/loomis/ - Art Gains

I wanted to just layer every picture in the entire thread over each other but I got lazy. I hope you can find it in your heart to forgive me

>>10701

I think I made some minor improvements here. Probably moving on.

Gonna do another x-ray on this bald specimen

>>10708

This pose was biting off a bit more than I can chew. Gotta study more. I know that "Strength Training Anatomy" has a lot of good references for raised arm poses so I'll probably check that out. Did a lot of hands today in both digital and traditional media.

>going to practice, today

>interview gets postponed, throwing everything off

>get to practice

>out of 2B lead

>try to use HB but it doesn't work

>only place I can get more is either amazon or 40 minutes away

Whatever. I'm not too keen on this method of hands, that Hampton's using, but I can't deny that it makes more sense than I initially thought it would. It comes down primarily to proportioning things.

This was my practice today. I will continue tomorrow.

>attempt to use only Hampton's described method

>attempt to use how I normally sketch

>attempt to mix both

Yup, like I figured yesterday, I've gotta essentially modify his way of doing it, to suit my own way of seeing shit.

I have finished drawing the figures I had pending. With this set, I just completed the task. Now I'm moving on to the next class.

Figure 6 was the most complicated due to the uncomfortable angle of the pose.

getting better at them faces a bit by bit every day.

THE HAND

is starting to make more sense, now. I left the structural lines in here, for feedback on the general method, too.

faces are getting much better probably my best ones yet.

started to work on clothing folds as well.

>>10736

I do like the method of making a sort of ellipsoid ball representing the carpals and then little linear or cylindrical doodlebops with balls on the end representing the metacarpals and finger joints. That method has balls. Seems a logical way to do it.

The real bones ought to be studied extensively before you simplify, though. Use the 3D models in the OP, your own hands (I put a folded towel on my desk so I can easily rest my elbow on it and view my hand) and photographs and go to town on those non-stop for like a week, alternating between observation and experimentation.

>>10749

Keep it up lad.

>>10754

I've already moved on to the legs, now, but thanks. I'll touch on these again later. I'm doing this because the hands are already visibly better understood, by me, than the rest of the parts of the body. So I basically need to move on.

>>10754

thanks

Studying quads, and some rather awful attempts at inventing a simplified version, now that I look at it.

It's basically the same drawing, just some elements stretched poorly.

Guess that's what I get for going

>don't think about them, you'll obsess if you do

for the invention part.

another bad job. Whatever, I'll have more time tomorrow to study.

Okay, yeah. This is a good enough understanding of the pelvis, that I can go back to the legs again.

Tomorrow I'll either return to the quads, or move on to the next group in AfS.

>>10819

Thanks. Also I made a mistake in the upload, so here's the other one.

>>10869

okay I gave the 3 min gesture a try

>>10869

Thanks. They also help in studying the anchor points, instead of just generic forms on a skeleton. One other thing I'm doing with this is referring to the anchor points in a different perspective, than I'm given, initially, to really orient my idea of the forms.

gonna have to learn some anatomy. again.

There's not really many good simplifications of butts, I've found, so I'll have to try this again.

I tried it again. I'm understanding it more than I realized.

feet

Still working on hands, will probably draw a lot today while playing DND with the lads, too. I was worried playing would keep me from drawing but I probably draw more while playing than I do when I'm not smh

How the fuck do I into arms? Seems like the anatomy changes with every site I go.

Also why the fuck wasn't the platysma under neck muscles?

>>10984

Yeah I'm just drawing them from a book, I should have disclosed that. Unfortunately I'm a long way off from drawing hands like this from memory.

Going to draw this from another angle, tomorrow.

>>10991

What is this, collage?

Ok, I managed to post in a really old thread but, critique my shit fam.

>>11027

>>11025

I need advice on where to go from here.

>>11071

Need to study drapery more, as well as just lighting in general.

>>11111

The thing you need to understand about drapery and cloth is that there are two types of folds - cubes and cylinders. Understand how it works for these two forms and you can create any drapery or fabric you want. You can break every single fold into these two forms.

>>11111

q u i n t s

Could of swore I had a nice in-depth fabric tutorial to post for ya, but I can't find it in my mess of files.

>>11114

I'm seeing that, actually. Hampton's overly autistic breakdown of it into seven types of folds, felt kinda, dunno. "Unnecessary?" I've been staring at, and analyzing, fabrics for the past few days, since I wasn't able to draw. And yeah, they sorta just crumple up into folds, or are straight, and the folds follow the orientation of it, combined with shape of what's underneath it, and gravity. I think if I just draw this from imagination for a bit, and check with photos, I can figure this out.

Thanks.

Well, shit, my faces are starting to look decent now.

Who'd have guessed all I had to do was combine three fucking different ways to draw outlines.

>>11152

No they arent. Even if you are going for anime, you should still respect perspective and proportions. The eye size differences is ridiculous. The nose being between the eye sockets makes no sense, even for anime. The cheek bone on the left is way out of whack. The oblique left and below view should have eyes on the same plane. The right eye is on the side of the head and curving back. That's not how eyes work. The left eye has way too much visible to the left - it should be pretty much the edge of the eye being the edge of the head in this view or just a tiny piece of skin. The left head line is facing forward towards the viewer. The face is on a plane at angle and mostly right except the right eye socket/eye/eyebrow and ignoring the outline of the head.

