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Hey Inkhaurt , Thanks for the very detailed explanation of your process here.
I would suggest you not spend more than an hour on these exercises but rather do a series of them, 10 repetitions of value scales for example, remembering to squint so we check our values and we can look for errors. By repeating multiples times we develop that muscle memory of following the technique.
All the best Carlos perez
Hey Jesper, I definitely think you’re following a good approach with 3 values studies in 30 mts that’s focused practice.
I wouldn’t worry about the ambiguous marks since your overall gesture and structure look accurate.
About joseph’s cycles, I’m convinced those are for a finished render, I see your aim is to get 2 or 3 values studies of the figure and move to the next pose, those are not meant to get that specific.There’re some edges that could get softer in my opinion and the shadow mapping could get more specific although I’d keep things simple and just focus on the values.
I personally focus on edges when I do like drapery studies where most of the time the structure is simple when I do the figure studies most of the time is just focus on gesture and structure as Steve Huston teaches to simplify it as much as possible.
Keep the Good practice Jesper
Cheers , Carlos Perez a.k.a Makith
Hey Adri, Pretty good job, clear distinction of light and shadow despite the patterns on top of the form specially the handle , really looks square
Other than that i don’t know what to say, are you looking for feedback at any specific topic?
Hi Jaroslav, good execution, your 2 value portrait look convincing and planned to look distorted although the experimentation looks not too creative. The bending aspect is a good to start for sure.
Let me share some of these thoughts with you
Playing with the gesture line, the shadow shapes, or the Reilly rhythms ( if you’re familiar with them) , the elements of composition, can create an idea of the portrait, just using it the face as a vessel that contains a different idea inside can be an approach however this process take realism out from the image,( at least on my practice) in the case of wanting to stay real I can suggest as well to do an “ensemble” and match two realistic drawn elements, like having a squirrel instead of her nose ( just to put an example) .
That is what comes to mind in terms of experimentation with portraiture. ::)
Hey Daniel, I see you are familiar with watt’s training approach, I wouldn’t be preoccupied with those textures, (unless you’re not putting enough paper behind your drawing).
I would keep focusing on the fundamentals, your landscape looks well.
Your portrait has good work as well, that beard reads well, your realy rhythms match well, good proportions.
Your shadows don’t reed in general, the only shadow we have is showing an abrupt turn (hard edge) instead a slow turning form( lost edge) we need more shadows to showcase the entire volume of the face, remember there’s a skull under and remember the structure of each facing feature.
Keep the great job Daniel
Lovely and well structured feedback Koen, Thanks a lot. ::)
Hi Nash, great digital work.
I would suggest you get “thin to thick” line exercises if you know what I mean. line width variation, starting them tin and ending them thick and vice versa. That would create the sense of volume, which showcases structure so remember that structure is not drawing contour, we create contour by drawing forms on top of forms.Gleen vilpus gesture drawing course has a large explanation on that concept.
Hey Edgar . i like it , i looks fancy, the matrix reads pretty strong and clear and I love that effect on the water.
On my opinion i feel less movements and rocks at the right top would give a better simple against complex relationship
i feel the composition wants my eye at the yellow fish but after that, i don’t get where else my eye should go
I feel a color relationship between the green bottom and the yellow fish and a contrast between the blue top and the orange fish but the white kois feel strange.
Super Sean
December 20, 2021 at 6:30 am in reply to: Russian Academic Drawing – Please help me improve! #2022343Hey Koen , Impressive your decision “despite” your age and yeah I agree this is such a great platform. ;;)
Hey Jeff , i personally like your painting, learning more about drawing Fundamentals than painting is more important as well as easier and cheaper, although of coure in your personal work tbe technique is on you
Making an inventory .with already done exercises, reviewing skills, will provide that next step
still life, portraiture, perspective, figure drawing, art history, composition,
what are the weakest points? What are the strongests?if they feel already “good enough” , moving to
Drapery, anatomy , color theory, dinamic gesture, Landscapes , animal antomyBill perkins boot camp on composition has been one of my favorites as well as steve huston’s figure drawing ::)
awesome Timo
Hey J , that’s a great course, i enjoyed Steve’s lectures.
Your drawings look good they don’t seem to have too much detail, you can throw long “slashes” to find that fundamental design line, that long axis curve.
I would suggest you repeat this exercise 10 or 15 times, and take life figure drawing sessions once a week keeping the gesture/ structure ideas in mind, you will start finding the gesture easily and your best efforts will appear very natural and alive that would make up stand out ( unless your peers are more experienced, which would be better learning-wise).
Hi Alex, I would suggest you study as much anatomy as you are interested in so that you follow your interest and keep your motivation, however, it’s not gonna help you with your training at this stage of your development, anatomy is too complex, better to start simple and build-up.
You can Study anatomy and on the side study the drawing fundamentals.
Rendering, Perspective , figure Drawing, Composition.
Hey Jeff , in this case, we’re not using temperature to accentuate any focal point, our different backgrounds are settled to create and focus on different zones of color with multiple similar hue, each of them with a different value, for example, the blouse with its little hue subtleties changes but one value in relationship with the ones on the portrait and it’s value and the ones on the backgrounds with its values.
Hope it is clear :: )
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