No.5415 [Last50 Posts]
Because we should not have to make new threads or post in draw threads with our fundamental exercises.
Feel free to post even the smallest exercise you have done to show you are still trying, do not give up, make someone proud.
RESIZE YOUR IMAGES TO ~1000 PIXELS LONGEST SIDE:
#1) Screenshot the image and post that instead (I recommend ShareX)
#2) Change camera capture settings to something smaller
#3) Send to computer and resize in MSPaint
→ → Check out the Google doc Sticky!! https://docs.google.com/document/d/1uwaXKU7ev6Tw_or__o8ARpUb6r2rCZYJGqwSFV9AD98/edit
Also, read our own sticky >>4920 and see the /loomis/ resource hub located at: https://www.8ch.net/loomis/hub.html
>Thread study: Try to draw/paint the opening or any other following images.
TRY TO BE MORE ACTIVE AND GIVE PEOPLE SOME FEEDBACK - many studies are left unreplied, which is a bit sad and can be quite demotivating for the people that try their best to improve, but are left directionless.
Previous Threads:
>>4124 ( http://archive.is/xjWu7 )
v v v When you post a study of one of the below images, please quote the corresponding post: v v v
____________________________
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No.5416
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No.5417
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No.5418
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No.5419
ESSENTIALS:
>https://warosu.org/ic/thread/3023643
Links to many art books including as Keys to Drawing (Dodson), Drawing on the Right Side of the Brain (Edwards), Perspective Made Easy (Norling), Color and Light (Gurney), The Vilppu Drawing Manual (Vilppu) and How to Draw (Robertson).
>http://ctrlpaint.com
A website dedicated to understanding the basics and process of digital painting, based in Adobe Photoshop. Library of over 200 free videos.
>http://quickposes.com
Free pose library to practice drawing the human figure (as well as a portrait library). Draw at your own pace or set a timer for quick gesture drawings.
>https://www.youtube.com/user/onairvideo
Croquis Cafe - Timed model poses.
>http://drawabox.com
Controversial yet helpful introductory course on the fundamentals of drawing with a focus on understanding the concept of form and thinking in a 3-dimensional mindset while you draw.
>Your local life drawing class
Life drawing is an indispensable tool in your art career. Do not be intimidated based on your skill level - there will always be someone worse than you and someone better than you. Use this opportunity to meet new artists for learning, critique, and growth.
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No.5425
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No.5429
>>5425
Remember to use your measuring tools: negative space is your ally when it comes to interpreting the angles of the ears and its little bun-bun butt, for example.
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No.5443
I'm going Brandon Hampton's books.
I don't wanna post in the beginner thread though i hate beginners
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No.5475
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No.5476
>>5475
i do not believe you are a beginner
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No.5477
>>5476
Like…uh, would I be good enough to post regularly on crimson daggers?
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No.5479
>>5477
>crimson daggers
*tips fedora*
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No.5481
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No.5772
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No.5878
>>5418
Well I tried doing the rabbit thinking I was going to do way better than everyone else. Surprisingly hard to do and I have no idea mentally how to do land marking, something I definitely need to work on.
>Excuses
<None, I just need more practice
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No.5881
Alright /beg/, serious question. Is doing a challenge like this actually going to help me?
I wrote it myself, not to imply I'm proud of it, Just stating. I'm still not properly seeing in 3d, everything I draw is still relatively flat. And I'm figuring if I do this, by the end of it, I'll have broken into seeing form and 3d and have learned how to draw each body part respectively and learned how to put it together. The main goal of this is to just put myself through rigorous drawing. I know I'm not actually going to get good from doing this, but I'm sure I'll at least get better.
If its retarded, tell me. I'd rather be told its retarded now than to get 50% of the way in and see no improvement and feel like shit.
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No.5882
>>5881
Drawing a lot is only retarded if you are (https://kodyboy555.deviantart.com/gallery/), it's almost never a bad idea and you shouldn't necessarily need a jpg to tell you to draw your balls off. If you think you'd be more productive adhering to an arbitrary challenge format then that's perfectly fine, though.
That said I feel like you should have a grounding in observational drawing and freehand perspective before you even bother with something like this because you'll get more out of these drawings if you understand well what you're looking at. If you don't understand observational measurement techniques (negative and positive space etc.) or construction consider working on those first.
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No.5884
What should I do /loomis/?
I never seem to draw what I want, as if I want to draw something but idk where to start then I fuck up my original plan and the drawing becomes something else entirely that isn't what I wanted to draw.
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No.5888
>>5884
If you're not drawing what you 'want' and are just falling back on doodling that suggests to me a realization that you're not advanced enough yet to go through with your ideas and, rather than confronting your weaknesses, are sort of retreating to something that's comfortable and non-committal.
I'm not trying to insult you in saying that, I have the same problem to be honest, and the only way out is HARD-O WORK AND GUTS-U!
Whenever you find yourself doodling pick up an anatomy book and draw from that instead. Or if you have an idea for a doodle, make sure you're using a reference so you're learning what things really look like while expressing yourself.
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No.5890
I get the feeling these are the doodles of a deranged individual. .
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No.5891
>>5890
Looks normal to me. Just start using more reference and really look at what you're drawing. You'll be able to draw from your imagination in due time but you have to build up your "mental library" through observational drawing, first.
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No.5892
>>5891
Thanks, was just poking fun at all the blank, big-eyed emotional faces. One thing I've found valuable about this exercise is that I am able to recognize patterns for mistakes I'm making. Drawing it last night, spending some time away from it and watching a few videos about heads in 3/4 perspective, one obvious mistake is that I'm setting my eyes to high. Another is I need to push the brow ridge and noses further forward. Everything needs improvement of course, but I think these are some simple fixes I should focus on for my next round.
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No.5893
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No.5894
>>5415
>/beg/
for the love of god I came here because this wasn't /ic/
please don't start spouting ligameme and ngmi as well
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No.5895
>>5894
No worries; that won't happen
post your work
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No.5896
>>5895
terrific meme, fellow meme lord
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No.5897
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No.5899
>>5891
Used reference like you said as well as plume lines like >>5882 for my first portrait. I'm pleased with how it came out and found it enjoyable to work on. Most obvious issues is my lack of understanding of ears and the mouth is off center.
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No.5900
>>5899
Nice attempt. That ear is truly frightening to look at though. You did alright but there are a lot of inaccuracies to patch up using the tools you're learning now. Note how the bottom of her ear in the photo is horizontally parallel with the area JUST below her nose. How there's a vertical plumb line from where her lower jaw/chin begins on the side of her face that lines up almost exactly with the part of her eye on our right which becomes obscured by her nose. Keep working at it and use those tools and you'll improve at this kind of drawing very quickly
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No.5901
>>5899
Put a Top Hat on the right one and it could pass as young Lincoln.
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No.5902
I start drawing, I really do. I've wanted to for years now.
My big problem is that I don't want to learn to draw. It's my biggest hurdle whenever I try to learn a new skill.
I know it would only take a few months to get out of that initial "Deviant Art" stage, but I'm just too stubborn to do it and in six months I'll think "why didn't I start practicing six months ago?! I'd halfway decent by now!". I just know I will, I'm currently regretting not starting when I was a teenager when my interest first started.
Do any of you have any advice how I can push myself to begin? For years now I've been on the edge of starting, I've bought & read books about drawing, I have several sketchbooks and a huge assortment of different pencils, but I've never done it.
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No.5903
>>5902
>I start drawing
Didn't even notice I completely dropped several words there.
*I want to start drawing
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No.5904
>>5894
the spark over 25 rapidly declining neuroplasticity nosebro riven pheonix merc_wip gesture battle never gonna make it did I miss anything else? Just have to get it over with
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No.5905
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No.5906
>>5905
>>5904
Neuroplasticity doesn't actually start degrading after 25. Does get more ridged over time, but if it takes you 5 years to get gud at 25 it should take you 5 years at 40.
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No.5907
Have you prayed today, anons?
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No.5908
>>5905
>Proko Kangaroo
Arguably the best in that list
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No.5909
>>5902
Unfortunately the regret never goes away, like a newly sober meth addict who gets nostalgic about getting tweaked from time-to-time years after the fact you'll always feel in the back of your mind that things should be better in this moment, and maybe they should be, but if you let that stop you you're not going to get anywhere one way or another my man. It's up to you to decide if you want to do it or not but it would be best for you to decide right FUCKING now if you want to be an artist or if you'd rather engage in some other hobby, or even just sit around and watch tv or play video games during your free time for the rest of your life.
Note: there is absolutely nothing wrong with either decision, this is your life and you are in complete control, but you have to decide if the regret of not being as good as you could be is more significant than the regret of never having tried to begin with.
