jamesv pencils
#1
tryna gitgud


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#2
Interesting you definitevely draw loose but i would say you sometime don't use all that energy in a mindful way and sometime i would say your not in control.Use the hatching to describe the form with the form of the head in mind.The main place where you seem to struggle is how to describe the hair with all the hatching.Try to remember to think of the hair as group of hair instead of individual hair.I mean by that don't hatching horizontally and follow the flow of the hair and try to find the general flow of the major group of hair.

My Sketchbook
The journey of an artist truly begin when he can learn from is own error.
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#3
moar. tried to draw dave rapozas piece. Trying to work on hatching technique!


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#4
Some nice 'energy' to these drawings. I feel you would benefit from slowing down every once in a while and doing some more. considered and constructive analytical studies, from life is preferable but also just cast or photo studies with a singular directional light. Really focus on mapping in shadows and nailing the forms as accurately as you can (not in value at first, but in the mapping and turning of form. You do seem to miss that aspect a little in these sketches. That would improve your ability to show that 3d form and structure not that you are that bad at it...but can certainly see issues still in that area.

There is no singular way to study however the fastest gains come from work on specific study aspects that train and drill very specific skills and in a hierarchy going from most basic towards the more challenging. Often these skills are also going from highest impact fundamentals to more and more refined techniques. Eg. Accurate proportions and placement through layins > showing form through controlled edge work > two value shading ( only putting in one shadow tone for all areas) > etc. Hatching is way down the list imo though ofc always good to try improve things. Feel free to ask if this doesn't make sense...it can be hard to get across the nuance / importance of these things!

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#5
There good point to working big because you can work more freely and avoid going to fast into the detail but i encourage you to also try to work small you will save alot of time and will be able to draw more with less space to fill with hatching since it seem to be your favorite way to imply light and shadow.It will also train your mark making skill because it require a greater deal of control.

My Sketchbook
The journey of an artist truly begin when he can learn from is own error.
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#6
The responses are appreciated more than you know.


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#7
more stuff.


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#8
Cool stuff. I love your value transitions. I think [3D] form and gesture is a weaker point in some of these, in the sense that: your shading makes the form read, but the lines themselves don't have much turn, as far as form goes.

I'd like to see more of a focus on plain lineart, specifically lineart that has a focus on shape and form and structure- something like Bridgeman, I think, could be a good asset for you. You're already good at rendering, but I don't want you to use that as a crutch, like "Oh, I don't need to focus on the drawing so much, because my rendering will carry the piece."

Do you post your studies anywhere? I could see your stuff on movie posters and in galleries though, it looks very classical. Thumbs_up

Sketchbook (updated daily) https://crimsondaggers.com/forum/thread-8600.html

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1. Use the biggest brush possible for a given passage.
2. Paint large shapes first, followed by small shapes.
3. Save your tonal and chromatic accents until the last.
4. Try to soften any edge that doesn’t need to be sharp.
5. Take time to get the center of interest right.

Or, the briefer version: (B.L.A.S.T.)
Big brushes.
Large to small.
Accents last.
Soften edges.
Take your time. 

(James Gurney)
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