No.9392 [Last50 Posts]
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No.9403
Well, here is my progress so far. I practiced a little with figures and also drawing foxes.
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No.9405
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No.9408
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No.9417
TFW you didn't make it to OP's Practice Thread Image.
Oh well I will make it next time.
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No.9418
>>9417
Sorry fren, I meant to get everybody but there's a good chance I might have thought a pic or two belonged to the same person etc.
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No.9419
>>9418
(and yes I realize I have multiples of most so that's not the best excuse but you know. Just keep at it and you'll see your name up in lights soon enough)
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No.9421
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No.9435
Just gotta hold on. Gotta keep holding on. Right now is only temporary.
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No.9436
Hands are driving me bananas again. Gotta walk away and take a break for a bit before I get frustrated.
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No.9437
>>9419
>>9418
oh shit sorry dude, I never meant to upset you but I'm not worried or angry so don't worry about it.
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No.9458
Testing out surface lines.
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No.9465
Least shitty animu thing I've ever drawn, but I'm primarily focused on practicing realism.
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No.9471
>>9465
Though don't treat anime like it's easy because it's simple. It requires as much accuracy as realism.
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No.9474
Finally drew something from reference. Please rate.
Also a couple of questions:
Should I try to correct it / improve it? Because I'm seeing some problems here and there now but I'd rather choose a more interesting subject.
How much time do you normally spend on this kind of exercise?
Is it okay if I convert the ref to gray scale instead of trying to decipher the values from full range color?
Anything besides shapes, values and edges I have to care about?
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No.9475
>>9474
You have an admirable command of the medium, but there are some problems here and there. The nostrils are very uneven in your picture, the hand is a bit too thin (compare the base/stand of the "Asaro Head" in the background of the reference where it disappears behind the hand to yours) and there is no part where the teeth themselves are above the lip. You've done a really good job here overall though.
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No.9476
Also tried this thing from the other thread. Not sure if the latissimus dorsi overlaps the teres major in that way though. The scapulae zone is kinda confusing.
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No.9478
>>9475
Thanks for the crit. There are many more problems with shapes and accuracy. I'll try to pay more attention to that in the next one.
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No.9483
>>9474
aside from the inaccuracies here and there, I think i'd say don't be afraid to go "hard" on your shadows. Shadows are bold nearest to the object producing it and softer as they fade away, and I think you got this (like the shadow underneath the eye), you just need to apply a brush with a harder edge. The image would stand out a little more this way.
I guess another observation I have, is that your values are much more dark compared to the native image. In personal experience, what helped me was using a limited number of different values, starting small and working in subtle details last.
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No.9485
The part of FORCE that I'm on, details more in depth concepts. Things such as form, overlap, perspective, foreshortening.
I want to avoid falling back into old habits, but at the same time I want to incorporate what I'm learning here, and test things out.
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No.9489
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No.9490
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No.9491
>>9483
Thanks for the tips man. The photo is way more bright and has more contrast between light and shadow and background and foreground. I think I should spend more time just looking at the reference and trying to make sure I know all these things, like the range of values and edges, before painting anything. Like where are the darkest darks and lighter lights, the hardest and softest edges, local value shifts and so on.
I've also read that you can use atmospheric perspective and exaggerate the light decay and fading effect of shadows even in portraits, but I alway forget these things. That's why I want to draw more from reference.
BTW, that picture is from the first assignment of "Digital Painting with Craig Mullins". Pretty instructive and inspiring stuff.
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No.9492
>>9491
Yeah, sounds good. Painting from reference is a lot of fun, and learning how to observe is as equally valuable a skill as drawing and painting.
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No.9494
>>9489
Thanks, but that's the problem. I think my friend was right, and I'm losing focus on the underlying FORCE behind the drawing. I clearly understand how to do studies, and the more in depth aspects of sketching, but the underlying application of forces into a figure, I'm lacking on.
Depending on what the part of the book I read tonight says, or not, I think I'll go back to being looser tomorrow, to see if I've learned anything that's been helpful.
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No.9500
Hm, yeah. I'm losing the FORCE behind the drawing. Then it's decided, I'm going to keep reading through FORCE, incorporate what I learn the night before, into the day's warmups/practice, and then when I'm done with the book, I'll go back and reread/focus on the earlier parts.
Specifically, the underlying forces behind the figure. I'm lacking on that, and I lose it too much when I draw any more in depth.
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No.9519
Good morning. Yesterday I tried to draw two figures on my own without using references. I wanted to know if they have any errors of any kind. Or if there is any detail that can be improved.
Anatomically speaking do they look good?
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No.9520
>>9519
Looks pretty good to me. I feel like she's missing a a bit of her obliques/midsection in the first image, almost like her ribs are being inserted into her hips or being slightly shrunk or skewed accordingly, unless I'm mistaken (and I very well could be) it's very close though in either case.
Consider defining the teres major and infraspinatus muscles of the scapulae a little with subtle raised forms; up until now I've been drawing the the scapula essentially as plates on the back as well. While they might look like flat (or usually more rounded) plates a lot of the time on lithe women it's not a bad idea to try and draw these muscles in often anyway so you understand them.
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No.9523
>>9500
I have acquired some sharpie peel off china markers, (or "grease pencils" as I like to call them), and I think I'm getting the idea of FORCE back more in these. They're a pretty unique experience, being incredibly slick, while having a wide range of values and line width. I think the biggest reason they're recommended for FORCE isn't even how slick and smooth they are, since the charcoal pencils work fine, but because of the permanence of their marks.
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No.9525
God Dammit Head and Faces are hard.
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No.9526
>practice
>eventually see myself improving, get motivated enough to study a lot
>can't draw for a month
>come back
>worse than before
Fuck me.
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No.9527
>>9526
If you're "worse", you didn't retain the information you learned in the prior month, and simply regressed to doing what you already knew. It's actually not possible to be worse if you didn't draw, since you didn't internalize bad habits, you simply stopped doing anything.
Go back and fortify your learning, and stop making it personal since I assume you're just a beginner and don't actually have the downs. Being good at drawing takes years to master, and no one is forcing you to get better. Take your time and learn at your own pace.
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No.9532
I managed to practice, for a decent chunk of time, today. Now I just need to start on the page after I post this. But in regards to how the drawings are progressing, they're progressing nicely. The permanence of the marks, and the range I can use, have really forced me to think more carefully about what I'm doing, even more so than before. And above all else, these markers just feel good to draw with. Mattesi wasn't kidding when he said these things are "slick" as fuck.
>>9525
Try using a box/cube.
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No.9533
>>9532
The more things change the more they stay the same; I think one mistake beginners make moreso than anything is that we take things like the sphere or boxes or anything like that more literally than they ought to be-I'm guilty of this as much or more than anybody else.
