07-29-2014, 09:21 AM
Beardley - Oh wow, thank you! It was very much an experiment, which is why I never plugged it. Also I totally agree about the volume, it isn't just you - next time I will try to speak up or move the mic closer. Just need to think of stuff to record now!
As for the Bargue studies, they are mainly for just teaching the brain/eye to measure angles, flatten shapes and read values when drawing from life, and training it to become more perceptive and accurate by steadily increasing the difficulty. They are a very dry exercise though. (I only do a couple a week, but find them pretty relaxing, haha.) Overall I have found them pretty good for training me to draw from life better, as well as to slow my ass down and concentrate. Weirdly they have also had some side effects regarding noticing stuff about anatomy and form too.
Suira - Woah, thank you for the in-depth comment and crits, I really appreciate it! I have not heard of Fetchin before, wow. Can't believe I have been missing out on him, his work is really gorgeous. Thanks for introducing me to him, I love discovering new-old masters.
Thanks for the tips on shadows, I'm going to try to keep thinking about the occlusion in particular, and keep pushing the contrast too. Your comment sort of alerted me to how much I struggle with value/form still. On your suggestion, I've also started some foreshortening studies with a bit of reading from Hogarth's Figure book to give the brain some hand holds. It is definitely something I'm weak at though, the forms often flatten out, and as you say, become askew when I push it.
As for the painting crit, that really switched me on to noticing those smooth transitions, thanks. I've tried to sort of get a handle on it with a photostudy lower down, but yeah, need a lot of practise there. Thanks for bringing the noisy brush work to my attention too, totally missed it myself!
Again, thanks for the great feedback, it has given me a ton to work on.
Cyprinus - Thank you! I ought to push myself into doing more original stuff though, haha. Thanks for the link too, he really diagrams out how the thighs slot into the hip well, it is proving handy as I move down to the legs.
Craig Paton - Thanks man!
BenFlores - Thanks, will do! Brushpens are good fun - but so very unforgiving. They will teach you to think about mark making for sure.
---
Took it easy over the weekend for some birthday celebrations and catching up with family. Got lots of sketching done inbetween though!
Forgot this last time, a really weird result experimenting with painting a self portrait sketch:
Some warm up sketches over the last few days - 2 minute figures, warm up figures and horses.
Bridgman hips again
Foreshortening studies - first from photo:
and then from imagination:
Sketches - a few thumbs from town before I had had to retreat indoors, and the rest are from the forest. I find the most cooperative insects.
Values studies, finishing that photostudy a few posts back, and a life study in pencil. Both made me really aware I have so much to work on with values, ouch.
Just some late night sketch sheets in pen
And finally getting into colouring this! WIP
As for the Bargue studies, they are mainly for just teaching the brain/eye to measure angles, flatten shapes and read values when drawing from life, and training it to become more perceptive and accurate by steadily increasing the difficulty. They are a very dry exercise though. (I only do a couple a week, but find them pretty relaxing, haha.) Overall I have found them pretty good for training me to draw from life better, as well as to slow my ass down and concentrate. Weirdly they have also had some side effects regarding noticing stuff about anatomy and form too.
Suira - Woah, thank you for the in-depth comment and crits, I really appreciate it! I have not heard of Fetchin before, wow. Can't believe I have been missing out on him, his work is really gorgeous. Thanks for introducing me to him, I love discovering new-old masters.
Thanks for the tips on shadows, I'm going to try to keep thinking about the occlusion in particular, and keep pushing the contrast too. Your comment sort of alerted me to how much I struggle with value/form still. On your suggestion, I've also started some foreshortening studies with a bit of reading from Hogarth's Figure book to give the brain some hand holds. It is definitely something I'm weak at though, the forms often flatten out, and as you say, become askew when I push it.
As for the painting crit, that really switched me on to noticing those smooth transitions, thanks. I've tried to sort of get a handle on it with a photostudy lower down, but yeah, need a lot of practise there. Thanks for bringing the noisy brush work to my attention too, totally missed it myself!
Again, thanks for the great feedback, it has given me a ton to work on.
Cyprinus - Thank you! I ought to push myself into doing more original stuff though, haha. Thanks for the link too, he really diagrams out how the thighs slot into the hip well, it is proving handy as I move down to the legs.
Craig Paton - Thanks man!
BenFlores - Thanks, will do! Brushpens are good fun - but so very unforgiving. They will teach you to think about mark making for sure.
---
Took it easy over the weekend for some birthday celebrations and catching up with family. Got lots of sketching done inbetween though!
Forgot this last time, a really weird result experimenting with painting a self portrait sketch:
Some warm up sketches over the last few days - 2 minute figures, warm up figures and horses.
Bridgman hips again
Foreshortening studies - first from photo:
and then from imagination:
Sketches - a few thumbs from town before I had had to retreat indoors, and the rest are from the forest. I find the most cooperative insects.
Values studies, finishing that photostudy a few posts back, and a life study in pencil. Both made me really aware I have so much to work on with values, ouch.
Just some late night sketch sheets in pen
And finally getting into colouring this! WIP