I've attached some basic anime proportions and heads to learn from. You can manipulate your cartoon heads to be bigger heads, larger eyes, tiny/non-existent noses, etc, but they should still conform to basic anatomy and proportions and perspectives. The child is a similar angle to yours for the head, but your face doesnt match the perspective of the head you drew.

Ive attached a ms paint basic overlay of your face with contours as best as I could in that shit program. Eye sockets are shown with circles. nose is within them. You are approaching am i kawaii ugu.

Try constructing the head and draw construction lines and contours back to the flat sides of the head. Work on detail-less fully formed heads and outline eyes, nose, mouth positions, just with your cartoon like proportions. When your heads and basic circles/triangle noses/line mouth start looking correct, then start adding details and move on from there. You are trying to make finished drawings without understanding basic construction.

>>11150

I'm starting to understand this, but obviously I need to do a lot more. I've got hogarth's shit on wrinkles downloaded, so I'll take a look into that later.

>>11159

Forgot image.

>>11154

I tried fixing it though I accidentally changed the angle how does it look?

I curved the guiding lines around the head earlier, then just blindly followed them and accidentally the eyes.

>>11167

the eyes angle inwards and right eye is very slightly too low relative to the angle of the face. mouth is too flat looking. left side should foreshorten a bit as it curves away from us. it looks much better than the previous one in terms of positioning. if its done digitally, you can fade all the lines and then ink over it to correct minor issues. if not, you can use tracing paper to correct it while leaving the previous one. You should just fill pages with faces instead of focusing on one in particular. it should be second nature to doodle these out. when a page is finished, go back and make notes of what you did wrong. if its minor, correct it on the page, if its major, put an x by it and reference it the next time you practice/fill another page with heads and sketches. you should always make notes and critique your work when sketching. legs too short, perspective off, reminders to look up anatomy or pose, etc.

try to fill pages like this image. just in your own style. so this character you would start probably straight on in middle of page. rotate the head left and right. tilt it up and down. you can use basic construction of oval head and contour lines or rule of third lines, whatever. just get used to rotating a generic head. can go back and add details, like eyes or nose if you are happy with it.

you are trying to perfect one pose. thats not how you learn. youll try to position/draw him looking up or down next and start the process all over. understand where each part goes relative to the flat plane on teh side of the head/rule of thirds. adjust for exaggerated proportions if doing cartoon style (head will be taller, eyes bigger, etc).

if you understand the basic head as a shape and how to rotate it, you can easily pose any direction. focus on filling pages with these basic head shapes and rotate them. do not copy these images verbatim, erasing until it 'looks like the examples'. note how they are constructed, put it away and start constructing your first one. then rotate it in your mind. refer back to examples after you finish to see what mistakes you are making and what to improve. checking references for every line you make is not going to help you learn - just how to 'copy'.

give yourself time limits like a gesture drawing. say 30 seconds per head or 1 minute or 2 minutes depending on how difficult it is for you starting out. remember, go light on details. you want to learn the construction/skeleton of the head and how to rotate it. adding details later is the easy part. having them all sit properly on their planes as it rotates is the biggest issue.

>>11160

I have to admit that some of what Hogarth lays out in his book, did help me see stuff. But at the same time I just can't seriously think his work looks good. I'll likely take a look over it all at some point, but as it stands now I'm not inclined to, due to how unappealing I find it.

Newfag here. Not a complete beginner but started drawing again maybe 2 months ago after falling out of practice for a few years. Been reading Loomis before I noticed this board, thought I may as well post something.

>>11181

Eye lashes dont come out of the bottom part of the eye. There's a noticeable gap on the bottom, whereas they come out of the tip of the eye lid on top. Even in a make-up heavy eye, like this image, you can still see how the eye lashes dont just magically sprout out.

You'll also benefit from noting the way the eyelashes dont just come out straight along the curvature. They have a relatively set pattern as they curve around the eye where they are curved left or right. Density of eyelashes is a key issue, too. Try not to just toss random lines to fill space.

Instead of detailing faces, I would focus on getting proportions and perspective right. Adding the shading and blending can look nice, but can also 'hide' your mistakes and make something look better than it really is on closer inspection, like lipstick on a pig.

Going to buy Fallout 76 anon?

>>11189

Probably not. I'm too busy slapping myself in the dick with a leather belt for not being able to draw particularly well yet

>>11176

Okay, now I need to go back to using Hampton's figures, and then adding the clothes on with this general gestural fabric knowledge, I've acquired.

>>11196

Don't think you can escape me so easily, foolish human!

Alright, tomorrow I think I'll do this on digital, so I can use layers to study.

>>11223

You shouldnt be doing clothing, hair, entire figures and details. You'd be much better served doing drapery/cloth studies, which also are very similar to hair once you understand them, and basic shape and construction with perspective of human body parts (not entire body).

Look how long her neck is. The breasts are bolted on. Her torso has bulging curves and she has negative hips. I would say teh basic composition/pose has a dynamic quality, but you have a lot of basic construction work you should focus on first.

