Artloader - Sketchbook
I like your focus on construction and layin...make sure to keep that up as the layins are the biggest bang for buck you can do.

However you got a bit muddled in the last digi male ones. You really aren't looking at / analysing edge variation close enough in general imo and i find the edgework more confused between what should be specifically firm vs soft in the back study and way too linear and hard edged in the left torso one.

Edgework is so important. Give it priority after basic layins.

Also don't only work from photos. Try to get to life drawing or setup a simple lightbox setup / still life setup so you can paint from life. It's much easier to see form turn from life. Photos tend to sharpen up everything with too much detail to get lost in. Also be picky with the ref you choose to study. Single lit sources with distinct shadow and light shapes/masses are better to start with for when you want to train these basics.

You also perhaps didn't focus on a clear simplified mapping of the shadow masses and got caught up in trying to show too small tonal details at the end. Try specifically doing studies that go from two tone (i.e. one shadow/one light tone only) and slowly add more tonal shapes as you go. E.g. for 3 tone you can have 1 shadow/2 light (or 1 each of shadow light mid) whatever your aims are and the subject dictates. It then becomes a choice of the finer 'resolutions' you can drill down to (4 5 6 tones ad infinitum) and identify but all built off a strictly controlled hierarchy.

Imo charcoal on newsprint is the best way to learn drawing which aims at providing a better transition to painting because you can put in large mass tones easier. Also it seems like you might be working quite small when doing trad drawings? Working on larger sizes allows you to have a bit greater resolution and control which is helpful for learning. You will have to learn the Denzel overhand Gangsta grip though.
[Image: giphy.gif]

Get the Harold Speed books.. Practice and Science of Drawing (read this one immediately) and eventually the Oil Painting Techniques and Materials one. Also the Solomon J Solomon one on Oil painting and drawing. Everyone should read these books if they are interested in the academic approach.

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@Fedodika:  Yep, thanks dude, you are right about that face it is a bit skewed - good spot my friend.

@Amit:  Thanks for the tips fella, you are right - I didn't really know what I was doing with values and stuff on those back studies.  Also thanks for the tip-offs on those books, I will have to look them up - I have been quite drawn to the academic approach recently so they sound right up my street.

So I've been trying to focus on shapes and edges recently and also trying to build up a mental visual library of muscular torsos back and front :)



“Today, give a stranger one of your smiles. It might be the only sunshine he sees all day.” -- H. Jackson Brown Jr.

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Just one solitary figure study over the past few evenings. bumbling about with shapes and edges.  

I've been watching some vids by a guy called Steve Carpenter, I love his charcoal drawings - sublime.  I'm fascinated by how he puts in some careful shapes and then obliterates them and then brings it all back at the end.

Shapes and edges man, shapes and edges.









“Today, give a stranger one of your smiles. It might be the only sunshine he sees all day.” -- H. Jackson Brown Jr.

CD Sketchbook



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Practicing some linework using gesture, construction of forms and some quick lighting indications.  Trying to get better at constructing on top of gesture.

The ref is from Senshistock.




[Image: female_gun_pack_2___drawing_reference_by...5n1g3u.jpg]

“Today, give a stranger one of your smiles. It might be the only sunshine he sees all day.” -- H. Jackson Brown Jr.

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i wouldnt reccomend senshi stock to practice from, maybe for inspiration, her lighting is not good so its difficult to see forms, plus her body suit conceals a lot of important things about like hip protrusions/ribs etc.

Croquis cafe has very nice still images to practice from, nice lighting, nice physiques, and nice poses not the most dynamic but above average for sure.

Now id reccomend for this stuff in particular you drop the straight lines only thing and let the lines flow more, swing the arm, that rendered one above her hip to her armpit is a perfectly straight line and its very bizarre looking, though your proportions arent too bad.

but yea watch these vids and start thinking about how to flow lines more

https://www.youtube.com/watch?v=07fusT-dwVE
https://www.youtube.com/watch?v=2OWLT0_i5Co
https://www.youtube.com/watch?v=h4ZIDhM9WOA
https://www.youtube.com/watch?v=zFP8L4OUL2E

70+Page Koala Sketchbook: http://crimsondaggers.com/forum/thread-3465.html SB

Paintover thread, submit for crits! http://crimsondaggers.com/forum/thread-7879.html
[color=rgba(255, 255, 255, 0.882)]e owl sat on an oak. The more he saw, the less he spoke.[/color]
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@ Fedodika:  Thanks for the tip about Croquis Cafe mate, appreciated.  I spend so much time hunting around for good references - this will be a good addition to my list of resources.