Whatever one might use, a sphere or cube etc. it won't do us any good if we don't understand the underlying forms created by the anatomy itself. A skull isn't a sphere or a cube, a pelvis isn't a box or a tube-but simply by thinking of them as such we can get a sort of idea of what we're looking at and where to put things relative to eachother. Neither the cube nor a sphere are the "wrong" way to think about the skull (I don't find one more "definitive" than the other either-you should be considering perspective the entire time regardless), because neither of them are even right to begin with.
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No.9534
>>9525
Use your observational drawing skills and compare what you're doing to how they appear in the book. Remember you can zoom in and change the size of your brush as well.
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No.9535
>>9533
I don't mean to imply that you ( >>9532 )
were wrong in suggesting he try it btw, far from it-we all need to experiment with everything we can as much as we can, this was more my disagreement with the author touting the box as being more "definitive"; in defense of the ball method, you draw (or imagine) that straight line to the flat plane of the chin which gives you your perspective right there-the cube can be built from the ball from that and, seeing as the skull is a rounded form, the reverse is true and even necessary as well.
In fact, I'm starting to think that the biggest thing is probably just deciding on where the "keystone" between the eyes goes, picking an angle for it to face and going from there. You will likely bounce between cubes, spheres, and who knows what else in an effort to simplify the skull and jaw's forms in the process.
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No.9538
>>9534
If you drew that you should be hung for exporting art as .jpg.
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No.9539
I'm still not entirely getting what it is I'm working towards/looking for in these, but I just need to work harder, again.
>>9533
>>9535
You say that, but personally just using square-ish forms for the head, in the simplified drawings, has yielded a lot better results for me, than what I was using previously. Though that could also be because of how I tend to perceive things, like how I'm able to, and often in the past would, default to drawing things out of straight lines.
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No.9541
>>9539
I think he means that some people, "beginners" make their cube or ball method a crutch rather than something that helps, not that this method is bad to use.
In reality the human head is complex and has just as many nuances as any part of the body.
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No.9542
These are definitely growing stronger. Which is satisfying, given the circumstances surrounding all this. Having such permanence is also being a bigger help than I anticipated it would be, since while they're just as permanent as a pen, I'm able to still manipulate it like a pencil.
>>9541
Of course. People often jump into stuff like our board's namesake, thinking you can just skip everything behind making a decent figure. But the fact of the matter is that you have to practice practice practice.
Even the stuff you might not see directly on the page, is just from people practicing enough to internalize parts of the process.
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No.9543
YouTube embed. Click thumbnail to play.
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No.9551
Hehe funny face
>>9532
>>9533
yeah I just need to practice more.
>>9534
I wanna be arrested by officer jenny
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No.9553
>>9538
I didn't, I just thought it was a cute picture; I suppose I shouldn't post other people's art haphazardly on an art board huh?
>>9542
Fair enough, I'm not dismissing it off hand but I also just don't feel the box gives you much information for actually finishing the head and face (not that the Loomis one necessarily does, either). It's the blankest of blank slates and I'm not sure how I'd personally carve a head out of it, but the Luca Cambiaso thing does have a nice aesthetic to it.
>>9551
Maybe consider a more "fine art" approach like what Proko does here. He is NOT using Loomis' method per se (you might be able to see this video on youtube for extra clarity), rather he is being informed by it after the fact, going about the drawing process itself observing contours, negative space, plumb lines, using comparative measurement etc. like one would when doing a still life.
Personally I find it pretty difficult to start with the Loomis method when drawing from a real face from observation, rather you draw a face in the classical way like this and it sort of "appears" organically. Of course, all bets are off when you're just making shit up in your head drawing from imagination, that's when these constructive methods are even more handy. The trick, I think, is that you have to draw a lot of stuff the formal way to be able to draw things from your experience without reference later.
>I wanna be arrested by officer jenny
same
<god i wish that were me
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No.9554
YouTube embed. Click thumbnail to play.
>>9553 cont.
>>9541
I think crutch is a good word because it fits in multiple ways, both positive and negative. It's a crutch in that it will help the person who can't yet walk under their own power reach their destination, but it's also a crutch in that no given drawing should completely hinge on how well you're able to apply a specific formula to it when there are so many different options.
I recall not too long ago struggling to draw portraits because I was having a hard time using the Loomis method due to some nuance with the reference image-as if I'd have been doing something "wrong" by just drawing from observation in the "normal" way which I could have done easily (and perhaps using the Loomis method, if at all, as a means of supplementing that observation, envisioning it and using it as an aid rather than actually drawing it, outright.).
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No.9557
Not dead yet.
>>9553
>>9554
That's also part of it. The fact that You'll internalize parts, the more you practice it in general. In my opinion, right now >>9551 needs to work on the really basic stuff. Particularly perspective. The face in that is detailed, and decently at that, but the features are all front on, despite it looking like the intent was to have them be looking to their left a bit. In the end almost looking like something with AC部's (animtors for Group_Inou's "Heart" video) aesthetic.
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No.9561
Attempt at a fine art-style figure drawing based off of a plate in Hampton's book. Legs are quite a bit too short but I did better than I'd expected. Medium used is black colored 5.6mm graphite which looks good but is almost impossible to erase unless put down extremely lightly. I want to make a small portfolio of <10 images for when I apply to the Atelier and I feel this might be just decent enough to include
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No.9562
>>9561
Might try and redo it in charcoal when I get home. Not only because of the correctable mistakes made like the legs, but erasing is a big part of drawing in this style and without being able to do that the end result suffers. I'm confident I'm at least as good as most of the local highschool art teachers (I've seen their work) but this isn't the time to show anything less than the best I can do, regardless
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No.9563
>>9561
>get home
>it's sideways
of course
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No.9566
>be me
>get home and attempt drawing in charcoal
>also isn't erasing worth shit
What the fuck?
I'm using printer paper, could that have anything to do with it? Maybe I'll try using my toned tan sketch pad instead. Maybe I've been overestimating the amount of erasing I can do in general, it's been a while since I've used charcoal, admittedly.
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No.9568
>>9566
Actually scratch that, I think it's functioning as normal. I remember my instructor at the Atelier giving me a warning about how once charcoal touches the paper it will never be that value again so to be careful. The charcoal does erase and smudge a bit better than the black graphite does but it's not going to just disappear. It was a little naive of me to think otherwise.
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No.9572
was finally able to draw some shit by powering through my fever.
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No.9573
It doesn't ever get any easier, but that's why I'm here.
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No.9603
are you supposed to draw everything from an art-book, or are you just supposed to read it?
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No.9608
It took me a sec to get back into the feel of this, after not drawing yesterday.
I think I'm getting a better grasp on this, but at the same time some things are weaker than the prior example, as seen on the left of the first image.
Just gotta keep studying, and applying what I'm learning.
>>9603
Both.
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No.9611
Finally found out a way to quickly measure bodies.
Fuck the ribcage though, the way that shit connects to the rest of the torso is way too fucking complex.
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No.9615
Matessi explains taking "a leap of faith" with drawing, at this point in the book, so that's what I'm doing.