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No.5996
>>5888
Well fuck, Ever since that post I've been practicing and I just made my first model-less intentional drawing, is an easy angle and he's got a broken leg, but I feel great about it regardless.
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No.5997
>>5996
Keep drawing and keep feeling great…until you start feeling not so great
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No.5998
sculpting anon here i cant draw but i been trying to learn sculpting in blender this is what i made but i feel as if something is off but i dont know what.
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No.5999
>>5998
The centerline refers to the brow line, not the eye line. LOOMIS
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No.6009
Gonna do "Drawing For The Absolute And Utter Beginner". How good can I expect to be by the end? One day I would like to draw like picrelated kind of stuff. I am impatient and wish I started years ago pls respond.
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No.6010
>>5998
The main problem is one of the same problems most people have with drawing. There's too much of a focus on individual features and less of a focus on the big forms. I'd compare it to drawing a face on a ball. Yeah you can make it looks sort of face-ish with each feature somewhat believable but the overall structure of a head isn't there making it always lack the proper form.
One way I've often suggested people do things is to zoom out to the point where it is impossible for you to draw, paint or in this case sculpt an eye and work in that stage for as long as possible. If it doesn't look right, it generally has to do with the fact that the big shape still isn't good.
I attached some painting examples that illustrate this point. This is true in painting just like in sculpting. if the big things are properly in place, it should read well without details, if you need details to make something look like a "thing", the big things are probably wrong.
>>5999
Not really tho. The centre of the head generally falls on the line passing through the corners of the eyes. Loomis is not a good source if you're looking for accurate proportions.
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No.6011
>>6010
>The centre of the head generally falls on the line passing through the corners of the eyes.
I think I misinterpreted what he'd written anyway, the "centerline=brow" abstraction refers to the circular construction itself without the jaw attached. With the jaw extending the height of the construction slightly the halfway point indeed goes through the eyes. It's actually a pretty confusing part in one of his books because suddenly he's drawing the centerline through the eyes and I believe it's without comment.
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No.6014
Can somebody explain gesture to me? I'm getting nothing but pseudo-mystical mumbojumbo.
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No.6015
>>6014
It kind of is mystical mumbo jumbo tbh
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No.6016
>>6015
A lot of people seem to be putting a lot of importance on this mumbo jumbo though.
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No.6017
>>6016
You're right. I think in less esoteric terms gesture is a means of quickly familiarizing yourself with a pose-what a human figure looks like in a certain position. You might only make a rudimentary drawing over the course of less than five minutes based on the figure's landmarks and general proportions but I think the goal is a greater understanding of what sets a figure in that pose apart from one in a different one and to come to a greater understanding of the figure in general as consequence. The skin being pinched here or stretched there, the forms of the arms, legs or major masses receding into space through foreshortening etc. this is all valuable information for you to call back to from memory.
Another goal with gesture you'll often hear is to let the figure inform your drawing but not to necessarily copy it exactly, as you want to convey a sense of life and movement through line and how a simple restatement of the contours isn't going to cut it, this is where the concept starts getting less objective and more subjective, but is nonetheless important and harder for laymen like us to get our heads around.
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No.6018
>>6017
So basically a very rough outline trying to display the relation of the shapes as a guideline for the following construction?
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No.6019
>>6018
As far as my limited understanding goes I'd say that's about right.
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No.6072
>>6014
Gesture is the act of drawing a figure with motion in mind. It's not meant to be appear accurate, but to appear expressive.
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No.6073
>>6072
Logically that doesn't really make sense though, does it? It seems too subjective to me, and the fact that everyone's gesture drawings look way different from one another compounds that issue.
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No.6074
>>6073
>the fact that everyone's gesture drawings look way different from one another compounds that issue.
Is it really surprising, given the huge variability there is in art to begin with?
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No.6173
According to the book "Drawing on the Right Side of the Brain", in order to get started, I need "clips" in order to hold the viewfinder to the "plastic picture plane". What's the name of these clips? I wish to buy them.
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No.6175
>>6173
You can get those at just about any hardware store. By that point of the book though I don't know if it's worth it. Drawing on the Right Side of the Brain is great for unlocking your understanding of observational drawing, but I believe it becomes too cumbersome with these demands that you buy all this ridiculous stuff later on.
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No.6180
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No.6181
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No.6185
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No.6268
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No.6272
>>6268
Keep practicing. Notice how in the photograph the horse's ass tops off well under where its neck does.
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No.6273
>>6272
>>6272
hmm
this for the tip
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No.6315
Tried to draw something from my imagination like in the OP, also tried to draw a hand.
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No.6352
Following Peter Han's Dynamic Sketching tutorial. My ability to draw consistent and nice lines has always been garbage, so hopefully this shit will build up muscle memory/dexterity. Doesn't help that I'm working on a small tablet, but I any practice is better than no practice.
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No.6363
>>5890
Wow, just checked the dates and it has been exactly 2 months since my last post. Including a few pages from last couple days. Been drawing about an hour a day consistently over that time. So long as I keep up with it I hope to post regular updates and hopefully we can track the progress.
A few things I want to work on for next month:
1. Proportions: I want to nail down the proportions of the head and face. I need to start studying the figure and anatomy as well where proportion will be my primary goal.
2. Planes: I need to start thinking about the planes of the head. Current conception of the head's shape is to vague, particular in the cheeks into the muzzle, chin and jaw.
3. Cranium, hair and ears: Set some time aside to study these more closely.
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No.6376
>>6352
>Dynamic Sketching tutorial
Excuse me, what is a felt tip pen.
I'm a taco and when I write that in it shows 5 different types of markers at the same time.
I just want to know what he's referring to.
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No.6377
>>6376
It is a broad term that encompasses all markers, but in the context of Han's Dynamic Sketcing and illustration in general, it is referring to fineliners like Pigma Microns or Copic Multiliners.
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No.6378
>>6376
>>6377
Honestly you should just use a mechanical pencil imho; maybe I'm wrong to suggest that though. Perhaps they're not ideal but they're a fuckin' hell of a lot cheaper than those pens.
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No.6379
>>6378
I agree for the most part. I do think you need to use pens regularly if you want to develop the level of control required to ink well. I'd say if someone was still in the first 6 months of regular drawing practice, they're not necessities.
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No.6406
Are poseable figures helpful? I've thought about getting one, but it seems that the quality ones are kinda expensive.
>>6363
>>5890
I can definitely see progress, the faces in your last two images have better lines and a more defined structure.
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No.6660
So I have this image and think is a great way to manage practice, especially when I have to balance my time with a STEM college but it doesn't recommend any exercises for the different areas.
For all I know I could continue on drawing random body parts and lines without any actual progress.
Also, I've been using a regular pen. What should I use?
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No.6674
Footfetish-anon back again. Haven't done one of these in a while, so I allowed myself to trace it for shits and/or giggles.
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No.6675
>>6660
You need construction most of all, then anatomy. Your line confidence and control is good for where you are overall.
>it doesn't recommend any exercises for the different areas.
Drawabox.com has concrete exercises that are relevant to some (but not all) areas in that first image.
>pen
If it doesn't smudge it's good enough for practising. I use artline fineline pens which cost about 3 dollars apiece. Ballpoint office pens are a pain because they smudge.
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No.6773
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No.6774
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No.6775
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No.6777
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No.6778
>>6777
Did you scan your drawings or you used a tablet to draw?
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No.6779
Footbro, if you're gonna draw at such a large resolution, you need more line confidence.
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No.6787
>>6778
Tablet.
>>6779
Yeah, you're right. I'll work on it. Just getting some rust off.
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No.6792
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No.6794
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No.6797
>>6794
Needed to change things up a bit, even though I'm not counting this towards my "draw 100 of something" challenge.
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No.6814
Some practice with hands.
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No.6819
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No.6820
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No.6821
>>6820
For one thing, use a brush that has some pressure sensitivity man. Look at art that other people make and try and think about how they might have done it. Even a literal trace looks silly if it's not artfully done. I believe in you!
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No.6824
>>5902
I'm in the same boat, but I recently have had a few animation ideas I am super set on making reality. As soon as I get past the initial procrastination stage I know I will make a lot of progress.
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No.6828
I am so scared. I keep telling myself there is nothing to fear but fear itself. But I stopped drawing when I was in middle school. I was of course shitty at it and made fun of for so long. Then the internet came about and as the years went by I watched sonic oc after sonic oc after come by one after the other. New forms of horrific eye sores. I haven't tried to create anything in my life since I was a kid.
But I want to focus all my time on this now since I have been placed in a bubble outside of time and space. God I don't know what to do. I keep writing and writing more and more new excuse after new excuse.
I have to tell my ego that I will be bad. I will be. Chrischan level for a while. Oh god what is this doing to my heart. Venting on here was nice a little. Sorry.
Still. Can it work like this? Just have a fucking dark age of drawing while growing up then giving it all your time and energy once you hit your 20's?
