godfather on
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    LoomdunLoomdun Registered User regular
    edited December 2008
    When you say this, are you talking about everything I just posted? Because this is all really really old stuff.

    Edit: because I never press down hard on a drawing if it takes more then 5 minutes, 5 minute drawings are what i use to study shapes and applying it to the figure in cylinders and what not.

    Edit again: but thank you, although I do understand is what your saying basically is outlines make a image for graphical and flat. dark outlines make a drawing weak, it's something I do avoid, but some of my projects have it that are older. Such as the muscle one which is #3 out of the list in portfolio works.

    Also other things like the hand, how the top one is incomplete, you can still see the 4H outline. It's not finished filling in and the hand was going to become a more darker pigment of skin color.

    Edit one last time: also I've done blind contour before I understand what you mean.

    Loomdun on
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    VirumVirum Registered User regular
    edited December 2008
    Why do you post old stuff if you have been drawing so much the last week that your arm is so sore than you can't possibly draw anymore for another week?

    If all you have to say is, "yeah, that's old stuff there" - then stop posting the "really really old stuff."

    Virum on
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    GodfatherGodfather Registered User regular
    edited December 2008
    A contour shouldn't merely be an outline of a subject. I did that for a good four weeks until a teacher in another class sat down with me and thoroughly explained what a contour is.

    For example, let's say you're drawing your hand. The human hand has many folds, crevices, concave shapes, you name it. When drawing a contour, not only is it important to draw lightly, as if the pencil is actually touching that hand, but you must follow any lines that go into the hand. Doing so will give your hand depth/volume, and once that line disappears you pick up your point and restart at where another curve starts.

    Godfather on
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    OrikaeshigitaeOrikaeshigitae Registered User, ClubPA regular
    edited December 2008
    cross-contour drawings would probably help you a lot as well, loom, particularly figuring out the volume of an object.

    Orikaeshigitae on
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    LoomdunLoomdun Registered User regular
    edited December 2008
    So whats cross contour I was never explained that specifically.

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    GodfatherGodfather Registered User regular
    edited December 2008
    There are various different ways of doing Cross Contour, but long story short it's where you go across the form instead of around it. For example, if you were doing a cross contour of an arm you would go from one side of a wrist to another, subtracting and adding the necessary pressure to showcase the grooves and dips of the figure. With a torso you'd be going across from one side to another, the pencil just glazing over the crevices of the rib cage and stomach.

    This is one of the best ways to harness pressure sensitivity, but again it's difficult to tell and is better off shown in person.

    Godfather on
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    LoomdunLoomdun Registered User regular
    edited December 2008
    Godfather wrote: »
    There are various different ways of doing Cross Contour, but long story short it's where you go across the form instead of around it. For example, if you were doing a cross contour of an arm you would go from one side of a wrist to another, subtracting and adding the necessary pressure to showcase the grooves and dips of the figure. With a torso you'd be going across from one side to another, the pencil just glazing over the crevices of the rib cage and stomach.

    This is one of the best ways to harness pressure sensitivity, but again it's difficult to tell and is better off shown in person.

    oh right I forgot to mention, I understand what you mean. It's actually how I apply my shading on my drawings now anyways such as... One second gotta pull them out from the front page.
    IMG_0238.jpg


    IMG_0214.jpg

    I basically do a "cross" form of drawing when I draw now, It's just that it was a completely new thing to me, I began doing on the skinny female women. The one cake was using as a example, which is also one of the reasons it looks so different, in fact, all of my drawings look different from each other because they all encompass a different shading appliance.

    And since this statue drawing was over the course of the entire semester only about 40% of the drawing consist of that way of appliance, there where also 4 other ways I was using the pencil on the statue one. But if you look at the hand (which is one of my latest) You can see obvious indication of In depth line study of the texture of the object in a three demensional perspective, asides the top one which isn't done.

    Edit: you can probably guess that the Right side of the face and the middle to right side of the neck was where I did the Along the surface drawing, while the left side was where I started at the beginning. For the statue drawing.

    Edit: I did try working on more art though it was the hand
    IMG_0256.jpg
    my arm basically became really weary and so I stopped, to scared to throw everything back and then have a harder time drawing next semester.

    Loomdun on
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    LoomdunLoomdun Registered User regular
    edited December 2008
    yay I can draw again, Very little, but I can draw again, a hour is pushing it, so I'm only gonna draw 30 minutes -50 a day, until school comes THEN BACK TO 8 HOURS A DAY YAYAYAYA.