Being deliberately innaccurate, but still applying what I know, to capture the forces behind the figure.
I've still a long way to go, though.
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No.9625
Bad day. Woke up forty minutes late, and then had my time wasted by someone else for an additional forty minutes. These are bad, but I did get the groundwork for the backgrounds of EGWT's page, laid out.
Might work on those more tonight, but I probably won't.
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No.9633
I drew some hands and some figures. I could do the first two figures without reference yesterday. But it is still difficult for me to correctly draw the area of the pelvis and hips. The one that is standing seems to be very stretched, I do not know…
I drew the third figure with a picture but… I still do not know how to draw that area of the body.
What do you think?
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No.9641
another bad day, but I still practiced.
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No.9651
>>9633
That area may vary a lot because of individual proportions and fat, but that also gives you more freedom to experiment, simplify or exaggerate. Of course you should have in mind the underlying bones and muscles there, at least the more relevant stuff (iliac crest, greater trochanter, obliques, gluts, tensor fascia latae and sartorius).
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No.9653
>>9651
Thank you very much for your help dude. I particularly have difficulty drawing that area in 3/4 views.The front and side views is relatively simpler when it comes to simplifying the shape.
I tried to use a reference to this illustration to elucidate how to draw the area of the hips. Some simplify them by lifting the entire area from the waist down the entire leg.
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No.9654
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No.9656
Not sure where to go next. Most of the references were gathered from /loomis/.
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No.9660
>>9653
I guess it depends on the angle and pose, but most of the time you'll see just a simple line with some subtle changes for the gluts and fat pads, maybe a bump for the greater trochanter if the girl is very skinny. But then again that uniform roundness of the lower back, waist and hips is a characteristic of the female gender.
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No.9664
Started doing a poor job, here, but I think they improved as I went on.
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No.9669
>started uncharacteristically late
>half hearted the whole way through
>less than 5 hours of sleep
>hectic, and busy, past few weeks, and overall been busy and hectic past few months
Yeah, no. These are just not working today at all.
I'm going to just fuck off for the rest of the night, and make use of any anxiety of "MUST WORK ON COMIC" that builds, tomorrow.
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No.9679
not done with this, but this was all I could get done today
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No.9688
Was wanting to kill myself part of the plan? Meeting with atelier staff this upcoming monday, hope to have a few pieces ready by then
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No.9689
>>9688
Yeah this looks a lot worse seeing it with fresh eyes. Way over did the white highlight shit
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No.9691
>>9688
>wanting to kill myself
Join the club. I believe the reason art might be so suicide-inducing is the simple fact that it's a constant visual reminder of your mediocrity and failure.
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No.9692
>>9688
>>9691
It gets even more terrifyingly bad the more I look at it. Granted I didn't consider it "done" at this point but…woof.
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No.9694
>>9692
If it's just an application piece it might be fine though. Even if it's bad, to instructors it still displays some grasp of art principles that can be built off of.
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No.9695
>>9694
I think I should pick up some vine charcoal as was recommended earlier, one problem with using compressed charcoal pencils is that it's very difficult/impossible to erase unless you use a super light touch (essentially the pencil's own weight and little more) which I'm not capable of. I could also just use a 2B pencil which, while low contrast and washed out, I'm at the very least much more comfortable with. Perhaps I shouldn't try and punch above my weight here. I'd only attended the Atelier myself for well under 40 hours total so far which isn't enough to really foster anything other than a cursory understanding of its methods or also in this instance its materials.
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No.9696
>>9695
Also I didn't realize it's fuckin' saturday holy shit I'm not ready at all lmao
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No.9704
I happened to find some art pencils lying around (4b, 6b, Hb) in my house probably given to me 15 years ago or more. I'm really enjoying working with them so far, I think my results will be much better than what I was able to accomplish with charcoal, but we'll see.
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No.9705
This is much more forgiving than charcoal, I'm liking it. My drawing isn't perfect but it's approaching some of the lower end figure drawings the school has featured on their website, if I put a few more hours into it I think it'll be solid.
I might redo the extended leg, I don't know why it's so hard for me to get it right. I KNOW what I should do to make the measurement look correct (just put a line for the contour of the bottom of the toes relative to the other foot in the right spot) but I just keep doing this lazy guesswork instead. It's probably partly because I'm nearing the edge of the paper, if I were to make it correct the toes on the extended leg would be very near the edge if not overlapping it. It doesn't look too far off, maybe I should just move on with the volumes and then move on to the next piece?
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No.9707
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No.9708
>>9707
How youse holdin' up there sweet Lou?
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No.9710
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No.9714
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No.9719
wip desert planet landscape.
The idea is that people moved down into ravines, trenches and whatnot. The large tower will be the spaceport and the surface buildings will be ruins covered by sand.
I still need to detail/redraw the buildings and shade.
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No.9727
>>9708
I'm alright, how 'bout you?
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No.9743
was going to stop at 2, but figured out how to sharpen these grease pencils real easily, so I did a third.
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No.9744
>>9743
Redpill me on grease pencils fam.
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No.9751
I think the problem I'm having is that I'm getting apathetic to this method, and not paying attention.
I'm going to start reading another one of the books I have on this hard drive.
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No.9765
As I said, I'm going through Hampton's book, now.
I'm addressing the parts of art that I've been neglecting, through this book, and getting back to basics. So today it's just spines. I may or may not fill the rest of the page tomorrow, to make sure I understand this aspect.
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No.9772
wip star system with 3 planets
I think that i'll either darken the background to a very deep dark blue and add stars afterwards to accentuate the shadows on planets, or generally lighten the shadows after i'm actually done with coloring. I kind of want to try to make it so that it wont have actual outlines visible, like the second pic.
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No.9773
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No.9776
Hi does anyone have either of these on Mega? I can't into torrents very well.
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No.9778
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No.9779
>>9776
They are extremely inexpensive and I wouldn't personally entertain the idea of pirating from Matt Kohr specifically, who's already done so much for free. Why not buy them? What else are you going to spend the money on?
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No.9781
>>9765
Already I'm understanding more about the figure, by seeing a sort of "root" extending through it. Now to do the rest of today's work, and read the next lesson from Hampton's.
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No.9782
>>9779
>mfw pirating from Matt Kohr.
>But I live in a really shitty country.
>I can't even pay for their courses no matter how cheap they are.
That damn frustration of not being able to pay any of these courses.
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No.9783
>>9782
If that's all true I understand tbh
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No.9784
>>9781
Yeah, constructing the figure is starting to make more sense, now.
Just gotta keep being slow and steady, in my studying. Really make sure I absorb all the information I can.
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No.9788
>>9773
Update
I still have some touching up to do, especially with the ring.
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No.9792
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No.9804
>>9792
Still not satisfied with the atmosphere's glows, so i'll have to fix that. Maybe also try some things on the nebula to make it look better.
