started working on my oil painting of niel diamond again. working mainly on the face. im still not condifent in doing his body, mainly because i dont know how to paint leather.
graphite drawing of audrey hepburn im doing for one of my mates. first time using compressed graphite, really enjoying it.
Is there a reason you are so obsessed with portraits of celebrities? Celebrity photography is usually done with the goal of making the person look as good as possible, which often means lots of makeup, carefully staged lighting (which is not the same at all as interesting lighting), carefully selected vantage and posing, on and on. It is complete artifice.
If that's what floats your boat and you think they're super fun, then carry on I guess, but honestly as a subject for personal study I think it's a pretty poor source to draw upon.
Your Audrey Hepburn drawing for instance. I realize it's for a friend, but taken as a study, there is so little from that reference to actually sink your teeth in to-- it's an ancient photograph, compounded with the fact that this is an individual who was to be portrayed basically as having a face made of white porcelain. We are in essence dealing with a two-tone reference. The meaty STRUCTURE of the face and body, and the way that light and value expose them are almost totally absent.
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surrealitychecklonely, but not unloveddreaming of faulty keys and latchesRegistered Userregular
edited June 2010
The outside edge of her face is a pretty smooth curve - you've bisected it into two curves and stuck a mound on it. Take the outside edge next to her eye and run it much further inwards towards the line you have coming up her jaw, and it'll get rid of the odd bump on her face there. You've widened her face somewhat. The visible ear is too large and slightly too far out. If you look at the position of the black clump of hair at the right, it starts where her left eye ends if you run a vertical line upwards. You've stuck in an extra fingerswidth of highlight, widening her head and shoving the black area over too far.
If you fix these it should fix some of the proportional issues. I think you probably should have done a slightly longer lay-in, but I'm always super lazy about that so hey-ho glass houses
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MustangArbiter of Unpopular OpinionsRegistered Userregular
was going to create a new thread but figured i may as well keep this bad boy alive for reference.
So i've been doing more pencil studies and shiz, sprending more time getting form and tone right.
As pointed out in this thread and on numerous occasions in the doodle thread, my faces lack consistant structure. So been tackling this drawing the last couple of days. my aim is to get this rendered in as much detail as i can REALLY looking at the flow of the shapes and applying that to my line direction. I think its safe to say that with the hours looking at this, im starting to take in the structure of the skull, but will definately need to do some more from different angles.
WIP - about 8 hours of rendering so far
HB pencil
Some more posts in the next few days - particularly human body ones that i'm working on
EDIT - incase anyone missed these in the doodle thread
couple of my more successful anatomy practices - using references
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NappuccinoSurveyor of Things and StuffRegistered Userregular
edited September 2010
That guitar looks pretty spiffy. I say that because I found guitars to be one of the hardest things to make look "right"- there are so many subtle nuances going on in them that the slightest error makes everything look off.
While I think the perspective effect on the lead does actually work quite well - it makes no sense, since it should be plugged into the amp and not trailing away into the audience. Also it would never be taped down like that, since it would actually be rather restrictive for Johnny. The neck and headstock of the guitar are also weird looking, and there appear to be no fretts.
The amp in the background was a last minute decision to fill space. You're very right though, it makes no sense, especially Johnnys cord being taped down.
Pay more attention to global value. You blow out the relationships on a regular basis.
Do you mean that my overall values are inconsistant and lack flow?
*Sorry, my vocabulary is really bad. What do you mean?
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The_Glad_HatterOne Sly FoxUnderneath a Groovy HatRegistered Userregular
edited September 2010
I think he means the relationship between the various parts of your drawing. Area A looks darker than area B, but Area C looks somewhere in between A and B, darkness/value-wise.
mixing up the "hierarchy" in values makes it more difficult to read/ interpret your drawings. we're so used to seeing it done correclty (real world) that flayws in value can really mess with how we see our drawings.
was going to create a new thread but figured i may as well keep this bad boy alive for reference.
So i've been doing more pencil studies and shiz, sprending more time getting form and tone right.
As pointed out in this thread and on numerous occasions in the doodle thread, my faces lack consistant structure. So been tackling this drawing the last couple of days. my aim is to get this rendered in as much detail as i can REALLY looking at the flow of the shapes and applying that to my line direction. I think its safe to say that with the hours looking at this, im starting to take in the structure of the skull, but will definately need to do some more from different angles.
