Edit: This part's boring-- skip to the end ;-)
Working hard/hardly working. Another drawer on her journey.
Edit: This part's boring-- skip to the end ;-)
Working hard/hardly working. Another drawer on her journey.
Last edited by J@n!t; December 20th, 2012 at 01:42 AM.
So far... I've been drawing for about a month and a half, now making it a point to draw every day.
Most of these are just copying other drawings. I'm getting over (maybe I've GOTTEN over) my fear of drawing humans by just putting down what I see and forgetting about what it is.
I know nothing about color. But the lure of the wacom was too much. I just built a new computer-- painting in Photoshop was killing it, and I was losing my work. The skull was one of my earlier efforts and I had to save it from a screenshot and make a curves adjustment. You can see the outline of my brush where I was starting to apply highlights.
Didn't get to finish the girl with the pearl earring, either. It wasn't until I was that far in that I realized just how bad working with soft-edged brushes can be...
...and here is the only stuff I have from imagination.
The horse on the hill was an idea for a children's book a friend wants me to illustrate (that was the beginnings of realizing I haven't the skills yet,) and the line horses are for the same friend by request. Drawn in pencil, photographed, and hand-traced in Illustrator.
Got the Posemaniacs random pose app on my iPhone... Not sure what to do with these; for one thing it is kind of soothing (and surprising) to just draw the lines and come out with something okay, I approach it slowly and haven't really had to erase except for the female sitting with the crossed legs- I screwed up the leg in the air big time the first go.
The thing is, the poses themselves are stiff and ridiculous, especially the ones seen from below the subject. I'd like to learn/practice some quick gesture, but I'm not sure how to go about it. Some of my "efforts" can be seen below, alone with my outline drawings. The gestures (read: scribbles) are less than a minute and the outlines are up to 3 minutes.
Any ideas as to how I can use this app better?
Some Posemaniacs - working on loosening up and not just following the line.
Got the big Bridgman book today... Only $5 and it looks like it hasn't even been opened, yay! Did a few quick sketches while reading the first chapters.
2 photoshops, one is an attempt to simplify a photo, I know it's pretty rough. The other, Pear on a Fuzzy blanket. I struggled terribly with the blanket, repainted it a few times to make it less offensive. I just couldn't describe the folds and shadows on the thing.
Critiques, help, suggestions would be appreciated
Nice sketchbook you got here, especially love the colors on those paintings, and for some reason the onion really caught my eye
Keep it up, looking really good!
Oh wow, I envy your learning curve! After all such thing as talent seems to exist and you have a lot of it and will be arriving at your goals in no time if you go on like this.
Stantz: Thank you so much The onion was my favorite as well, and for some reason was also the easiest to paint. I had a terrible, and unsuccessful, time with the oranges.
mosaik: Thank you. I was "talented" in high school, now I am learning in earnest. It took me a long time to realize talent is not enough in itself, it is only a place to start. I think if we were to look amongst accomplished artists, we wouldn't know which ones started with talent and which did not.
I noticed the spartan camp threads yesterday and decided to join in. Here are 50 gestures- they are what were spat out of my pencil, I experimented some but don't have much of a plan yet. Using a bit of what I've learned so far and exploring a little.
The other is the drawing for an action pose study. I decided to use a photograph of my horse, Bucket, play-fighting with his friend, Sparky. It was a difficult pose that I would not have been able to draw a few weeks ago. Really made me pay attention to both what I see and what I know is there. I think I will render in conte pencils, but I'm going to read up on technique a little first. They are American Paint Horses, so some of the odd marks on them are their white patches.
Your linework has a very nice curve and flow to it. Your colors when you imagine stuff seem like you aren't approaching each piece with a pallet in mind.
Solid start to your sketchbook here.
I think one of your main strengths is line work. And what I mean by that is the solidarity in your lines. You provide the viewer with good sense of depth and form with minimal amount of lines used. You will see some people tend do lots of scribbles trying to find the right amount of depth and form in the subject they're drawing, although this is not so evident in your skulls. Perhaps studying anatomy of the skull etc can help attain to this.
I also like the onion as the favourite from your colour work except that I think the highlights may have been overworked in it to a degree. Imagine that if you were to try and look at an object that is reflective and a bright light is bouncing off it into your eyes, you will have trouble looking past the glare of the object. If you can see what I'm getting at, is that the highlights appear overworked to the extent that it is distracting and detracts the pure essence of it. You could perhaps work to find the right amount of balance between highlights and darks to draw more solidarity to the onion (also applying this thinking to your other paintings)
Hope that helps!
NeonDuck: Thanks for noticing. I wasn't sure if it was apparent that I'm trying to think of forms folding into one another.
Jaunay: I think we could have an advantage, being older. I know my artwork is of a higher quality than when I was a kid even though I didn't draw a thing for 10 years. Why that could be is anyone's guess, though...
Batcustard: You got me. I'm pretty dumb when it comes to color pallettes. I'm just not aware. I even have a hard time choosing the right colors for makeup. Uh oh. Looks like that's going to become a major area of study for me.
Insanelight: Thank you. I have been working on it!
Seungy: I really appreciate your critique, both positive and negative. Very helpful. I had to think about the highlights comment for a while, and now looking at it I think I fully understand what you mean. I might revisit the onion to make it sink in.
Working my way through Bridgman's Drawing From Life book. I initially thought his lines were ugly, but now I have the feel of how to use them to describe form. Pretty neat.
I see that I really screwed up some of those ears. I'm really not sure what I was thinking!