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No.9806
>>9804
Try thinning them out. Dense part of the atmoshpere doesn't reach that high above the surface when looking at that scale.
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No.9814
>>9806
Tried to do that.
Also gave some of that glow to the nebula and did some general color adjustments.
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No.9816
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No.9820
>>9784
I need to incorporate the spine, and major masses, into these.
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No.9821
>>9816
Bretty gud
>>9820
I'm liking these. Keep it up, I hope you're still plugging away at le comic too
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No.9824
>>9782
>>9779
I actually bought his other series, the one about rendering. But then after the first video he's all, 'teehee, if you want to learn how to effectively draw shadows you'll probably need to buy my other course first'
That screenshot I posted is actually proof, you can see it's '02- shadow casting', that we're only 1 minute into the video and that this is the course he's 'highly recommending' we buy if we want to be able to draw shadows properly. It really ticked me off tbh. Also I don't know about you but £75 is not inexpensive.
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No.9825
>>9820
fugg I love these so much. How long did you do them in? Any tips? I'm trying to replicate yours but it's hard.
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No.9826
In these moments I am practicing a little with gesture drawing. For now I have been able to complete these small sets.
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No.9827
>>9826
They look really nice. Well done!
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No.9828
>>9826
Very gestural and expressive. I like them.
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No.9830
Another page. Like it or not, now it's time to move on to the next lesson.
>>9821
Yeah, I'm working on it. If you've connected the dots, there's a link to my twitter on the comic's sites, that has daily updates of what I got accomplished.
>>9825
That one "FORCE" book, and the concept of "about to…" from Hampton's, are probably the places to start for that. But as far as how I see figures like this, I sort of just, see them that way.
It's just a combination of exaggeration and emphasis of different parts.
If you want to know what I did to "research" them, before actually studying, I'd say I was influenced by a lot of anime and cartoons. I make the distinction, because I grew up drawing attempts at mixing the two, alongside street art. So it wasn't just the way /a/ stuff draws action, or /co/ stuff draws slapstick/violence. It was both.
It's pretty obvious which Anon I am, so if you take a look at the comic, Sally's probably the biggest example of this. With her bigger action moments having her get outright "rubbery" in gesture and posing.
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No.9852
>>9830
Yeah, for the time being, I'm more just going over stuff I learned a while ago, and have been lazy with incorporating/drilling into my skull.
I honestly think maybe I should be using my mechanical pencil, and sketchbook, for these, given how precise the studying is.
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No.9861
>>9852
Finished filling up the page. Now to get to work.
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No.9862
>try drawing a pose since I got busy and didn't draw for two weeks
>decide on a girl punching
>only ref I've seen lately was myself, so it looks too manly
>not nearly enough anatomy to make a twisting torso
>legs too thicc
>no idea how to draw an ass
help
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No.9863
At least this one looks female.
I guess I need to do some back studies.
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No.9867
5 min each pose on Mischief.
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No.9868
Doing some gesture drawing
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No.9871
It never looks as bad while I'm making it as when I'm finished.
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No.9873
WIP for the Tower thread.
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No.9874
>>9873
hi anon look how fast i replied
guess this thread isnt dead after all haha
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No.9875
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No.9876
>>9873
Adorable, looking forward to seeing it completed
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No.9877
>>9871
>drawing_in_a_nutshell.txt
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No.9881
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No.9882
>>9881
<stop using mspaint/10
In all seriousness, just take a look back and compare the contours of the reference to yours. Look at how you have his shoulder pad curving inward compared to the clean arc, compare the amount of his back you can see, the angle of that little area where his neck emerges from the armor, and don't get me started on the helmet.
Keep practicing, and keep making those kinds of visual comparisons as you go along, throughout. Good luck!
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No.9893
>>9861
Connecting the torso. I've a long way to go before I truly get this, so I'm doing it again tomorrow.
>>9862
>>9863
Look into gesture, then into figure invention. Your pose isn't just "stiff" it's hardly even a pose at all, in the first one.
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No.9903
The main focus was on legs, wrinkles in clothing and using shapes to get more accurate perspective.
Things that went well:
+ The head is not in the exact position as in the original picture, but the expression became better than expected
+ This time remembered to check overall values and proportions more often by zooming out
+ Leg bone lesson wasn't wasted
Things that should be investigated:
- Couldn't understand how to boxify the right arm
- I see mysterious muscles in the legs that I'm not aware of
Missed opportunities:
* The study started with the three points in mind, but the lines for the wrinkles were drawn over.
* Choose the medium before studying
* Didn't zoom out the reference as often
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No.9904
>>9893
Laying out preliminary marks, with a 2B, really helped out.
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No.9905
>>9903
Looks pretty damn good man. I'm looking for errors but having a hard time.
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No.9906
>>9905
Thank you. I took few glances to it after posting, and found couple of things.
- The right leg and the left side of the pants should be darker due to shadows and stockings
- The head is big! The face is also a bit wide
- The right shoulder connects to the body at the eye level
- Pelvis is looks a bit off, could be because the head is so big and the measurements are not correct
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No.9907
Drawing heads sideways is fucking killing me. They all look "off", so to speak. What am I doing wrong?
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No.9908
>>9907
I was going to say the head was a bit wide but I gave you the benefit of the doubt that it was her hair. Good on you for being self critical-keep it up.
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No.9909
>>9908
Meant for >>9906
sorry
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No.9910
>>9907
Have you done any skull studies? Maybe they will give you some ideas you haven't thought before. All arts are based on real life, after all.
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No.9914
>>9910
Thanks for the tip, never thought of using skulls as reference.
Also I found out I was using the wrong line for the nose, so that probably contributed to the offness
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No.9915
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No.9918
Not as good as yesterday, but I need to move on to the next lesson, anyway.
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No.9922
YouTube embed. Click thumbnail to play.
>>9877
thx fam
Dunno what the consensus on this is, but I find it easier to learn what's going on when I can see it in motion. This video is enlightening in a way most images aren't.
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No.9923
>>9922
That dude is great, I've used a handful of his fitness videos before. Ideal physique-a great reference.
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No.9925
>>9918
slowly but surely, I'm getting there.
Now I just have to remember to "SLOW THE FUCK DOWN" when I'm sketching, and it'll make more sense.
Also I need a decent resource on back landmarks.
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No.9927
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No.9928
I think I did a lot better with this set. Although it is difficult for me to do them quickly. I'm still very slow.
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No.9929
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No.9941
>>9928
hey, slow and steady wins the race.
looking good
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No.9943
significant growth, is being achieved.
Now to remember to "slow the fuck down" when I'm inventing figures.
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No.9947
>>9943
Another one. And now I think I have this general idea down, so it's time to move on to the next lesson and learn the forms of the limbs.
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No.9958
Okay, so yeah I'll be going through the rest of the head chapter, for this. And attempting to invent the heads, along the way.
