nice, i love artistique physique, and katyln, and saturn, beeeautiful women...
I think on the top left the legs are funky nice on the top right, really nice, keep doin that memory stuff it helps when you come back to reference you just notice more things and measure more coherently
@Fedo, yeap that was artistique physique. OMG< you even remembered their names! Insane...
Thanks a lot for your endless support and suggestions. I'd definitely do more memo stuff, maybe not so much from the mannequins, but from models or vice versa. Because, i dunno, I can't find the mannequin that I'd like.
Onto the drawings. So, my rapid access memory capacity is 6 slots, because I had no idea what the last two poses were like, even close. Also I didn't managed to get right the most dynamic pose with bend (middle page in this post or top right in the prev), I screwed up the gesture and, on top of it, proportions.
IMHO, the next thing I should look up into are feet, because I feel like they are the weakest things in my drawings for this moment.
For me what worked best was box from Marcos matheos lemestre and Bridgeman, because they focus on volume and my drawing was , and is probably still lacking volume. they gave me what I was lacking most, but that probably different for everyone. I tend to do a box for pelvis, an egg for ribcage and for head, and mix of box, lines and cylinder for legs and arms. At the moment I try to find a way to incorporate simplified muscle in the mannikin, like bridgeman does for his leg for example. The drawback is that I sometime end up with heavily stylized stuff (bulbous muscles and very curvy overall) .
I read Feng zhu students take a chrono to look at the time they work each days. Also read that Dave Rapoza had a personal schedule, which he followed strictly, maybe settings up personal, every days goals like that for yourself could help doing more hours.
Here is my update for the personal piece. Finally, I'm happy with the colors. But, again, it's a long way to finish. I've only started to paint his body, it's like some kind of color-mapping or so. But forest will be as is. Although I've recently commented on Baldgate post about "busy background", here I'm doing the same mistake, it's also too busy. The only thing to mention in my defence is that I'm painting more or less with Russian approach (from back to front), hopefully this should help me to put all the reflections and additional colors in place.
Maybe after working on the figure it'll come forward, but I dunno it's a very first time when I'm starting from the back and literally doing some. Also painting forest was sooooooooooooo satisfying and meditative... Oh my. That made me want to buy oils and go for the plein air studies.
its really nice so far, i think you could design the tree behind him better, like its got this sausage look up until the cool twisty shape. also for that branch near the end where it splits into two branches, both are the same size its good to vary large medium small on each element on a page. bear in mind each little tree leads the eye around, right now its fine as the main tree points back to the stream which leads back to the focal point of the figure who has the most contrast so youre getting that right.
Have a look at some magic the gathering artists and how they do trees like depingo or somebody, its always very strategic!
Hi Fedo,
thanks about the tree, I'll find some refs and work it out. And also thanks a lot about recommendation of Magic the Gathering artists, although I know only Scott M Fischer XD and Peter Mohr-hell-i-do-not-know-how-to-write-his-name.
Quote:bear in mind each little tree leads the eye around, right now its fine as the main tree points back to the stream which leads back to the focal point of the figure who has the most contrast so youre getting that right.
that moment when someone noticed your compisotion\idea in a work (yeap, it is not a coincidence mua ha ha).
Nice, I love how you get a nice balance between tree and empty space in your background. The way you handle value through brushstroke is cool too, and the body is getting there. Keep it going ! :D
Hello guys, thanks for your replies.
I've been working on literally everything by little. Got stuck with hair (pls, don't help me with it now ^__^), need to figure out what and how I want it to be on my own. It's something about "it needs to be light, but in shadow, but still a high contrast and with the pearl feel to it, lighter than shoulder but darker than face (or not?) and overall shape design is wrong.. crap.
Also this post is going be quite long and personal one (and you shouldn't read all this crap, cause it helped me already in the process of writing) and first of all, I'd like to say thank you all for replying, helping, suggesting and all, you are so awesome, I'm so happy to find this community, can't imagine where I'd be without the support.
When a sun shined for two days and temperature increased to 12C I decided to go outside and draw a bit of people and trees around to relax, observe and, you know, maybe inspire. Also there are some scribbles of mermaids from imagination, which can't say I like them, but they are definitely better than they used to be. Everything was fine until anxiety came into play and I stopped drawing mermaid from fantasy. A bit of Reilly rhythms and Asian crowd of tourists, also one interesting tree which I'd be using\already used a bit in the current work.
Also on Tuesday there was a life drawing session, where I panicked... a lot... First of all, noticed that the way I draw while consciously studying anatomy\croquis cafe\watts differs from what I do at the life drawing session. Maybe it is because they are reaaaaly rare, or because of my anxiety about what other people'll say or simply because drawing from 2d video\pic is easier than interpreting 3d form onto 2d surface, IDK. But all those structure and consciousness of line that I got while drawing Artistique Physique simply gone away. And, in addition, I either drew gesture or structure, it was confusing to build structure on top of existing gesture (wtf?), but it seems that there is no such problem for me during the home practice.
And the second thing was one guy who approached me after the end of session with words "nice drawings as for the first time". And I'm not fishing compliments here, no-no-no, it's just... you know... it's very heart breaking to know that after years of work your drawing still look like "the first time"... I was happy about my slow, but steady progress, I've never painted a naked figure before, hand, legs and feet, even drawing forest was new to me and every time some problem got solved that brought excitement into my life.
And I knew that there are proportional mistakes in those sketches, some structural and stiff decisions... but also it is easy to forget one's mistakes when he\she draws very loosely, stylistically, abstract or vaguely than the other's who tries to build things up realistically and structurally. And now I'm trying to incorporate my knowledge to what I see, not only fancy copy what's in from of me.
But that awful feeling of "not having a progress" or even "I used to draw better" is coming back. And I know that it is impossible that the week before I was happy about my development and now it feels as regression. It's kind of mind tricks, hopefully. And oh gosh, I'm so mad of that guy, cause I shouldn't have written here all this shit and I don't want to be caught into depression again as the last year.
!
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