Try just making a torso and hip section with pelvis ellipses. A spine line can connect or a circle. Women have pear shaped, triangular, circular, and couple other shapes to their abdomen/hip. It's not like toothpaste squirting out of a tube.

As you have anatomy issues, I would hold off on clothing and detailed hair. Get the basic body and parts down. Learn to rotate heads and bend arms and legs and twist the torso individually. Do basic eyes/nose/mouth/ears - pages of them at different angles and shapes - while working on the anatomy. You can start putting parts together and posing them as you go - create busts or make legs and hips walk or bend fingers and wrist and so on. As you get more comfortable, you can try doing entire bodies and eventually put clothes and hair on it.

But as it is, you wont find much more success transferring to digital. You'll be able to erase more or put outlines on a layer/fade them out and draw over it, but you wont be able to fix the mistakes at this level. You are trying to do too much, too fast. I know you want to draw entire people with details. Everyone does. But you are trying to run before you can even crawl. When you can bang out entire pages of manikins in various poses in minutes to figure out a pose you want, you'll see that your time spent on the basics will have paid off. You are only going to learn how to hopefully perfect this one drawing if you continue on. You want to be able to draw any pose and add any clothes and hair and body shape. You need fundamentals if you want to get to that point. You probably spent a while on this one image based on erasing marks. It's not wasted time, but you are putting more effort into something that will only marginally improve your art longterm. If you had spent the entire time drawing eyes or pelvis area or rotating heads, you would have something tangible that you can critique and see where you are going wrong, what parts you dont understand, what can be improved. You can make notes about the dozen or so heads on the page. Your currently just 'fixing til it looks right' without really learning why it was wrong in the first place.

>>11226

Okay, I'm better now, and finally actually taking in what you're saying.

I was at a loss, at first, since it seemed to be basically telling me to do what I just the past few months, again. I mean, that is what you're saying, but you're just saying in a more well thought out way, what I've known in the back of my mind, for years now.

>slow down

For real. Had I, instead of spending only a few days on each body part in the Hampton book, spent a week on each section, drawing each part, and only that part, filling up pages with it, I'd have improved a lot. Is what you're saying, at least, right?

You read me like a book, even, with the desires of what I want to draw. Surprisingly specifically, even, of how I want to be able to "bang out mannequins" to figure out what pose I want. So thanks. I'm not entirely sure where to go from here, beyond crack open Hampton's again, and this time do it again, but more carefully. Spending at least a week on each body part, and slowly assemble the body like I'm Johnny Joestar.

So thanks, again. I've been struggling, because I was trying to learn a whole bunch of stuff, and increasingly getting frustrated as I wasn't making much gains. Like, I still unintentionally symbol draw, in most cases, the minimal gains I have now are knowing all the general forms of the body, if I slow down and construct it, but even those general notions are wrong in a lot of ways.

But because of what you've said, I can take a step back, reflect, and actually make progress. So thanks.

Yeah, this was what I needed.

I think that this coming week, I'll focus on ribs more. I want to get to the point where I understand this form so much, that I become sick of drawing it, from being so good at it that it's no longer challenging.

Thanks.

>>11251

You can mix in other things while focusing on specific parts. >>11074 has some 'tracing' style exercises that you might benefit from, especially doing things digitally. Just identifying the joints and skeletal structure and breaking down into basic parts on top of a real image can be a good learning experience and help visualize and build muscle memory for shapes.

>>10971

Is another good example that is a benefit of digital - can draw over the faded out previous layer. You can see his iterative approach with the basic gesture lines, then adding joints and basic shapes/lines in red and yet another layer for skin/muscles/detail in dark black.

>>10911

Probably same guy throughout, but here's another set of gestures he forms joints and an outer/flesh layer filling out the basic shapes and lines. You can try this if you feel confident, especially combined with the tracing exercise and as you are digital, you can take your page of torsos and add breasts or pectorals or put clothes on it - anything you really want.

Finally, you seem to have a decent grasp of the torso, so I would do torso and pelvis together with a basic line connecting them. You can then mimic stretching the back backwards or bending forward and other twisting motions. You can work on proportions (bellybutton position, etc). Same if you want to try arms - Id do shoulder and elbow joints up to wrist (basic hand shape, no fingers) together. Legs Id have pelvis/hips and down to ankle with a basic foot. You dont have to do each part by itself as you have a general idea and lines.

I think you'll make excellent progress if you approach it section by section and then put it all together. I've attached some examples of basic torsos and other examples for examples of what I mean. I came off harsher than I should have. If you approach your drawing with a more iterative approach similar to examples I linked to and posted (gestures into basic shapes into details), I think you'll see significant gains. You dont have to spend weeks or months on this. Try not to be 'perfect' in the basic structures. You are going to draw over them on paper or a new layer digitally. You are most concerned with proportions and the pose of your gesture when putting the basic shapes/joints down. You dont have to measure to exact proportions, but you should be able to notice if arms are too long or legs too short or what have you in this phase. Once you are happy with this phase, then go over it with dark lines and add contours to outer shape and put details/clothes in.

