03-04-2020, 12:38 AM
great stuff as usual, idk if you take critiques but, something I keep seeing in your work is that you leave the hair as a gestural-ish block-in, it never feels defined and conscious (even in your more finished images), which... gestural hair is great and I love it, but it's so much better when the design of that gesture adds to the rest of the figure; when you add the highlights on it, it always feels like you are missing on a great chance to frame the face, or lead into it (or oppose it!). Other times you leave it as a structural block-in, like a sculpture study, but in those cases the structure isn't very powerful, the softs-hards don't make it pop, the overlaps aren't there or aren't accentuated, the hierarchies of rhythm and form aren't really there like they would be in idk, a bernini sculpture.
Maybe you just aren't posting the good examples of how you handle hair, but in case it's something you've been ignoring, referencing someone like ingres or leyendecker (if you want it to be more graphic), maybe paxton, or something like boldini's drawings or tarbell if you want it to be looser and more gestural, could make your figures more solid and impactful. Stronger silhouette, stronger rhythms, more compositionally confident highlights...
I'm trash at hair, maybe the only reason I'm saying all of this is because I've been thinking about being more conscious about how I do hair myself lately.
Maybe you just aren't posting the good examples of how you handle hair, but in case it's something you've been ignoring, referencing someone like ingres or leyendecker (if you want it to be more graphic), maybe paxton, or something like boldini's drawings or tarbell if you want it to be looser and more gestural, could make your figures more solid and impactful. Stronger silhouette, stronger rhythms, more compositionally confident highlights...
I'm trash at hair, maybe the only reason I'm saying all of this is because I've been thinking about being more conscious about how I do hair myself lately.