atlast i i brought up my sketchbook .. and i want you guys to pint out the problems and mistakes in the drawing and to gives comments to it ... . and sorry for the watermark ! ..
Welcome to conceptart!
Ok first of all studies are the right way to start so just go on doing them.
Grab some books like Bridgman, Burne Hogarth for anatomie, loomies for heads and also anatomie. Of course live drawing is really helpful.
And if you do studies always pay close attention to the details you draw ( draw what you see- not what you think you know)
And the last tip for now is to drop the watermark of yours, because it destroyes your art and is not necessary at this point
So keep on studying
I like the apple on the blue drapery image, and honestly all of your work you have up. what i would advise, is to lighten your contour lines since they aren't really as viable as you draw them. You use a much too hard a line when creating your contour drawing, at least if you are trying to make an observational drawing.
but as i will often tell every one i post a critique to, this is just my opinion, and opinions are like... well you know. lol.
basically, the only thing i can think to say is watch your outlines. other than that i think it's good work.
Fudge this AWESOME place!!!
My SKETCHBOOK: please critique! i can take it!
To limit one's maximum knowledge is to maximize one's limits.
Sanity is wasted on the boring.
Awesome rendering in your figures! Im excited to see more
Wow! Really nice work. My favorites are the girl with the blanket, with the red backround- as well as the girl with the blue backround. And I really like the tree painting you did- the point of view is neat. The others are really nice too- but those three stick out to me. What's your favorite medium to use? o.o
Even if dreams seem out of reach, reach for them.
I terms of roughs I think these are your strongest
for rendered figures I like these the most
they're not to same level as your other rendered figures though, and it would be nice to get them there for portfolio level "finished" drawings. The others just fall flat for me though. You get in there and get really precise with your outlines which tends to flatten the image visually and also drains some of the life and activity.
Draw through the form more! Having lines across and around your drawing isn't a bad thing, just pull out the important ones as you work. With line, vary the quality more. Line variation is great for conveying weight and cheating things like perspective, if only on a subtle level. There's not much worse than a flat line all around the edge of something
the figure on the left really stood out to me. It's got a great feeling of depth to it which contrasts sharply with the others. Part of it, I think, is just due to the pose, the overlapping forms. I think a big part of it though is that this piece doesn't have confining outlines all over it. It lets the figure breath and come forth in space. The rendering of light and shade is "furrier" and less defined than in your other works though, but I take it this is a rougher one.
Your sight skills are/observation are pretty fair. Proportion and anatomy doesn't really stick out anywhere and is all pretty much working. What needs work I think is your expression of it. Thinks need a strong feeling of weight and balance. This can be achieved from a mixture of pushing the pose in places where it will help you and in being sensitive to your line weight and redering techniques. Line weight mostly for weight, rendering mostly for forms existing in 3d space relative to one another.
I'd also recommend using some charcoal. If that's what you're already using then I'd recommend using it in a different way. Get some vine and some compressed. Soft is good. Don't be afraid of getting messy. Not everything has to be encased in line and perfect strokes. Vine is great for line variation. compressed bars of charcoal are pretty good too and give a less atmosheric more deliberate look. Don't just draw with the tips. Turn things to the side. Make broad marks and explore the variety of tone and quality you can get with each implement >> And then use that in your drawing! Whole masses and faces of form can be described well with the right swipe from the side of a charcoal.
Loosen up and try drawing in ways you never have before. You may find out some really cool and useful things to add to your repertoire.
@lizzybeth- you are always welcome to my sketchbook.. i really wanted to get critiques on my work from you .. atlast i got it .. thankz for your comment .. i will soon concentrate on my line .. .. i really appreciate your commetnts .. .. and the main fact of missing life in my figures is that none of the above figures is from life .. i am in india where nude studies is not allowed .. i will definetely do great if i could draw the figures from life ...
Last edited by maanas.93; November 30th, 2010 at 12:24 PM.
Really nice figure work here! You really improved since your first post, which is great! Ringling loves animal sketches, so keep those up! Your rough figure works look a little bit stiff. Try and really loosen up those figures to give them life. You also use "scratchy" lines in your work as well. Try capturing the figure and or animal in one sweeping stroke or sketch it out with many long strokes, not small, scratchy ones. This will help your sketching and gain confidence in your linework. Contrast seems to be lacking too. Really push your values on finished pieces. From dark darks to light lights.
You have very nice work so far. Keep it up! Good luck!
when i visited ringling and spoke to an admissions guy he stressed to me the importance of gesture drawings and their rhythm and movement. i recommend doing gestures of a figure in motion since you want to study animation. im really impressed that youre only 16 so keep on drawing from observation, but do not forget the importance of strong gesture.
drawings like these show a study of a figure in movement.
im sure there are tons of other great examples.
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