For instance, I did a quick mockup of your drawing in paint with simple circles and joints. I think if you had this framework without the drawing, youd have questioned some proportions before setting down details like hair and clothing. The hips, for instance, stand out (i didnt get the correct angle on the pelvic ellipses because of paint, but the general idea is there). Youd have seen that your hips go in opposing directions and one leg ended up longer and 'stretching' to connect the hips. I judged the crotch by your erased lines and cloth triangling for reference.

Another one that would stand out is the neck. And the left arm (her right) has a much longer forearm than the bicep. Foreshortening wouldnt account for this with the angle you are going. The back arm, in contrast, looks good in simple form, as the arm and twisting of the torso has it much farther back.

Your shoulder on the left (her right), if having the circle joint, would instantly show you that the shoulder guard/flaired collar part of the clothing isnt going around the shoulder like you intended. The opposite shoulder looks good though. You just miss the curvature of the joint on this side. Same for the bra part - you dont have the correct curvature as you would if you had the initial shape like your page of practice - you could put light contour lines around the ribcage if you wanted more guidelines.

You arent as far off as my original post might have come off. I dont think its a complete back to basics point. A little time on construction will give you a remarkable improvement fairly quickly in my opinion. Good luck.

>>11252

I'll take a look into the tracing stuff, too. Some other Anons, in a different place, advocated for switching the skeleton model to the actual skeleton.

Though I will say that like, forget about that picture you corrected there.

The figure in it was flat out given way less effor than I normally do, because I wanted to focus on the fabric physics.

I know that'll sound like an excuse, but scroll up in this very thread, and you'll see better examples of figures, from me.

Day 2 of ribs. This is already starting to make more sense, and I think by the end of day 7 I'll be able to draw this form from scratch. I want to get to the point where I know the body so well that I'm utterly sick of drawing it.

I'm probably going to take a break from drawing, for a few days.

>>11293

>don't think

There's an idea whose time has come.

Just fixed this thing I drew the other day.

It still looks awkward at certain points, but it's really better than the long cat monster girl I did before.

It seems my understanding on color theory and shading is still as shit as ever though.

>>11293

>read this, and thought you were joking

>days go by, and I end up watching most of Vilppu's lecture on Spherical Forms (still only about an hour into it)

>try it out, to warm up for comic work

>it fucking works

>it fucking works

>despite me never having drawn this way before, it works better than how I've been sketching, before. And I can basically draw any pose now

I am honestly kind of upset, at how flat out fucking "wrong" the advice I've gotten up until this point is.

Overly analyzing every form won't get you to be able to create a figure from scratch. Instead, keeping it simple, drawing through the forms, and thinking about what you can't see instead of drawing every single part, enables me to do shit like this on one layer.

Well, Max shielding himself from the wind is two layers, but the second one is just adding details so it looks like Max.

>>11481

>I am honestly kind of upset, at how flat out fucking "wrong" the advice I've gotten up until this point is.

I'm not sure you're being taught anything "wrong", perhaps you're just reading it out of order? Forms (spherical or otherwise) are a pretty common concept taught by a wide variety of instructors-lest we forget about the joocy background image on this very board. One of the first things we're often taught to do is attempt to see through the drawing subject and relate it to spheres, cubes and other polygonal primitives.

Anyway, I've watched quite a few lectures of his and I'm not really sure what Vilppu does is all that different specifically-but I do enjoy his soothing grandpa voice, seeing his process play out where he goes down the figure from one anatomical landmark to the next, and of course consider him adept at what he does.

He is in my opinion probably the best nude figure draftsman out of the meme instructors out there that I've seen, my only criticism is that a nude figure draftsman is pretty much all he is (that and I'm not a big fan of his book-from what I'd read everything just seems so hastily done and not in a particularly appealing way).

>>11500

Draw something else. Birds, plants, dogs, wolves, bears, etc. They are much easier than humans and help you build fundamentals for construction, line weights, textures, and so on.

>>11500

>>11502

Architecture/cityscapes are great practice, too. Perspective drawing and breaking things down into basic lines and shapes, finding the verts and horizontals of a setting and building up the drawing iteratively.

And if that still doesnt do it for you, you can work on constructing objects inside boxes and building them up in technical drawings. How to Draw by Scott Robertson is excellent for that (drawabox steals all the concepts from the book and dumbs it down, you can find the book in resource thread here or /ic/ forget which one).

Build up other skills and come back to humanoids or work on them in tandem. This will give you tangible results that show improvement quickly.

>>11508

http://www.eroticbeauties.net/pics/rose-from-hegre-art-posing-in-studio-nudes-36697.html

I use this site for references. Category for art and studio sections has a lot of good poses. Rose from Hegre Art posing studio is one of my favourites. Her muscle structure, bones, and flexibility in posing makes a great study. You can search by name for her in top bar to get more or just Hegre Art in general. The photography for hers are quite good too. My only complaint is they arent higher resolution, but large enough for self study. Most are like 1200x1600ish.

Hooray for amateur inkling. If anyone has any advice let me know

FOR FUCKS SAKE WHY EVERYTIME I FLIP THE CANVAS THE FACE IS ASYMMETRICAL AND BENT? END ME

>>11519

See you tomorrow.

two attempts at a low angle. what could I stand to improve in my process itself.

