so are you ladies done talking about jewelry and how fashionable it is so my thread can stop cluttering with random people, jeeze I thought I was supposed to be the gay one
careful with your bone proportions loomdurrn
the skull is looking small, especially when you compare it to the scapula
small image inc:
also the lady's face is looking really contorted and sort of like a pig, and one of her boobs is smaller than the other by quite a bit... but i mean, that happens, depends on the model
some titties have major size differences
i don't think mine do, but i always just feel like the right one is bigger somehow
it is the boss of my other boob.
yah there is no mandible on mine so it looks a tad smaller and is a back view so it looks even smaller
edit: the model didn't exactly have the prettiest face so it was a tad hard to work with, bacon can vouch for this but yah them titties are wayyy off I should of payed attention to them better
I think the spine being short is causing a trick for your eye. Since the neck spine is short and its the connecting piece for the skull, the skull may be proportioned just a bit short. It looks wide enough, but maybe a smidge (Can also be used a a unit of measurement for baking!) too short. I guess it could also possibly be that the skull is a little squashed because your drawing room was becoming limited at the top of the page?
I think it's a smash bang job! but the skull looks just a tiny bit smooshed. It is in line with the proportions of the neck spine but off for the rest of it. Pretty damn close overall though
his shoulder blades are huge. if you increase the reference to match the shoulder blades, the skull needs to be way bigger and the ribs somewhat bigger. still, if you increase it only enough to match the ribs, the skull is still too small. doing in photoshop now.
yah thank you manon saw it, I was just doing it in photoshop with all this hubub and the skull is fine, the problem is the shoulder blades is to big and therefore the rib is slightly to big
look at where the heads go off, so yah i'll see if I can fix that It's not to huge of a issue but i'll see with what I can do, the rib cage needs to slightly shrink ugh
and as far as the model goes I would dread the day I have her in a head drawing class
I think the reference you're using is also not entirely accurate. Where did you get it? It's best to do these types of studies from either real skeletons (gis turns up a few) or exceptional technical drawings (I think the Sarah simblet anatomy for the artist book has some good ones)
it just looks really off to me.
anywayss its no excuse though I did poorly design the model and my job as a artist is to interpret something as good looking even if the subject isn't all that great so thank you for the advice beavo and I will see if I can salvage this drawing or just finish it with the slight HALF A SKULL error
I got the skeleton from erik gist so you can tell him hes doing it wrong if you want
Loomdun on
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MetalbourneInside a cluster b personalityRegistered Userregular
Well as far as mistakes go that skeleton you posted is like 7 to 8 heads long for starters and skeletons vary from person to person, also the skull fits the entire rib cage and I kind of thought it was a head and a half that fills a rib cage, but I don't even knoww right now ughghg
Loomdun on
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MetalbourneInside a cluster b personalityRegistered Userregular
Well as far as mistakes go that skeleton you posted is like 7 to 8 heads long for starters and skeletons vary from person to person, also the skull fits the entire rib cage and I kind of thought it was a head and a half that fills a rib cage, but I don't even knoww right now ughghg
Wait... Loom how is a 7-8 heads high skeleton a mistake?
Average human body proportions in every source I've seen are 7-7.5 with idealized human adult form standing at 8
8 is the "common" head but really have you ever seen someone 8 heads tall, most people are about 6 and a half and really tall people are usually 7 to 7 and a half,
I mean I have measured quite a few people and it has usually ended up being about 6 and a half heads to 7, theres oneee girl whos a pretty tall model though
zzz its fine though I just hope a discussion about such a small measuring error doesn't occur again, I guess i'll just have to make everything from here on out perfect that'll fix everything
wait I think that was about a measuring error, it was about something, I dont even know i'm going to sleep now
i'm sure I did something wrong thats how it usually goes weeeeeee good night myself
zzz its fine though I just hope a discussion about such a small measuring error doesn't occur again, I guess i'll just have to make everything from here on out perfect that'll fix everything
wait I think that was about a measuring error, it was about something, I dont even know i'm going to sleep now
i'm sure I did something wrong thats how it usually goes weeeeeee good night myself
Okay now I'm sort of getting mad.
