gonna go for broke tomorrow and do 2 two hour sessions of figure drawing, these are helping loads, even in the first post i did from imagination, im thinking so different about lines and gesture, its fantastic
When stuff start to look like it to clean i like to believe it time to get messy.I mean by that you want to start go outside your comfort zone if it to clean i feel like there is not enough experimentation going on.When thing get clean it a sign the confidence went up.
Darkiste; I appreciate the suggestion, so i did :) I grabbed a brush and some burnt umber acrylic and went to town on some gestures. Now admittedly, its like drawing with your foot, and had i used charcoal, i probably coulda done some better drawings with my foot, but i loved the process, just thinking of lines and edges differently.
Acryllic gets some beautiful edges, i guess this is what jeff watts does with those speed paintings, like using small lines with a brush to block in a quick gesture. i definitely see how if i tried it more id get a more graceful hand, that and its much easier on the wrist than a pencil, but yea got my goal of doing 2 two hour sessions done, it was BRUTAL!
Most of your gestures are of people striking poses, which is great, and a ton can be learned and practiced with that, but you gotta try doing gestures with a story, pushing the body, gesture, angle and even clothes to show a story; nothing that takes too long, just a gesture and silhouette that shows age, character, situation, something that shows what is going through their head.
Gliger: you make an excellent point my dude, so much that i spent the day researching into that more, drawing lots of stick men to get an idea of narrative. it takes so much thinking, and its thinking i should do, its hard to break away from the pinup or the standing character concept. I think i have a good idea on what to look for more, basically if you could add a word bubble to a scene its probably got a chance of having a narrative.
These sketches aint beautiful, but it will be the start of me figuring out a style and how to arrange a scene, ill definitely do some more of these tomorrow
Small note for realism i doubt she could lift him with one arm if he wearing a full armor.It almost like he being pull by an invisible cable he way to much lifted from the ground if there the same height he should be touching the floor atleast abit.Remember to think about weight and also gravity.
I would change the scene and turn it into some kind of interrogation torture something like a scene you could have seen in the inquisition.
I did some memory drawings today of the same 3 poses, correcting stuff and redrawing several times, man that is a good way to work out all the subtle things im doing wrong. This is actually a solid line drawing memory, i should definitely try this approach more
Aw that pelvis look so problematic i am getting a headache just trying to figure it out.Try to do more comparative anatomy between male and female for example understand how man are more prone to building muscle and women are more prone to build fat.If it a stylistic choose it something else but if it not intentional i strongly advise to look into comparative anatomy.Think of less muscle definition and soft shape transition.There 2 case were her shoulder would show are either she skinny or she as developped her deltoid.
Here what i propose you do to ajust your form rapidly without trying 10000x time to draw a line your satisfied with just try to get the most accurate you can and than use to smudge tool to move the line after that create an other layer and trace over and erase your smudge mess.Then merge layers.
(01-11-2019, 08:42 PM)Amit Dutta Wrote: That lower leg is broken af...in fact both are in both the original and the PO
Yea i didn't bother fixing the leg i only tried to check for the form.I am way to newb on leg anatomy to draw leg in perspective yet.Perhap you could have school us with a draw over.
I just found it a bit strange since he had no value in there at all, so not sure what that PO was even addressing. In any event it's probably best for fedo to study the ref and analyse the issues himself. I haven't seen the ref so maybe it's weirdly accurate...Was just reacting to the statement that it was a solid memory drawing mostly.
Darkiste: i appreciate the effort, but im not really sure what you changed here, you just shaded some things so... I did edit the image, and tried to make it more volumetric in some places, but i have no idea what youre talking about wuth this paintover or critique
Amit: yes, definitely broken, in the original, the leg is coming out, and i forgot that, and drew it flat. I have this issue, im noticing the more i do memory drawings that i tend to flatten a lot of things and not see through the entire form or gesture. It was frustrating the hell out of me today at life drawing, just how many miles of bad habits i have to unlearn,
stuff ive noticed that i get wrong alot thanks to memory drawing:
1. stiff, straight line of action poses.
2. Drawing legs too big, or calves, very freakishly narrow or too long. legs being too big as in, the torso is small by comparison, not like appearing thicc or muscular.
3. neglecting the negative space between limbs.
4. Not fully appreciating the width of the neck, and the deltoid insertion/clavicle area
5. Not drawing the tilt of the head properly.
6. hatching that doesnt follow the form
7. not appreciating the twist of the torso in certain poses
8. Subtle turns of form in space, that really add a lot of realism, say like a pelvis tilted ever so slightly up, and the clothing following that very subtle tilt
9. always getting confused on how the bicep contour goes into the forearm (extensor carpi radialus longus)
10. drawing stuff, flat, stiff, and out of proportion, and those things are 90% of what make a drawing bad
All good mate, yeah you definitely didn't remember the leg positioning well and seemed to forget your basic primitive form construction which suggests it may be beneficial to drill slower constructive efforts from ref and memory and imagination so those brain farts reduce. Guess you're doing that already. Also senshi stock has awful lighting so it never helps with form. Since you're doing Watts you probably kbow how important edges are to turning and describing forms even in simple line drawings it can add a lot..as does lineweight
Amit: thanks for swinging by dude, im gonna do plenty more of these, the watts quicksketch has helped me simplify things quickly, but i still need to understand the forms and proportions more. And yep yea, line can show a lot about edge, these are just hard for me, extremely, so im just gonna do them until theyre easy; and ya senshi, love her attitude, but she cant light, or really pick decent models
heres the refs from today, my fav photographer darkmatterzone
studying a little bit of fashion, and a chick from imagination, i like this one, gonna keep this stuff up because now i can find my ideal proportions and lock them in sensibly
More fold practice i would say specially think about the weight of the fabric and how it affect folding.One good exercise to feel weight is to draw over different picture to understand them.Think about thick vs thin.Soft vs Ridgid.
