[Carlos Perez]

Hey Jac , thanks for your generous feedback

The intention was to look at the value relationships and to paint in different light conditions.   “Flat”   Black/white relationships and “Chiaroscuro”  Light /dark relationships all timeboxed in    30 mts.

These ones are the good ones I have other paintings where I couldn’t even create a reasonable portrait idea, I’ll upload them for the next feedback.

For some reason, I only can see one feedback image although I got the ideas, planes, Asaro heads, and  More transition values.

[Carlos Perez]

Hey Andrea, I like the Study in a general sense and especially the position of the head, the leg looks stiff but they work.

It’s a good lay-in and it’s super that you didn’t get into details. Since this is your practice I’d encourage you NOT to get in details but rather only focus on the gesture and the form, leaving it at that stage.

Timebox yourself  (20 / 30 mts max)  and repeat as many of these studies as you can.  That will upgrade your figure drawing skills for sure.

I can suggest you, Steve Huston, drawing the figure from life course, he gets deep into gesture and structure.

[Carlos Perez]

Hey Jo, good work there it does look convincing and structured and you capture well the sculpture-ish aspect of Bernini.

If you want to know how dark to get remember to  ” Squint”, partly close your eyes and look at your value differences.

Realistically speaking we want a clearly 2 value distinction, which means 2 zones,  Shadow and light, and we want a clear jump between them meaning that No value in the light zone is as dark as the lightest value in the shadow zone.

You can apply this same system to your background as well,  maintaining it as an  “OREO cookie ” Black cookie/ white cream/ black cookie/ white cream.  Black background zone /Light figure zone/ black figure zone/ light background zone.

Let me know if  i make myself clear and Thanks for sharing your drawing ::)

 

[Carlos Perez]

Hey Lewis, It’s super that you had that comission and that she liked it.

Craft wise I’ll suggest you get deeper into your fundamentals studies, here is a list of New Master courses that will walk you through .

Beginner’s guide to Drawing with bill perkins

Strees Free sketching with Sheldon Boreitein

you could continue with

Constructive Figure drawing with Steve huston

Composition for visual artits  with bill perkins

All of them are super enjoyable , we’re super looky to have them .

[Carlos Perez]

Hey Timo ,  in terms of rendering it looks great however you need to Design more, I’ll encourage you to take Bill Perkin’s fabulous boot camp on composition where he explains how to utilize visual literacy, matrix, and more.

[Carlos Perez]

Hey Marten, thanks for your insides about materials,  good observations.
Those are great studies I personally like both of them although I’ll encourage you to remember to keep your STUDIES with no details,  specially hair-wise since the hair works better as a big mass.

Focusing on our general idea of structure and gesture, as Huston preaches,  will make us advance quicker as craftsmen.

[Carlos Perez]

Hey Timo, nice portrait, good temperature differences, i like the flat lighting, great study. It looks nice although I wouldn’t be able to say if you capture the Mona Lisa smile since  I don’t know about facial expressions.

[Carlos Perez]

The rolling bones, yeah it’s a good name timo.

I like it , great rendering,  i would say you just nailed it on your intention.

Thanks for sharing, I can see now the value of the NM references, the lights, and the position works amazingly well.

[Carlos Perez]

Hi Jack, your landscape looks pretty good,  nice composition and use of value.

Practicing the fundamentals is always great,  70 % drawing, 30 % painting as they say. If you focus on  Figure drawing, portraits, linear perspective,  drapery, 6  weeks on each as you did on the landscape would be good, doing little projects of ten reps  of each exercise you learn and adding a bit of challenge from each one will certainly take you to the next level.

If you want to get more info you can watch jeff watts lecture on how to train on youtube https://www.youtube.com/watch?v=KX0MrnzBJ8M&t=3443s if you haven’t seen it yet.

[Carlos Perez]

Hi Meghana, studying with steve is definitely a great time, I haven’t taken his course on head drawing since I took a Reilly method course not long ago however I enjoyed his figure drawing and I love his lectures,  I would encourage you to make sure you’re understanding the ideas of gesture and structure out of his course or teachings in general.

Drawing the face 360 will certainly help you however  I wouldn’t worry about how my heads look or if my proportions are right but rather understand how to find the gesture and structure on basic shapes (cylinders, cubes, spheres. )

Gesture ( the longer sustainable line, the  long axis )  Structure ( showing the frontal face of the form and implying the back part of it) .

[Carlos Perez]

Woah jac I’m impressed by your rich feedback ::)

[Carlos Perez]

The secret is at the still life, no pressure for the figure , let’s keep on drawing. ::)

[Carlos Perez]

Hey Jo, I took that course with Sheldon too, he’s super funny

Yeah the idea of blending the vase and the BG work since they have the same value, maybe, if you want to blend them more you could eraser that shadow that separates BG and vase.

I would say you’re moving the viewer from the contrast of the top right of the vase through its corp ending at the grapes down left.  I’d say that if you want your focal area only at the grapes you could reduce the contrast of the top vase as well as intensifying the contrast at the grapes and augmenting the details or adding different shapes,  that would create contrast and interest in that specific area.

You can get deep information into the focal point in the composition course by  Bill perkin.  If you feel like.

Cheers , Carlos

[Carlos Perez]

Hey Jo,  thanks for your feedback,  and comments, yeah it seems i have to use more structure to create volume and use the shadow shapes to follow those forms. I suppose that back leg was in shadow but I forget to shadow it.

 

[Carlos Perez]

Good use of gesture and form  of each body part, focus on that, in case of working the volumen, remember to  Keep the drawing on 2 values. everything light on 1 part , everything shadow on the other, so we simplify, remember that if you can put the light effect on  a simple  egg shape , you can do it on the simple egg shape that’s in the body and connect it with the shadow shapes that are surrounding it.

Cheers

 

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