Frank, I wont stop you from using the doodle thread, but I would prefer you use your own thread. Makes it easier to give people feedback through a process
I've been experimenting a lot more with facial expressions and features, trying to make them look more animated and stylized. This is just a bunch of stuff I got through with my daily stuff.
gavindelThe reason all your softwareis brokenRegistered Userregular
edited December 2014
So I started with the online Watts Atelier over the break. Something to do while school is out that has nothing to do with programming. So how does that program start off?
These might look familiar.
The pencil takes some getting used to.
I tried to pretend to be an art school freshmen to enrich the experience, but I couldn't find a pair of girl's skinny jeans and a scarf.
So I started with the online Watts Atelier over the break. Something to do while school is out that has nothing to do with programming. So how does that program start off?
These might look familiar.
The pencil takes some getting used to.
I tried to pretend to be an art school freshmen to enrich the experience, but I couldn't find a pair of girl's skinny jeans and a scarf.
You should start a thread so everybody (including you) can look back at your progress over time!
Second page of the adaptation I'm working on. I'd like some crits on this one, out of the pages I've finished this is the only one I'm not too confident about. This is supposed to be the inside of the station from the previous page. Mostly I think I'm having trouble making the elements feel coherent, some of it feels slightly flat right now.
I'm studying landscape architecture in my second year, part of that involves sketching/drawing. I have trouble sketching, its not something I have a natural talent for. I find it hard to do quickly.
That took me 15mins to do, I'm so slow. How do I get faster without compromising it looking vaguely like what I'm trying to draw?
I'm studying landscape architecture in my second year, part of that involves sketching/drawing. I have trouble sketching, its not something I have a natural talent for. I find it hard to do quickly.
That took me 15mins to do, I'm so slow. How do I get faster without compromising it looking vaguely like what I'm trying to draw?
Well, the true but admittedly Mr.Miyagi-lesson-sounding answer is: you get fast, by not trying to be fast.
Quickness comes as a result of doing things slowly and diligently, until you are so practiced that you make fewer mistakes. When you watch someone who is really good and fast draw, it's not because they're moving their hand faster, or working in a panic- if anything, each individual line is placed more slowly and deliberately than a beginner, making sure that all their measurements and angles are right. But they accomplish a lot in a short amount of time because that care that they're putting into those measurements, and the accumulated experience of having done it the slow, deliberate way for so long, means that they will simply make fewer mistakes- so they get a lot more done than someone who tries rushing themselves to meet a timeframe, even if given the exact same amount of time to work.
Also, 15 minutes is nowhere near a large amount of time, so don't sweat it. Drawing takes a lot of time, there's no way around it- so relax and just spend some time doing it.
Now, that deals with drawing a cloth towel digitally rather than buildings in pen, but the same principles will apply- if you measure out the angles between the corners of buildings with a bit of patience, you'll be able to wrangle your drawings into proportion and get a much more solid effect; make a habit of that, and it'll start to come quickly and more confidently.
I'm studying landscape architecture in my second year, part of that involves sketching/drawing. I have trouble sketching, its not something I have a natural talent for. I find it hard to do quickly.
That took me 15mins to do, I'm so slow. How do I get faster without compromising it looking vaguely like what I'm trying to draw?
Well, the true but admittedly Mr.Miyagi-lesson-sounding answer is: you get fast, by not trying to be fast.
Quickness comes as a result of doing things slowly and diligently, until you are so practiced that you make fewer mistakes. When you watch someone who is really good and fast draw, it's not because they're moving their hand faster, or working in a panic- if anything, each individual line is placed more slowly and deliberately than a beginner, making sure that all their measurements and angles are right. But they accomplish a lot in a short amount of time because that care that they're putting into those measurements, and the accumulated experience of having done it the slow, deliberate way for so long, means that they will simply make fewer mistakes- so they get a lot more done than someone who tries rushing themselves to meet a timeframe, even if given the exact same amount of time to work.
Also, 15 minutes is nowhere near a large amount of time, so don't sweat it. Drawing takes a lot of time, there's no way around it- so relax and just spend some time doing it.
Now, that deals with drawing a cloth towel digitally rather than buildings in pen, but the same principles will apply- if you measure out the angles between the corners of buildings with a bit of patience, you'll be able to wrangle your drawings into proportion and get a much more solid effect; make a habit of that, and it'll start to come quickly and more confidently.
Thank you so much for such a quick and detailed reply!