Also, thanks for sharing those links on drawing with curves.  Cool stuff, I'd not seen those Steve Huston vids before.

Let me explain myself about the straight line thing.  

This is a thing that I have investigated for the past 6 months in an effort to get better at simplification in art and it has been used by loads of master artists who I admire and respect.  Checkout these links:

https://fineartviews.com/blog/133392/sim...ed-objects
https://www.dorian-iten.com/figure-block-in/
http://www.dorian-iten.com/howtodraw/

Having looked into this, I then made a conscious decision to draw mainly with straight lines for the following reasons:

1. It allows me to be more accurate with my line placement, particularly during the construction stages.
2. It allows me to be more accurate with my perspective, particularly during the construction stages.
3. It results in a drawing which I feel is better constructed, has better proportions and one which has a nice blocky and constructive style.  Of course style is purely subjective so I can appreciate that this is not to everyone's taste.

It isn't that I won't or cannot draw with curves, rather it is a personal preference in both my process and in the style that I aspire to.  In fact, after a straight-line block-in I will sometimes go in with some curves to achieve more flow as you put it but they will have benefited from the placement of the straight lines.

Please don't take this the wrong way my friend, I have the greatest respect for you and value your input but I love straight lines!

“Today, give a stranger one of your smiles. It might be the only sunshine he sees all day.” -- H. Jackson Brown Jr.

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Another female action figure study.  Referenced from Senshistock again, Fedodika was right about the lighting with Senshistock, but I like the action poses she does and capturing action is my focus with these at the moment.

Any crits most welcome as always - thanks.



“Today, give a stranger one of your smiles. It might be the only sunshine he sees all day.” -- H. Jackson Brown Jr.

CD Sketchbook



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im not saying dont ever use the straight line thing, but dont limit yourself to it right now try curved lines and really lock it down in your skill, ill do this quick drawover... Look at walents stuff too, you know mix it up. Yes ive seen those links many times, i even show them to newer artists, its good to know about this technique, but not be dogmatic about it, especially for doing dynamic poses where rythm is everything


You seriously miss the line of action purely due to the forced straight line here, you could even exaggerate it a bit. Use curved lines to rough it in, get as much energy as you can, then you simplify into straight lines. Your legs have a nice flow, but a lot of your lines are really heavy, vary their weight more, also senshii, bless her heart, but shes not attractive, shes pudgy, average face... if you do practice from her, pretty her up... alot! 


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70+Page Koala Sketchbook: http://crimsondaggers.com/forum/thread-3465.html SB

Paintover thread, submit for crits! http://crimsondaggers.com/forum/thread-7879.html
[color=rgba(255, 255, 255, 0.882)]e owl sat on an oak. The more he saw, the less he spoke.[/color]
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@ Fedodika:  Thanks for dropping by mate, yeah good shout about the line-weight, it's cool to stress some lines and let others fade away ...

Quote:Use curved lines to rough it in, get as much energy as you can, then you simplify into straight lines.

Sorry to dis-agree with you man but I've found that it is much better to use straight lines to rough it in and then refine with more flowing curves.

Roughing in with straight lines helps me to get placement and angle correct before I go in and refine with curves or more lines.  This approach results in piece with better proportions and perspective for me.

It might be different for you but there are many paths to mastery - each to their own dude.

Peace!

“Today, give a stranger one of your smiles. It might be the only sunshine he sees all day.” -- H. Jackson Brown Jr.

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Hi, Artloader,
how are you? It's have been almost a month since your last post...
I'd like to put my 50 cents into your dialog with Fedo about using straight vs curved lines. You know, I use both and I'm agree with you that straight helm in getting proportions. But to my personal experience, curves help in exaggeration. That is why I use straights in mostly in portraits and curves in poses.
I'm not sure what is the purpose of your action poses study was. If you wanted to get right proportion of these dynamic and unusual poses, than I agree with you about using straights, but if you wanted to capture movement, to even make it more evident, than Fedo is right about curves. Take a look at FORCE Drawing - Part 1 - with Mike Mattesi.

Also, IMHO, balance between "C", "S" and "I" curves\lines are essential for capturing life, action and force.
Good luck to you and hope to see some updates.
Cheers.

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