Lucka
Lucka
Argentina
Autodidact student of Visual Arts. Inspired by Visual Reality and its take from other artists
@asgota
Hey, those are some of my manequins, let me know if there is something to improve
Write reply...
Drop images here to attach them to the message
Lucka
Hi. I see you get too much into secondary forms. I don't know if you are actually going for that but maybe some simplification could be useful. Anyways, keep an eye on how the perspective of the main masses (head, ribcage and pelvis) interact and change the limbs perspective from pose to pose. Also, I think doing two or three times the same pose is better than a bunch of different ones. So give it a try a see if with each time you discover something different that you didn't observe in the last one. Timed practice is useful to not get off of your goal and actually doing it Hope it helps! Keep up the good practice! Ps: timed practice is useful at your speed. Between being able to do something and not being able to think too much. Hope you have a good practice!
Reply
@abrahan13
Write reply...
Drop images here to attach them to the message
Lucka
Hi Abraham. I see you have been doing studies on the anatomy course by Stan Prokopenko continuously. What is good for the rhythm. You would find useful to give some more time to the section-lesson you are in. But I am guessing. In general a week could work. You will see about it after experimenting some time. The goal is to learn the understanding of the muscle, its shape, mass, and movement more than just its knowledge. So going slow would help for that. And coming back to previous lessons from time to time, too. Another thing that would empower your representation is to get back, whenever you see it purposeful, to practice the basics of drawing. It would go deeper more or less each time, on things like perspective or lightning on itself, for example. That will affect how you work with the rest of things. Hope it helps. Keep up the practice!
Reply
Marco Sordi
2022/9/1. Good morning everybody. Here’s my latest anatomy study (Conte Sepia 617 and General White 558 on paper Pastel Mermaid, 41x30 cm). From @Patrick Jones’s e-book “The Anatomy of Style”. Thanks for any comment or suggestions.
Write reply...
Drop images here to attach them to the message
Lucka
Hi Marco. Nice drawing. The volume is strong. And the silhouetes look really good. As suggestion out maybe of anatomy. Loks like that in the drawing of the left. In the pump of the sacrum. The light and the strong dark of the shadow, and the clash of it, is exactly as the one on the left gluteus. And so, gives a sense of depth that says they have the same volume someway. It would need to have lower the value of the darkness and light on the sacrum area. Even if that is what you saw on the reference. If that is the case, it is a matter of going slower and planning through the process what should be perceived more perpendicular to the lightsource: volume perception through light reflection. Hope it helps. Keep the work up! PS: remember you can do some small sketches of smaller number of values of light and darks that you will use. And beacuse it is to think on the volume through lightning, you could simplify the masses all you want always you can judge the sense of volume and plan over it. It will save you time on long term.
Reply
Love Byström
Hi, is there a limit to how much you can submit? like can you submit like 5 paintings? I am in like a hyper productive state right now and therefor has a lot of ideas for things I'd like to make and submit.
Write reply...
Drop images here to attach them to the message
Lucka
Hi. On a comment below has been answered that you can "submit multiple paintings as different submissions". Good luck!
