ahh ok.. yeah i thought you just exaggerate one feature that sticks out, in Clarksons face I used his long face. Ill give it ago stretching the limits a bit more on the next
Nonono, sir. It goes in varying degrees, from exaggerating a few features, to damn near every one of them, but I don't think I've ever seen a successful caricature with only one exaggerated feature.
Basically, I'm just agreeing with Lexxy here.
edit: For instance, here's a very effective caricature of Walter Matthau where just about everything is exaggerated. (I'm not sure this is especially relevant, but it's an awesome sculpture and I want everyone to see it :P)
Hey Frank, I drew up some thoughts about that last pose. Hope it's helpful.
Basically, I'm seeing a rib cage and a pelvis, and not much in between. Given the wide, forward stance of the legs, and the relatively upright posture of the rib cage, I don't think the absence of a visible midsection can be explained away by foreshortening alone. Aside from anatomical correctness it also lends balance -- I wanna see that the spine is bent enough to get that torso further forward in space, and that all that middle stuff (abs and obliques) are SQUASHED in there. But first you gotta give it somewhere to go.
From there, (now referring to the image below) I thought a bit about the orientation of the main forms. Keeping it to simple volumes so that I can see the tilt of the forms and their relation in space. It's obviously not necessary to take it this far but I did anyway just to stress how the forms are related. Also worked on the rhythm and orientation of the arms.
Finally I tossed some quick, crappy anatomy over top, trying to stress the squash of the midsection, which is really important to the overall gesture.
It's all about building up simple volumes, and then showing that they are INTERLOCKING, overlapping forms (which creates depth and volume). Have you ever read Vilppu's "Drawing Manual"? That book is downright golden when it comes to gesture, form and volume.
Wow, thank you WP!
That's why he looked funny - no midsection. Also, the way you repositioned the arms flow a lot better and is a lot less flat. I've always felt like interlocking was something I was good at, but I need to put more thought and care into it.
This is a lot to study, thank you. I really appreciate the help! After work today I will try again, keeping this in mind.
I think your flat straight-on treatment of the details on the shirt are kind of screwing up the foreshortening....the shoulder areas in both look a little weird as a result
I'm also really hating the smudge-tool-plastic-wrap-whatever thing you've got going on with the front hand...it's really confusing, excessive visual information.
The second one is a lot better. You chose a nicer POV, added a second building on the right to help the composition, and you chose a less sterile color. Solid choices all around!
But you're not quite out of the water yet.
You have drawn all of the detail, but you've done it in such a booooring way. "all of the facts, and none of the flava'" as the dad from Big Fish would say.
Try and spice that shit up! It doesn't much look like you enjoyed doing that piece. Try and find something about it that interests you, and SELL IT.
But overall, you've broken a ton of boundaries lately, dude! Keep up the hard work and self analysis and you'll be sailing in no time!
Buck, you rock my socks. What animal did the skull labeled "6 1/2" belong to? I ask because it seems just a bit squished front-to-back, but I can't really say unless I know what the animal was.
The first three drawings for a high-relief series of prints I'm doing entitled Enlightened Monsters.
Vajrapāṇi was a protector and guide of the Buddha, and is one of the three protective figures used in symbolic representations of the Buddha. Vajrapāṇi represents the Buddha's power.
Misshaku Kongō (密迹金剛), also called Ungyō (吽形) in Japanese, is one of the two wrath-filled and powerful manifestations of the Bodhisattva Vajranani.
Shakyamuni is the first Buddha (in that, while others achieved enlightenment, they had not taught others), the historical man Siddhārtha Gautama.
BuckwolfeStarts With Them, Ends With UsRegistered Userregular
edited October 2009
You could have just edited your top post, but whatever.
Those portraits don't look too shabby, but the bottom left, and bottom center ones look like they're lacking the polish the others have. More so the bottom left piece though. Perhaps its proximity is contaminating the one to the right of it?
The second one is a lot better. You chose a nicer POV, added a second building on the right to help the composition, and you chose a less sterile color. Solid choices all around!
But you're not quite out of the water yet.
You have drawn all of the detail, but you've done it in such a booooring way. "all of the facts, and none of the flava'" as the dad from Big Fish would say.
Try and spice that shit up! It doesn't much look like you enjoyed doing that piece. Try and find something about it that interests you, and SELL IT.
But overall, you've broken a ton of boundaries lately, dude! Keep up the hard work and self analysis and you'll be sailing in no time!
Thanks man, you're right. I might have gotten too caught up in keeping it clean and simple. As always, I will keep striding to make my work more interesting. Thanks.
