Hey guys. Time to get busy. I think keeping a sketchbook will help a ton.
Currently still a hobbyist, going to study at an atelier in like a month. Here's some stuff I am working on atm to kick this sketchbook off. I do at least one sketch per day and additional practice aside from that.
Goal is to make my own IPs and cool stuff, and draw for projects like Magic: the Gathering.
Let's go.
Hey Shabby! :) It's Mecha. You got the start of a very cool SB here, keep on drawing. And post stuff, so we can see. Your drawings have nice clean lines. I don't have much crit right now (like I know enough to hand any out :-D), just keep on doing what you are doing!
"Drawing is a skill like hammering a nail. You might not be great at it yet, but there is nothing stopping you from gettin' down and hammering away." -Irshad Karim
Thanks, Mecha! Also, thanks for visiting the stream. :) Enjoyed having you there.
Sorry about not being active for some days. I was occupied with the whole move out to scotland thing.
I started my studies at the atelier. My patience is being tested, but my eye's training a ton.
So, here's some stuff I've done:
-Gesture constructs (one as WIP, one for practice)
-Bargue drawing construct (WIP of full Bargue drawing)
-Finished D&D character
-Some other sketches
One thing I don't like about studying at the atelier is how you can spend hours every day but only have a few drawings to show for it. Ah well, such is life.
Here are daily sketches I did for my blog. I should upload more regularly - just know I have not been sitting still doing nothing! Also made progress on my bargue. But I don't have a picture of that.
Hey Shabby, nice progress, keep on drawing mate. ;-) That's some very traditional drawing education you are getting at that Atelier. I've heard good things about Bargue drawings, and they certainly look like something that increases your discipline and eye for accurate observation. Personally, the "copy-'til-you-drop" thing didn't gel as much with me, so I am studying more constructional techniques with Peter Han's stuff.
Getting to your own stuff–some of the body and facial proportions seem off to me, so I suggest working on that. You seem to like drawing characters a lot, so I suggest studying that for a bit. And just keep drawing, you are on the right track!
"Drawing is a skill like hammering a nail. You might not be great at it yet, but there is nothing stopping you from gettin' down and hammering away." -Irshad Karim
I've been busy, although I've not been posting much. Here is the second bargue and some other stuff (mostly gesture constructs). I've also started over with the portrait since I knew I could do a LOT better.
Current plan:
-Finish this portrait
-Do a portrait for my sister's birthday (ASAP)
-Do a lot of quicker sketching rather than the long exercises from the academy, to keep that skill alive.
Finally finished the portrait and made good progress on my Bargue. This shot isn't up to date, however.
I have been super busy both drawing and doing other stuff!
Thanks bunches! Did some gestures, always a good way to get a feel for the human body. Pretty much all 30 seconds - to practice speed. That's one thing you don't get taught at ateliers like this.
Cool, stuff. You hanging out at the atelier in Edinburgh? :)
Seems like a very different approach you guys are using in your drawings. Do your instructors want you to completely key down the shadow shape before you add any additional values to the drawing?
(08-15-2016, 08:23 AM)Tristan Berndt Wrote: Cool, stuff. You hanging out at the atelier in Edinburgh? :)
Seems like a very different approach you guys are using in your drawings. Do your instructors want you to completely key down the shadow shape before you add any additional values to the drawing?
Yes and yes! That's the academic way of doing these. On my normal stuff, however I generally use a different approach as my art is less classical and more illustrative.
The way we'd go about doing a Bargue here is :
Construct (rough sketch) - Cartoon (articulated sketch with one shadow tone) - transfer to better paper or canvas etc if needed - flat shadow tone - render shadows, establish darks - render lights/halftones - contours, clean up.
The way you guys seem to be working is not necessarily the "academic" way of doing things. The french academic tradition that both Bargue and Gerome were a part of focused highly on the visual impression throughout the process of the work. The way they tended to introduce values was by keying in steps throughout the drawing so the relative contrasts are always correct (you can often see suggestions of this in Bargue's block-ins where he established important mid-tone information very early). This way the drawing always looks like the subject so you can readily compare the two. The shadow shape is still very important in the process but they did not neglect the rest of the drawing. If they did, doing a Bargue copy of the Belvedere torso would be a nightmare because there are only a few islands of shadow in a sea of mid-tones and reflected light ;)
There are a lot of new and interesting approaches that have started to gain some use like this one you're using and other examples would be what they're doing over at the Grand Central Atelier and SARA. I always think It's fun to see how different people handle the keying of drawings and paintings differently. It often suggests a lot about the underlying philosophy that guides the work ^^