Reply
Isaiah
I want to ask for feedback while the major attributes of the piece are still malleable. These WIP images are attempts to "study" the painting before diving hard into it. These images should show where I am at in terms of composition, values, and colors. I will begin refining (i.e., redrawing) the sketch over the work week: mapping the 3-point perspective, nailing proportions, and indicating mechanical details. I hope to complete the refined sketch by next Sunday at the latest. So, feedback regarding composition is the most time critical. Though, in the long view, I believe I will need the most help with color and light. ____________ I think I like where the composition is currently; however, there could be danger in falling too in love with one's first draft. My starting idea was that I wanted to show a pilot's viewpoint while banking through a turn, with a companion craft leading the turn. Then I remembered that I have been meaning to do a tribute piece for an esports team I flew with last year in a Star Wars flight simulator. A super group of guys! Each rebel starfighter in the image will represent one of the remaining team members. (Note: I am not fully done with the background scene. Need 2 Y-Wings to fill out the team, and generally more battlefield chaos.) I grabbed the base reference by going into the sim and trying to replicate the scene I had in mind, screenshoting my view from the VR headset. From a storytelling perspective, I want to convey the maneuver being performed, that an attack on the Star Destroyer is underway, and that the bridge/superstructure is the focal point of the attack (particularly, the Shield Generators, which are the orb-like structures). Another objective I had was to practice cropping closely for sake of immersion. I wanted to avoid the temptation to pull back and show the full Star Destroyer or push the X-Wing away, so its wings were no longer clipped by the cockpit frame. Potential problems I see with the composition have to do with rule-of-3rds, big-medium-small, and my decision thus far not to crop the cockpit more. So, the bridge/superstructure, which is the focal point, is vertically centered. And, even if I treat the window as a "frame-within-a-frame", the bridge/superstructure is still vertically centered. Counterpoint!? Maybe I am the Wes Anderson of the vertical axis? In terms of big-medium-small, the foreground X-Wing is similar in size to the bridge/superstructure. I may be able to minimize these first 2 issues if I push the perspective slightly. The bridge/superstructure shrinks and gets pushed farther into the corner of the windscreen. The X-Wing grows slightly bigger. Lastly, in terms of the cropping, the image could be claustrophobic. We are immersed in cockpit more so than in scene going on outside it. But I think there are some visual and storytelling benefits to being pulled back like this, too. I like this composition. But these are potential shortcomings, as I see them. If someone with more experience is like, "Yeah, you should really fix these (or some other things) to take it to the next level," then that is what I got to do. ____________ I think the value study came out well. This battle is taking place in a sort of nebula called "The Zavian Abyss." In game, the colors of the Abyss look unpleasant, in my opinion. So, I want to reimagine the colors and lighting scenario to be more evocative of an underwater scene. I found an underwater photograph I liked, grayscaled it, and used its values as a guide. ____________ I have the least amount of practice with color. My objective with this color study was to make sure that there was some sort of hue shift in the shadows. I aimed for a shift toward turquoise. Although, physically speaking, there isn't anything in this environment that is scattering turquoise fill light. The nebula color implies merely a deeper shade of blue for the fill light. This was a small aesthetic experiment on my part, but I am not committed to it. In the light, I tried for a very small hue shift towards cyan. But I wanted to keep the source light relatively white, so that I am not completely washing everything out with blue. The most awkward area in the color study, I think, is the X-Wing. The paint scheme is supposed to be yellow and black. It looks army-toy green. I may have done the hue shift in the shadows incorrectly. Or I did it just fine, but there are not enough lit areas from this angle to give the shadows context. If the latter is the case, I can shift the overhead light slightly to the left to light more surfaces of the starfighter. ____________ Later in the process, there will be many color and lighting effects I will be eager to explore, especially with various local sources of light, such as the explosion, blaster bolts, and indicator lights. However, these studies have not attempted to account for these effects.
Write reply...
Drop images here to attach them to the message
Lucka
Hi @Isaiah! I have just seen your post. I think the interior of what would be the ship is taking a really close amount of space in comparison with the windows. May be the roof is not nedeed. Or it could be higher. Anyway, it depends how you trait the illusion of light at the end. Guessing you will work on the outside of the ship, it would need more space. But the action feeling is there. So that´s something to look for if you change it. Hope it helps. Keep up the work!
Reply
@levee
Asked for help
I drew it digitally on my tablet, is that fine? I made sure to really focus on the simplicity of the gesture, so I hope I achieved that.
Write reply...
Drop images here to attach them to the message
Lucka
I think it is nice execution , with the silhouette too because it is simplified in favor of movement. I would say to keep the silhouette out if you are really new. It is better to be focused in the gesture than the mass that describes that gesture. I mean, you see it. But you need to focus on flow of the pose and try to get it with just descriptive-simple line/s of action. Mass and silhouette if for later in the process. Nice result anyway, keep it up!
Reply
Lucka
Asked for help
Here is some sketches of structure on painting. I am not used to go any further because I focus on mayor decisions practice. So, what would you say I could improve till this point? It can be on anything you see related with showing form, it is what I focused on here - including lighting
Write reply...