Bridgman and some 10 mins or less Sharpie sketches (somebody gave me a box full for christmas).
Neck studies from Bridgman, lots going on in the neck, phew! And the beginnings of my 50 gestures for Spartan camp this week. Thinking more about construction instead of only drawing what I see.
Struggled quite a bit working through more gestures today. I worked from pictures in order to change up from the static poses of Posemaniacs. So much to think about... I was trying to depict the motion with as little description as possible. It is so easy to spend too much time depicting every curve and turn. I was trying to only show the ones which were important, thinking of using this skill to rapidly layout drawings in the future before they are refined. I used the same paper as yesterday, so those gestures are appearing again.
The second attachment is a master anatomy study. I was going to give myself a break and do something simple, but made the mistake of choosing this skull which was a copper engraving. Ugh, I imitated the lines with hatching and it caused me to lose my focus repeatedly. I think I should have decided from the start how much I was going to replicate, seeing as how this was just a study and not intended to be a copy.
Below is the full page of 50 gestures for Spartan Camp. Things change up quite a bit here; I was trying to figure out what I want to get out of gesture drawing. My initial tendency when trying to draw simply, quickly, and accurately is to go "Oooh! There's another shape! There's another turn! Must draw that!" So I eventually worked on being more simple, finding lines of movement, and then putting some shape in. This has made me think about the studies I should be doing next week. Perhaps some direct observation from life, drawing what I see, and then some more anatomy work drawing what I understand.
Worked on the torso in Bridgman. At first I loosely copied his accompanying sketches, then I realized that in order to grasp this I need to draw my own. I will be doing so except for more complex things (will copy in order to work it out in my head)
The last is a master anatomy study for Spartan Camp. I chose the torso of a subject drawn by Chubirko, since I've been working on the torso in Bridgman. It sure isn't perfect, but I have to remind myself that I'm trying to grasp anatomy, not just replicate other people's work. I thought I gave up on being a perfectionist a long time ago, but it still irks me when I see so many things that aren't exactly right even when I wasn't going for "exactly right."
thank you for the headsup at my sketchbook, you really do know what you talk of I should probably go study some horse anatomy then but im afraid the closest thing to a horse i can get to around here is a google image haha! (nice sketchbook btw, those live studies are doing a lot of good)
Ranunkel: Thank you. I figured I needed to keep up with my animals while I studied human anatomy. They are also a treat to draw- a little bit of a break after working on my people.
Parsakoira: I wish I had some photos applicable for what you are doing right now. I'd shoot some (there are 12 horses here) but it's really cold and snowy right now I'm sure your finished work will kick some butt anyways.
Here are more Bridgman torso studies. I also started on some perspective. I started a 3-point perspective drawing but I have to go read a bit to answer some questions I had after reading the tutorial. Also working on gestures, making them flow, making them more simple, no erasing, etc. Used a conte stick and did 2 minute gestures on pixelovely. The mouths came from watching streaming Netflix. I also tried to capture them quickly. It's very difficult to work fast and not worry and plan so much, but I think I will gain a few things from it. I'll go back and forth with longer gestures so I don't lose the ability to replicate what I see.
The digital color sketches are from Sketchbook Pro on my iPad. I've decided to use this to explore color, draw from the imagination, and get stupid. I refuse critique on these This is where I'm not going to be careful, I'm going to let what I'm learning seep in rather than cram it in, and, last but not least, I will leave messages for today's children. The sooner you learn them the better.
Hey J@n!t, love your line drawings, they're very well defined.. Out of the coloured pieces, the onion was what I liked the best.. Lovely use of just 4 colours And the pear painting doesn't look bad either, maybe instead of the blanket, you can start with some plain white/coloures clothes and then tackle the tougher ones like blankets (i find em tough :/ )..
Try out different brushes for detailed work like that of the blanket (i'm no expert, but that's what i hear from the experienced ones).. You're gettin me inspired to start on some still lifes, thank you! Great to see that you're in Spartan Camp too Keep drawing!
EDIT: just saw your new post.. coool, you have an iPad?! is it like drawing with a wacom? and the messages to kids- that's all that schools are missing nowadays keep going, your energy's contagious!
Last edited by Sharon J; December 20th, 2010 at 11:23 PM. Reason: just spotted a new post
Hello! I'm trying to improve my artwork and I really could use your critique - S k e t c h b o o k
Your improvement is amazing! I believe that hand in the first post is based on Betty Edwards' book, and when I first did that 1+ year ago, the hand I drew wasn't even 1/100th of the quality you had! Impressive!
Sharon J: Thank you. I think I do need to start with something simpler. I have not studied drapery/fabric yet either, so that doesn't help. What DOES help me, interestingly, is attempting something first with no know-how. That way I get to relax when I try again because it can only get better
The iPad is fun to draw on, especially with the stylus I got from eBay. It is not as easy as the Wacom because there isn't the same surface glide and I find it is much easier to have a monitor to look at without a hand and stylus covering it up. I would enjoy having some proficiency with the iPad so I can work in color without carrying a bunch of stuff around. I also find using different media to be stimulating.
Yes, my messages to the children are worth more than all the math classes they will ever take
Xeon OND: Yes, that hand is from Betty Edwards The first few chapters in that book really helped me! Being able to draw what is in front of you is a great tool to have in your pocket. It helps when your mind gets in a tangle or you question what you are drawing. Unfortunately, my hand really looks like that. I'm going to look terrible when I get old
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