Spent a lot of time procrastinating today, but I guess on a lot of levels I needed to, too.
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No.9959
>>9958
I think constructive methods are helpful in theory but it's also important not to be slaves to them too. Know they exist and why but don't necessarily limit yourself to them because when you see something that doesn't fit exactly it'll potentially throw your observations off.
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No.9961
I…want…to…make it…hurf…durf….!
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No.9964
More Hogarth Prometheus legs
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No.9971
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No.9981
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No.9983
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No.9986
>>9964
>>9971
>>9981
It's all dynamic now…
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No.9987
>>9986
Never forget
To Hogarth's credit he is one of very few art book authors hat actually portrays the limbs in an extensive range of angles and positions. They might be wacky in some ways but I think for what it's worth I am learning something-I think you only ought to read this if you are already have a rudimentary academic understanding of figure at least. This shit is actually pretty fun to draw just because of how out there it is.
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No.9988
>>9987
>if you are already have
I didn't get much sleep last night heh
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No.9995
>>9959
Yeah, but my main problem is I dont't even really construct at all. I kind of just scribble in the general gesture and masses, and then refine it in another layer, whenever I create a figure/anything.
I mean, it works, and I've improved, but I need to have some knowledge of this, at least.
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No.9996
YouTube embed. Click thumbnail to play.
>>9995
For sure, you're right-it's definitely good to know the construction at any rate, and that's one reason why I feel like Hogarth's weird style does have some use despite its inconsistencies and eccentricities.
>Yeah, but my main problem is I dont't even really construct at all. I kind of just scribble in the general gesture and masses, and then refine it in another layer, whenever I create a figure/anything.
No worries, that "scribble" method is a "thing" if you know what I mean. It's something favored by Sheldon Borenstein from New Masters Academy, and in painting it's got a formal name "scrumble" or "scrumbling" or something like that, so it just goes to show that there's no real "wrong way" to go about this stuff. I think we all have our ways of managing proportions and stuff.
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No.10012
>>9995
>>9996
doesn't it forgo the point of fundies at all if you just scribble it in? I don't think doing this is a good idea because you run the risk of wonky proportions and "weirdness". the same has happened to me many times and the results are always discovering my art has become a freak show of disturbing caricatures because bad habits were formed without remembering or sometimes forgetting basics.
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No.10014
>>10012
>>9996
I think there's a mix that can be achieved. Like using scribbly stuff to get the basic ideas in, construction on top of that, etc. There's probably "wrong" ways to go about it, but in the case of my own art, things looking "wonky" is something I can live with, even if I'm working on methods that avoid that.
I say that, because my actual art/material, is very deliberately kind of off and "wonky" in a sense.
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No.10015
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No.10018
>>10015
I don't believe so. While I don't "scribble" personally whether you use scribbling or a stick figure or graphic shapes of some sort it's all meant to serve in the same capacity as a sculptor's armature-something a completed figure is projected upon after the fact, similar to how a painter might put down a lumpy silhouette and eventually build something cool in its place (i.e.: https://vimeo.com/31184977)
Look at it as the prospective figure draftsman's equivalent to when, for example, a painter doesn't render a study millimeter by millimeter (or pixel by pixel) even though they could. In both instances the artist is learning (((something))) but the goal is separate from the end result-and any individual subject ought not to be labored over for too long in either case because of diminishing returns.
In a gesture or rather a "quick sketch" drawing instead of the time spent focusing on exacting contours you're taking in a pose, a silhouette, the position and proportions of the limbs, the bony landmarks, protrusions and furrows of the figure in a given position and quickly moving on.
In doing a brief painting "study" or "speed paint" you might be accused of being non-committal by someone inexperienced but you are in fact better familiarizing yourself with value, color/spatial relationships, composition and so on-things you won't learn as quickly if you sit there taking in the same image exclusively for days or weeks at a time.
I'd said as much in the past though (and here's where we start getting into feels thread territory): You can't do the same thing over and over again and expect different results; you have to experiment, change and suffer in unfamiliar territory to grow. I spent a lot of time doing gesture-probably moreso than any one thing-but without it being supplemented with long studies/anatomy studies etc. I did not learn as much as I could have, and in the end I've even become gun shy about completing anything in general, watching many people that "just draw" pass me by in pretty much all ways while I wallow in academia.
I do feel that because of my own long term reliance on hiding behind "subjectivity" it's admittedly left me in a constant state of labored procrastination where I'm always practicing hard for something I might not ever truly do unless I change my psychological mentality.
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No.10025
>>10015
Adding to what >>10018 said, I am working on that, and for figure invention, trusting my gut has proven more fruitful than ignoring it.
I need to supplement my understanding of perspective and gesture, with construction, landmarks, anatomy, etc, but I'm already doing that, too.
So I don't really know what to tell you.
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No.10027
>>10025
I thought the fork was her hand at first heh
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No.10029
>>10027
Sally with a tiny hand, certainly would be amusing. Not like I haven't drawn her looking stupid before, for amusement, either.
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No.10035
>>10029
I didn't learn anything, today, from this, and quickly stopped.
I'm going to use photo references, tomorrow, to draw from.
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No.10048
>>10035
Slowly but surely, I'm learning the forms of the head.
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No.10070
>>10048
This all honestly makes a surprising amount of sense, the more I work at internalizing these forms.
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No.10071
>>10070
Your heads look pretty solid but you're placing the eyes too high. They should be halfway between the top of the head and the bottom of the chin. The sphere is supposed to represent just the cranial mass.
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No.10075
>>10071
Thanks. Hey do you know how long the uh "T" is supposed to be, in constructing the face?
It goes from the brow, to the bottom of the chin, but Hampton never gave any measurement for it in relation to the cranial mass, so I've been guessing.
In regards to the eyes, yeah, someone else told me that too, and upon re-reading Hampton's lessons, I saw that the eye line was the bottom of the eye socket, but was thinking it was the center of the eye itself.
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No.10078
>>10075
At least in the Loomis method you need to draw the side plane first. Here ¡s a nice explanation in the first video: https://www.youtube.com/playlist?list=PL39135B8D190B7C97
Just follow the steps at the beginning. Then, when you're able to draw the same generic face over and over, you can simplify the process, eyeball it and do whatever you want.
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No.10116
I'm doing the 250 box challenge from draw a box, I started wondering if I really should keep doing it.
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No.10129
Bad day, bad art, bad everything.
>>10078
I'll take a look into it.
Hampton's specifying of certain proportions, but outright neglecting to mention shit like how long to make the T's "leg" (unless I'm mistaken and it's there, in which case I'll rescind this sentiment), are starting to irk me. it's rapidly approaching "draw the rest of the owl" tier.
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No.10130
Just working on arms today
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No.10131
>>10129
Dead serious I think you should try drawing a lot of "real" skulls from the 3D model in the op. It will help the constructive methods you're reading about make more sense. With the skulls you don't even have to construct them in the literal sense but just follow their contours and keep construction "in mind" as you proceed.