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No.6829
>>6828
>Can it work like this?
You'll never know for sure unless you actually try.
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No.6830
>>6829
Fuck me. Time to bust out the liquor and the tablet. Thank you.
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No.6840
>>6828
I'm 27 and I feel kind of similar, but I will spend a lot of 2018 trying to improve my drawing and animation skills and hopefully be able to make something decent before I turn 30 at least.
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No.6867
Gib tips please.
I'm following drawabox/peter han first exercises and while lines are improving, i'm having some doubts about the shoulder/elbow point.
Drawabox dude suggest to use the shoulder always, however most of the time i draw on max A4 paper and even blocking wrist/elbow, i can't even feel my shoulder moving.
Han suggests instead the elbow as more of a pivot point with the wrist a bit over on the paper, which is what i usually do.
Should i keep going like i do? Or force myself to move the shoulder?
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No.6877
Should I only start drawing things when I can make straight lines? I've been doing them everyday for one week and have gotten a bit better.
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No.6880
>>6877
If you have a hard time drawing straight line you'll need to build up some fine motor skills/muscle memory. Just repeatedly trace over lines of varying shape and length to build up the skill, until you get to the point where you can trace over lines several times without fraying them. As far as drawing things, there's no need to limit yourself. You could start with simple shapes; they're made up of lines and it will just be more practice getting them straight anyway.
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No.6884
>tfw you finally realize how important knowing human musculature is
Holy shit, I never realized exactly how knowing actual anatomy helps. It's pretty damn obvious, but usually when I attempt to draw people I just kind of guess on proportions and try to fudge muscle definition, and it's probably why my contours always look fucked up. I mean, it probably doesn't help all that much with proportion, but I've always been bad at it so I think it helps.
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No.6888
>>6867
Don't read into it too much. Draw-a-Box guy, apart from being part of the murderous organization, ISIS, is just some kid who's trying his best to regurgitate things better artists have told him.vicariously through books and videos. Same with the rest of us. Listen to Peter Han and Proko, not some third-stringer.
https://youtu.be/pMC0Cx3Uk84?t=43
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No.6893
I know this sounds low effort but if you had to pick one, would it be Drawing with the right side of your brain or the Loomis book? Is it important I read both? I've been working the whole day and I don't have much time to myself.
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No.6894
>>6893
You're going to be drawing for a long, long time if you want to get anywhere. It's not necessarily a matter of either/or. I think Right Side teaches an important fundamental skill but is only useful for the first chapter or so. A chapter that is fairly important to "unlocking" the mindset needed to draw from observation for those that don't already have it. On the other hand, Loomis teaches a separate set of fundamentals that are perhaps more appropriate for artists who already have a solid understanding of that. You won't be able to read Loomis or understand the material of many other authors unless you can draw what you see to begin with.
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No.6897
>>6894
Thanks, man. I just wish I could get better at this faster. Can't even draw straight lines yet.
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No.6898
>>6867
>>6877
>>6880
I keep seeing this stuff over and over again. These minor mechanical things like being able to draw a nice circle are just ridiculous to focus on. It's like when I see people claim that what they really need to focus in is their "brushwork". 99.99% of the time, it's not the brush stroke that is the problem, the person just doesn't know what color to put down in what place. If you know what information to put down and you can tell where to put it, you can make a very good painting even with shit mechanical ability.
The only reason I can think of to do these exercises is if you are doing a very very specific kind of drawing that relies heavily on perspective, ink (the most retarded medium for a beginner to use) and an allergy to rulers. If you want to draw in any other way, you're better off studying more traditional approaches to drawing.
What I'd recommend is to train your ability to look at something, make a decision on what information to represent and draw it as faithfully as you possibly can with the highest degree of accuracy possible. Then when you've done that, you go over it and keep correcting until you have a drawing that is simple where you no longer can see faults in (if you had a competent instructor you'd be taken to this point and they'd attempt to repeatedly push you further). By doing this you train multiple faculties. Firstly you train your observational ability, secondly you train your organisational abilities to select the relevant information to represent, thirdly you train your ability to work in a manner friendly for corrections, fourthly you will train your pure mechanical ability because you're holding yourself up to the standards of nature.
These additional things like perspective, construction, anatomy etc. become much easier when you have a decent ability to draw.
>>6888
>Listen to Peter Han and Proko
>not some third-stringer
lmao, pick one.
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No.6899
>>6898
>The only reason I can think of to do these exercises is if you are doing a very very specific kind of drawing that relies heavily on perspective, ink (the most retarded medium for a beginner to use) and an allergy to rulers.
For me personally I have very shitty motor skills that I have to train, and the fact that I do my drawing on a smaller sized tablet. So mechanical ability is important for me to work on, although I can see why that wouldn't apply to most people. I also think that many beginners don't have an eye for judging the quality of their own work, so they want to work on things they can easily ascertain the quality of, like their ability to draw clean lines. For example, if a beginner has a good understanding of mass or value in their drawing they might overlook that if the quality of their lines are shit, and that lends itself to being disheartening practice if their linework is bad. That'd be my guess as to why many people suggest building mechanical ability first when learning to draw.
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No.6900
>>6898
>What I'd recommend is to train your ability to look at something, make a decision on what information to represent and draw it as faithfully as you possibly can with the highest degree of accuracy possible
So you actually do know why it's desirable to train your motor skills after all. Many people when starting out simply can't put a mark down correctly, though they might otherwise be cognizant of where it ought to go. Maybe you don't remember what it's like literally starting something from zero because you've drawn since you were a child, but doing those exercises is the quickest way to develop an important ability that is foreign to most people. It's not about drawing circles specifically at all.
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No.6902
>>6898
>ink (the most retarded medium for a beginner to use)
Please explain.
>lmao, pick one.
Please suggest better learning materials.
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No.6913
>>6899
I'm sure it can feel good to think you're making progress but I think it gives the illusion of skill and then when they face the problem they've been avoiding it hits them like a ton of bricks. It was for me when I switched out my tablet and photoshop for a brush, canvas and oil paints. If you think you should be doing better than you are, it really hurts. I think the best approach if you want to preserve the excitement of a student is to have them learn how to accurately represent the impression of something so that when they step back it looks correct, regardless of how nicely it has been drawn of painted when standing close to it.
>>6900
I know why people want it but again, do you really need to work on your "brushwork" or is it just that you need to put the right color on the right spot. In drawing you have an eraser, correct it if it's wrong. If you for some reason really want to have one line for an entire contour, isn't it better to try and draw it when drawing a subject rather than doing so in the abstract? If it doesn't turn out right, erase and try again. Look at the Menzel drawing I attached. Its clear that he lightly blocked in is subject and then later drew over it with more confidant marks when he knew exactly what he needed and he could follow the existing drawing to add those accents.
Most people's mechanical problems are solved as soon as they stop drawing on a horizontal surface and buy an easel.
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No.6915
>>6902
On the subject of ink. Why would anyone think that working in a manner where you can not correct your mistakes is in any way wise? you can't block anything in, you can't set up simpler designs to later find more complexity when the general accuracy is good, you can't fix any errors that always creep in.
Is the argument "oh but it builds confidence in your penmanship" persuasive to anyone? I think most people do it because 1 they've been pressured into doing it by people on forums and 2 it's a retiredly simple exercise where you can fool yourself into thinking like you're learning something without any real challenge. We can often look at how art has been taught for the last few hundreds of years to see that this trend is only a recent one coming from Art Centre and only coming from specific classes from there. It's not how drawing was taught in the Art Student League of New York, or at Académie Julian, or at École des beaux-arts or at the Imperial Academy of Arts in Russia. We can go on and on listing the academies that produced some of the greatest artists in human history, almost all of them going back to pencil or charcoal drawing as a foundation for their education. They do this because it is such a beginner friendly medium that excludes a lot in terms of color and value yet has an extremely high potential.
I should mention that I often talk to people and get the question about what books to read and I more or less give the same list of books, 50% of them being free on archive sites online, yet few seem to take the time to read them.
General drawing and painting
The Practice and Science of Drawing - Harold Speed
Oil Painting Techniques and Materials - Harold Speed
The Practice of Oil Painting and Drawing - Solomon J. Solomon
A Manual for Oil Painting - John Collier
A Classic Point of View - Kenyon Cox
Alla Prima II - Richard Schmid
Anatomy and figure drawing
The Human Figure - John H. Vanderpoel
Artistic Anatomy - Dr. Paul Richer
Human Anatomy for Artists - Eliot Goldfinger
Der Nackte Mensch - Gottfried Bammes
General material books
The Artist Handbook of Materials and Techniques - Ralph Mayer
Companion - Richard Schmid
Living Craft - Tad Spurgeon
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No.6926
>>6915
>>6902 here, thank you for elaborating and for the book recommendations. I may be retarded, but as a beginner I find it very difficult to evaluate how good any particular art instruction is for learning from. When people just drop "X is actually bad, read Y" or even worse "X is actually bad" by itself then I tend to dismiss it, because it's unconvincing. It's helpful that you mentioned the long list of academies that have focused on pencil and charcoal over the years.
