[Marcolino Estuardo]

@Leo

Wow, thanks for the kind words and advice! Yeah, Heads are definitely my weak point and something I need to study more since I’ve spent so much on the figure itself.

🙂

[Marcolino Estuardo]

Hi Jan

Is this pencil? Whatever the case, then yes, PUSH those darks. Don’t stay with one grade, go up to 6b-8b and see how dark you can go.

Be selective though: Push darks in the eyes/nose, subtle mouth opening. It’ll automatically bring the head ‘forward’ and push everything back. Look at John Singer Sargent drawings.

This is good!

[Marcolino Estuardo]

Another long-pose from 2018.

[Marcolino Estuardo]

Not necessarily from a sketchbook or from this pandemic period either. But here’s a long-pose (4hr) figure drawing from 2018.

[Marcolino Estuardo]

What material did you use for the figure itself?

[Marcolino Estuardo]

Awesome work! Great looseness and feel for the actions/volumes.

[Marcolino Estuardo]

Hello Bird, some notes.

Overall I really like this! The lighting/shade is beautiful, proportions, gesture/mood all read! Love the volumes for the legs too!

A) Great hatching! Just marking those 2 dark lines because they stand. Keep your strokes/values even throughout.

B) If employing Cast Shadows, always make sure they FOLLOW along the form they are on. You’re constantly reinforcing the shapes and their directions. Not sure of your reference, but remember to take liberty in never copying it exactly. Look up Ruben’s drawing of ‘ Study of Abraham and Melchizedek’ and study the cast shadow on the thigh.

C) Core Shadows could be toned down just a bit as they ‘jump out’ too much.

D) Avoid Tangents. Also, tone down the value here too! It could start off ‘dark’ then fade away as it goes back.

[Marcolino Estuardo]

Hi Derrick. Refer to my notes on the image below.

A) Always, always, always look for Relationship lines through the use of your long-axis lines. The leg going back could’ve come down a tad bit more to create a strong connection with the torso up to that hand. Look at the Michelangelo’s drawings and see where you can find Relationships. Frank Frazetta is also a good one too!

B) This area (Latissimus Dorsi/Deltoid) could be made much smaller. I know he’s a muscular man but something like that should be checked and compared to the reference. Construct your forms well and look for gesture in how things relate/connect to each other. Anatomy should secondary to this.

C) Good job in making the hips into a box form, but it can taken further. That leg going back, tells us it’s closer to the viewer so show/add some depth by continuing a line (drapery fold) into the trunks.

Cheers, all the best.

 

[Marcolino Estuardo]

Damn awesome! ^^^

The head is fine, no worries.

[Marcolino Estuardo]

@PaulDidier

Hey. It’s varied throughout the years. From small Moleskines to average. The early pics I posted are from a 5×8 inch I think. The majority have been the usual 8.5×11 inch. Though I do have 2 big ones that I’ll use in the future.

[Marcolino Estuardo]

You indicated the notch (brow, eye socket, cheekbone), there’s a direct ‘thrust’ from her forward lean, the expressions/attitudes of the arms and legs.

[Marcolino Estuardo]

Hah! I figured that was a Tintoretto study by looking at those accents and lines. Love that guy! I can feel the roundness of that ribcage through the pecs and bottom of the cage itself.

I reeeeeeally like this figure btw.

[Marcolino Estuardo]

Loving the looseness and moods expressed here!

1. Double-check your proportions (head, torso). I know gesture is a battle between that initial essence and accuracy. Steve says to err on the side of having a small head and then having a long body. I like that you emphasized the form of the ribcage with those lines, but it could be a bit clearer by reeeally wrapping those lines properly around the cylinder.
2. Keep within a 2-value system. It’s good to add cores when possible but it can also busy-up your drawing at times. Keep that simplicity and read all the way through. I like how you ‘boxed’ the hips. 😉
3. Starred ones: Nothing to add. Just really like these. 🙂

[Marcolino Estuardo]

That about does it. Working on a smaller sketchbook at the moment. Just need a break from my usual sized ones.

[Marcolino Estuardo]

Hi Lewis. Really nice figure work: I like the looseness and line sensitivity to some of the contours.

Regarding the figure above:

#1-I would simplify this part on the arm a bit more by just shadow massing those little light spots. Though I may need to see the reference. Cast shadows, when used wisely, can describe form.

#2-Value of her skin and background are too equal and blend with each other. Aim for having the foot ‘show’ contact with the floor. You can either darken the contact spot below her foot or lighten up the side plane of the foot by having the same value as the rest of the leg above.

But good job on the form/light-shadow construction on her torso. I can really feel those planes.

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