Drop images here to attach them to the message
@hiflow
I'm having trouble deciding what folds to keep and what to let go. I understand the concept of flow, however I'm having trouble applying it. Help!
Write reply...
Drop images here to attach them to the message
Lucka
A useful exercise is to do the same subject-reference but aplying different ways of getting its form to show up, and light if you do as well. About your xamples, they look great to my concern. A good rule of thumb to keep form is always to use folds to show perspective by what mass is in front and what behind. So here you have already the folds of the skin. But where there aren´t and you want to emphisize some mass that is in the reference, you can: 1, show it in a way in which it doesn´t disturb the rest; 2, ignore it and keep with primary and secondary masses, taking care of the light-source direction and its illusion. Again, nice work. Keep it up
Reply
Lucka
Write reply...
Drop images here to attach them to the message
Lucka
Do you find yourself finding more successful references with human figures and exaggerating their proportions? Or it is with having as reference other artists works?
Write reply...
Drop images here to attach them to the message
Lucka
Drawing of a fight against actual snowballs
Write reply...
Drop images here to attach them to the message
Account deleted
2yr
Hi. Before rendering check your measurements and plumb lines for accuracy. Use light lines to map out shadow shapes and create a value scale you can reference to help with separating your light and shadow families (highlights, lights, light halftone, halftone, form shadow, core shadow, cast shadow, occlusion). Work on underlying structure building up from simple universal landmarks.
Write reply...
Drop images here to attach them to the message
Lucka
@heimata just like @mclychok says. Give more attention to the proportions. Use light lines letting the darker ones to show darkness instead of form. And look for the universal landmarks and how to represent them because that's gives a lot of solidity and character to the face, in this case. Hope it helps. Just to add something. Keep it up haimata!
Reply
Lucka
Hi Miguel. Better late than nothing. I think you are doing it great. I think you could simplify more the anatomy and parts of the limbs and try to be centered more in flow than flow and mass. But it works perfectly right as you are doing here. Keep it up!
Write reply...
Drop images here to attach them to the message
Lucka
Some painting studies in black and white. The study is mainly to think on showing form through planes, trying to avoid Line to show the silhouette. Any criticism and insight is appreciated
Write reply...
Drop images here to attach them to the message
Lucka
Hey men. How are you doing? About the portraits, I think the better ones are the second, third and nineth. Followed by the seventh and the eighth. Comparing them with the others you'll see that there is a deeper simplification of shapes while making thwm to transmit the form and light anyway. In a short amount of time, the good simplification of shapes is waht will give you the results. Lets see the first and the second one. Looks like in the second you went from big to small in a cleaner way, like without need to make a big stroke at the final like in the forehead of the first one. The problem with the first one, for example, is that you need to show in some way form when you have in the reference the face cut at the midle by the hair shadow. So it is tricky in the value arrangement. I think it would have come out better if you sacrificed the secondary light that comes from down-left. But if your goal is only represent what you see, it is a valid reference and approach. In the sixth I feel like the contrast in value in the cheekbone is too much. There you need to make the same transition than in the shoulder in a compressed way. I would say, also, that in the ones that I took as better ones there is a better and simple composition, in the use of shapes and in the clarity of them. I think you could improve mainly by observing and trying to improve the shapes and their relation from your references. Like trying a realistic one, which has its own shpes to be improved sometimes, and then maybe something a little more stylized. Now, if you got better the better ones by a better undertanding of how to reach it in Time. I mean, just by fast understanding and work. I am not sure but you could try to only get the primaries and some secondaries in the first half. And then you go for some tertiary forms the rest of time, and looking haw to improve the relations of the primaries and secondaries. But it depends on haw you actually work in this sketchy portrait practice. Hope it helps. Good luck and keep it up!
Write reply...
Drop images here to attach them to the message
Lucka
Hi @Rubén Frutos. I think it come out nicely as rendered exploration. I would choose something more simpler to focus only in the design of shapes. But it works too if you can do it naturally. Also, you used your reference but as reference, not just coping. So it is is well done in that aspect for me too. About the shape design, Im learning though. But what pops up for me is the background. You have spike-like shapes with directions that goes into several places. That's ok, but the background does, in a minor way, the same. Try to use a circle or square as background. Because of its stability it will probably be a good contrast in shape design. An mwwebe a change in hte value scale to make the character to pop up more would be better too. Hope it helps. Keep the practice up!