I've watched Vilppu's video on spherical forms. I think for now I should get back in to practicing on traditional material.

Human anatomy was too hard, so I started some study of animal anatomy.

>>11502

I love birds. Thanks for posting these. Saved and will use.

>>11552

First one has giant legs, but the body looks 'normal'. All the proportions remain consistent except the legs. If you have such extreme leg size looking up, the rest of the body should be similarly extreme as it goes.

Here's a quick mark up of a woman in a similar pose to yours. The head sticks forward a bit while upperbody leans back. Legs are much closer with this angle. Note how the head is slightly larger than the chest due to the leaning back/head is farther forward to look at camera. But after that, the torso, hips and thigh all get increasingly larger for the low angle shot.

In your shot, the thigh is like 2 heads in height, the hips are smaller than the head (based on bikini area), the chest is roughly equal to the head, the upperarm is slightly larger despite bending back and the forearm is extremely tiny for foreshortening when it comes from behind and at an angle - we should see more of it at this perspective.

It's a decent attempt, but the legs and hips are low angled and rest of body is normal/flat looking in comparison. Reduce size of legs slightly, and have each proportion get successively smaller. As its anime/cartoonish, a larger head is likely required for expressiveness and typically oversized to begin with, so dont shrink it much or at all.

I'm so glad I found these photo sets. It's exactly what I've been looking for, for like a year now.

>>11555

>>11562

I just searched low angle woman or something like that and threw some quick ms paint lines on for basic anatomy.

There's various ways to learn. I mostly know it from cityscapes and 3 point perspectives in architecture. You can do it technical style with boxes and duplicate the boxes in whatever perspective you choose. Some just 'wing it' with general idea. You can do gestures - low angle is usually triangular upwards coming to a point at the top of head. It's a stylized angle, so it doesnt have to be perfect proportions either - you are exaggerating everything. Just be consistent with how you exaggerate these angles (yours was extreme exaggeration and then normal proportions for half the body for example). You can have your program set up a perspective grid (or make one yourself as a layer if it doesnt have the option). Use it as basic guidelines, etc. Eventually you have a feel for it.

Some back studies I'm working on

>>11566

don't really know what I hope to accomplish by posting this

>>11567

A lot to take in, but I'll keep all of that in mind, as difficult as it may be.

Right now I"m still doing what I started, yesterday, before reading what you said. Just trying to do more of the Hyper Angle references, but today I'm using simple forms, to hopefully break it all down in ways I can understand.

Surrounding a figure with boxes, and grids, sounds like a good idea too, if I find the time for it I'll do that digitally.

>>11576

forgot this

>>11574

I've zero discipline for proper practice smh.

>>11583

I did a trace over, of the reference, to see how close I was.

Honestly it's not that far off.

>>11572

Another page it back from yesterday and going to do more later today

This pose was too similar to the previous one, for me to truly be learning.

I'll use a different one, tomorrow.

>>11584

just gestures

am I doing it right

trying to stay away from contours

>>11597

>>11597

pls tell me if I am doing it right

>>11603

so to find out if I am doing it right go back to each one, and finish it?

>>11596

You are mistaken, with what I'm striving for.

I can already be really accurate. But it's just empty copying if I do that. What you're talking about are basically just tricks to achieve what amounts to little more than using a grid to copy in chunks.

I'm trying to break down the body, and understand how it works/looks/moves, in a 3D sense. So I'm more concerned with getting these primitives in the same perspective, than I am just blindly matching with plumb lines and negative space.

As an aside, I know this'll come across as an excuse, but I do think next time I see my eye doctor, I need to be emphatic about getting my lazy eye fixed. I'm trying to draw these with my glasses on, and I can't do it. My right eye goes super fucking lazy when I've got them on. Also the way I draw I tend to look more at the subject, than the page, and in turn use my peripheral vision. And having them on fucks with said peripheral vision, so I may need to get bigger frames.

>>11604

>>11608

Little off from the model. Note the torso leaning back - yours is straight for most part. He's also doing a bit of a crunch with the chest coming out a bit, like sucking in your gut type of look. The head in yours is straight - the model's is bent at about a 45-60 degrees in relation to shoulder. You have the x and y axis correct, but didnt account for the z axis tilt. I think loomis or someone has examples of this with sticks/spikes through the head/ellipses showing how it tilts up, down, left right and at angles if you need a visual representation. The bent leg could be further back in the image (looks like hes walking forward with it compared to it being well behind the model's body).

Not a bad job overall. If you are looking for muscle studies, I'd focus individually on parts with higher res images.

If it was a muscle study, it looks like you drew the body with muscles instead of layering muscles onto the frame/skeleton/basic shapes. I've included an image showing the difference. This isnt a shading or texturing issue, though those can help hide the mistake. Yours looks like you drew a basic body and added lines for muscles instead of drawing say basic cylinders or a rough skeleton. It's hard to explain, but imagine putting more and more shirts on. Like a joke with 10+ sweaters. The way you are drawing muscles looks like if you drew 10 hem lines parallel near the waist and wrists to show 10 shirts without adding mass to the basic body shape (people look fatter and usually the shirts angle outwards from the body and 'get shorter'). If you erased every muscle line on that drawing, it would look like a basic shape model to me. It should look like the muscles are on top of the shape, not flat like they are textures inside the outline if that makes sense.