    Anyways I finished up my handz

    Edit: also I figured out that the light I was using might be the issue to blurry-seeing for some people. I re-took my statue picture, and my hands in a different form of. um light, which apparently is naturalll light. I dont know what it'll be like to so I'm EXCITED TO LOOK IN SPOILER MYSELF!!
    IMG_0258.jpg

    IMG_0259.jpg

    Edit: huh... maybe I should use natural light more often.

    Loomdun on
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    NappuccinoNappuccino Surveyor of Things and Stuff Registered User regular
    edited January 2009
    I'm not sure what is going on in the second picture.... but I think I like it.


    (is he like, made of water?)

    Nappuccino on
    Like to write? Want to get e-published? Give us a look-see at http://wednesdaynightwrites.com/
    Rorus Raz wrote: »
    There's also the possibility you just can't really grow a bear like other guys.

    Not even BEAR vaginas can defeat me!
    cakemikz wrote: »
    And then I rub actual cake on myself.
    Loomdun wrote: »
    thats why you have chest helmets
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    LoomdunLoomdun Registered User regular
    edited January 2009
    lol I failed terribly on my statue drawing I guess, no one can ever tell its a statue drawing, It was this really old chipped, smudged, painted on, drawn on, scratched, dyed on, and whatever else I can think of statue. But oh well that drawing was just one huge experiment.

    Edit: even though it wasn't successful it still taught me a whole lot of stuff.

    Loomdun on
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    LoomdunLoomdun Registered User regular
    edited January 2009
    so I've been really really lazy lately, now that my arm is completely better I can draw but I havn't really done much except started finishing a few things.

    IMG_0272.jpg

    EDIT EVERYTHINGGGG: NO TALKING TILL I GET THIS!!!

    omggggggggggggggg.... close enough.

    There, anyways I plan to re-add another layer of charcoal for the background to even it out. While I ramble here i'm going to try to get this thing in the right amount of light, it apparently has to be really really dark for my camera to see it properly.

    thereeeeee closeee enough... i'm goinggg to gooo do something else now.

    Loomdun on
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    NightDragonNightDragon 6th Grade Username Registered User regular
    edited January 2009
    "draw's" with an apostrophe means "draw is".

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    TamTam Registered User regular
    edited January 2009
    So what's with all the cracks and breaks?

    Tam on
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    LoomdunLoomdun Registered User regular
    edited January 2009
    the statues many years old and has been in a college for those many years meaning its been violated and touched in every way possible along with drawn on, painted on, and charcoaled on. I saw this statue sitting in a corner. lol

    Edit: anyways, I'm going to start on my next projectttt, now.

    But before I do that i completely forgot I had to do a week face study first before next semester ho ho hooo.

    Loomdun on
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    NappuccinoNappuccino Surveyor of Things and Stuff Registered User regular
    edited January 2009
    I don't really think that picture says "scuplture with cracks in it" but I really like the way it looks anyway. I definately wouldn't suggest keeping this as a part of your style (even if its an occasional thing) but it is a very interesting look.

    Nappuccino on
    Like to write? Want to get e-published? Give us a look-see at http://wednesdaynightwrites.com/
    Rorus Raz wrote: »
    There's also the possibility you just can't really grow a bear like other guys.

    Not even BEAR vaginas can defeat me!
    cakemikz wrote: »
    And then I rub actual cake on myself.
    Loomdun wrote: »
    thats why you have chest helmets
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    TamTam Registered User regular
    edited January 2009
    It looks like it's pieced together, detail by detail, rather than as a whole.

    Tam on
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    LoomdunLoomdun Registered User regular
    edited January 2009
    it kinda was peiced together by the way I applied it, I was curious what would happen if I would apply over emphasis to specific parts while maintaining its total shape. The look I got was this, I like to experiment with things that can be realistic, but are varied. It was a own personal style I invented while working since I dont really know many artist or any styles, so I like to make up my own.