>Why would anyone think that working in a manner where you can not correct your mistakes is in any way wise?
>Is the argument "oh but it builds confidence in your penmanship" persuasive to anyone?
It feels persuasive to me, but admittedly I haven't been drawing regularly enough to have collected objective evidence that it helps penmanship. As for the inability to correct mistakes, my thinking is that if it's too easy to undo mistakes and correct them, that can become a crutch, hindering me from learning how to lay down the line I intended at the first stroke. When I draw digitally I use the undo button all the time, and when I use pencil and paper I waste time putting down a million light strokes before laying down more confident strokes, and I end up smudging the paper with my hand or putting down lines that are too dark. Working with pen discourages me from falling into those patterns and helps me move faster too (When I am at a life drawing session and in the 3 minute poses I only draw 1/4 of the subject, I am wasting my own time and money).
I get the impression your advice is best suited for a beginner who wants to specifically be good at oil painting. That's not the path I want to take, but nevertheless I'll use pencil for studies more frequently and I'll keep in mind what you said here:
>What I'd recommend is to train your ability to look at something, make a decision on what information to represent and draw it as faithfully as you possibly can with the highest degree of accuracy possible. Then when you've done that, you go over it and keep correcting until you have a drawing that is simple where you no longer can see faults in
>Most people's mechanical problems are solved as soon as they stop drawing on a horizontal surface and buy an easel.
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No.6931
How many time does it take for someone who's experienced on drawing to draw a picture like this? I am just wondering.
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No.6932
>>6915
Do you have something on different ways to shade shit?
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No.6933
How am I supposed to do the exercises on Drawing on the right side if I know nothing about drawing?
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No.6934
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No.6935
>>6931
many time, my friend. Many, many time.
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No.6938
>more than one week 1hour> per day practicing lines
>still can't do straight lines
What the fuck? This pisses me off.
And how am I supposed to develop my muscle memory if I can't actually draw straight lines? Am I fuvked from the beginning? Could you draw straight lines from the beginning? I can't handle this anymore.
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No.6940
Obviously not done, but I'm not sure where to go from here.
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No.6941
>>6938
I don't remember being able to draw long straight lines consistently until I started using my shoulder and pulling my strokes.
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No.6942
>>6926
It is difficult to evaluate anything without being well versed in the subject.
One approach is just looking at who wrote the book. Look at someone like Betty Edwards and think "do I want to learn from this person?" (I find her drawings to be awful). There is no good reason to try and learn from a less good artist when a better one is available. The idea that a less good artist will give you a foundation to then move on to further complicated work in the better artist's book is not really a good approach because the things discussed in these books are foundational things. Solomon J. Solomon's book is very simple and if you master what is in it you will be able to draw and paint very very well. I attached an image of one of Solomon's paintings, thought it may encourage someone to check out his book.
This whole "lay down the line I intended at the first stroke" is just so weird to hear. I just imagine this situation where someone is painting something, I come up to them and say "hey, that arm looks a little too wide", then they just say "lol, what am I supposed to do? Correct it? Pfff, real artists don't correct their paintings, they get the brush strokes right on the first time". Maybe you get the stroke exactly the way you want it in the first go, what happens if what you wanted was incorrect? What if you misjudged the width of something?
>I end up smudging the paper with my hand or putting down lines that are too dark
Aren't you using ink because you can't draw a pencil drawing without smudging it or making the lines too dark? Sounds like ink is just your crutch ;)
And duer, my personal opinion on the 3 minute pose stuff is that it's almost just as valuable as working from a photo. You don't really get much from it being irl in that short amount of time, you don't get to the point in the drawing or painting where the differences start to become important. Try and find a place that does 2-3 hour poses. That gives you enough time to do a nice line drawing and to really study the figure (Where I studied we had poses 3 hours a day for 4-6 weeks for both charcoal life drawing and paintings, plus several 2-3 hour line figure drawings a week). Really studying the figure takes time.
My advice is I guess specifically aimed at traditional painters but I used to work as an illustrator and I did some concept art, I did digital art for years, I've read all those books, did the CGMA stuff, did the Gnomon stuff, hung out on the CA forums, all of it, and I just found the traditional sources to be better, even if you want to be a digital artist. Not saying you have to learn how to paint in oils (although oil paint is way cooler than digital #TraditionalMasterRace), it's a resource so great it would be a shame to miss out on it.
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No.6943
>>6932
That's a tricky subject. I'm tempted to just point at a book and say "it's in there" (and it is, The Practice and Science of Drawing) but I guess it's maybe easier if I give a quick rundown of shading and the problems with it, especially in pencil.
On shading, there are a few primary ways to do it. One where you hatch something, meaning there are lines involved and the other being one where masses are used, shapes of value. They produce two different types of drawing. (I should mention these two ways form a gradient of techniques between the two). To get your head arround the two approaches I added 2 pics in this post. One by Thomas Ekins and it is a study of a cast. This would be considered a mass drawing, where shapes of value are represented as flat tones. The other is by Harold Speed and is a drawing where it is "shaded" by hatching repeating lines to get the illusion of flat tone but using line to emphasise the direction of the form. There is a deeper theoretical understanding to test approaches found in Harold Speed's book on drawing.
One of biggest thing most people can do to improve their pencil and charcoal drawing is to stop adding so many halftones. This is one of the biggest sins pencil drawing. The world consists of values 0-100 and your pencil can get about 10 of them at best. This means you have to compromise some values if you don't want your drawing to be super super low contrast and muddy. Artists compress the lights and darks until you basically have a light-shape and a shadow-shape, then minor halftones can be added to emphasise forms or light effect. Take the Cast drawing as an example. Look at his helmet. There are no values there, in a sense he compressed the light and said "I'm only concerned with this range of values, everything outside of it is either pure white or pure black. Kind of like how a camera can over and under expose the film because it can't represent the wide range of values of reality. The same is done in drawing and painting, and pencil drawings having such a limited range in value, you really need to compress it a lot until you basically have two values, light shape and shadow shape. Squint until you're almost closing your eyes and look at that cast drawing, you'll notice tat it is basically 2 values, just a bit of very minor variation here and there.
When hatching a drawing you can kind of get away with more half tones but you need to understand why you can. Often a mass drawing is about communicating the impression of a subject. Line and hatching doesn't necessarily do this always. You can choose to compromise on the impression to communicate more form. That is what Speed is doing in his drawing. He emphasises some of the halftone shapes to push out more form than you may technically be able to do with a strict value relationship. Speed explains this stuff very well in his book so I highly recommend it
>>6933
Shitty book, don't read ;)
>>6938
Maybe draw short 1 inch lines that connect and make a longer straight line. And muscle memory is overrated ^^
You guys know of the Charles Bargue drawings right? They aren't made with one clean stroke. The block in is lightly started and he went back and forth over that line several times, building it up and corrected any errors it had. Then in the final versions is not drawn in one go. Bargue drew things with straight lines exclusively so those curves you see, they're small broken up straight lines that build up to form one long line. (should mention they're also lithographs so that's often why they can look so clean)
You don't have to approach drawing as if you're inking a comic book. It's perfectly fine to build up a line rater than try to act like you're some kind of master that can do it all in one stroke.
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No.6949
>>6913
When you develop your motor skills you are making progress, albeit progress that's only tangentially related to drawing itself. It's "artificial mileage" (faster and more effective than real mileage for its purpose) that helps you put marks where you want to put them/where you know they need to go.
Naturally it's more relevant for line-oriented artists than painters so if you're the latter camp I can understand your skepticism. As an animator though being able to manipulate lines exceptionally well on your first pass of many is very useful and well worth the initial effort.
>>6938
I assume you mean more than one hour a day, right? Anyway it takes a lot longer than a week if that's what your goal is.
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No.6950
>>6942
>This whole "lay down the line I intended at the first stroke" is just so weird to hear.
I'm surprised that you're surprised honestly.
>>6943
>Maybe draw short 1 inch lines that connect and make a longer straight line. And muscle memory is overrated ^^
>You don't have to approach drawing as if you're inking a comic book. It's perfectly fine to build up a line rater than try to act like you're some kind of master that can do it all in one stroke.