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No.10133
>>10130
Nice rendering of the bicep. Just make sure you know the pectoral ends just under the deltoid and under both of them is the bicep. At least that's what I learned through my observations
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No.10134
First exercise of the second assignment in the C. Mullins course. Looks kind of foggy.
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No.10135
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No.10136
>>10135
Aw thanks. Glad you like it.
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No.10144
>>10131
I probably will, at this point. Hampton sort of glosses over a bunch of stuff, in a way I'm wondering how someone who doesn't already have a decent grasp of every part of drawing, is supposed to use his lessons.
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No.10148
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No.10149
>>10148
Pendleton Ward pls stay
but at least try for fug's sake
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No.10150
>>10149
I drew them all really fast, i was moreso focused on the shape of them than the insides
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No.10152
>>10144
I'll be dissecting the skull, as that Anon suggested, when I finish going through Hampton's lessons on the face.
What's frustrating to me is more that like, I think he's skipping too much, in each lesson, and feel like I'm not learning stuff.
But then I try it out, and it turns out alright, and I'm just left more confused, since I'm not even sure of what I'm doing in the first place.
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No.10153
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No.10154
>>10148
at least you're drawing
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No.10155
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No.10158
>>10144
I think Hampton assumes that you're drawing from life and or use anatomy supplements.
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No.10159
>>10148
Keep going, maybe you'll become bored of these and will try something more constructive eventually, but until then even drawing these will give you gains.
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No.10161
>>10158
Probably. It's definitely easier if I'm using a photo reference, like in today's. The problem is that the book at least gives the impression it's intended for figure invention, instead of study.
Anyway, next lesson is anatomy, and I need to also mix in studying skulls, with this, too.
Though thankfully I'll likely have more time to do that, soon.
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No.10171
>>10161
Its for invention, too. But he clearly has life drawing examples in his book, too.
Anyway, tehres also a DVD of it, I'll upload it later.
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No.10175
>>10171
Yeah, I'm starting to see that.
At this point I think I'll have to start re-watching/catching up on, Proko stuff. Since it's the same material, and seems to be the same approach.
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No.10176
>>10171
I cannot find it on my harddrive, it might have gotten lost in the big (sadly unmirrored) harddrive crash of 2015.
I have some vintage (it's in black and white even) Robert Beverly Hale, though.
Good stuff.
http://www.mediafire.com/folder/kz1we1n93q512/Videos
This is pretty rare, I think, unless it's not. I don't even know, anyway, have ten lesson videos by a literally old master.
Also, in the meantime I have found the Hampton videos but it's too much to upload at the moment.
Analytical Figure drawing is the name though.
>>10175
Yeah, proko is pretty good, too. Or, at least used to be.
I mean, he's still good but I stopped watching his stuff when he became obsessed with throwing money at shitty skits and 3Dcg skeletons.
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No.10187
Drew butt
What do you fellas think
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No.10188
>>10176
Yeah. It took him forever to get to legs, for example. I haven't checked his channel for a while, but when I last did I remember the legs being up, and how long it took for his videos to cover all the basic forms of the body.
Still, it'll be good to refresh, I guess. Though Hampton keeps proving to be something I learn from.
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No.10190
>>10187
It looks like the buttocks are both flat panels with rounded corners extending all the way out to the edge of the leg and somehow not affecting the silhouette, attached to the legs and slightly pointing outwards at the middle. The roundness in depth doesn't really read.
The two little horizontal lines on the left are particularly suspect, but it feels off and flat in general. There's also something like a picture-of-a-picture feel, with things skewed at an odd angle.
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No.10191
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No.10192
>>10188
No time to go too in depth, today.
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No.10200
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No.10203
Alright, time for the next lesson.
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No.10215
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No.10217
wip. I still need to finish white and get started on gray.
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No.10225
>>10203
I'll probably spend another day on these. Though I'm surprised how simple this all is to learn, when you take it piece by piece, and essentially "bolt it on" to the simplified skeleton, he teaches you.
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No.10226
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No.10231
Strapped for time, today, but like that'll stop me.
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No.10232
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No.10233
>>10232
Seeing that we're alternating posts, I feel kind of obligated to give some feedback.
What I'm seeing done well here, is getting the same pose as the references, which in and of itself is often very difficult for people. But I think you're missing the point of what it is you're doing, in the first one, for example. You're getting too minimal to really be practical, and the lines themselves don't convey much meaning to them. Still, the focus on forms is something often neglected, and is good that you're practicing that, too.
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No.10236
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No.10237
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No.10238
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No.10241
I really need to practice more dynamic poses
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No.10243
>>10233
more meaning to lines eh, alright I will try that.
today's drawings was done before i read your post.
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No.10244
Finally onto the abdominals.
>>10243
Sweet. Don't sweat it, man.
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No.10250
Used a reference and tried into basic shapes for this one.
I also finally got a somewhat comfortable way to hold the pen without fucking up every time my elbow goes off the tablet, I just keep my hand up and my wrist touching the tablet, kind of like the devil in pic related except with a pen in my hand.
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No.10252
>>10250
>"Ew nigga you ratchet!"
I have to say I'm pretty impressed with the final result. Judging by the first frame in that gif I was ready to write you off
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No.10253
>>10252
I was using a fat chick as reference, and her belly made it look like her pelvis was a bit forward.
I noticed it looked weird in the second frame so I just moved it back, not like I'm doing a 1:1 drawing anyway.
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No.10254
>>10250
Those boobs are coming off the shoulders
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No.10259
>>10250
Also, how do I into shadows? Here's the abortion I made for /animu/ together with the first pic.
I couldn't figure out a good way to make subtle bumps and whatever in the skin.
The devil in the second pic has shadows with different line weights and flow, but when I try to make it, it just looks odd.
>>10254
That's one of the things I'm aware of, but I just can't put into practice. The T shape of the belly and the ribcage is also something I struggle with despite being aware of the form.
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No.10273
>>10244
The book just glossed over this, so I had to crack open Anatomy for Sculptors, and some photo references, to understand the serratus.
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No.10278
tried adding more meaning in the lines.
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No.10284
>>10273
I'll study these better, later.
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No.10290
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No.10308
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No.10309
>>10284
Used photo references for these. Since I don't spend too long on these, in any given day, and they're just my warmups, I'll start working at it like this more. Just
>day one: Hampton's guides in the book
>day two: using photo references of what I've learned
>>10290
>>10278
>>10308
Sorry I didn't say anything earlier, but yeah, you uh.
How do I put it? At the very least you should read FORCE, and then something about drawing the figure, maybe the book I'm reading right now would work, but it's heavily reliant on you having a rock solid grasp on perspective.
There needs to be a specific sorta "flow" to the lines, like. If you turn in a car, unless you're Takumi, you don't maintain your full speed throughout it. You slow down to turn. Gesture is sorta like that. There's gotta be a distinct throughline or "rhythm" to anything you draw, for it to come across naturally.