The reason I was thinking of "going faster" is because tutors had told me I was stressing too much over tiny details and taking too long, but trying to go faster just seemed to make things less accurate/I made more mistakes! I will start doing things the Miyagi way. Go slow and deliberate and careful. Also your post on measuring is fantastic, I will be using that lots, proportion and the correct angles is something I've found very difficult to begin understanding where to start with - thank you!
The reason I was thinking of "going faster" is because tutors had told me I was stressing too much over tiny details and taking too long, but trying to go faster just seemed to make things less accurate/I made more mistakes! I will start doing things the Miyagi way. Go slow and deliberate and careful. Also your post on measuring is fantastic, I will be using that lots, proportion and the correct angles is something I've found very difficult to begin understanding where to start with - thank you!
Detail is a secondary component to the underlying structure and it's a common mistake to get bogged down with detail first instead of tackling structure, that may be what your tutor is referring to.
I may be overlapping a little of what Bacon has said, but I would further suggest breaking your drawing down, go back to the basics, and practice drawing shapes in space with accuracy: cubes, cones, cylinders, pyramids. Break it down more and practice being able to produce a straight line, an s curve, an ellipse, a circle, the fundamental building blocks to any drawing. Once you're able to do this you can further challenge yourself by making complex shapes out of simpler ones: cutting into a shape, adding to a shape, like a poor man's 3d program. Try to take simple objects like a pencil and draw it as a complex shape, in this case a cone + cylinder. And don't be afraid to draw through or show your work.
When I started out drawing I would do pages of these in order to get my hand-eye coordination up, muscle memory, it's like learning a language before you can speak. When you're able to do this well is when you'll be able to pick up speed as you will be making less mistakes. As a result you'll also develop a flow which is quite enjoyable.
Value composition for this is all kinds of fucked, but then when I look at it with colours it kind of works. Super annoying to work with these super saturated colours since, as I have learned doing this, different colours inherently have different values... Dagnabit, how the fuck does Syd Mead manage to work with saturated colours and yet keep his value comps so clean?
I think a big part of what makes Syd Mead's color composition work is he usually uses completely opposing wedges of the color wheel (usually blue or blue-green to orange or red-orange) and so when there are areas which combine those tones, they go into tertiary values almost immediately. Yours won't really do that as they aren't opponents-- BUT-- I actually really like how unsettling the effect you're getting is-- it is actually pretty successful at conveying this deep-futuristic miasma in a way that I don't think you could really get at otherwise. I think if you pushed some of those saturated teals closer to green you could get some more deeply opponent effects in your midtones, but I don't know that you need to?
edit to add: on further study-- part of what makes it really surreal or unsettling is that your compositions for this particular project nearly completely lack yellow; your pinks and reds are cool and saturated, which are really slick and technical-feeling rather than lifelike (imo, that feels like what you are aiming for so I don't see it as a "problem"-- just a contributing eerieness factor). That feels deliberate and I think you can still make some really good use of it, you just won't be able to really harness the desaturation you get by working into the greys that you can get through tertiary color, since most of what you'll get from this mix will be purples.
The reason I was thinking of "going faster" is because tutors had told me I was stressing too much over tiny details and taking too long, but trying to go faster just seemed to make things less accurate/I made more mistakes! I will start doing things the Miyagi way. Go slow and deliberate and careful. Also your post on measuring is fantastic, I will be using that lots, proportion and the correct angles is something I've found very difficult to begin understanding where to start with - thank you!
Detail is a secondary component to the underlying structure and it's a common mistake to get bogged down with detail first instead of tackling structure, that may be what your tutor is referring to.
I may be overlapping a little of what Bacon has said, but I would further suggest breaking your drawing down, go back to the basics, and practice drawing shapes in space with accuracy: cubes, cones, cylinders, pyramids. Break it down more and practice being able to produce a straight line, an s curve, an ellipse, a circle, the fundamental building blocks to any drawing. Once you're able to do this you can further challenge yourself by making complex shapes out of simpler ones: cutting into a shape, adding to a shape, like a poor man's 3d program. Try to take simple objects like a pencil and draw it as a complex shape, in this case a cone + cylinder. And don't be afraid to draw through or show your work.
When I started out drawing I would do pages of these in order to get my hand-eye coordination up, muscle memory, it's like learning a language before you can speak. When you're able to do this well is when you'll be able to pick up speed as you will be making less mistakes. As a result you'll also develop a flow which is quite enjoyable.
I'm a bit late to respond to this, but thank you @Kallisti ! That sounds like something simple I can start with to improve bit by bit, when you put it like that, building simple shapes up sounds a lot less stressful - less likely to get me bogged down with details - I'll try that!
Posts
did you use reference for this??
