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Solid work, love seeing your analytical and deliberate practice, it’s definitely paying off! If you ever want to improve in your consistency and frequency of your practice, I highly recommend this audiobook atomic habits ( https://youtu.be/Cbn9SqClw5Q). I thought deliberate practice was enough, but I eventually started slacking off because it was so exhausting, that book helped me turn difficult practice into a habit that is easy to follow through now. Keep up the excellent work!
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(04-12-2019, 08:05 AM)ubem Wrote: Solid work, love seeing your analytical and deliberate practice, it’s definitely paying off! If you ever want to improve in your consistency and frequency of your practice, I highly recommend this audiobook atomic habits (https://youtu.be/Cbn9SqClw5Q). I thought deliberate practice was enough, but I eventually started slacking off because it was so exhausting, that book helped me turn difficult practice into a habit that is easy to follow through now. Keep up the excellent work!
Hello @ubem,
I'm so grateful for your nice words and thank you so much for your recommendation of the book, I am going to listen to it today. Also I think your point about consistency and frequency of practice is very urgent for me, because nowadays I'm not so consistent as I was a year ago. The last spring I was drawing for min 4 hours\day and although there was a huge progress I lost my interest, willpower, enjoyment and gained some stylistic features which I hated. So now I'm really struggling to make my art duties to be a habit but with keeping them fun. Now I can do art only for 2 hours maximum until I wanted to die or puke.
It's hard for me to find a balance between studying, doing "personal finished art" and receiving pleasure from what and how I'm doing.
Looking forward to hear what's inside the book! =)
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Little fixes here and there: increased his size, changed the trees, desaturated background, corrected the river flow, increased his boy (yes, this supposed to be a boy XD), cropped a bit, minor changes in anatomy so far.
My next priority is to figure out anatomy issues: neck, legs, hands and butt. And I need more color variation...
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Really beautiful work you're creating here. I am particularly fond of the one with the woman screaming in fire. It really conveys some strong emotion and I just love it when you can almost feel the light coming out of a painting! You mentioned at one point that you make hands too small, I think in your most recent post that you have remedied this, good work! However, I also think the small hands in some of your earlier ones are kind of adding an interesting component. Keep it up, your only going to get better!
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(04-13-2019, 06:23 AM)Nikelart Wrote: Really beautiful work you're creating here. I am particularly fond of the one with the woman screaming in fire. It really conveys some strong emotion and I just love it when you can almost feel the light coming out of a painting! You mentioned at one point that you make hands too small, I think in your most recent post that you have remedied this, good work! However, I also think the small hands in some of your earlier ones are kind of adding an interesting component. Keep it up, your only going to get better!
Wow, thank you. A friend of mine once said "make hands enormously big to your taste, that'll be, probably, just the right size". XD
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Tried to figure out my questions about his pose, decided to draw from scratch. What do you think about the legs? I reduce them since very first thumbnails two times. Aren't they too small? Funny, but in every of my previous sketches I didn't notice that they were too big, weren't they?
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i think they look good proportionwise but the leg thats extended more is curving really hard in an unnatural way, i think itd be straighter ;)
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Really digging the latest lllustration! :)
Like Fedodika said her left leg is curving too much, mainly on the right-hand side. Also feel like you could insert a couple of straights just above the ankle and have the peroneus (I think) ending slightly higher than it currently is.
Keep up the good work. :)
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@Fedodika, @Peter thanks for your help, I'll change the leg.
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For today a bit of Watts studies from the last week. Have a lot of trouble with this mannequin. Should return to them after month or two. I thought that this format of multiple image posting is much more convenient to browse.
cheers
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to reply to your comment in my sb, yes itll help loads with imagination drawings to draw from memory. these would be fantastic things you just did to apply from memory. now that youve done these, draw one without the reference do your best to summon all the knowledge from memory and recreate it, then check it and make notes of your mistakes youll grow so fast in figure drawing if you do it, its painful much more painful than just copying but 10X knowledge art gains
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(04-22-2019, 09:56 PM)Fedodika Wrote: to reply to your comment in my sb, yes itll help loads with imagination drawings to draw from memory. these would be fantastic things you just did to apply from memory. now that youve done these, draw one without the reference do your best to summon all the knowledge from memory and recreate it, then check it and make notes of your mistakes youll grow so fast in figure drawing if you do it, its painful much more painful than just copying but 10X knowledge art gains
Okay and thank you, I'll try this today.
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I am exhausted, killed, squeezed like an orange and completely defeated... 
Tried to draw from memory but, to be honest I can't recall even a single pose. So I decided to look at photo ref (not Jeff's drawing) to hopefully grasp a general feeling of the pose and then draw with all the refs and books closed. 1.5h for this weirdo... *kill me now* it was a one from the bottom left.
PS I dunno why my phone make shitty photos of any charcoal drawing... O_o
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well draw it again, from ref, then attempt that one single pose from memory try it again and note your mistakes
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(04-24-2019, 12:10 AM)Fedodika Wrote: well draw it again, from ref, then attempt that one single pose from memory try it again and note your mistakes
You are true evil, Fedo. 
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I know its rough but thats how you start THINKING about drawing, and all of drawing is thinking ;)
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Hey,
Nice work, and nice brushstroke on the guys wit the long hair. I'm curious to see how he ll look once finished.
For your figure from memory I think the only major issue is the pelvis area . The supinator are a bit flat too, the right feets is a bit weird and you forgot some bony area like the bone on the wrist and the medial and lateral malleolus. But Overall I think thats a very nice mannikin figure.
