(11-22-2019, 08:05 AM)Tristan Berndt Wrote: darktiste, everyone can be a critic, but not everyone can help. Sometimes, showing up and talking down to people without offering any substantial help, is kind of annoying. No need to go around giving people your own "grades".
My intention was not to be annoying but rather to point inconsistency by highlighting them. I am sorry for the way my message came across.I still believe that every opinion should be respected but i understand that i should try to be more more careful with my choose of word next time i am give my opinion on something.I just don't think giving solution to a problem is always the way to help an artist growth.For me it was more important that he develop is own autonomie but i sometime provide help when i see a big struggle.
I pretty much use the same thing as her. One textured brush in full opacity and around 25-40% flow as my workhorse brush (I tinkered one of Ilya Kuvshinov's brushes if I do remember it correctly) and a normal hard round with full opacity and flow that's close to a hundred to paint or smoothen things around. Sometimes, I use a different textured brush in some pieces just because I like to explore while I do them.
I stared at a lot of John Singer Sargent's paintings. I read Alla Prima by Richard Schmidt. Book is a bit on the pricey side, but I believe there's a pirated pdf copy floating out there on the Internet.
Hmm.. I don't really have a general tip since I'm still working on it myself, but I think I can credit Amit for setting me on this way of thinking about painting. He said something about planning your brush strokes before you slap them on the canvas. The way I interpret it now is to try and have the maximum amount of information given the least amount of brush strokes.
Of course, I tend to fall by the wayside just because I tend to over-render sometimes. But that, I guess, is what's fun about doing this thing we're doing.
So much for my long winded answer. Best of luck. Glad to see you are back at it again.
If you are reading this, I most likely just gave you a crappy crit! What I'm basically trying to say is, don't give up! ---- IG: @thatpuddinhead
Thanks John, those will definitely be helpful when rendering things in Photoshop.
Anyway, no portrait today unfortunately. Decided to draw some monsters from imagination, more fucking boxes and some figures which as you can see I am pretty rusty at.
Hey hey! Boxes need some love too! Ha. Alright, it's an acquired taste. I would say try to use a grid or vanishing points, mainly so you can practice accuracy when aiming lines that are supposed to be parallel (here I'm not sure, are you trying to make them be?) converge to one. It's a good exercise tho!
I honestly like those monster, the most the winged one, due to the design being more varied! I would say you do the same on the others as that one, change the teeth or other parts into more harder, shaper looking bits for more dangerous vibes, but maybe you aren't heading onto that direction and want something less threatening on some? The lizard one looks like it could go on monster hunter! The duck-ish one I think I like the floating tendrils from where the earls should be? Nice touch.
So from your studies as I mentioned I used the girl with the white dress and red hairpin myself, I kinda like the photos you are picking up! I'm gonna stay around and be on the look out for more! Study wise, I think someone has told you already but maybe focus on line and all that, but on the other hand I feel that with tone I spot more easily my mistakes so, maybe it ain't a bad idea to do tonal things at the same time, maybe it makes you go faster! I can't say, I took the other route but I always wondered.
In any case, I'm not sure if I can be of any help with portraits or studies since I struggle at that myself, but if you think I can be with anything, hit me. Keep it up!
Thanks Roto will need to work harder on my boxes. The exercise is that your not supposed to use grids or rulers, just your imagination and then after you draw them, you then use a ruler to see how much you fucked up lol. Still trying to get better at it, some days it feels like a chore doing them and sometime my brain goes on autopilot and the lines end up messy.
BTW, got two new portraits and more goddamn boxes. Used digital for the second portrait and I am rusty as hell. I need to work on my rendering and my proportions because I feel like those are the two things that are screwing my work so far. Well that and perspective. Going to do some head studies today and work on my planes so I can get shadows down better.
So no portraits or boxes today, instead I am doing Drawbox fromt he beginning to improve my constuction and line quality. I feel like I've been trying to run when I haven't learnt how to walk yet and now I am going to reprimand that problem. So, here's some of the practicing I've been working on.