I should have.
Also, am I spamming the doodle thread too much?
Twitter
Small victories.
anyway, have some doodles!
Tumbr
DeviantArt
instagram.com/stevenzapata_art
These might look familiar.
The pencil takes some getting used to.
I tried to pretend to be an art school freshmen to enrich the experience, but I couldn't find a pair of girl's skinny jeans and a scarf.
...we didn't all have scarves.
Steam ID: Obos Vent: Obos
You should start a thread so everybody (including you) can look back at your progress over time!
The lack of precision drives me nuts, maybe I should have picked up a cheap travel watercolor set instead.
Twitter
I'm studying landscape architecture in my second year, part of that involves sketching/drawing. I have trouble sketching, its not something I have a natural talent for. I find it hard to do quickly.
That took me 15mins to do, I'm so slow. How do I get faster without compromising it looking vaguely like what I'm trying to draw?
I'd really appreciate tips!
instagram.com/stevenzapata_art
@Liiya
Well, the true but admittedly Mr.Miyagi-lesson-sounding answer is: you get fast, by not trying to be fast.
Quickness comes as a result of doing things slowly and diligently, until you are so practiced that you make fewer mistakes. When you watch someone who is really good and fast draw, it's not because they're moving their hand faster, or working in a panic- if anything, each individual line is placed more slowly and deliberately than a beginner, making sure that all their measurements and angles are right. But they accomplish a lot in a short amount of time because that care that they're putting into those measurements, and the accumulated experience of having done it the slow, deliberate way for so long, means that they will simply make fewer mistakes- so they get a lot more done than someone who tries rushing themselves to meet a timeframe, even if given the exact same amount of time to work.
Also, 15 minutes is nowhere near a large amount of time, so don't sweat it. Drawing takes a lot of time, there's no way around it- so relax and just spend some time doing it.
If you want a pointer as to something that might help with this kind of observational sketching, you might want to look at this old post I made about measuring:
http://forums.penny-arcade.com/discussion/comment/27853638/#Comment_27853638
Now, that deals with drawing a cloth towel digitally rather than buildings in pen, but the same principles will apply- if you measure out the angles between the corners of buildings with a bit of patience, you'll be able to wrangle your drawings into proportion and get a much more solid effect; make a habit of that, and it'll start to come quickly and more confidently.
Twitter
@Angel_of_Bacon
Thank you so much for such a quick and detailed reply!
The reason I was thinking of "going faster" is because tutors had told me I was stressing too much over tiny details and taking too long, but trying to go faster just seemed to make things less accurate/I made more mistakes! I will start doing things the Miyagi way. Go slow and deliberate and careful. Also your post on measuring is fantastic, I will be using that lots, proportion and the correct angles is something I've found very difficult to begin understanding where to start with - thank you!
Detail is a secondary component to the underlying structure and it's a common mistake to get bogged down with detail first instead of tackling structure, that may be what your tutor is referring to.
I may be overlapping a little of what Bacon has said, but I would further suggest breaking your drawing down, go back to the basics, and practice drawing shapes in space with accuracy: cubes, cones, cylinders, pyramids. Break it down more and practice being able to produce a straight line, an s curve, an ellipse, a circle, the fundamental building blocks to any drawing. Once you're able to do this you can further challenge yourself by making complex shapes out of simpler ones: cutting into a shape, adding to a shape, like a poor man's 3d program. Try to take simple objects like a pencil and draw it as a complex shape, in this case a cone + cylinder. And don't be afraid to draw through or show your work.
When I started out drawing I would do pages of these in order to get my hand-eye coordination up, muscle memory, it's like learning a language before you can speak. When you're able to do this well is when you'll be able to pick up speed as you will be making less mistakes. As a result you'll also develop a flow which is quite enjoyable.
for Animario draws near
edit to add: on further study-- part of what makes it really surreal or unsettling is that your compositions for this particular project nearly completely lack yellow; your pinks and reds are cool and saturated, which are really slick and technical-feeling rather than lifelike (imo, that feels like what you are aiming for so I don't see it as a "problem"-- just a contributing eerieness factor). That feels deliberate and I think you can still make some really good use of it, you just won't be able to really harness the desaturation you get by working into the greys that you can get through tertiary color, since most of what you'll get from this mix will be purples.
Uncanny Magazine!
The Mad Writers Union
I'm a bit late to respond to this, but thank you @Kallisti ! That sounds like something simple I can start with to improve bit by bit, when you put it like that, building simple shapes up sounds a lot less stressful - less likely to get me bogged down with details - I'll try that!