Pretty cool designs, matt. I also really like the movement of Shakyamuni's tentacles forming that curve with his arm.
A few things though:
Generally, the line work feels unsure.
Vajrapāṇi's left [our right] leg looks disjointed and the foreshortened hands are ill-defined because of:
poor line regulation- you've varied it well in some places, but in minute detail (the lines separating the fingers for instance) you might have tried thinner lines.
Misshaku Kongō looks like he's about to fall backward, his raised forearm is curvy (aesthetic choice?), the sleeves are two different thicknesses, and the arms are two different lengths.
Shakyamuni is suffering from the really thick outline, IMO.
I drew with this dude, His style is awesome . Shame though I can't post his art to show ya what he drew for me
So i crudely redrew what he drew for me .
The image on the left is his style, mimicked by me. His lines are more solid, I just did a quickie sketch. Then I drew her again on he right with a bit of a mix/match. Stupid me didn't get the feet in DX. So amateurish. I wasn't using guidelines, just on the head.
He was drawing my character.
Whoa, her trigger finger is broken, and one glove on bah, just a quickie sketchy.
Its awesome being able to sit down with other artist and pass doodles back and forth. He likes my style, which i dunno why. His is a bit more original. Its just awesome drawing like that.
Also drew this yesterday.
I'mma re'draw it in photoshopz.
Pretty cool designs, matt. I also really like the movement of Shakyamuni's tentacles forming that curve with his arm.
A few things though:
Generally, the line work feels unsure.
Vajrapāṇi's left [our right] leg looks disjointed and the foreshortened hands are ill-defined because of:
poor line regulation- you've varied it well in some places, but in minute detail (the lines separating the fingers for instance) you might have tried thinner lines.
Misshaku Kongō looks like he's about to fall backward, his raised forearm is curvy (aesthetic choice?), the sleeves are two different thicknesses, and the arms are two different lengths.
Shakyamuni is suffering from the really thick outline, IMO.
Ugh, you're dead-on on the outline on Shakyamuni. I'm totally going to change that for the print version. I've been playing a bit between drawings, trying to find the right balance. When I get ready to print them (I'm doing all the drawings first, for planning) I'm going to unify the line variation. This applies to the hands on Vajrapani, too.
Kongo is indeed leaning back a bit too much...I was trying to make sure the "Frankenstein's Monster" aspect showed through, so I wanted a bit of a swaying shape. Maybe I overdid it. The arm...no excuse. I was going to have the whole arm be a single curve, but I didn't follow through with it. That will probably be redrawn entirely (the arm, I mean).
My first ever caricature. Took about an hour what do you think?
EDIT* I just coloured it. quite happy with it
If you want to see good examples of caricatures, look at Jason Seilers work. he works in acrylic, oils, digital, watercolour... EVERYTHING. Hes the best.
My teacher collected it and my scanner melted when it was set up against my busted heater, but as soon as all that gets worked out, sure?
Charis on
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited October 2009
Do you and radar ever get competitive over your art? Even silently? Like you don't say it out loud, but when one of you does an awesome bit of art, inside your head you're all "Fuck I need to step up".
All the time. We're in all the same classes, we have all the same assignments, and for the most part we do all our homework at the same time. It can be kind of a bummer. I'm not usually that worried about it but Radar has a super competitive personality.
The class we did this for is my better class, and we have a human figure class that Radar usually does better in, so it often evens out. But yeah, we're always trying to one-up each other. Not even silently, we're usually loud about it.
Robots: I love it but I'm a little disconcerted about the "eye" thing. Looks like a tube receding into space, or into the things body, and I'm not sure that's working with the perspective. Not knowing what the general shape of the thing is, I don't want be too forceful in saying that, so I'm gonna default to "it's wonky."
Posts
Nonono, sir. It goes in varying degrees, from exaggerating a few features, to damn near every one of them, but I don't think I've ever seen a successful caricature with only one exaggerated feature.
Basically, I'm just agreeing with Lexxy here.
edit: For instance, here's a very effective caricature of Walter Matthau where just about everything is exaggerated. (I'm not sure this is especially relevant, but it's an awesome sculpture and I want everyone to see it :P)
There's no excuse for this hostility.
edit: yes, even when I say "seriously"
actually, especially when I say seriously
I never have and never will accept "I was only kidding" as an excuse for assholery.
Wow, thank you WP!
That's why he looked funny - no midsection. Also, the way you repositioned the arms flow a lot better and is a lot less flat. I've always felt like interlocking was something I was good at, but I need to put more thought and care into it.