I think this emphasis on getting a confident stroke out in one go is rooted in the desire to avoid the common beginner problem of hairy, unconfident lines. When I was putting out stuff like the first drawing years ago, I doubt that following advice like "Don't worry about stroke technique, just erase and fix until the drawing looks like the subject" would have made that drawing look any better. There'd be residual unerased bits of pencil, and smudges, and the lines would still look hairy because I would not have had the patience to keep making fixes that messed parts up as much as they improved other parts. The second drawing is something more recent, and I think a large part of what makes that drawing look better is improvements in my technique. If anything, the biggest bottleneck I have is still my technique, because the big flaw that jumps out at me is the hairy linework. The lack of improvement over five years is support for your position over mine though.
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No.6956
>>6949
Does it work? I see a lot of people doing these exercises and just looking at it empirically, it doesn't seem to help… If you want to learn how to play the guitar, you play scales and learn songs. You don't learn how to play a guitar by perfecting your strum of the open E string until it's absolutely perfect.
I don't think the things I'm talking about are exclusive to painters. Proper drawing applies to everyone, even animators, even painters, even sculptures.
>>6950
Look, there's nothing wrong with nice lines. The problem is when the quality of the line becomes the end goal and the drawing of the subject is secondary. Want to avoid scratchy lines, don't do them. You don't have to switch medium. It's like if I didn't want impasto marks in my oil painting I just switch to watercolours. It makes no sense. It doesn't follow. You find a flaw in your handling of a medium so you go and use another with 10 times as many flaws.
I kinda feel like I'm in crazy town and it looks like this "draw a series of circles on a page" and "draw 100 hands" bullshit is spreading over the internet like a virus. And it's especially weird because on a lot of these forums and boards, people pay lip service to "the old masters" but ignore every piece of advice you can glean form their work. I don't know if people think they're somehow better than the old masters because "oh they lived hundreds of years ago, I am a modern and know better" or they're just lazy and are looking for shortcuts.
I'm sorry guys but I'm not gonna spend anymore time trying to argue over this subject. It's very tiresome, especially when I've had this conversation so many times before. You're on your own. I listed a bunch of books, you can't pretend that you don't have any resources to work with, half of them are online for free. I'm out.
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No.6957
>>6950
>The lack of improvement over five years is support for your position over mine though.
While as always he has good points let me interject right there in particular. There's no way that hand-eye coordination training of the sort that takes a scant 100 hours or so to ostensibly master has kept you from improving over a five year period. Plodding technical gains are our reward for our fragile egos and our lethargy moreso than anything else. We can't blame the dead men behind any single book's pages or the living teachers whose words have fallen on our own deaf ears for our lack of improvement when many of them are saying exactly the same thing and merely framing it in a superficially different way.
The great plurality of us on sites like this discuss, share and argue about techniques or materials-ones which are most if not all perfectly valid in their own way-because it's a reprieve from both the abject terror of drawing and the guilt of not having drawn enough.
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No.6958
YouTube embed. Click thumbnail to play. >>6956
>Does it work? I see a lot of people doing these exercises and just looking at it empirically, it doesn't seem to help…
In my case and for what they're intended for specifically I would say yes.
I think if you come from an academic environment surrounded by serious artists who've paid serious money to be there for any particular amount of time you might end up with a skewed perception of online communities and the people that use them. When you're online, for every three dozen flippant recommendations of what to do you get, you'll find that only a small handful have actually practiced with any conviction themselves, and many more have only just started drawing and are merely repeating what they've heard from others.
It's not my intent to disparage people that do that either, it's good to want to be helpful, but there comes a point when people are basically arguing artistic semantics or exchanging resources like pokemon cards instead of actually using them. (like I'm doing now)
>If you want to learn how to play the guitar, you play scales and learn songs. You don't learn how to play a guitar by perfecting your strum of the open E string until it's absolutely perfect.
Of course not, but you might stretch your hands out in a regimented way to increase your ability to meet playing a song's requirements.
https://guitarlessons365.com/essential-hand-stretches-for-guitarists/
One anecdote that affirmed my belief in this process is my experience at the Atelier where I found that, contrary to when I draw on a tablet or paper at home where I had so practiced, there were many angles when drawing from various casts on a vertical easel I'd seriously struggled to capture, to the point I actually had to use both hands to do so at times (lol). Making restatements doesn't take particularly long, no, but in the grand scheme of things neither does the kind of manual practice that reduces your need make them.
When you're a painter whose process primarily relies on building up values from a mass it's not as applicable, but you may very well have naturally developed in that way unconsciously from your mileage over the years anyway. This is basic stuff meant for people that may have just picked up a pencil yesterday, and for what it's intended for it's not only effective but is something that, mercifully enough, doesn't take a hell of a lot of time or effort to do. The problem is most people you talk to may not even be willing to expend that remedial amount of effort.
>I'm out.
Aight.
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No.6959
>>6956
>I'm sorry guys but I'm not gonna spend anymore time trying to argue over this subject. It's very tiresome, especially when I've had this conversation so many times before. You're on your own. I listed a bunch of books, you can't pretend that you don't have any resources to work with, half of them are online for free. I'm out.
Fair enough. Your arguments have changed my mind, for what it's worth. I was being nitpicky because I was trying to figure out where you were coming from.
Stuff like this:
>Want to avoid scratchy lines, don't do them. You don't have to switch medium. It's like if I didn't want impasto marks in my oil painting I just switch to watercolours. It makes no sense. It doesn't follow. You find a flaw in your handling of a medium so you go and use another with 10 times as many flaws.
feels like hearing "just draw the rest of the fucking owl" from that one meme image, as if you're taking it for granted that I know what I'm doing and the scratchy lines were on purpose instead of coming out because I didn't know better. But I think from your point of view my lack of skill is precisely because of not paying attention to the old masters and their time-tested techniques in the first place.
>I kinda feel like I'm in crazy town and it looks like this "draw a series of circles on a page" and "draw 100 hands" bullshit is spreading over the internet like a virus. And it's especially weird because on a lot of these forums and boards, people pay lip service to "the old masters" but ignore every piece of advice you can glean form their work. I don't know if people think they're somehow better than the old masters because "oh they lived hundreds of years ago, I am a modern and know better" or they're just lazy and are looking for shortcuts.
For me, because I honestly didn't know better. I thought drawabox.com was good enough. Thank you for clearing up some of my misconceptions.
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No.6961
>>6949
Drawing straight lines is not my goal. My goal is developing motor skills, because I usually fuck it up trying to draw something I see. I saw the Chinese fellow doing it, the one who is recommended on hub.
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No.6965
>>6958
I think arguing over the value of the exercises is a bit of a red herring. The real problem as I see it is that beginners and self-teachers have tendency to obsess over them. I think it is like believing you can't learn and play a sport until you get into peak physical shape. The truth is you should learn and play the sport to get in basic shape and then mix in these little training routines to address problems after they've been identified.
Also, I think there is a tendency to blame lack of technical mastery on just not knowing the form well enough in your mind. A lot of scratching is just "searching" for the form. For example, if I ask you to draw me a circle and I don't care if it is lopsided or misshapen, you're not going to chicken scratch it out no matter how shit your mechanics are. You're just going to confidently twirl your arm and produce an egg or potato with some of the best lines around.
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No.6971
>>6821
Thanks anon.
>>6940
While I like your style, you are clearly drawing symbols and not drawing what you see. There is a difference.
>>6961
>Drawing straight lines is not my goal.
>My goal is developing motor skills
Take a wild guess how you develop those motor skills, matey?
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No.6973
>>6971
>you are clearly drawing symbols
Fuck, I thought I was finally past that.
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No.6987
>>6973
You have good symbols and place them well, but take a look at this and maybe you'll see what I'm talking about.
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No.6988
And here is an example of line work I really respect. Not going for the style of art or color here, just respect these aliased lines.
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No.6989
Today's work. Politely saging my own triple posting.
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No.6993
>>6971
So do I just draw straight lines to develop my motor skills?
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No.6994
>>6989
How many time since you've started drawing? You shouldn't be on the begginer thread.
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No.6995
>>6993
That's one thing to practice, yeah. Along with gradients and other things.
>>6994
"How long have you been drawing?" is proper English, mate. I've been drawing all my life, I post in the beginner thread because I feel like a beginner. I never really took classes or worked professionally. I'm only here to shit post my foot fetish drawings, really. I'll shit up another thread if the community doesn't like it here.
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No.6996
More shit posting and polite saging.
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No.7006
How does one draw gesture well, while keeping proportions in tact? Actually, this is honestly a rhetorical question. The answer is most likely practice.
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No.7007
>>7006
Just draw the general mass of the hair, whatever that is right there looks silly as hell. Don't change your brush or color or any of that stuff. Simplify everything.
>The answer is most likely practice.
Pretty much
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No.7012
>>7007
>Just draw the general mass of the hair,
Oh, that probably would look better, wouldn't it? Thanks for the tips.
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No.7014
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No.7015
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No.7029
More sketchwork/linework that I really enjoy. I can't be the only artist out there that really loves seeing another person's sketch-work and lines, am I?
