at this point, you shouldnt be worried about drawing faster.
Just keep practicing, studying and you will improve gradually.
And remember, it isnt about the number of hours, it is about the quality of the hours.
Cheers!
(02-15-2013, 02:51 AM)EduardoGaray Wrote: at this point, you shouldnt be worried about drawing faster.
Just keep practicing, studying and you will improve gradually.
And remember, it isnt about the number of hours, it is about the quality of the hours.
Cheers!
Yes sir, i should keep that in mind. But being a beginner and all, I know I stress over the details far to often, in return, I cut down the time I spend studying as a whole and how much I produce.
I guess I should've said i need to "draw more often" and stop stressing over the small details. I draw every day, but only during specific times of the day. I need a hyperbolic time chamber...
The quality of my practice is definitely the most important thing right now. Thank you very much for bringing this back into focus.
Another sketchbook update: gestures (30sec, 1min) a 20 min figure study, anatomy studies from Faragasso and head studies from andrew loomis plus references and original applications.
Excuse my hiatus, had to deal with school work and burnout. ANYWAYS, I researched a bit and found a direction in my studies so that they aren't so blind.
As always: 30sec,60 sec gestures and NEW!: PERSEPECTIVE OOOOOOOOoooOOO! hahaha breaking out the comfort zone....and I am beginning a new method of studying figures: I am sticking with ONE book for my core anatomy study. I will supplement from other sources once I progress.
Nice job man, keep studying hard. Your studying the right things and right way. (I think!?!) Your perspective studies are good, but be sure to execute it as best as you can and nail those perpendiculars, otherwise everything after is wrong too. But good job, keep grinding!
I am continuing to push through the perspective studies in Loomis's Suucessful Drawing book. I'm starting to understand the practicality of the basic shapes in my studies...however, perspective application feels very daunting; can't even fathom where to begin if I were to create my own compositions and scenes/environments applying my new knowledge of perspective basics.
I am returning to my head studies from Drawing the Head and Hands...I am trying to cement proper construction and proportion in my mind. Before, I was studying from references and applying knowledge of my earlier loomis head studies. But I want to progress further into the book and acquire more knowledge so my heads are more accurate. But my biggest goal is to create heads with dynamic expressions and forms.
and last but not least: a 1hr stock figure study. This is something I plan to do after work (late late night) just so I can relax and practice observation and various other "stats" hahahahaha i played too much RPGs as a young-un.
My biggest accomplishment is knowing the improvements that could be made and the easy mistakes I have made during the process. Commonly, artists become so attached and overly delicate over works that deviate from their usual body of art. Once it receives criticism, he or she becomes defensive, and come up for excuses for said mistakes.
Well simply put, I am not that type of person, so please:
Hey man, In my own opinion,(because it's what I'm doing too) before even working with color, I'd simply focus on the construction/anatomy first, then grayscale to determine values/form. I know I'm far from the most qualified to do so, but I have some paint over attempts I did, to show you that the values in black and white are pretty even and actually really overdone by the background. Also you should better represent your light source.
I also built a quick head to show you construction & finally did a paint over just to show some rendering with big brush strokes, and some of the anatomy fixed. Not worrying about likeness obviously, but it looks like Christian Slater & Liam Neeson had child!?! Anyways, I think what may have happened is that your head was beginning to not fit on the page so you squished it down. Doing so you created a tangent with the head right up against the top of the page too. Give yourself plenty of room.
Finally, (here I'm likely way off, because I know shit about color) use more saturated colors as your form turn from light to shadow, I tried to show this on the cheek. I failed sort of. And use no blacks for shadow but more less-saturated color. I highly recommend some tutorial step by step, just to get a feel for it. Also, hopefully someone with better knowledge then me can chime in. You might consider maybe practicing without beards first. This will allow you to focus on construction and rendering. Hair is kind of hard to paint, and better left for later. Chances are mostly, I made a tool of myself, but hope you can find something to help you here. Keep grinding!
WOW! i APPRECIATE THE HELP MAN!! As a matter of fact, there is a picture online of christian bale in that pose; it was a direct copy. I made the head to wide and features too small to compensate for the constructing the head the wrong way, in an effort to copy the photo. As I painted, I kept erasing and painting at the same time, eventually skewing the image.
If you look at the photo, you can see that the nose was in fact correct and the forehead was a bit more accurate then your rendition. It's that I failed in the beginning when doing the linework for the head.
Good idea, I'm going to leave hair alone for now hahahaha.
I really appreciate the critique, even going as far to edit it! Many thanks
haha looking at my paint over today, not sure, but geez?!?...lolz. Anyways, yeah if you want a critique on accuracy in relation to the ref, post it too. It makes crits a bit easier in terms of observing what you were observing. But regardless of accuracy, the main point is to stay away from color until you can nail your construction and form. After that color is easy, and I say that without meaning it's really easy, just easier, because it's not easy at all. Grind away homes!
6:45am-8:45am Loomis: Successful...
10:30am-12:50pm Figure Drawing Class
4pm-5:30pm Loomis, Figure Drawing...
6pm-8:45pm Loomis, Drawing tHE hEADS...
10pm-12am Portrait Study (A cool down before I sleep)
6:45am-8:45am Loomis: Successful...
10:30am-12:50pm Figure Drawing Class
1pm-2pm Loomis: Heads
6pm-7pm (Rotation per week) Head, hand, or feet application (w/ and w/out references)
7pm-8pm Visual Library Expansion Pack Download
Wed or Thurs
8am- 10am Loomis: Sucessful Drawing...
10:30am-12:30PM Loomis: Figure Drawing...
12:50pm-2:10 (at barnes n noble) Loomis, Successful drawing...
AFTER WORK: 1hr Figure Stock Study
Friday (Work)
8am- 11pm Stock Face Painting
11pm-3PM Stock Figure Painting
Sat (Work)
8am- 10am Hand or Feet study (Alternating Weekly)
10:30am-12:30PM Hand or Feet application (with references)
1pm-2pm Self Portrait
2pm-3pm 1hr Stock Figure Study
Sun: (Work)
8am-9am Stock Face Reference Applicatioin/Study
9am-10am Sock Figure Reference Application/Study
10:30am-11:30am Research Generated Character Assets
11:30am-3pm Draw Concept of Generated Character
I plan to supplement other books and methods within my other studies (Norling's perspective with Loomis's Successful Drawing...etc)
Worked my butt off all day today. Hit the schedule the best I could and tackled most of my fundamentals and studies, however, I'm sure I could have done more if it weren't for my mental fatigue (I took frequent minute breaks as my focus dulled).This update contains perspective, gestures, figure study, head study, study from live model in class, and a self-portrait.
I loathe blending, hence the sketchy method of valuing the portrait. Spent 2hrs on it.
Hey Manny, it's good to see you working hard. one thing I think you can work on is to try controlling your pencil/pen strokes for your gestures, if you feel the time limit is too short you should be able to increase it on whatever website your using. If your just doing them to loosen up it doesn't really matter though.