Don't worry, I'll be working on some of my own stuff as well, so I'll make sure I won't just post studies, hell, even the guy who made the Drawbox site says to spend only half of your time studying the lessons. I don't want to burn out like when I tried doing this last time. I'm going to have to stop half assing it.
Those diagonal estimation exercise are really useful to learn to estimate distance between two point the bigger they are the harder it get.So try to always remember that you can always increase the difficulty once it start to be to easy.
Some Hampton studies and gestures, will have more exciting stuff next time. Going to start drawing some characters. Might try to do further studies digitally or with a thinner pencil like HB for finer lines.
Alright, finished lesson 1 of Drawbox and am working on Bargue studies for proportional value and going to start reading Steve Huston. Heard Hampton wasn't very good for looking for anatomy.
for this one you have the idea of whats going on but some proportions are wrong, despite you getting the 2 drawings aligned. Look at that foot, does it look like that? is that cal on the right that stubby? how long are those thighs? they are longer. the upper torso is also longer and you have the loincloth way too big. take another look at that deltoid on the left, are there that many curved lines on that forearm? keep working on it!
The boxes I saw you started aiming the lines! The ones with red also feel like you are checking for mistakes? Really good if so, you should try to do more of those to warm up, for a few months or whatever you need to get used to. That was helpful to me, then move onto freehand geometric forms.
About the last ones, I think you are already seeing it, like in the one you repeated a few times, but you do them wider, the vertical is aligned but you also should check for the horizontal boundary, and try to measure with your pencil/pen/thumb or what not if a line you put checks back with the original. In any case they are looking good, getting them really close!
@Fedodika, Thanks, just did some adjustments, does it look any better?
@Rotohail, thanks man, I'll be doing a lot more boxes with red lines in the coming days, just you wait. Also, for the next Bargue drawing I did the thing you suggested by putting lines on the side to help constrict my mind to the correct proportions that are in the ref. I think it helped a lot.
see what happened there? you tweaked it and you saw how it could be better right? thats how improvement works :)
So, we look at this leg on the right, still too stubby, same with the left. The deltoid is a little better, a little more structure, still doesnt have the volume of the original the back of the torso has more width, the right arm has less width around the tricep area. Does his elbow really look like that? if you overlayed it, is that the same shape? I can see how you think the shapes are right, thats understandable, just gotta look deeper into these my dude, the point of these is to train accuracy, and be extremely anal about how close the shapes are to the original, keep tweaking on this, try to get it to where you can overlay it and nail it 99% instead of about 70% accurate where it is right now
The recent studies are looking good and are starting to take shape - great job. I think you could really push yourself in terms of accuracy by using a smaller/finer brush. Thicker brushes are great for blocking out etc but if you notice in the refs, a mixture of thin and thicker lines are made to represent a sense a lighting and detail. Aim to emulate the same kind of line quality, and that will really help push you forward.
I have to say, these studies are quite inspiring and I'm beyond tempted to try my own hand at them. Where do you get all your Bargue refs from?
@Chubby_cat, Thanks! The Bargue references were given to me on somebody on Discord, I think you can find them online somewhere though.
@FedodikaThanks again, made some morec orrections. Probably going to take a break from these to work on some other stuff like portraits and monster designs. Maybe do more anatomy reading.
Small update, been bust with other stuff but restarted the 250 box challenge and also started reading Steve Huston and watch Bryan Lee's head construction video. Also did some portraits from imagination using Loomis's method. Might do more of these. I need to experiment more.
Remember that when doing boxes, there has to be keep a certain angle relationships between the vps involved, so that you are drawing solids with 90 degree sides, else you are drawing solids but not necessarily rectangular ones. Are you mismatching for example the blue lines one for some reason? Just commenting in case you want theoretical help or are actually experimenting with "not-cubes" ha.
I do like the last 3 faces, is Loomis helping you out then? To me it was more helpful Bridgman but I don't use any of them anymore, well more like I pieced together all of those to make my own stuff, so stick with it! It does help. I especially like the screaming one, good gesture! You could raise the upper lip, show the gums and make the teeth more defined for extra punch!