WIP - about 8 hours of rendering so far
HB pencil
*sketch of skull*
So wait a minute... You recognise that structure and form are your issues, but you spend all the time you allocated for this excersise working on details and rendering?! In that 8 hours you could have drawn 1000 skulls, and you would have actually learned something.
Forget all this high-concept guitars and skydiving celebrity crap and just draw parts of human beings. Repeatedly.
So wait a minute... You recognise that structure and form are your issues, but you spend all the time you allocated for this excersise working on details and rendering?! In that 8 hours you could have drawn 1000 skulls, and you would have actually learned something.
Forget all this high-concept guitars and skydiving celebrity crap and just draw parts of human beings. Repeatedly.
I agree with you to a degree, and while it may be more beneficial for someone to draw 1000 skulls in the 8 hours rather than a single one, I tend to rush my drawings (out of habbit) and dont take in the information of the object i'm drawing. This excercise is to force me to take my time and really observe and try to understand the skulls shape/form.
As for my 'high-concept guitars and skydiving celebrity crap' - yeah that probably is a waste of time in terms of a learning excercise, but damn its fun!
I think he means the relationship between the various parts of your drawing. Area A looks darker than area B, but Area C looks somewhere in between A and B, darkness/value-wise.
mixing up the "hierarchy" in values makes it more difficult to read/ interpret your drawings. we're so used to seeing it done correclty (real world) that flayws in value can really mess with how we see our drawings.
ok, so i finally got around to finishing off my anatomy practice excercise. I tried to take on what mustang and Ndragon wrote in the doodle thread a while back regarding when to add detail and when to suggest detail over the form of the body (they worded it much better).
ken - i made her inner legs and under-arm the darkest tone on her body, and tried to keep everything lighter to make the shading more consistant.
Is the hair too extreme in tone compared to the body? i was going to make it lighter but didnt feel it was right.
* please ignore the fabric
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited October 2010
There are some issues with the lower foot, but I seriously think this is one of the most accomplished things you've done. Also I think the fabric is pretty good. :^:
That drawing is flat, flat, flat. The waist and legs especially so. Check out this Glenn Vilppu drawing. See how the forms overlap? See how subtle it is in some spots? Check out the overlap in the butt, then check out how you drew the same area as a simple contour. See how the Vilppu butt has weight and form? Your woman's butt might as well be made of granite. Yeah I imagine that your photo reference probably looked pretty flat, but them's the brakes when you're working from photos.
I will say that the proportions are pretty good. Raised forearms looks a bit long.
I actually thought the legs where the most successful part!
looking at it now, the belly looks like a white patch of nothing. didnt realise it was lacking tone.
I'll take a look at some other artists to see how they handle line drawings - for reference and direction.
general room perspective looks pretty good but the details of it are off. Especially the window.
Also the chain is kinda awkward just hanging up front like that. Either get rid of it or draw some more chains in the environment to lead to the foreshortened one.
WCK. I'm really digging that last one. Like wak said there are some issues. The chandelier, the window...
.
Thanks for the comments folks. What in particular is off with the window? Is it too small, or are we talking about the general design of it? Im guessing the light on the ground may be too big too.
Heres an update - as of yet im still undecided on whether to add more chains to the piece or to remove the one in the forground alltogether.
I actually am not a fan of the chain. I can't tell if it's in the foreground and hanging in front of my face, or if it's in the corner and is just a huge fucking chain for some reason.
Thought i'd share some of my best work i did last year during my schooling and internship at an animation studio in 2011. They range from speedy one day turnaround to three days max - basically to get a feel for studio work environments and deadlines) The internship is over and im not continuing with school in 2012 for the need to take on more hours at work.
Basically I'm at a stage where i have accepted that the work isn't industry quality standard - and even if it was - the lack of industry in Australia doesn't help with finding steady employment as an artist. But i'm still planning on hounding away at my shiz while working part time and hopefully I'll reach a point where i can get some kind of (paid) contract work. And if it fails - who gives a toss right? At the end of the day it's a freaking fun hobby.
So, any help, crits, etc throw em at me.
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited January 2012
There's undeniable improvement here WCK, you're getting really good with environmental work. My big beef with some of your more established pieces is that you rely on black lines to shore up your forms. Your guy walking out of the back of the truck in front of the burning city is an example, the contours of his clothing should be either incredibly fine, or indistinguishable all together, not marked out with grubby black lines. That being said, that is a very solid bit of work, your understanding of how light interacts has come along in leaps.