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No.7030
YouTube embed. Click thumbnail to play. Polite sage, just more influence/reference/shit I like.
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No.7031
YouTube embed. Click thumbnail to play. >>7029
I think it's pretty common, sketching in particular rather than refined linework is "art for artists". We're naturally inclined to appreciate the insight into another artist's process. That's my interpretation anyway.
>>7030
Best intro to a Sonic game, though Mania did a pretty good job capturing a similar feel.
getting serious deja vu with these posts tbh
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No.7032
Had nothing to do, so drew this yesterday.
Meh, it's not one of my best works, but it's not bad either.
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No.7033
>>7032
Hey Murata, get me a job in anime please
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No.7034
>>7033
>wanting to be a literal slave for minimum wage
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No.7035
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No.7041
>>7031
spoopy
>>7034
>like there are any options
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No.7051
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No.7076
How do these boobs look?
I know someone told me that need more "Weight" or something, but i'm not sure what that means
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No.7077
>>7076
also yeah i know the "Sketchy look" thing but i'm not an expert
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No.7078
>>7076
The question is more relevant for you, yourself: "How do you think they look?" "Do they look like breasts to you?" and "Why or why not?". When you're able to answer those kinds of questions for yourself while you're in the process of drawing rather than after the fact is when you know you've made progress.
For the record, they look really bad. Just google some images to draw and practice on, man.
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No.7079
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No.7080
>>7079
No problem man. You gotta draw the real thing a lot before it sinks in. Don't get discouraged if it doesn't come out looking right right away.
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No.7089
i've attempted to draw this woman's face three times and every time i get upset and redraw it but i never get it to look fucking correct
send help
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No.7090
>>7089
Look how much closer you've gotten each time, though. At this rate you're going to get it right within the next three tries, so keep trying.
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No.7091
>>7090
thanks for the encouragement b
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No.7092
I tried to draw anatomy from a dude in the Figure Loomis book and it looks kinda fucked up, my first attempt at human anatomy
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No.7093
>>7092
That spurdo is 10/10 though
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No.7094
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No.7095
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No.7096
>>7093
I can draw 1000 Surdos and Gondolas, but i'm still shit with people
>>7094
ah, now i see where i fucked up
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No.7125
What are some good guides on how to color for beginners? Most of them are too advanced for a brainlet like me.
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No.7126
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No.7137
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No.7155
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No.7156
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No.7157
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No.7158
>>7157
Brother, I know you enjoy tracing the feet, but it isn't teaching you anything about how to draw feet
you must at least attempt to draw it freehand, tracing is only good for learning how to use a pen in my opinion
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No.7160
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No.7161
>>7158
I hear you. I'm not getting much out of these tracings, I'll be the first to admit. My line work is improving, slightly and slowly but it is. Same with confidence and ease of using my tablet.
Honestly though, it comes down to time for me. If I have more time, I'm going to try and get back to side by side and/or pure reference drawings and ditch the tracings. If not, I'm enjoying it and it scratches my "art itch". I doubt I'll ever go pro, so I'm less concerened about getting gud as I am just enjoying art for art's sake. "art"
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No.7162
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No.7164
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No.7166
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No.7168
>>7166
You have the right idea with what you're doing. However, get some clean office "printer paper" and a clipboard whenever you get the opportunity. You don't really want to get into the habit of allowing that ruled notebook paper to inform your drawing.
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No.7216
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No.7226
>>7162
>>7164
You tried…
Though in all honesty anon, try being confident with your lines and study three dimensional shapes and perspective before doing anything with the human figure
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No.7260
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No.7261
>>7260
If you are using krita, I would suggest the large and medium charcoal from this pack
http://www.davidrevoy.com/article326/krita-brushes-charcoal-pencils
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No.7265
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No.7267
>>7261
Oh fuck yes. Thank you anon!
>>7265
Looking good, keep at it.
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No.7268
Saging my own double post, does anyone know an easy/good way to get something like a "textured background" in Krita? I remember doing this in a painting program ages ago, it had a really great selection of "paper" and materials to paint on (canvases, etc). The brush strokes would be slightly affected by the texture, giving a pretty convincing effect of actual material.
I'm failing to find this on the web…
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No.7269
>>7268
Not sure since I haven't used it myself yet, but the pattern feature might do that somehow
https://docs.krita.org/Patterns
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No.7270
>>7261
For you, anon. Any crits on my line work? I'm specifically confused on when to use thicker lines vs thinner lines. I went with a "major outlines/shapes in the biggest charcoal, medium in medium, details in fine". Good idea or no? Also crits on my shitty smudging technique.
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No.7271
>>7270
I'm anything but an expert so take my advice with a grain of salt. I'm not even sure I am using the right terms here.
The use of the 3 sizes is largely correct, as far as I know. Large charoal is for rough construction and major shapes, medium for outlines, small for details.
The smudging thing honestly doesn't look very good, but I'm not sure how to do shading either. I think the idea is to pick only a few values, 3 maybe, and not use as many halftones and gradients. Thatching might be the way to go, and could help you get some more depth. What >>6943 wrote might be useful.
I think the outline is more interesting this way, and I like the detail on the jewels. Also the different sizes seem to give you some differing line weight, which is more interesting to look at.
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No.7272
>>7271
>The smudging thing honestly doesn't look very good
Agreed.
> but I'm not sure how to do shading either. I think the idea is to pick only a few values, 3 maybe, and not use as many halftones and gradients. Thatching might be the way to go, and could help you get some more depth. What >>6943 wrote might be useful.
Reading.
>I think the outline is more interesting this way, and I like the detail on the jewels. Also the different sizes seem to give you some differing line weight, which is more interesting to look at.
Thanks, anon. I'm not 100% satisfied with the way it turned out, but I think I like it more than what I have been doing. I think I need to re-watch some videos:
https://www.ctrlpaint.com/videos/the-power-of-line-weight
https://www.ctrlpaint.com/videos/fluid-linework
https://www.ctrlpaint.com/videos/sketching-lines
https://www.ctrlpaint.com/videos/crosshatching
Since I'm more than halfway into this one and forgetting what I've already seen: https://www.ctrlpaint.com/videos/draw-100
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No.7273
>>7271
Serendipitously, I saved and slipped the shitty smudge shading into a separate section. Superior?
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No.7274
>>7272
>https://www.ctrlpaint.com/videos/the-power-of-line-weight
Use line weight to imply shading, and to make foreground objects distinct from background objects. polite self-sage double posting
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No.7275
>>7273
Yeah I think your linework is solid, you should move on to work on your volume for at least a while.
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No.7277
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No.7278
>>7277
You could try to do something like this, except good. The charcoals seem to work for that
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No.7288
>>7278
Nice anon, I'm on it today.
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No.7289
>>7278
>>7288
I think I'm still too low contrast and I don't like the "grid" look to my shading. Still, an improvement I think. Crit?
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No.7290
>>7289
I think you're on the right track. You could try using a bigger brush and/or keeping your crosshatching grid tighter. Maybe try also caching the bigger patches of shade, like the two on the side of the feet.
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No.7293
I tried drawing a more detailed figure than I'm used to
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No.7295
>>7293
There are some issues with horizontal proportions you can fix by checking a measuring guide. Stacking heads is a good way to start and measure the ratios accordingly.
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No.7297
>>7290
>Maybe try also caching the bigger patches of shade
What do you mean by this?
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No.7298
>>7297
I just meant that you seemed to focus on the smaller shadows on the toes and only indicated the big ones lightly.
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No.7299
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No.7300
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No.7301
I think you missed one major tone, here marked in blue on the middle of the sole and the leg. Try squinting to see major tones like >>6943 suggested. Also this might just be a style thing, but if you cross hatch, try not to stick to two directions, you hatched with 3 directions in some areas which makes it kinda untidy and busy looking. You could also experiment with using masses instead of hatching, like in the first picture of the guy I keep linking to. Since I don't really understand this shading shit either, I don't know the benefits and drawbacks of the two methods.
Otherwise keep it up, buddy.
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No.7305
>>7301
Thanks for the crit, you are spot on in that I missed that major tone area. I went with more than two cross hatching angles to try and avoid the grid effect. Damned if you do, damned if you don't.
>You could also experiment with using masses instead of hatching
I did, it was so bad I scrapped it. This will take a lot of work for me, I dunno why it is so hard to get this into my head. I should really start each piece super zoomed out and with gigantic brushes, just putting down blobs of tone to refine later, but I've done so much line work style drawing over the years it is hard to get into this mindset.
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No.7324
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No.7349
>>7324
Try and familiarize yourself with the canonical proportions (8 heads) and then you can mess with them however you want. Use your imaginary "plumb line" to see the huge discrepancies between the two figures you have there and try and correct them.