Loom have you read my thread?
No better than that, have you read things you yourself have posted in my thread?
I don't understand your aversion to being critted on here. Everytime I have critted your work, you have some sort of defense like I have no idea what I'm talking about. Yet you nitpick other peoples stuff to the point that it looks absurd.
If the tone of this forum is going to be to nitpick the absolute hell out of everything and if you maintain that tone, you are going to have to expect it on your own work.
Loom I think something that might help you critique would be to know what kind of education you're getting, because right now i'm not so sure you're fully aware of this.
Watts Atilier is a curriculum that emphasizes realism, meaning your method of working is optical (i.e. start by copying shadow shapes rather than constructing a figure). As a result your program is going to push technical mastery of the materials, completeness of a piece as a whole and (of course) realism.
These are all things you are knowledgeable in because your entire program is built around this method of teaching, but your weaknesses as a result will be a lack of focus on structural anatomy, construction, form, big form movement, perspective, and drawing from imagination. This is why you were able to grasp light, tone and shade far quicker than anatomical knowledge or proper construction of the figure.
My school on the other hand is the complete opposite, with a program built almost entirely around construction, which teaches all the things that Watt's Atilier lacks. Since this is vital for any future animator's career, there's going to be a huge effort to polish the students here to a mirror shine upon graduation. Unfortunately, because of this I will not have the same level of mastery over such mediums like paint and charcoal like you will, or the same richness in composition that you will undoubtedly be taught in your classes. This is why I keep hampering people around here about proper construction, because they practically bludgeon us with the stuff.
I believe once you realize what type of education you're receiving, it will be much easier to critique whatever poster comes your way. Try and play to your strengths!
This is also why cakemikz keeps saying things like "I am a technician first and an artist second" and generally doubting his own creativity.
You're learning a lot of stuff and that's cool but the real fun (and probably excitement) comes from branching out, playing with what you know, learning new things, and reinventing yourself.
Also Godfather you are free to hamper me with all the construction advice I can choke down.
This is also why cakemikz keeps saying things like "I am a technician first and an artist second" and generally doubting his own creativity.
You're learning a lot of stuff and that's cool but the real fun (and probably excitement) comes from branching out, playing with what you know, learning new things, and reinventing yourself.
Also Godfather you are free to hamper me with all the construction advice I can choke down.
The ultimate goal of an artist is to find a solid balance and understanding of the two. This is what makes Wakkawa such a powerhouse artist, because he has a solid understanding of both light and shade/color theory and construction.
For an illustrator it's more important to have technical skills favoring construction, while for an animator the opposite is true, but a concept artist needs to be able to keep a steady balance of both schools of thought in order to make it into the biz.
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You gave me a really big left foot in your drawing.
I'm not sure what you're trying to tell me with that.
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who's the fatty-fat-fat with the fat foot in the third picture? he needs to lose weight and have less farts for brains
(thanks for the charcoal pencils advice. i've only ever used pieces of charcoal)
and heres something i'm doodling while I have time after class, plan to finish this before monday
the skull is looking small, especially when you compare it to the scapula
small image inc:
also the lady's face is looking really contorted and sort of like a pig, and one of her boobs is smaller than the other by quite a bit... but i mean, that happens, depends on the model
some titties have major size differences
i don't think mine do, but i always just feel like the right one is bigger somehow
it is the boss of my other boob.
your rendering is coming out tops lately though
edit: the model didn't exactly have the prettiest face so it was a tad hard to work with, bacon can vouch for this but yah them titties are wayyy off I should of payed attention to them better
her nose was veryyyyy uhhh, little mrs. piggy
look at the diagram from the back view i gave you, it is very easy to imagine out the mandible
i scaled the reference image so that the skull matched the size of the skull you drew
now look how off the rest of the proportions are
I think it's a smash bang job! but the skull looks just a tiny bit smooshed. It is in line with the proportions of the neck spine but off for the rest of it. Pretty damn close overall though
look at where the heads go off, so yah i'll see if I can fix that It's not to huge of a issue but i'll see with what I can do, the rib cage needs to slightly shrink ugh
and as far as the model goes I would dread the day I have her in a head drawing class
it just looks really off to me.