>>11610

I will try to assimilate this info into my practice

I drew this today. Was mostly working on scenery and random doodles.

>>11611

Decided to start doing digital art.

alright, lets get back in.

>>11694

Faces and facial expressions, gesture, and proportions are my main weaknesses, yes. My goal is to draw comics but I need to learn so much it's overwhelming. Perspective, people interacting with each other, types of bodies (old and young, fat and skinny, etc.), so many things. I'll probably die before I draw a single page.

>>11629

I am trying to follow the video

does this look like I am understanding what he is saying?

God it feels good to be in a position where I can actually work on art, again. Looking at the last post date, it's been over a week since I got one of these in. But I've squared away everything that was interfering, and it just feels good to be doing this again.

>>11705

These goddam plates are fucking hard and this is only the first one.

>>11715

>>11717

I dislike the crosshairs because it implies a flat geometric plane instead of the contours of the face. You dont have any context for what you are drawing and its centered on a part that is not even central to the eye socket.

You should draw a square plane the eye socket will inhabit and then build it up from that plane. You can rotate the plane in space for each view. This might help with some of the flatness in the eye socket/brow lines you are drawing. The top right looks like the same brow as the bottom left, top middle and bottom right. There's very little difference in the curvature and line length of any of those lines, which represent the top of the eye socket and should have different curvature for those angles. If you had a plane at those angles, you could see instantly that the brows dont fit inside the rotated view.

Thats not to say these are bad. Just if you are working on getting exact proportions and placement based on any angle, you would be better off setting planes that respect the contour of the face.

>>11709

I'm unwilling to even attempt to assert that I'm in a position where I can regularly practice again. Shit keeps happening to me, that I just need to endure it until this long streak of IRL bad luck ends.

I really wish I had better eyesight. I forget if I posted about it in this thread or not, but my current setup for trad media, means I have to choose between either blurriness, or double vision from my lazy eye and angle of glasses. I'll start tracing primitives onto figures, again, when I practice next.

>>11727

That sucks man, sorry you've gotta deal with that.

>board has been deader than usual lately

I uh, sorry. At the risk of sounding a bit cocky, I do think the way I used to practice daily, contributed to some of the activity. But shit's been hard on me IRL, lately. Things seem to be turning around, but I refuse to make promises on my activity level.

>>11742

You’re right, people are apprehensive about posting on a dead board so any bit of activity is exponentially valuable. The importance of those that post regularly, even if only once every other day or so can’t be understated.

This is the last art board on this godforsaken website that’s even close to active, and should its flickering spark ever be truly extinguished so too will the hopes of tens of thousands of totally hot babes that want nothing more than to see our artistic projects bear fruit and subsequently have their pussies bred by our superior /loomis/ genes.

That all said, sometimes real world obligations have to take priority over hypothetical future glories by necessity. It’s unfortunate but that’s life I guess. A lot of us sure as hell aren’t in our late teens with all the time in the world anymore.

Sorry for the shit quality here, normally I line it with 2B, but this was purely for myself. I'm only posting this to show I did anything at all.

Was tired of how wrong my legs looked. Took a few minutes to slow the fuck down, and actually break down what I was looking at. The answer was simple in hindsight. I had the forms of the leg, aligned wrong, and how they interact wrong.

>>11745

Ah, but see, when you're a teen you don't value your time or want to accomplish anything, at least that's the general sentiment I've seen. I'm fine with being older, and unable to work on art as much as I want to, as I've at least got freedom and drive now.

But yeah, IRL shit takes energy out of you. Enough that I've dropped off in activity here at least. It sucks, but while I was forcing myself to do art no matter what, when I technically had time between shifts, I was a wreck. Part of just attending to real life, and being an adult, it seems, is just keeping yourself in check and making sure you don't burn out, or over exert yourself.

On the plus side, I'm setting up the fourth page of the chapter, right now. So as much as the setbacks have, well, set me back lately, it's still chugging along.

(and hopefully when I dumpass an entire chapter at once, instead of a slow trickle of shit, it'll garner more attention.)

Not much more anyone can ask for than just getting by as you can.

Yeah, these are already looking better.

>>11798

One of these days I'll be back on my feet, and centered, completely.

Some day.

Bad, but I still practiced/studied today. I'm out of focus, and it's been a while since I actually legit studied traditional stuff. Fortunately, that also means that if I get back in to it, I'll be doing better again.

>>11941

Thanks. As goofy as it'll sound, I've found meditating to help out on this. Don't get me wrong, I'm completely aware there's no magic to it, or "spirit" or "soul" shit. It's just you're sorta forcing your body/brain to relax, take a step back, and assess what's going on. Anyway, I say all that, because in turn, when I do it before I draw, like today, I'm much more able to focus the whole time. Due largely in part to using said meditation to reconcile things that are troubling me IRL.

