Peter's Sketchbook
(01-03-2019, 07:52 AM)Fedodika Wrote: id say keep up the imaginative stuff more, really get some of the studies youve had out of your system, some of them are interesting.

For imaginative figure work, draw lots of different stickment, just 5 lines, body, legs, arms, and circle for head, then pick the most dynamic one and test yourself drawing it :D

I really need to find time to do more imaginative work even if it's only short periods of say 30 mins or so. I tend to find that with doing the h/w for Watts, the studies I do aswell as my day job I don't have alot of time to myself let alone fitting in imaginative work.

Once classes start again I'm gonna have to look at my schedule and tweak it.

Thanks for the advice btw I think how I was going about my figure invention was not very productive, I've actually sort of been doing what you suggested as I've been doing some loomis manikins and they turned out alot better.

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Been doing some more imaginative work the last few days, playing around with the loomis manikin aswell as an ovoid manikin. They turned out better thna my first attempt in my last post, proportions are hit and miss in them ( I think mainly in the torso/pelvis area) but that's due to my lack of understandng the proportions when the body is twisted or in dynamic poses.

Not sure what exercises to do to help with that. I'm guessing breaking down dynamic photo ref and seeing how other artists tackle it aswell?






I thought the Watts classes were starting this coming week but it's the week after so I'm thinking of doing more imaginative work in my sketchbook, give what Fedodika said a try and perhaps take a head I drew and a figure or two and draw them at a larger scale on newsprint.

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always watch them proportions, specially the legs. on the last sketch on the bottom there is a figure turned backwards to the side a iittle, his butt is very flat how youve indicated, make sure those humps read as forms projecting out, be it male or female

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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(01-07-2019, 07:30 AM)Fedodika Wrote: always watch them proportions, specially the legs. on the last sketch on the bottom there is a figure turned backwards to the side a iittle, his butt is very flat how youve indicated, make sure those humps read as forms projecting out, be it male or female

Thanks for pointing that out didn't realise I made that mistake until you said it.

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Update for this week.

Portrait Class

My usual life classes started again this week, it's only been 3 weeks roughly since I last went but I felt very rusty at first  I eventually got back into the swing of things but man I was not expecting it.

Finished the actual aly-in early but didn't have enough time to render it or start another drawing so thought I'd do some studies of the features at the side. Tried rendering the eye in the bottom left but f***** it up.




Felt like I wasn't simplifying enough and still getting caught up in the little bumps and crannys such as with the nose and her hat.

I've been reading Nathan Fowkes Portrait book so I want to try and incorporate some of his ideas next week, specifically his simplification.

Life Class

Usual 3 min and 10 min quick sketches, it felt very rough executing them. Tried going slower and making sure my reilly abstractions where correct for the model.






Sketchbook

Spent most of the week doing more imaginative work, mostly Loomis manikins and some more portraits. I was very more conscious when it came to figure proportions. Wanted to push my female heads since I suck at making women look attractive. I spent some time looking at how Brian Knox simplifies features etc and tried emulating that in my own imaginative work. Thought these where an improvement over my last female head but still needs work.
















I've quite enjoyed these last 2 weeks of purely imaginative work, it was a nice break from working on studies constantly and I've pin pointed some problem areas that I need to work on as seen below:

. Planes of the head ( my rendering was all over the place on some of the portraits and felt like it was due to not remembering all of the plane changes)

. Heads at extreme angles

. Proportions of the figure from dynamic poses/ foreshortening and remembering interesting poses

. Gesture drawing (needs improving greatly)

My scheduele is tight for the next month or so so some of these issues will have to wait until my scheduele is not as busy

(p.s sorry for the long post!)

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i think your heads look weird because they have this like, plug in a symbol for the features feel to them, like a mr potato head thing. Also you draw the side of the head too small, like the cheek bone goes further back, that and the jaw is too smal, aghh im not sure what to tell you but just do more, try to loosen up and draw the head without the riley construction, maybe try to build the head in a less intuitive way, like start with the eye, and try to draw with no construction so you can feel and internalize how the head isnt a bunch of generic plug and play features.

And try to not shade them too, mileage would help in that area if you didnt shade and just tried to do more and go for understanding over a tight end product

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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Nice studies! Are you taking Brian Knox's online livestreaming class? I was going to take it but wasn't sure how it was going to be like. Your studies look pretty solid. I agree with Fedodika's comment on avoiding the shading for now and trying to just nail the structure. Your rendering with a pencil shows you've got good shading technique anyway. Another suggestion is to practice drawing some heads using reference and then afterwards, do a drawing overlay above the reference to see if you are drawing what you think an eye is vs how the eye actually is drawn. Then redraw it from imagination or reference again and try to see if you can connect everything you're learning to what you see in real life by looking at your face in the mirror or a friends. You mentioned doing something similar with other artists and dynamic poses. Yeah something like that but with faces! I hope this helps!

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