In spite of my piss poor explanations, it can be pretty easily grasped, however. Scroll up in this thread, and >>7815 for my progress, and you'll see what I mean.
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No.10312
>>10309
I've read force once and it didn't really make any sense to me.
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No.10313
actually no I haven't read it before
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No.10314
>>10309
jesus dude, you're so up your own ass it's incredible
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No.10316
>>10314
uh like wow rude smh tbh
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No.10325
>>10316
>I didn't say anything earlier, but yeah, you uh.
>trashing someone who's studying and trying to improve, while placing himself as someone to look up to
>has worst readings and than the guy who's patronizing
>constantly jerk off to his own art
sure buddy gg no re bbl and all that cool shit
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No.10327
>>10325
>has worst readings and than the guy who's patronizing
That kinda shit always makes me laugh and prevents me from ever trying to help others out of fear of sounding hypocritical
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No.10328
>>10327
That happens to me ALL the damn time.
>insult/criticize someone
>lose my train of thought mid sentence (sometimes at multiple points in a single post) and end up with an embarrassing word salad diatribe by the end
Fug
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No.10329
>>10327
I get what you mean.
If it's an objective error i think you should still report it to the artist. I mean that's the reason why you posted your art to begin with, right? to get opinions. At that point it's the artist that decides how to take it. He can agree and correct it or not, disagree or whine, but at that point you leave the discussion. It's not worth your time if they just want praise.
I kinda of agree though that it sounded pretty patronizing considering everything.
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No.10332
>>10312
>>10313
Take a look, then, it might help you out.
>>10314
You're free to critique my studying, too, dude.
As much as I can initially protest, I still ultimately actually studied FORCE, when it was pointed out to me how much my gestures sucked.
And I actually started studying Hampton's, when it was pointed out to me how much my figures sucked.
So I don't get what you want from me. Because reading >>10325 you've got a severe misconception of what my attitude is towards this.
I linked my progress because I know people, myself included, can get easily dissuaded if something doesn't make sense. As well as to hopefully show some way to study it (one lesson at a time, each day.)
The "I didn't say anything earlier" isn't because "oh I kept my mouth shut because you were so shit.
Sorry to burst your bubble, but it's because I was just fucking busy. Hence why I didn't say anything earlier.
As far as my "off the cuff" manner of speaking?
I see no reason to change that. Especially since I flat out say
>my piss poor explanations
Meaning I suck at explaining things.
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No.10334
Latissimus Dorsi. As well as the other muscles I've learned so far, visible from here.
The book glossed over the fact that most of the back part of the lats, are just connecting tendons, so I didn't realize that when studying here.
Top one is from Hampton's, second one is from a photo reference.
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No.10337
A lot of mistakes made
>angle of the face
>body on our left of the center line too wide (Carl Gnass recommends starting with the smaller side and I think that's pretty good advice)
>forearm on our left too long vs reference
>hands are-well I didn't even try with those but I'd had made them worse if I stated them confidently I'll admit that right now.
I wasn't intending to make this an atelier piece or something like that but perhaps it would have been better if I'd relied on the paper less and added a halftone so I could fug with the values more.
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No.10338
I made this nigga look like Kylo Ren; thank da lawd for photoshop. His legs are so short and his head and body are so wide in the real thing that it's actually hilarious.
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No.10341
>>10338
I tried drawing it over. Unedited. I thought I fucked up the size relationship in the head but, it's closer than I thought as far as I can tell. The model is leaning back slightly causing his silhouette to shrink a bit-and the camera is exaggerating things a little as well. Still off but not as awful as it could be.
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No.10346
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No.10353
>>10346
Meant to post this;
I had to improvise a more open hand because I screwed up the proportions of the arm or the thigh somehow. Oddly enough it turned out a little better than the hand I drew from observation. Just thinking aloud but I think I know why I have such a problem with that. I never really gave a thought to which part of the hand I drew first which is dumb. Logically you'd want to draw the fingers closer to the viewer first because they overlap the others, but I did the opposite this time and got, I feel, worse results than if I'd done it the other way around.
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No.10360
I had time without visiting this thread. Reviewing some old things I came across some drawings that I wanted to share with you. They are a pair of engines. Also practice a little more these last days with more figures.
I finally got a scanner!
Although … I still can not scan the images well
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No.10362
>>10360
Reminds me of the ship from Toejam and Earl
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No.10366
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No.10372
>>10353
How much time did you spend on each one? I think you should take some time just making sure your proportions look right before shading/rendering.
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No.10373
Want gains?
Then praise the fuck out of yourself over what you have done right and don't chide yourself over what you have done wrong.
It's hard at first and will feel wrong, but since you get better with practice anyway, an inevitable process, why not focus on the good and let the bad be bad by simply not getting praised, but also not getting chided.
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No.10375
>>10373
I refuse. I want to be miserable forever and never get anything done. That'll teach me for being born 'n shit
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No.10381
Supraspinatus, infraspinatus, terres minor, and terres Major.
I'll likely be doing the next lesson tomorrow, and using a photo reference to see how much I've committed to memory.
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No.10386
Today I practiced a figure. For fun I tried to draw a monster by mixing a Warrior Bug from Starship Troopers and a Shrieker.
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No.10387
>>10386
Just looks like a warrior bug to me, but I suppose I don't really know what a shrieker is. Nice figure. The angles on your interpretation are a little sharper in certain areas than they are on the reference. Not a big deal. I actually think it improves it on the hips portion because it adds a visible curve to her figure that isn't there in the photo. I'd say the knee ought to be toned down though.
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No.10388
>>10387
Thanks for the advice dude. The "Shrieker" is a monster that appear in a movie called "Tremor"
I just taken its jaws as a little reference. The lower jaw is divided in half. For the rest of the body, I used the Warrior Bug.
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No.10389
>>10388
I see. I loved the first tremors and tremors 2 was okay too. I didn't know what they were called. I heard the third movie is an abomination though lol
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No.10390
Well I did something today at least. Ecorche-style drawing from a life model in a dull pose. I am coming to have a pretty firm grasp of anatomy, I just need to do this for a lot of different poses so I know how the shit looks in different positions and angles.
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No.10391
>>10390
It goes without saying but, even if my anatomy is improving, this image is riddled with errors. The arm on our left is longer than its opposite and it is projecting away from the body at a much wider angle than in the reference. In the reference the model has a twist and tilt I failed to capture, with his upper body turning to our left and his shoulder and hip on our left dipping slightly. While I captured a bit of a dip I failed to capture the twist and everything looks skewed because of it.
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No.10404
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No.10408
Quick sketches while playing DND with the lads
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No.10411
so I am trying to sketch people. and I not really sure what I should focus on.