Write reply...
Drop images here to attach them to the message
Lucka
Hi @Shelvs Fleurima. Now I see this. Looks like you are going here for some specific style. Like a critisism for these ones, the last two have a problem with the lighting. You want to show the light source, but at the same time the forms looks like they receive the light from another direction or the light size should be too much bigger (last one). But I like your ideas. Keep it up! Plus this, work on what I wrote you and it will improve for the next month if you keep it consistent and smart. It is a matter of understanding the fundamentals more. Good luck!
Write reply...
Drop images here to attach them to the message
Lucka
I have just entered to your profile. I see you are trying to experiment knew things ( I just saw your profile background with its style, correct me if Im wrong). So good luck man!
Reply
Shelvs Fleurima
well I took my time polishing this one, and did a bit of photo bashing for the background
Write reply...
Drop images here to attach them to the message
Lucka
Hi @Shelvs Fleurima . First, I am not sure what you tried to show here, but keep in mind the rules of the community. I think it is inside, but take a look to them to avoid problems. Now, what I see are a not clear lightning. It looks like it receive light form all around, but like electric-strong lights. When actually, the environment shown by your background where is the character is a forest or something really different. So, it needs more work on the textures that actually have the different materials you show through form. I can see a human body dressed and in a seductive pose or action, looks like it is your intention here. But, If I read the image by its texture, it looks like plastic or metal that has a strong white light and the form reflects it. At least the highlights look the same and they are all around the main character. To sum up: study more texture and form variants, and how different light sittuations work on specific points of views of forms. So, I think you should go for more drawing. Hope it helps. Keep up the motivation to work! PS: keep an eye on your goals to try to reflect them in your art. But this is completely up to you and the seriousness you put on your thing (it will be different an sketch form a rendered painting, but at hte same time the sketch can give more value to people, or just yourself, than the redered piece).
Reply
Lucka
Hi @vakarmalik.I think it is helpful the way in which you are studing it. It is like a master study, where you try to achive what you see and try to learn the process of the artist that you are coping of. But it is not enough. And in this case in particular, where the piece you are learning from has already a lot of simplifications. It is useful but you need to complement it with something else like trying by yourself to paint a landscape, lookins all its details and simplifing it. Well, if you are just making an study of shape design: then consume more artist that have that appealing that you found here and aspire to achive in your art. Also, if you haven't yet, look at proko's videos on perpective and lanscapes. If you are looking to understand more about shape appealing, look also for thing that are related like theory on it and other art topic like enviroments. I suppose it will influence your shapes too. But maybe it is not what you want; idk exactly. Hope it helps. Good luck and keep up the practice. PS: I have seen Sinix's video on Shape appealing and Marco Bucci on a topic like it really useful.
Write reply...
Drop images here to attach them to the message
Lucka
Key words to look for in your studies: "simplification of shapes", "shape language", "master shapes study", and "shape design". Those terms will hep you find stuff, plus shape appealing.
Reply
Lucka
Hi @John Carter. I think they are nicely done! What I get from your write is that you don't like the lack of character of most of the heads, you need to look more for reality. If you are used to draw from imagination, the best way is to improve your consumption side and add images to your visual library. If you do not have any problem on trying to draw from observation, just go for it too. Also, if you want to "feel" the solidity of form or you prefer going for something with some kind of structure, go for learning what are the components of the head, from bones to muscles and skin and fat (only if you are not doing it yet. I am supposing you got used to use a really specific combination of basic forms, like a manekin. Idk). I recomend to play with references. Analize them from observation and drawing, as you prefer. To go for a perfect copy or use them as inspiration is up to you. Hope it helps. Sorry for the long text, keep up the practice!
Write reply...
Drop images here to attach them to the message
Help!
Browse the FAQs or our more detailed Documentation. If you still need help or to contact us for any reason, drop us a line and we’ll get back to you as soon as possible!
Your name
Email
Message