I got the skeleton from erik gist so you can tell him hes doing it wrong if you want
did he boil the flesh off himself?
Even the best artists make mistakes
maybe he stripped the flesh off of a circus freak
Wait... Loom how is a 7-8 heads high skeleton a mistake?
Average human body proportions in every source I've seen are 7-7.5 with idealized human adult form standing at 8
http://www.realcolorwheel.com/human.htm
http://drawsketch.about.com/cs/figuredrawing/a/fig_proportion.htm
I mean I have measured quite a few people and it has usually ended up being about 6 and a half heads to 7, theres oneee girl whos a pretty tall model though
wait I think that was about a measuring error, it was about something, I dont even know i'm going to sleep now
i'm sure I did something wrong thats how it usually goes weeeeeee good night myself
Just draw it.
Then draw another one.
Okay now I'm sort of getting mad.
Loom have you read my thread?
No better than that, have you read things you yourself have posted in my thread?
I don't understand your aversion to being critted on here. Everytime I have critted your work, you have some sort of defense like I have no idea what I'm talking about. Yet you nitpick other peoples stuff to the point that it looks absurd.
If the tone of this forum is going to be to nitpick the absolute hell out of everything and if you maintain that tone, you are going to have to expect it on your own work.
to avoid making wars
and try to get back to making friendship
(i'm in a grumpy mood)
Love him.
(and my tongue)
(no not really my tongue)
Watts Atilier is a curriculum that emphasizes realism, meaning your method of working is optical (i.e. start by copying shadow shapes rather than constructing a figure). As a result your program is going to push technical mastery of the materials, completeness of a piece as a whole and (of course) realism.
These are all things you are knowledgeable in because your entire program is built around this method of teaching, but your weaknesses as a result will be a lack of focus on structural anatomy, construction, form, big form movement, perspective, and drawing from imagination. This is why you were able to grasp light, tone and shade far quicker than anatomical knowledge or proper construction of the figure.
My school on the other hand is the complete opposite, with a program built almost entirely around construction, which teaches all the things that Watt's Atilier lacks. Since this is vital for any future animator's career, there's going to be a huge effort to polish the students here to a mirror shine upon graduation. Unfortunately, because of this I will not have the same level of mastery over such mediums like paint and charcoal like you will, or the same richness in composition that you will undoubtedly be taught in your classes. This is why I keep hampering people around here about proper construction, because they practically bludgeon us with the stuff.
I believe once you realize what type of education you're receiving, it will be much easier to critique whatever poster comes your way. Try and play to your strengths!
This is also why cakemikz keeps saying things like "I am a technician first and an artist second" and generally doubting his own creativity.
You're learning a lot of stuff and that's cool but the real fun (and probably excitement) comes from branching out, playing with what you know, learning new things, and reinventing yourself.
Also Godfather you are free to hamper me with all the construction advice I can choke down.
Mostly because I've seen what you look like and your arms are only suitable for beating on school age girls.
Consider evil plots instead.
The ultimate goal of an artist is to find a solid balance and understanding of the two. This is what makes Wakkawa such a powerhouse artist, because he has a solid understanding of both light and shade/color theory and construction.
For an illustrator it's more important to have technical skills favoring construction, while for an animator the opposite is true, but a concept artist needs to be able to keep a steady balance of both schools of thought in order to make it into the biz.