Anyway, I knew I was primarily just out of practice on this, as today I'm back at it again. I think tomorrow I'll just do a trace of the leg here, but going deep on the bones and landmarks/muscles, so I can get a really strong idea of the forms.

just some misc gesture stuff, I warmed up with, then the tracings for today. I've primarily been just sketching or doodling on my new tablet, but my output is far worse with it, than on my computer.

rebostin from beginnner thread, this was done on imagination, what think

again, just practicing more of Hyper Angles. I'm focusing on moving from pose to pose, instead of going down the list of very similar poses, for the time being.

Need to work on how I represent and angle the torso/pelvis.

I'd forgotten that I could do things like this. It's been almost 10 years.

Pose lifted from a manga, but still.

>>12203

That's actually what it is.

Need to study faces like 1000% harder than I have. I think I literally only studied a few pages of loomis once like 4 years ago and only intermittently drew individual heads from photographs here and there. What the hell is wrong with me.

some studying, after I got all the thumbnails for the chapter done.

Biceps Brachii.

I've decided to go over at least the arms, from AfS.

looking at these next to each other, I messed up quite a bit. I think tomorrow, I'll study the scapula itself.

The Surface Pro 2 RT is a fucking awful tablet (it can't open facebook or youtube even because it's weak as SHIT) but it makes a pretty damn good pdf reader/audio player tbh. It's got a beautiful screen, it can easily stand vertically which makes reading books fairly comfortable.

Definitely makes a good "second monitor" for a mobile setup. Staying at my parents' again and I'm not big on bringing my big ass laptop and Intuos over, gnomesaiyan?

Scapulas.

Scapulae?

Scapulaters.

>>12283

Pretty much. I got an expensive as fuck tablet for christmas, and I felt pretty bad for not using it as much as I thought I would, and misleading my folks, but I'm approaching it wrong. It's not as good at what either traditional, or a computer, do, but it's got one huge advantage over both. You only need the stylus, and it, to do digital stuff. So I'm likely going to use it for both a "second monitor" like you're saying (with reference models and images) and as a sorta "portable digital sketchbook."

Ultimately you just can't beat the utility of a mouse, tablet, and keyboard. Or the infinitesimally nuanced shit you can do with physical media.

Coracobrachialis and Brachialis

Brachioradialus and Extensor Carpi Radialus Longus.

Going to be upfront and say I barely understood the shape of these forms, so I'm going to try again the next time I study. Likely from a more basic angle.

Sort of understanding this now. I make no promises of doing a study tomorrow.

The forearms are a b*tch overall. I'm still trying to get the hang of them, too.

Kind of gotta laugh at how much this camera distorts everything. I think I'll start scanning any trad shit in if I feel like posting it in the future

>>12367

Thanks. You got any idea of if I'm close or not, on these?

I wanted to actually put the muscles I have studied on a body, before I move on to the extensor and flexor groups. Which are a fucking nightmare, from what I saw.

not sure if doodling or practicing

>>12442

shit nigga

Anyone have a good video for clothes/fabric? I can't seem to understand it from pictures, and I wonder if I should buy a big mirror and clothes just to understand it.

Using Bridgman as a reference to understand how neck muscles interact with each other

The stitches still haven't fucking fallen out of my finger, so I've got little milimeter thick knobules on the tip of mine, making it harder than it should be to draw.

Anyway, this was just to refresh my memory, since it's been a few days since I last was able to really draw.

>>12507

I'm going to be upfront and say I barely read any of that just now, but I do appreciate it. I'm in a fucking foul mood at the moment, and imbibing a fuckton of in depth critique is basically the last thing I need. Largely because my finger is still sort of fucked up, and making it hard to draw, on top of the days when I straight up couldn't do so at all.

So I'll get back to you on this stuff, when I'm better able to take it in. But thanks.

Rough sketch and then blocking in some values using a soft charcoal pencil on sketchpad paper. Taken about 1 1/2 to 2 hours so far. Will continue at a later date. Sorry for poor image quality.

>>12591

One more and the reference.

>>12592

Pick better references. You want to at the very least convert it to black and white in photoshop and adjust the contrast if you are using a random photo. The lighting for the reference is a catwalk. It's horrible for a pencil sketch. The midtones are washed out and there is reflected light everywhere. It's not as obvious in color, but look at this black and white with minor contrast adjustments. Look at the nose in particular for how the lighting of the photograph makes it a horrible image for a pencil sketch.

You cant see it, but photographs use lenses for taking photos. Lenses warp the perspective, even in normal looking photos. This is barrel distortion or just lens distortion. Photoshop has a Lens Distortion filter for removing/adjusting the distortion of photos. Sometimes its subtle and you cant even tell, but its there. Other times, you can see literal curvature in columns or walls. I dont have photoshop anymore and couldnt find a filter option in krita to fix it on your photo (or check how much it has to begin with). You should adjust this in any photos you want to draw.

Lighting and composition are different for photography and pencil sketching and even painting. Can you do it or produce something good regardless? Yes, many do, but you shouldnt handicap yourself with more difficult photos as your references. Try to find photos with proper lighting so you have a solid set of midtones, highlights and shadows. Black and white is obviously best and you want no lens distortion. Almost every celeb photo will have lens distortion and touchups and blown out lighting to hide imperfections and sell magazines and look better on television. They are not great for pencil sketches in most cases, but you can at least try to do a little prep work and mess with contrast and distortions before using them if you want celebs.

