07-14-2014, 12:42 PM
Hi man, how's it going:D
I can give my input on gestures, though I am not sure everybody else will agree. But I do think it could be the right step.
Maybe try to do something like 2-3 minute gestures - but with the visual outcome that you have with the one minute gestures. So, no shading or much defining or volumes etc, instead keep it at the gesture level. But with more time to grasp the placing of the lines and to constructively see the flow and the relations. That way your brain will have the time to see what's the main flow line for a specific segment and you will have the time to decide and place more deliberate, grounded lines and definitions.
Of course, there is merit to fast gestures, looking at the model 90% of time without lifting the pen etc - actually, in my opinion, fast croquis are the staple of visual art and are by far the most important thing one could do to practice and push one's skill and perception. But my impression when I look at your gestures is that you need more analysis and less "speeding":)
I say that because I tend to do the same. And then I get into that frenzy mode where my output is high, but the progress is lacking because I produce a high level of croquis doodles without getting stuff from them.
For example, I am used to doing stuff quickly, it's how I was taught - everything was croquis-ish, from actual gestures to painting - painting the large masses? Take the large brush and flap around the canvas like a madman. Painting details? Take the small brush and flap around that small area like a madman. And while it is true that that approach does good things to you - your skill slowly starts to catch up with your speed and then you can do fairly accurate portraits in couple of minutes for example - it's also true that, form the aspect of knowledge, construction, analysis, I have gained more from a slow and boring study with more "hmmm"-s and beard scratching than actual drawing:)
I think your output is great and that you will advance pretty fast!
Oh, and for the rest of the stuff, mainly portraits - construction and simplification is the way to go! Don't think about the contours or getting the right shape, think simplified large masses. Perhaps the prominent cheek shadow is an upside down triangle with certain ratio among its lines and certain coordinates on a chess board that is your piece. When you get the masses and the relations, then you will go on the smaller relations and refinement of the piece.
I can give my input on gestures, though I am not sure everybody else will agree. But I do think it could be the right step.
Maybe try to do something like 2-3 minute gestures - but with the visual outcome that you have with the one minute gestures. So, no shading or much defining or volumes etc, instead keep it at the gesture level. But with more time to grasp the placing of the lines and to constructively see the flow and the relations. That way your brain will have the time to see what's the main flow line for a specific segment and you will have the time to decide and place more deliberate, grounded lines and definitions.
Of course, there is merit to fast gestures, looking at the model 90% of time without lifting the pen etc - actually, in my opinion, fast croquis are the staple of visual art and are by far the most important thing one could do to practice and push one's skill and perception. But my impression when I look at your gestures is that you need more analysis and less "speeding":)
I say that because I tend to do the same. And then I get into that frenzy mode where my output is high, but the progress is lacking because I produce a high level of croquis doodles without getting stuff from them.
For example, I am used to doing stuff quickly, it's how I was taught - everything was croquis-ish, from actual gestures to painting - painting the large masses? Take the large brush and flap around the canvas like a madman. Painting details? Take the small brush and flap around that small area like a madman. And while it is true that that approach does good things to you - your skill slowly starts to catch up with your speed and then you can do fairly accurate portraits in couple of minutes for example - it's also true that, form the aspect of knowledge, construction, analysis, I have gained more from a slow and boring study with more "hmmm"-s and beard scratching than actual drawing:)
I think your output is great and that you will advance pretty fast!
Oh, and for the rest of the stuff, mainly portraits - construction and simplification is the way to go! Don't think about the contours or getting the right shape, think simplified large masses. Perhaps the prominent cheek shadow is an upside down triangle with certain ratio among its lines and certain coordinates on a chess board that is your piece. When you get the masses and the relations, then you will go on the smaller relations and refinement of the piece.