Posts
started working on my oil painting of niel diamond again. working mainly on the face. im still not condifent in doing his body, mainly because i dont know how to paint leather.
graphite drawing of audrey hepburn im doing for one of my mates. first time using compressed graphite, really enjoying it.
If that's what floats your boat and you think they're super fun, then carry on I guess, but honestly as a subject for personal study I think it's a pretty poor source to draw upon.
Your Audrey Hepburn drawing for instance. I realize it's for a friend, but taken as a study, there is so little from that reference to actually sink your teeth in to-- it's an ancient photograph, compounded with the fact that this is an individual who was to be portrayed basically as having a face made of white porcelain. We are in essence dealing with a two-tone reference. The meaty STRUCTURE of the face and body, and the way that light and value expose them are almost totally absent.
If you fix these it should fix some of the proportional issues. I think you probably should have done a slightly longer lay-in, but I'm always super lazy about that so hey-ho glass houses
Force: Dynamic Life Drawing for Animators, Second Edition
Nothing is going to help you more right now.
was going to create a new thread but figured i may as well keep this bad boy alive for reference.
So i've been doing more pencil studies and shiz, sprending more time getting form and tone right.
As pointed out in this thread and on numerous occasions in the doodle thread, my faces lack consistant structure. So been tackling this drawing the last couple of days. my aim is to get this rendered in as much detail as i can REALLY looking at the flow of the shapes and applying that to my line direction. I think its safe to say that with the hours looking at this, im starting to take in the structure of the skull, but will definately need to do some more from different angles.
WIP - about 8 hours of rendering so far
HB pencil
Some more posts in the next few days - particularly human body ones that i'm working on
EDIT - incase anyone missed these in the doodle thread
couple of my more successful anatomy practices - using references
:^: up to that.
The guitar looks (and functions) all kinds of wrong.
You're wrong Grenn, Napp is right!
The amp in the background was a last minute decision to fill space. You're very right though, it makes no sense, especially Johnnys cord being taped down.
Do you mean that my overall values are inconsistant and lack flow?
*Sorry, my vocabulary is really bad. What do you mean?
mixing up the "hierarchy" in values makes it more difficult to read/ interpret your drawings. we're so used to seeing it done correclty (real world) that flayws in value can really mess with how we see our drawings.
So wait a minute... You recognise that structure and form are your issues, but you spend all the time you allocated for this excersise working on details and rendering?! In that 8 hours you could have drawn 1000 skulls, and you would have actually learned something.
Forget all this high-concept guitars and skydiving celebrity crap and just draw parts of human beings. Repeatedly.
I agree with you to a degree, and while it may be more beneficial for someone to draw 1000 skulls in the 8 hours rather than a single one, I tend to rush my drawings (out of habbit) and dont take in the information of the object i'm drawing. This excercise is to force me to take my time and really observe and try to understand the skulls shape/form.
As for my 'high-concept guitars and skydiving celebrity crap' - yeah that probably is a waste of time in terms of a learning excercise, but damn its fun!
I'll take that on board. cheers mate
Global refers to the entire picture.
You focus on parts and make the relationships too extreme or contrasty.
ken - i made her inner legs and under-arm the darkest tone on her body, and tried to keep everything lighter to make the shading more consistant.
Is the hair too extreme in tone compared to the body? i was going to make it lighter but didnt feel it was right.
* please ignore the fabric
I will say that the proportions are pretty good. Raised forearms looks a bit long.
looking at it now, the belly looks like a white patch of nothing. didnt realise it was lacking tone.
I'll take a look at some other artists to see how they handle line drawings - for reference and direction.
_________________________________________________________________________
Thanks for the comments folks. What in particular is off with the window? Is it too small, or are we talking about the general design of it? Im guessing the light on the ground may be too big too.
Heres an update - as of yet im still undecided on whether to add more chains to the piece or to remove the one in the forground alltogether.
Thought i'd share some of my best work i did last year during my schooling and internship at an animation studio in 2011. They range from speedy one day turnaround to three days max - basically to get a feel for studio work environments and deadlines) The internship is over and im not continuing with school in 2012 for the need to take on more hours at work.
Basically I'm at a stage where i have accepted that the work isn't industry quality standard - and even if it was - the lack of industry in Australia doesn't help with finding steady employment as an artist. But i'm still planning on hounding away at my shiz while working part time and hopefully I'll reach a point where i can get some kind of (paid) contract work. And if it fails - who gives a toss right? At the end of the day it's a freaking fun hobby.
So, any help, crits, etc throw em at me.