>>12598

All stuff I already know but thanks for the edit as I can't do that sort of thing on a tablet. What you've posted actually looks fine to me, in truth I was struggling a bit with the image as is. But one artist meme I've never got is that everything has to have perfect and dramatic lighting. Might not always want that effect, or just want a little more of a challenge than pic related to replicate…

First time I've ever seriously tried to draw in my life, making sure to practice every day. Also making sure not to leave a drawing unfinished to start a new one, since I've had a habit of doing that with other things in life.

So based on this, what's the 3 most glaring issues I need to focus on at the moment?

>>12645

I like these videos

These are good fucking videos

thanks mayn

Doing just heads and faces for a couple weeks.

Is been nice when cartoony static and emotionless.

I feel the peace but not the anger.

Oddly, when I'm just sketching on my notepad in class I get extremely emotive faces I can't achieve when planning and shit.

What could I do to make third pic more angry?

>>12652

First image is good construction on bottom. Your problem seems to be proportions. Hair, for instance, sits on top of the head - not inside the construction circle. You have no foreheads and eyebrows at the hair line. Eyes go in the middle of the head roughly. Yours are at the top.

To apply an angry expression, use your lines from the construction phase. That first image has the horizontal lines that break up the face for the eyes, nose and mouth. Side of head circle tells you where the jaw line starts and where the ear is located. You can see that constructed image is looking downwards by the contour lines and general construction lines.

So if you want it to be angry, all you do is adjust the angles/curves of lines for the mouth and eyebrows. Add 2 or 3 lines for eyebrow scrunching above the nose. The attached image has the same construction lines visible (very faint, but you can see them). The eyes dont move and are the same eyes in all 3 faces. The nose is nearly identical, but they add slight flaring to nostrils and some cheek lines. The mouth is the same except very, very slight downward curves at end of the mouth.

If you bring your eyes down to just above your nose and square off the jaw a little, you can get an image like the MS paint adjusted version I posted in the second image. Try adding contour lines to the images like the first image you posted and see how yours dont line up.

Generally, if you like your style of simple lines (kinda like Nintendo Miis), you could apply different emotions with very tiny lines added. Slight curve at end of mouth up or down for happy or mad. Eyebrows are the other expressive item and only thing youd have to change. Angle down towards nose for anger and move the arch point towards the outside more for happy or shocked or other emotions.

>>12657

Thanks, I tried again and tried as hard as I could right now to keep everything in the construction circle. Including making the same guy.

I also tried to make the most realistic face I could make by memory.

Practicing, dying insiding.

>>12670

Have to tried https://drawabox.com/ ? or making basic shapes.

I don't think jumping straight into expressions is a good idea.

>>12677

I must admit it's really frustrating to draw with construction lines and still not get it right.

I definetely have more fun doing shitty sketches in class but I don't feel the practice.

I do try to make fast and simple construction lines, that seeing them right now are definetely more emotive, but can only do that with pen.

Somebody tell me what exactly the point of figure drawing is? It's supposed to teach you to view poses in their most basic forms, right? Is it absolutely essential to progressing, as in "you'll get nowhere without learning it"?

>>12682

You apply what you were taught and learned to figure drawing. It doesnt teach you anything. It's for practice and muscle memory. With that muscle memory and catalogue of poses you've seen and practiced, you can apply knowledge you learned to construct poses on your own or rotate a pose to capture it from other angles and exaggerate poses and apply your own style.

If you just do figure drawing without actually understanding the poses, construction process, how muscles interact and proportions, you are just going to be reproducing that one image - you arent learning how to draw anything but trial and error on that one image and then back to square one for the next pose.

It's like a golfer going to the driving range. You dont learn anything hitting the ball the same way over and over and randomly slicing or topping the ball. You are just engraining how to do it wrong over and over again because you didnt bother to learn or have someone point out mistakes or just didnt take your time and apply what youve learned. You are just hitting balls.

Thats what figure/gesture drawing is if you dont bother learning things from other steps. You want to apply what youve learned to figure drawing; not learn from doing figure drawings.

Okay, so I know I said I was going to study more of figure stuff, but I had to go back on that. I've decided to get down and study values, and rendering. Now to preface, I know that's a rabbit hole for turd polishing, I just want to know it "enough" so that I can really bring out my drawings more.

I was advised to push all the tones I was using further, yesterday, but today I think it's clear I wasn't pushing the mid and light tones enough.

Also brush recommendations.

Same guy from >>12632

Yes I know I fucked up the shading, but I'm starting to learn how to properly "see" shapes and lines instead of drawing with my eyes. Advice on where to focus next?

Today I drew a figure and a portrait.

Practicing drawing busts and also practicing drawing faster. Towards the end I found a better way to construct shoulders at least.

Okay yeah, that makes more sense now.

Also need to keep these up, and remember I do enjoy studying this shit.

I forget if there's anything else to really know, at this point, to have the general map of all the superficial muscles, known for figure drawing. I guess I'll have to figure out hands, and then I can move on to values again.