Challenging myself to use fewer lines, and also line weight variation to achieve the gesture. For number two, I would really like to be able to describe the engagement of core muscles in this pose. Anyone have good ideas of how to do so in a gesture ? (I started this course I few months ago, got a bit lost in the later stages; had to go outside a bit for inspiration/teaching, and now feel ready to reboot. When it comes to gesture I found Michael Hampton’s explanations, as well as Mike Matessi’s interviews by Proko to be really useful.)
Hi all, i finished some Richer Average proportion studies. They go from the order: front, back, female variant. and the final 3 attached are recalls of the actual proportion study, Any feedback would be much appreciated.
If you want to draw realistically, then yes you do need to learn anatomy quite intimately. You don’t “need” anatomy to create convincing humans though. All you need are shapes that look like convincing 3d forms, and you need to draw them as though they move purposefully and naturally. (Think good flour bag animation test) You can draw “humans” with varying levels of complexity and varying degrees of stylization; therefore, all you need are the forms that YOU understand and that YOU can create. You just have to make sure that you actually fully understand the form. You don’t start learning chess by simply copying GM”s games. You learn it by picking an opening as a starting point to build concepts from. If you can only imagine (manipulate/see in your mind’s eye) AND draw a cylinder, manipulate the cylinder to be closer to the anatomical form. Don’t be too worried of what a bicep actually looks like: be only worried about what YOU imagine to be a bicep. TLDR; you learn only the anatomy that you can use. You never finish learning anatomy, so you kind of never start. Different parts of the body will appear to you when you can find a way to use them.
Some more Mannequins from the past week, I think its going well but some feedback would be great. some of them are wonky... I thought I would try to fix them but then it just felt overworked and worse, so here they are.
Your gestures are loose and seem pretty explanatory of what you’re seeing, so I would suggest adding 3 dimensional forms to your gesture drawings so you have to learn how to see gesture in simple forms rather than using just lines. That’ll most definitely give you a difference in feeling between the lengths of the intervals. More time = more complex and descriptive Less Time = simpler and looser Therefore If you don’t have a defined personal goal of why you would need to practice these concepts it’ll be hard to see the differences. You’ll just be practicing gesture in general otherwise. So figure a way to add your gesture practice into what you would like to draw that's completely separated from the strictly educational aspect.
You seem to be struggling with drawing 3 dimensions more than anything, so I would suggest learning THE paramount drawing fundamental concept first before you go too hard into anatomy. Which is that… Drawing is fundamentally 3 dimensions on 2 dimensions therefore (after learning perspective): .Create simple forms that YOU understand .Literally turn your mind’s eye into a 3d program (I mean be able to draw what you want with your fingers in actual 3d space right in front of you BEFORE drawing it with a pencil) .Don’t worry about anatomy as a priority .Add the anatomy to the forms you develop (or outright change the form you develop to something that is closer to the anatomy when you’re ready to add complexity) .Draw loosely in a way that you can maintain your mind’s eye’s sight on YOUR form: and use the form in your mind’s eye to inform what you find to be aesthetically pleasing and not necessarily what is accurate P.S. the back is very complex (and is really only necessary for details and understanding movement/proportion) You can typically get a very convincing back with highly simplified forms P.P.S. Sorry if this wasn’t about the anatomy of the back and shoulders but you seemed to have far more pressing matters
Can someone please please explain to me the difference between the “angle of the ellipse” and the “long axis?” I have spent weeks trying to figure out the ellipse/bucket and every time I think I have a breakthrough I end up confusing myself and even more. It’s the ellipse I have the most trouble with. I have watched and re watched multiple times the anatomy, how to draw, and critique videos in this section and am stuck and getting frustrated. Somehow the way Stan explains the lines in the first critique video just does not click. Can someone please explain the process of drawing the ellipse (especially at angles/tilts that are not perfectly horizontal or vertical)? Diagrams greatly appreciated. I would upload pics of my attempts but they are so scattered and confused at this point that I don’t think it will help. Please explain as if talking to a seven year old and I will be forever grateful!
The rib cage is mostly straight in this one. Most of the twisting (therefore pinching) appearance is coming from his left arm being brought slightly to his back (posteriorly rotated) and his right arm being brought forward (anteriorly rotated). I think your issue with understanding the direction of the rib cage comes from the fact that the rib cage’s opening for the head is not parallel with the rhythm of the whole cage. The whole anatomical rib cage’s rhythm itself is kind of “laying back”, and the torso in total is more vertical. The opening of the head is more forward (3). I’ve drawn (or how I understand / would think if I were to do a study) this pose’s rib cage (1), the angle of the torso as a box (2), and as the bean (4). As you can see, the rib cage does not seem to follow the rhythm of the torso. This is probably where your confusion comes from.
I apologize for the bad lighting! These are my first attempts at the bean method. You can see I started out stiff on the Tilt portion, but then loosened up. These were done in step with the video so they are a little messy in line quality. I struggled with the twisting. Do my drawings exemplify the previous lesson on gesture? Or did I fail to show it? Let me know your thoughts! Thank you!
I don’t believe Marshall actually goes into drawing a “perfect” cube with no distortion in his lectures; although, he does give all the information you will ever need in terms of perspective. If you wish to understand “perfect” perspective Dan Beardshaw has two good videos outlining exactly that. https://www.youtube.com/watch?v=RsbzCHLsQuQ https://www.youtube.com/watch?v=LGAURGTV3v0 These videos probably have too much information though, but that’s kind of the point. Don’t worry about being perfect with your cubes; or simply put, stop drawing like an engineer as soon as you can. Your goal is to be able to see cubes (really anything you want to draw) as a 3D model in your head. So draw from life if it helps you see the 3d model while drawing or draw with perspective lines to help you see the 3d model while drawing, and draw from imagination with no help and then see if it’s correct. That should help you see the 3d model while drawing. Your ultimate goal is to think entirely in 3d and completely forget you’re drawing on a two dimensional surface. That’s why you learn the cube.
Really struggling creating characters and drawing in general, so I'm going back over some stuff to try and improve. I think maybe Its my torsos and heads that don't work structurally. Any help really appreciated, especially if its any process stuff/good habits I could be missing!