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No.7350
>>7324
that's one thicc boy
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No.7351
>>7349
Just as a quick example. It's important to understand the canonical simplified proportions sure, but you have to know in which ways they're often broken in real life as well. There are many unconventional body types out there and you'll have to really flex your observational drawing skills to get an accurate result, such as this life-like drawing of a rather typical looking citizen of the city of Detroit I found on another artist's blog.
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No.7371
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No.7376
How do these hips look?
i know the U is supposed to be a V, but i was focusing more on the outside rather than the inside
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No.7377
Could I have some advice, please?
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No.7379
>>7377
Chin and mouth are too narrow
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No.7380
>>7379
Did I say mouth? I meant lips, the mouth itself is good I think. Also the nose is too narrow and her lower earlobe protrudes more in the reference as well. Keep goin'.
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No.7381
>>7380
>earlobe
Actually I think that's a stripe on her hood nm (I'm on my phone; can't see shit)
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No.7383
>>7377
Advice on what specifically?
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No.7394
>>7379
>>7380
Her mouth is too big anyway and her nose looks narrow because I didn't put reflected lights. In fact I used only two plain values for the shadow side.
>>7383
>values
I'm not sure how many values I need to start the block in for instance. Seems I needed another one for reflected lights and one more midtone. Or maybe it's better to use a round brush?
>edges
I kinda know the theory but it still doesn't look right.
>color
What I don't get at all is the color variation thing. I've never found something that explain this in simple words. I know that plains in shadow take the color of secondary light sources, that some parts of the skin are more red, yellow or bluish and stuff like that. What I don't get is the relation between values and hues and saturation. My colors always look unnatural.
I feel like I'm just guessing and messing around with no real insight.
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No.7397
>>7394
>her nose looks narrow
Looked to me that her nostrils are a little too close together; wasn't judging by values alone, but whatever-it's pixels
>Her mouth is too big anyway
Why I oughta'…You get back in there and you paint that woman's enormous gorilla mouth right this instant, young man!
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Post last edited at
No.7398
>>7397
But those are petty details. I'm more concerned about the big forms.
Also here's a girl I did from imagination some time ago. Her skin looks terrible.
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No.7414
>>7398
Are you using the dodge and burn tools? If so stahp (for now)
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No.7417
>>7414
Nope. Why do you think that? I used MyPaint which has burn and dodge blending modes but I didn't use those. Besides the linework and highlights, all layers are in multiply mode.
I don't know that much about (digital) painting really.
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No.7424
>>7398
she looks like this fish
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No.7425
>>7424
Wow, that's pretty useful advice.
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No.7427
>>7417
>Nope. Why do you think that?
Just the limited palette you posted coupled with the extremely saturated reds and grays for shadow. Sorry, I wish I could be more helpful here but I'm a complete novice when it comes to color (even moreso than I am when it comes to drawing in general).
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No.7442
>>7300
Improvement? Trying to get gud on my shading game still.
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No.7443
I'm looking for an artfag who might be interested in making a game with me. I don't have a particular game idea in mind, I'd just prefer to work with someone and not have to do any art.
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No.7445
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No.7447
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No.7449
>>7447
absolutely nothing, I also believe that artists product better work when you make them suffer
(after they do something really good you reward them with death)
when do you start?
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No.7450
>>7449
by doing it yourself What kind of game?
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No.7451
>>7450
I don't have anything in mind, yet, I was hoping to design something with someone with a complimentary skill set. I do like survival games, though
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No.7453
>>7445
Nah. I'm good. Feel free to go to another thread. I've got 45 to go.
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No.7455
>>7453
Serious question. Have you been diagnosed with autism yet? I think at your level, you could get a fair amount of gibbs.
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No.7456
>>7455
>Have you been diagnosed with autism yet?
No, but I've wondered about that myself. You know I'm doing 100 of these for the "draw 100" video, right? https://www.ctrlpaint.com/videos/draw-100
wtf do you care what I draw?
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No.7460
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No.7470
>>7456
Yeah, "draw 100". Not "trace 100 feet and post them online because I'm an autistic piece of shit"
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No.7477
I tried getting onto gesture and seeing what I could learn before I sleep.
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No.7480
>>7453
Why don't you post them all in their own thread? That way you can see your progress from start to finish, you can get comments on that, and people can hide the thread if they wish.
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No.7503
>>7470
I'm not working on reference drawing at the moment, I'm more focused on line-work, shading, etc. So I'm kind of making my own "color inside the lines" to practice stuff. Again, wtf do you care? Why am I beholden to you in any way?
>>7480
Sounds like a plan. I'm not trying to intentionally piss people off ITT.
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No.7505
>>7503
you're shitting up our thread with disgusting foot fetish garbage, and your art (if you want to call it that) is just atrocious to look at on top of it
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No.7506
>>7505
s-…stop bullying him :X
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No.7507
>>7505
Just for you, love. <3
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No.7508
>>7507
Are you somehow getting worse??
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No.7516
>>7477
Great, now do these daily.
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No.7520
>>7508
Kinda, yeah, as I try new things. I continue to be under a strong time constraint, so I have to both get gud and gotta go fast. Thanks for understanding.
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No.7526
>>7520
I think the problem people are having with your posts is that they are low-effort.
Nobody cares about what time constraints you're under. Save the pic, continue on it the next day if you can't do something in one sitting. Getting good isn't about making 100 bad drawings, getting good is being able to do that one good drawing. If you can't do one good drawing, just doing more bad drawings doesn't do anything to help you. If you can't do one good drawing, approaching drawing the same way over and over isn't getting you there. Good luck getting good if you allow yourself to be shit.
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No.7527
>>7526
Heard. Today's is more effort than previous ones.
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No.7528
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No.7529
I drew this boy for a Call of Cthulu thing i'm in, how's he look?
there's some shit off i know, but i can't really place it
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No.7530
I'm at the level where I impress passerby's and normals. but not myself.
I really don't have anything down, in my opinion, so I'm trying to get gud.
Any comments/advice on these two things? I drew em today.
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No.7531
>>7530
yeah, you have some good attributes in both of your works but you have to make an effort to apply them in different settings
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No.7532
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No.7533
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No.7536
>>7528
I'm not painting, though. I'm drawing with digital charcoal.
>>7530
Her boobs are pointed at the camera/viewer and not forward. The right shoulder and arm seem to be bent inwards unnaturally.
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No.7544
>>7530
I'm glad to hear that, good job!
Here, I made a gif. I kept the pose more or less the same, and based it by modeling the pose myself. Keep in mind I ain't no freakin' expert! But I figured i'd give it my best shot.
As for the second picture, I think that neck doesn't look so bad. My only crit here is that there's a line coming directly from under his jaw. Keep in mind that your sternos (sternocleidomastoids) originate up under and behind the ear. Necks (the whole chin area really) can be hard to understand for many people. So all things considered it's good.
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No.7547
>>7536
Whelp, I'm charcoal drawing but I still tried to improve my blending techniques and put some effort into this one. Still tracing, but that'll come to an end too at some point methinks.
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No.7556
>>7547
Trying not to trace with this one, but using a reference. I did cheat a little by having the image scaled up underneath so that I could see how I was lining up from time to time, but seriously not tracing this time. it shows
Also, wip, not finished with this one yet, just out of time for today.
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No.7557
>>7556
Oh, you've been tracing? I've been told that's essentially wasted time, when it comes to learning.
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No.7559
Alright, I resolved to try and start every day with a study. Three days now and I may as well share my first few messes with everyone for some feedback. Images are from the first two posts, I hope it's at least clear enough that you can tell what was drawn from what.
I'm having a lot of trouble getting decent shading and details. I don't know how much is due to just using a random mechanical pencil that I had lying around but I'd assume that it can't be too bad. I don't entirely know where I'm going in general, so I hope that /loomis/ can help fix some of these disastrous pictures.
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No.7564
>>7559
Don't worry too much about shading and details and try to improve your accuracy, especially with the big shapes. Check out the stuff on observational drawing in the resource hub.
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No.7565
>>7557
For some of my 100 drawings, yeah. It allows me to focus on other aspects than drawing from reference. It's like working out a specific set of muscles to focus on those.
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No.7567
>>7565
So I'm trying to draw from form, a la this video: https://www.ctrlpaint.com/videos/constructive-form-pt-1
But my initial construction is just…off. When I go and put my image underneath to "trace" (but just to check my work today) it is very obvious how off everything is, palcement, proportions, etc. What do? Bin it, start over? Hide the tracing reference layer, start over from visual reference again? "Cheat" and use the lasso tool to move my lines around? I've seen digital artists do similar things in videos before, but this seems like cheating in the same way tracing is cheating.