It doesn't have to be super realistic but I would like to draw at a decent level.
any tips
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No.10412
>>10411
Just read the sticky? there's tons of material that will help you. Proko's good to learn piece by piece adn put everything together. Start with the gesture's video and work through the body parts.
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No.10413
>>10411
Looks like you're wasting too much time just putting down your marks. Try a different brush, something like a pen or marker, and use like only two strokes for each part of the body (torso, upper arm, forearm, waist, etc.). That way you can always keep an eye on the whole figure.
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No.10415
Finally going to put some effort in dis
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No.10419
The arms are starting to make sense, now.
Basically I'm seeing a set of like, primarily two pairs of muscles, and then that twisty one.
Also spent some time now, talking to a friend, and observing/grabbing my own arm, and that's certainly helped too.
I had no idea the back of our forearms were interwoven with so many muscles, but it makes sense, given there's basically a muscle for each direction of the fingers range of motion.
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No.10435
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No.10436
>>10415
That perspective's pretty damn good.
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No.10440
Before anyone says anything, I'm aware the bones aren't exactly shaped like that. This is the page I was using, before trying to think of my own simplification, and then using photo references.
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No.10470
I tried to "just get a feel for it."
But I think that fell flat.
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No.10472
>>10470
THICC hand. Keep practicing bubbi; keep in mind the palm of the hand is itself composed of bones similar to that of the fingers-mind the fingers' placement on that front plane too. Consider working from the finger closest to the viewer and working your way outwards from there, the worst part about drawing these things is how close together they're grouped and how they overlap each other
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No.10473
A friend asked me to draw something for him and I complied even if it goes against every fiber of my being-but I ought to be punished for never drawing anything spontaneous to begin with and this was probably the best way to do it. Yup, still suck, back to the grind for another five year!
It's always nice when you're able to teach two people a lesson at the same time.
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No.10474
>>10473
Looks better than anything I can draw.
Two things I noticed is that you fucked up on the arm and the waist.
The arms are line two continuous sticks, because of the bones underneath them, Because of the biceps and the angle of the shoulder it makes it look like the arm is broken in two.
Also in the waist, the angle is too straight so it looks unnatural. The skin just sort of flops over bones and muscles, so it ends up softening those angles.
That's all I could see wrong with it.
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No.10475
I'm gonna challenge to draw 1 towergirl princess a day, no matte how bad it turns out.
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No.10477
>>10474
Looking at myself in my laptop's camera it doesn't look too far off-but perhaps I did push it back too far. In either case I do need to do more research on "raised arm" poses in general. The deltoid sort of wraps around the back of the arm to meet the deltoid tuberosity on the humerus and I still don't really know what that looks like or what the contextually front-facing jumble of insertions (pectoralis, coracobrachialis etc.) under the armpit looks like either.
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No.10478
>>10475
Godspeed famalamadingdong
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No.10486
>>10472
Thanks, but I only drew the hand since it was in Hampton's pictures, there.
I'm going to keep what you said in mind, howerever, but today's practice should also show how I'm sort of deliberately glossing over the hands, for the time being.
I'll get to them, but for now I'm essentially having placeholders, so it's not just a jarring handless arm.
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No.10491
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No.10496
>>10491
This may sound unhelpful, or like non-advice, but you should really work on your fundamentals, specifically perspective.
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No.10504
As bad as I am at drawing I can't paint for shit. I'm coming to find that it's just as important to know what muscles we won't normally see as it is to know the ones we do.
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No.10505
>>10504
>those greater trochanters
Holy sh*t bromos I thought I saved the fixed version. Christ it looks like their butt has tits.
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No.10507
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No.10511
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No.10512
>>10511
The g. trochanter is on the side of the pelvis, they would both be almost completely obscured by the gluteus maximus and medius at that angle (and in the case of the one on our right it would be completely obscured). Instead I put them on the middle rear and it looks like that figure's butt has big saucer nipples.
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No.10516
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No.10517
>>10512
oh, you meant that it looks like it has a pair of tits instead of a butt. Reading it like that i thought you said "its butt has tits"
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No.10519
Working on volumes
(sorry for uploading from phone)
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No.10527
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No.10529
I'm finally fucking starting to get the ribcage, though now it's easier to see I'm shit at proportions, pelvis, boobs, arms and everything else.
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No.10530
yesterday I drew these three figures. I think I'm improving
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No.10537
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No.10552
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No.10560
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No.10568
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No.10570
Wasn't doing so hot yesterday, but today I think I did better.
At the very least, I'm researching this all more and more, and it seems to me that taking a few weeks to just draw each muscle of the forearm, each day, would be ideal.
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No.10578
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No.10600
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No.10607
>accidentally paint layer black
>study suddenly becomes spookier
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No.10608
Getting back into it again
Anyone got any material on foreshortening?
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No.10610
>>10608
Pretty sure Loomis covers it fairly well in a few of his books but it's still a tough subject for just about anybody, especially when they're starting out. It's not something that is going to come easy just from reading a few pages on theory, you should probably make a point to look for references of objects and/or figure models that have visible elements of foreshortening.
One thing you could try doing is going on sketchfab and drawing 3D rotations of mundane objects, it might help you get a feel for it. Also using your computer's camera as a reference couldn't hurt either. That's a really good resource I tend to forget about, myself.
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No.10613
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No.10614
>>10613
>that five head and dreamworks face
Not a bad attempt!
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No.10617
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No.10620
I took photos of my own arms, for these.
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No.10621
>>10620
Yeah if you have a laptop or something like that sometimes your own body can be your best reference. Just hit the windows button and type in "camera" and you have the ultimate resource for "guy as seen from the chest up sitting at computer".
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No.10640
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No.10654
anime faces are weird so i'm going to focus on faces
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No.10670
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No.10672
A mess of proportions. I guess this is the best i can do right now. Still need to actually get started on anatomy and perspective
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No.10675
>>10654
>>10670
The head is just like any other form, essentially a "chiseled block" so to speak.
What you're doing right now is sorta just sliding around 2D elements, in a way that ends up looking disjointed.
Ironically enough, if you learn perspective, the basic forms of the head become way easier to work with.
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No.10679
More arms.
I think I'm done with them, for the time being. I'll move on to the next lesson, (hands), tomorrow.
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No.10689
These are bad. I'll do better tomorrow.
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No.10960
A tip:
if you're drawing something and you know for sure something is wrong with it.
Redraw the whole thing from scratch.
Don't polish that turd.
It will not only give you mileage but also confidence since if you do this often enough you will be cool with non attachment to your practice stuff.
You'll be grinding out thousands of drawings over your time as an artist.
That potato of just now will be dust in the wind in a month or two.
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No.11025
I've kept this one locked away, please critique so I can snap out of it, finish, scrap, radically change it maybe. Just sick of brooding on it
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No.11027
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No.12287
First time drawing in three years. Cat skull that my mom had laying around her house. She's a crazy cat lady, all of her cats are inbred and deformed. They don't last long. Drawn with mechanical pencil.
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