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    TesiacoilTesiacoil Registered User regular
    edited January 2009
    You're drawings are very good, but the critique that I can offer you is it looks like you just concentrate mainly on shadows and that takes away from the realism of it. You want to fill in more of the drawing. You seem to leave a lot of white space, and draw only where you see the shadows, if you understand what I mean. The whitest part of the photos, like the whites of the eyes, should stick out far more then everything else, and everything should be filled in by cross hatching a lot more. Try using charcoal for the darker parts, and that will create a lot more depth to your drawings, and also take a away that annoying shininess that graphite gives off. and I don't know if you experiment with cross hatching yet either, but it's an excellent technique to use when trying to do more realism.
    You probably know all these things already, but, that's the only advice I have to give, so, good luck on getting into the college.

    Otherwise, you're really on a good track and they are really quite good.

    Tesiacoil on
    "The whole fleet knows this man tried to stab me through the neck. And you missed! Butterfingers!"
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    LoomdunLoomdun Registered User regular
    edited January 2009
    awwww I'm not very use to being complimented so i dont know what to say but tanx.

    Anyways i'm posting new work because I'm on vacation, and when i'm on vacation i'm very lazy, but if I post up incomplete work It bothers me to complete it faster. SO HEREEEE

    Edit: especially lazy because this actually isn't a assigned project toooooo000....

    IMG_0276.jpg
    IMG_0275.jpg

    close up shot for anyone who wants to look closer at the hair, I took I forgot who's advice but before I apply detail to whole sections I create the tone of darks on it first before detailing. I'll be doing the same thing to the face/neck at the same time then the hand/arm then all of the clothes.

    Edit: and my hair is very sloppy due to me cutting my own hair with a giant pair of scissors when bored.

    Loomdun on
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    winter_combat_knightwinter_combat_knight Registered User regular
    edited January 2009
    Loomdun wrote: »
    when i'm on vacation i'm very lazy, but if I post up incomplete work It bothers me to complete it faster. SO HEREEEE

    Edit: especially lazy because this actually isn't a assigned project toooooo000....

    I think everyone gets that way. When something needs to be done and needs to be completed in a short amount of time, i find that my work turns out better (though its still bad) because i'm not busy second guessing myself and just think "f**k it! i'll just get any crap down". give yourself till middle of next week to get it done, or something. And think if you dont get it done, you'll embarress yourself infront of everyone on penny arcade 8-)

    winter_combat_knight on
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    LoomdunLoomdun Registered User regular
    edited January 2009
    IMG_0282.jpg


    what a depressing looking picture, whatever got the tones on it, once i work on it again gonnnaaaaaa darken parts anddddddddd. Make it look less shitty.

    YAY ICECREAM!

    BLAH BLAH ICE CREAM CAUSE I'M A FATTY!!

    Loomdun on
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    RubberACRubberAC Sidney BC!Registered User regular
    edited January 2009
    What's standing out the most right now to me are the eyelids and the shape of the head. Eyelids curve down, not up, despite what cartoons would have us believe. Also your head is looking a bit oval to me. But maybe that's just me, I'm not really sure.

    RubberAC on
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    LoomdunLoomdun Registered User regular
    edited January 2009
    oh right i'll fix the eyelids, and the oval head shape is probably due to the shape of the hair, I drew it bald then added hair it wasn't oval before that but the hair made it look different.

    Once I draw on it again i'll make sure to change the upper eyes though, and i can probablyy alter the back of the hair just a tad to make the head seem less oval. zzz how embarassing. oh well.

    Makes me even more glad that I did this during break, it'll probably become a "experimented project that never will see light ever again" usually always happens to me when I try something new. but oh well.

    AWEIOJTOIAWEJTIWAOJTIAWOJETOIWAEJT I was going to take a break. But now I am very annoyed to how stupid I am with faces. Rather then working on this project I now know that I'm not ready to draw faces yet. I'm going to go back to studying everythingg down to the eyes. That was such a stupid mistake of me I can't beleive that. There where so many mistakes on this. This is like... My second attempt of drawing a face. And the first one was bad, this one is a little bit below mediocre. More i look at it, more it enrages me <.@ GO TO SPOILER YOU!

    Edit: Oh if anyone is curious what i'm talking about. I take something and I use minimal reference/View, I usually attempt to make something and use reference of other things to comprehend what I visualize, if I don't make it proper in this sense then it means I dont understand what i'm drawing. If I merely looked at the face and just copied it straight down, but can only do that, it would mean to me I have a very weak understanding. I make everything in this way! Yayyyyyy! Unless I'm drawing someone and I want it to look exactly like them, then I would use only them as reference more.

    Does anyone else notice I run around in circles and talk alot when I get annoyed?

    Loomdun on
    splat
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