Did you try to create some figure only from imagination? I feel like when you can create figure 100% from imagination, from any angle, in any pose, then you truly have mastered figure drawing. Its very hard, I'm far from it myself. I know Frazetta, bridgeman, and many draftmans and painter are able to accomplish it. Its forces you to think in three dimensional way, laying out perspective and thinking of things as blocks and masses with facets. The asaro head you have done is a great preliminary exercice.
I feel like you also want to skech people from side and back. Muscles like gluteus medius, triceps, often shows up a bit even from face. I feel like some of your muscle and area still feel a bit 2-D (pectoralis for example), like, the anatomy is right, but you forgot to add mass to the thing. The lines must show that mass, wrap in a way we understand its rounded. I think bridgeman would be great to look at, because even if its exaggerated sometime, its show well the form of muscles and the facets , the planes of light. If you think only in 2-D anatomy its hard to build a figure, but I feel like it easier when you start to think in volume, which you can only do if you can subdivide muscles in facets just like you did with the face and asaro head.
If you ever have time or want to try something new I suggest you try sculting humans in clay. Sculpting force you to think about volume and lighting much more than drawing and to think about think in a 3D way.
Keep up the good work !
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(04-24-2019, 02:15 AM)Baldgate Wrote: Hey,
Nice work, and nice brushstroke on the guys wit the long hair. I'm curious to see how he ll look once finished.
...
Thank you, Baldgate for your immense reply. Don't be sweet to me, I've a lot problems with the anatomy, I've started to dig deep into it only half a year ago and it's only first iteration and I haven't covered everything yet.
As to my 2D look of figure I'm totally agree with you, and this bothers me a lot. When I eas talking that I'd like to create figures from imagination they don't supposed to be with complex\full anatomy. Have you ever see the Andrew Loomis skellies?
![[Image: 26a5c5e9b99cee3dd8a9f656509efdf7.jpg]](https://i.pinimg.com/originals/26/a5/c5/26a5c5e9b99cee3dd8a9f656509efdf7.jpg)
They are so simple yet so alive! From imagination I can't draw "full-of-life" action figures even like this, stiff ones? - EZPZ. And also definitely all of my figures are flat, they DO lack of three-dimentionality, but I have no idea, how to change this.
Year ago I started to grind Watts portrait phase and a bit of figure, I've tried to do all the memorization exercises, but that approach led me into heavy depression, cause I felt like I didn't become better with "seeing" or "feeling" 3D, instead I was just memorizing outlines.
And till now I'm freaked out by Fedo suggestion about memorizing.
For example, I can't get how short forshortened hand should be, or how twist\bend is working at particular figure because of excessive anatomy exaggeration. It seems to me that before I begin to study from Watts Hangouts with simple Hampton's approach to body through the boxes I was more confident about action within the figure.
And my attempt to same pose from the photo. I decided not to draw abs, because they are confusing to me, except this fact any another unfinished areas came from my tiredness. My three drawings of one photo look different, even the pose feels differently.
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You're welcome. Well, to be honest that quite good for only six months of practice.
Yeah I know Loomis, he was the first teacher I ever studied through book and he is a wonderful draftsman. I definitly learnt a lot with him, about rythmes, about anatomy, about gesture. I tried his mannikin too, Felt awesome to copy his poses, harder to do it by myself.
About memo exercise : I think there are many ways to practice it. If a full figure feels overwhelming, you could try to draw an arm or a leg from face , profil or back view, then try to change the view by rotating it in space. Then correct muscle and anatomy with book. Its only one way of working and there are dozens of differents approachs, and dozens of mannikins / ways of making anatomy. Loomis is great, but he never totally worked for me , nor Richer or hogarth. Feel free to experiments and to find your things, there are many ways to learn it. Personnally what I have the easiest time with is box too, very simple forms, and some perspective. I got this techniques from Framed perspective 1 and 2 . If you feel the box is best for you maybe keep using it and gradually modify it to suit your needs.
What I think could really help too is learning perspective, if you didn't already. I had only very rought notions until recently, and suddenly everything made more sense. When you put an horizon line and start thinking in box/cylinder, with a ground plane, you can start to position your figure easily in proportion and think about think going backward or forward. I'll help with foreshortening too. I feel like perspective is like the trojan horse of figures drawing, as a student you usually go straight for anatomy, but knowledge of muscle location isn't enough if you don't think in space and that where perspective come into play.
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Baldgate thank you for your suggestions. I'll try doing memory exercises of anatomy parts and I'm thinking to do this with croquis cafe videos. Which mannequin simplification is best to you? Hogarth is not "mine" approach in many ways. Also Bridgman look nice for me, but I have a paper book and flat table = it's very inconvenient to study from.
Also the great source of my envy to another artists is their ability to work hard decent amount of time, I can work for 2 hours only until I'm completely physically and mentally exhausted. And there is not much I can do withing this time. So for today are my croquis cafe drawings. Obviously, some of them where not drawn for even 5 minutes. I was trying to apply everything I've learn recently: rhythms, mannequins, some anatomy and was trying to thinking about perspective, "T" overlapping, points insertion.
I'm planning after a break to have another drawing session and to try drawing these poses from memory, as well as Watts' mannequin from yesterday.
PS oh, noticed that I have troubles with feeling the volume of the ribcage. In most cases I place shoulders on it wrong. 
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