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No.7575
How do I draw Loomis heads? I'm an ESL so I don't really get it. Or maybe I'm just retard. I'm stuck on how to do the 3D balls as heads. Please help
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No.7576
Primarily a water study at the first pic, with doodles of eyes and whatnot. Also I can't draw the fucking balls (I'm >>7575)
Second one is a school assignment that I put too much effort on.
Please no bully.
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No.7591
YouTube embed. Click thumbnail to play. So is the distance d arbitrary or is it chosen based on the length of a body part?
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No.7596
i've been trying to draw a singular face for the past fucking three days and i can't fucking get it correct, i want to fucking kill myself holy shit
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No.7597
>>7596
>i want to fucking kill myself holy shit
Congratulations. You're truly one of us, now.
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No.7598
you start with th efucking circle right
and then you slice it
and then you criss cross it or whatever rtight
and then you do the line down the center
so why does it always look fucked up
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No.7599
You should draw a bit smaller and use a fatter brush, for one thing. That will help. Also it took me a very long time to be able to draw ellipses, curves and straight lines as confidently as I do now so don't beat yourself up over not being able to do that kind of shit right now. Besides, most of that stuff is abstract concepts you will be thinking about moreso than actually drawing out literally every time.
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No.7610
>>7599
admittedly it was an extremly fast drawing just to get the steps illustrated, i make better ciricles when i care
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No.7614
You might want to play around with the eccentricity of those ovals: the face's center line is closer to facing the viewer than the rest of the head. With the chin bending inwards like that, it looks like the face is trying to look down as well.
If you were to take a slice, imaginary or not, off the other side of the head, you might get a better idea of where the center of the face should be. Just fuck around until it looks right. Or try drawing the thing on top of a photo, alter the the angles, positioning and eccentricity of the ovals and observe how they're connected, see how that works out.
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No.7620
>>6363
Almost 3 months since my last post. My studying and practice went to shit. In spite of it, I forced myself to at least sketch for 30 minutes everyday in an attempt to at least prevent back-sliding. Since I bothered to draw something slightly above a sketch, I figured I should post it as an accurate gauge of my current level.
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No.7621
>>7567
#60 & #61 were discarded, although I might go back and r-use the references later. No tracing on this one, although I did allow myself to make some small corrections to the underdrawing before moving onto the final line work.
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No.7622
>>7621
You tend to have one base colour with shading and hues drawn on top. This makes it look flat. Try blocking in multiple base colours from the very start. When making marks that represent shadow/wrinkles/whatever, shape them by drawing over them with the base colour again (pic related is what I mean).
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No.7628
>>7622
>You tend to have one base colour with shading and hues drawn on top.
100% spot on.
>This makes it look flat.
Agreed.
>Try blocking in multiple base colours from the very start.
Will try this.
>When making marks that represent shadow/wrinkles/whatever, shape them by drawing over them with the base colour again (pic related is what I mean).
Can you expand what you mean by this? Start with a base of light grey, come in with the dark grey for the shadow, then shape that darker grey shadow mark with the same base light grey? I'm going to continue my Draw 100, but I am going to skip ahead to this video, hope it helps: https://www.ctrlpaint.com/videos/shadow-shapes
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No.7631
>>7628
>Start with a base of light grey, come in with the dark grey for the shadow, then shape that darker grey shadow mark with the same base light grey?
I meant exactly that. What you were doing was stopping at the second stage in that sequence image I posted. This makes the shadowed parts look like they're in front of the rest of the form.
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No.7641
>>7631
Ah, ok, I get it now, thanks anon.
The shadow shapes video was not what I was looking for, so as I work through my 100 images for the "draw 100" video, I'm also going to go back to watching roughly a video a working day. Today's video is just picking up where I left off with the 100 vid: https://www.ctrlpaint.com/videos/welcome-to-composition-basics
Although I have to admit I'm tempted to skip to this video: https://www.ctrlpaint.com/videos/sketching-value
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No.7657
This question is gonna be really stupid.
But how do I transition into a drawing tablet?
I draw normally on pen and paper but I need to get the hang of my cheap wacom.
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No.7658
>>7657
You could do hand/eye coordination exercises, drawing lines and ellipses and stuff.
You basically need to learn how to draw while looking up at a screen instead of your paper but heck, even just drawing without specific exercising will do that. Just draw a lot mang.
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No.7659
>>7658
>just draw a lot mang
Pretty much this. It's very hard with a small tablet but it can be done. You might have to zoom in a lot though.
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No.7660
>>7657
in essence, just draw on it until you get used to it
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No.7662
>>7657
Tape paper over the drawing surface for some time so that the resistance of dragging the pen across it is like the traditional medium. That way you can get used to the hand/eye co-ordination and the smooth surface one at a time instead of doing both at once.
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No.7674
>>7622
Went back and took another crack at #60, because fuck skipping them, I'm only cheating myself. Tried to work on my shadow shapes as well as not tracing. I'm getting much happier with the results.
Watched: https://www.ctrlpaint.com/videos/welcome-to-composition-basics
Watching: https://www.ctrlpaint.com/videos/principles-of-design-introduction
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No.7676
>>7674
Composition and design are too esoteric subjects for you right now. Focus on his blending and rendering content. If you don't focus on one thing at a time you'll spread yourself too thin and be spinning your wheels in place forever like me
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No.7679
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No.7682
>>7674
This #60 is a lot better than your previous one at >>7556
Where are you getting your images from? Most of the time you are choosing images where the main light source is a camera flash from the front and you won't get a good range of shadows to practice on with those. Look for artsy foot photography shit on deviantart or flickr (flickr might require an account though)
>>7679
It'll do.
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No.7687
>>7674
feet are disgusting and your drawings slightly moreso. Foot fags truly are the scum of the earth.
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No.7695
>>7620
Sketch from imagination. Will be interesting to see what happens in a few months. I'm unsure of how to judge my rate progress so far. Seems slow, but considering how little I put into studying, I can't complain.
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No.7706
Do you guys hold the pencil at 90° to draw lines with your shoulder as Peter Han says? Because when I search on other places they have the pencil at a 40-60° angle.
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No.7707
>>7706
It depends on how thick I want my lines to be.
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No.7718
YouTube embed. Click thumbnail to play. Hopefully this will help you out Footfriend; if I have to look at stinky-ass feet all day I'd like to at least see some improvement.
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No.7720
>>7682
>Where are you getting your images from?
All around the net, mostly celeb stuff like wikifeet.
>Look for artsy foot photography shit on deviantart or flickr (flickr might require an account though)
I hear you, and I get why, I'm just not interested in that style and so I don't want to mimic it. I'm sourcing material closest to what I want my end result to be. (also I started this one before you gave that advice)
>>7718
Ty, anon, I will watch and try to learn from this.
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No.7721
>>7720
i don't know if it's your 'style' but you manage to make feet look even more disguting
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No.7722
>>7721
I think it's the usual beginner painter's problem of muddy colors, only on feet, which make them look dirty.
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No.7744
Is using the line tool on perspective drawings cheating? Should I learn to freehand that shit?
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No.7745
>>7744
depends, are you the footfag? if so, suicide yourself
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No.7746
>>7745
No, I am trying to learn basic perspective and construction.
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No.7747
>>7744
>>7746
You mark vanishing points and use a ruler on paper, why would a line tool be cheating?
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No.7755
>>7722
>beginner painter's problem of muddy colors
I'm not painting, though. I'm using digital charcoal. How to avoid muddy colors then?
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No.7757
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No.7758
Where are the mods in /loomis/?
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No.7759
>>7758
>hiding anything
But why?
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No.7760
>>7755
Maybe you could try something with a little less texture than digital charcoal.
In the toes in >>7720 when you color in charcoal it kinda looks like there's litteral charcoal on the foot.
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No.7761
>>7758
probably off doing something other than tracing feet and then muddying them up with "digital charcoal"
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No.7767
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No.7788
so i was drawing on of the pictures from the top and
i just realized how long this neck is
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No.7797
>>5416
My first ever part on /loomis/.
I was going for the first pic whole I was at work, but I ran or of graphite in my mechanical pencil. Scratched out on the bank of an old memo.
Obviously unfinished, but any other comments?
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No.7808
>>7788
You're off my dude. Check your work by copying the reference picture onto a new layer, lowering its opacity and transforming it to fit-and then try again.
>>7797
Consider checking your work in the same manner I'd suggested the other anon. For now, think about laying down your shading strokes in one direction that's comfortable for you. It will help you achieve a more consistent value. Generally what I do is like a 45 degree angle or so.
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No.7899
>>5416
First post on loomis. I somehow feel like a small baby doing this.
Anyways, focusing on photoshop. I drew with the pic as a reference, then adjusted my sketch to the reference. Something's wrong with the nose (I don't usually draw them realistically), and maybe the jawline?
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No.7972
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No.7980
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No.7985
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