This is a lot to study, thank you. I really appreciate the help! After work today I will try again, keeping this in mind.
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
I'm also really hating the smudge-tool-plastic-wrap-whatever thing you've got going on with the front hand...it's really confusing, excessive visual information.
And realized that it pretty much sucked. So I tried again:
What do you guys think?
But you're not quite out of the water yet.
You have drawn all of the detail, but you've done it in such a booooring way. "all of the facts, and none of the flava'" as the dad from Big Fish would say.
Try and spice that shit up! It doesn't much look like you enjoyed doing that piece. Try and find something about it that interests you, and SELL IT.
But overall, you've broken a ton of boundaries lately, dude! Keep up the hard work and self analysis and you'll be sailing in no time!
Just some skulls I drew from reference. I forgot most of them, but if you're wondering I used http://fantomeangel.deviantart.com/ and http://rgstock777.deviantart.com/ for a couple of them. Gotta give credit where it's due.
Steam handle: Buckwolfe
Vajrapāṇi was a protector and guide of the Buddha, and is one of the three protective figures used in symbolic representations of the Buddha. Vajrapāṇi represents the Buddha's power.
Misshaku Kongō (密迹金剛), also called Ungyō (吽形) in Japanese, is one of the two wrath-filled and powerful manifestations of the Bodhisattva Vajranani.
Shakyamuni is the first Buddha (in that, while others achieved enlightenment, they had not taught others), the historical man Siddhārtha Gautama.
Those portraits don't look too shabby, but the bottom left, and bottom center ones look like they're lacking the polish the others have. More so the bottom left piece though. Perhaps its proximity is contaminating the one to the right of it?
Steam handle: Buckwolfe
Thanks man, you're right. I might have gotten too caught up in keeping it clean and simple. As always, I will keep striding to make my work more interesting. Thanks.
God damnit.
A few things though:
Generally, the line work feels unsure.
Vajrapāṇi's left [our right] leg looks disjointed and the foreshortened hands are ill-defined because of:
poor line regulation- you've varied it well in some places, but in minute detail (the lines separating the fingers for instance) you might have tried thinner lines.
Misshaku Kongō looks like he's about to fall backward, his raised forearm is curvy (aesthetic choice?), the sleeves are two different thicknesses, and the arms are two different lengths.
Shakyamuni is suffering from the really thick outline, IMO.
I drew with this dude, His style is awesome
So i crudely redrew what he drew for me
The image on the left is his style, mimicked by me. His lines are more solid, I just did a quickie sketch. Then I drew her again on he right with a bit of a mix/match. Stupid me didn't get the feet in DX. So amateurish. I wasn't using guidelines, just on the head.
He was drawing my character.
Whoa, her trigger finger is broken, and one glove on
Its awesome being able to sit down with other artist and pass doodles back and forth. He likes my style, which i dunno why. His is a bit more original. Its just awesome drawing like that.
Also drew this yesterday.
I'mma re'draw it in photoshopz.
Ugh, you're dead-on on the outline on Shakyamuni. I'm totally going to change that for the print version. I've been playing a bit between drawings, trying to find the right balance. When I get ready to print them (I'm doing all the drawings first, for planning) I'm going to unify the line variation. This applies to the hands on Vajrapani, too.
Kongo is indeed leaning back a bit too much...I was trying to make sure the "Frankenstein's Monster" aspect showed through, so I wanted a bit of a swaying shape. Maybe I overdid it. The arm...no excuse. I was going to have the whole arm be a single curve, but I didn't follow through with it. That will probably be redrawn entirely (the arm, I mean).
Thanks for the good comments.
Freaking SICK Mate!
:^::^::^:
Keep em coming
If you want to see good examples of caricatures, look at Jason Seilers work. he works in acrylic, oils, digital, watercolour... EVERYTHING. Hes the best.
WCK I had a look at that site but the images dont work for me, they load up behind each other so I cant see them
And oh yeah I did this lion with ink nibs but the picture I have is blurry.
Sadness.
The class we did this for is my better class, and we have a human figure class that Radar usually does better in, so it often evens out. But yeah, we're always trying to one-up each other. Not even silently, we're usually loud about it.
drobots: Shit man, that is a big canvas! Very war of the worlds, I like it :>
GOTTA BUY 'EM ALL
ROBOT ARTS!!!
artistjeffc.tumblr.com http://www.etsy.com/shop/artistjeffc
It's wonky but it's tits. So cool.