Forum Replies Created
-
Thank you Gordan! Some of them I like, some of them I don’t. But I’ll keep following along aswell as keep experimenting with the principles and see where it takes me.
Day 61 & 62
Overall I’m pretty happy with how that week went but unfortunately my hand (this time my thumb) started hurting again yesterday, so I sadly can’t continue with the quantity of the last days and have to slow down a bit for the next days 😭
Hi Gordan,
your recent portraits all look really good and I especially like the lighting/shading, is that chiaroscuro?
Likeness wise I think you can definitely see who it is supposed to be so I think you are on the right way. How do you find getting a likeness working with a construction method rather than just measuring?
And have you made the switch from the polychromos to the conte’? It’s hard to tell if you did switch because the colors would look to similar 😅. I personally really like the polychromos but I can imagine how difficult it might be to fill a larger area of tone since they tend to be really light and grainy while using the side and you can’t really smudge them to even out the tone. But I think for smaller or more linear work they are pretty good 👋
Hi Mattias,
I think you might already have the answer in your own work on how to improve the volumetric readability (is that a word 😅)
If you for example compare the top left gesture done with the brush pen with the red one on the bottom left I think you can already find what you are looking for.
I personally don’t mind the more roundish feeling you got in your gestures until this point but the way you made the corners of the rib cage, obliques/pelvis and knee more sharp than round gives the mentioned red gesture a more structural look where you can better differentiate between front and side plane.
So I think it’s not much you are missing and you’re close to your intended look.
Your Bridgeman studies look also really good but be careful being that angular while drawing a more subtle female model. I would maybe try to incorporate those techniques only in areas of landmarks which help to solidify the spatial orientation of the masses and keep everything else more soft. But it could also just be the proportions of the shoulders and legs compared to the waist that confuse me because they look female to me but like bodybuilding females 😅👋
Edit: Oh almost forgot: Yes you did answer my question, thank you and it’s definitely an interesting topic 👋
Hi Mattias,
As usual I’m in love with your gestures 😅 But what I would like to know, because of what I wrote in my thread and your answer, is: What is your general approach or on which principle do you lean towards the most. Do you start with line of actions or rhythmical lines to feel out the action or are you starting with shapes? And who would you say had the most influence on your work and learning until this point?
I hope those questions don’t bother you but after what I wrote I thought it’s interesting to know how others take all these informations and how it influences them compared to just me. I mean there has to be a reason people’s work looks different even though many of us here are learning from the same teachers. So the difference has to be how and what we take out of the given information and I find this to be pretty interesting 😅👋
Thank you Mattias and at this point it’s kind of exciting since I have no clue which one of those approaches will resonate with me the most and how they will influence my gestures/figures. 👋
Day 60
Today was no theoretical lecture just following along with Glenn’s demonstration and doing his assignment. So alot of drawing 😁
Day 59
Started to look into Glenn Vilppu’s Gesture course aswell. The lecture video was quite long and following along on his master analysis while he was drawing at his normal speed seemed to be impossible for me 😅 So mainly alot of quotes and notes in my notebook aswell as following along with his first demonstration video.
It’s quite amazing how all these different teachers are basically using the same principles with the difference being how everyone of them prioritizes them differently.
It reminds me a bit of cooking, like if two cultures are using the same ingredients but how one of them is much more leaning into things like onions while the other culture emphasizes potatoes. I don’t know if that’s articulated well enough to make sense but it’s just fascinating how both create completely different experiences while in their core still being the same (cooking) and utilizing the same tools and opportunities (ingredients).
I mean I wouldn’t have thought that Glenn’s approach would be so different from Steve’s. Steve Huston try’s to reduce the figures complexity while Glenn Vilppu doesn’t even think’s about simplifying, since his goal is completely different in terms of leaning much more on the intention of how to lead the eye and how to compose his vision of the seen. Where they both agree in importance is the overall connection and relationship of the part’s to each other.
Day 56, 57 & 58
Watched Steve Huston’s constructive figure drawing course on the side while working on Karl Gnass course and finally arrived at the assignment aswell as the “parts of the body” chapter.
Most of what you see are follow alongs of demonstrations from Karl Gnass and Steve Huston.
In the moment I’m quite enjoying my drawing/studying time and I’m totally excited about Steve Huston’s anatomy course even if I’m going to wait a bit before I start that course, since I just started his gesture course.
Day 54 & 55
Similar to the perspective notebook Erik Olson want’s you to do in his course, I tried to summarize the gained knowledge from Karl Gnass and Steve Huston’s courses in my own words. For the figures I tried to focus on the gesture stage while following those principles. I experimented alot with what of those components is the main focus, since I still try to find a general process to follow that I find easy enough but also aesthetically pleasing to my eyes.
Day 53
More from today (day 53). Some additional follow alongs from Karl Gnass demonstrations.
Day 51, 52 & 53
Started to include some timed gesture drawing and continued with Karl Gnass lessons.
Day 48, 49 & 50
5 pages on Sunday, 2 yesterday and 3 today.
Continued with Karl Gnass course aswell as more practise in trying to use his teached principles.
First tried again to stay as simple as possible but ended up a bit more solidified, even though I’m pretty dependent on cylinders but I think for the moment that’s ok and I’m actually quite happy about how my gestures look right now.
Day 46
For the assignment video I tried to make the gestures as simple as possible.
Day 45
Karl Gnass always goes a little bit beyond the gesture stage in his demonstration. So trying to follow along / emulate what he is doing without his anatomical knowledge is pretty hard in terms of making it almost impossible to reach his results without knowing why he does certain things.
But it definitely helps clarifying what he ment talking about how these three stages are a process of self learning and how gaining knowledge in one stage influences the other stages.
Trying to “copy” his attempts teached me how I need to focus much more on reduction and simplification, since I don’t have the knowledge yet. So as soon as I arrive at the assignment I’ll try to focus on the most basic ideas he tried to teach.
CONNECT
New Masters Academy
16182 Gothard St
Huntington Beach, CA 92647
Contact US