faye zhang
faye zhang
living in a training montage
faye zhang
These were really fun, and my shoulder is sore now. For anyone who is new to the overhand grip, please don’t give up like I did years ago. It will feel strange at first, but you’ll be more adjusted after some practice. Your drawings will benefit from having cleaner lines that just flow.
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faye zhang
I put a lot of effort into drawing these eggs. I even enjoyed doing them, compared to years ago when I wasn’t willing to spend sufficient time on them. I also watched Dorian Iten’s video on how to shade an egg.
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faye zhang
Some unbalanced poses and I also turned 2 balanced Mallory poses into action poses.
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faye zhang
Back view examples and 1st image is mannequins from imagination, which still has issues in the arms and connection of legs to hips, but I enjoyed the process.
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faye zhang
@Jesper Axelsson I saw your comment for another student and decided to take on your simple mannequin challenge. What do you think? I really enjoyed doing these because I didn’t have to worry about more complex forms like muscles. I think these look more accurate than the ones I did with muscles, since I don’t fully understand anatomy. I haven’t tried mannequinizing from imagination yet, but I will definitely try after I finish the back view examples.
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faye zhang
Today’s gestures from GesDrawParty with charcoal. Drawing bigger definitely helped me make more mistakes, which benefits learning.
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CantDrawStuff
Some of my gestures and poses from my usual practice [from old (white BG) to newer ones (grey BG)]... I tend to add light/shadow to practice a bit about that too and learn the basis forms and shapes of muscles and body. Some times I get carried away if I like particularly some reference and spend more time on those :)
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faye zhang
I disagree with John, I think these are lovely drawings that show a great understanding of gesture and form. The carefully placed contours are proof that you know what you’re doing. Keep it up!
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Conner Zeuli
Having trouble with this kicking gesture. Maybe because it’s more advanced and the body is twisting in a way that’s hard to capture with gesture?
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faye zhang
You did pick a hard one, but it’s brave of you to try and work it out. Once you learn the robo bean it’ll all make sense, you can even trace over the reference first. I like how @Johnathan made the torso lean back, showing more of a front plane, while still maintaining balance. It inspired me to give it a go and I had fun practicing mannequinization.
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faye zhang
I could not for the life of me figure out the robo bean for this one and resorted to covering up the top box with muscles. I can see in Stan’s version, the right leg looks much more natural and balanced.
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passwrd
Looking for critics/tips! I sometimes have issues finding the correct overlap, especially when the body seems relatively flat/the two 'balls' seem like they are stacked right on top of each other. I understand that the closer ball (to the viewer) should have precedence/be on top, but would appreciate any tips/other ways to look at it. I am also brand new to charcoal and the methods of the pencil... am I always supposed to hover my hand across the paper and try to never place it down at all? I find it difficult to get smooth lines if I don't have a slight point of contact. Hovering the pencil at a level plane is tough! I'm sure this just comes with practice but am wondering if I have the correct idea. Is a minimal point of contact okay (the nail/tip of my middle finger for example), or should I strive to hover at all times and just improve with practice? Thanks to anyone who responds :)
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faye zhang
I used your first “wrong overlap” bean as an example to explain how you would go about finding the right overlap. The body may seem flat in a picture, but remember you’re looking at 3D forms. I don’t know if you’ve moved on to the next lessons, but the Robo Bean will help you understand that. Also Stan exaggerated his bean by tilting the hips up so we can clearly see that the hips are coming towards us. As for ghosting, I would suggest not overthinking it and just put down marks if you feel like it, you can always draw lightly and then erase with a kneaded eraser if you feel like the line isn’t how you wanted it.
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Bonnie Gable
I've been intensely going over all the structure material. My biggest obvious flaw is poor draftsmanship (I'm a scribbling sketch artist) but how are the poses and dynamism as a whole? Critique requested.
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faye zhang
You have a good sense of gesture and good understanding of cross contours. You might want to consider improving the proportions since your heads are small (I have the same issue) and your legs are very long, especially in the 2nd image.
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faye zhang
This was so hard, I spent 30 mins just figuring out the robo bean before I could even start mannequinizing. I definitely overcomplicated the legs by adding muscles, which messed up the perspective in certain areas. And the knees…I redrew them a bunch of times and they were still off in the end.
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faye zhang
I did the assignment examples on my own first and then followed along with Stan. I’m also unsure whether to indicate a top/bottom plane on some poses, but I found that overlaying Stan’s drawing over the reference first and then overlaying my drawing helped me understand where I misjudged the perspective of the forms.
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Andrew Huerta
Here is one of my many pages of robo bean practice, I tried focusing more on the twist in this page and I am having a bit of trouble on it. Can I get a critique and any advice on how you guys approach this twisting method.
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faye zhang
I can tell that you tried hard to understand these forms, and good effort since the twist is very difficult. I would suggest drawing all the boxes with straight lines first because you’re losing the perspective in a lot of these, especially in the pelvis, in which many are impossible boxes. I’m not great at perspective either, but I tried my best to show you in the drawover. Most of your ribcage boxes are also too thin in width, only showing a sliver of a side plane, so I think it would benefit you to overlay your drawings over the reference to find the landmarks and determine the right thickness of the ribcage. Most importantly, you should consider the relationship between the ribcage and the pelvis, which follows the flow of the gesture. On the 2nd row, the 2nd robo bean from the right seems very disjointed because we see the top plane of the ribcage, yet you indicated a bottom plane for the pelvis. P.S. I saw your gesture drawings as well, and I noticed that they lacked volume. Instead of focusing on curves, think of whether you’re looking up/down on each body part and whether it is coming towards you/away from you. I recommend this video by Love Life Drawing on learning to draw gesture with angles (straight lines) to understand the body in 3D space: https://youtu.be/-TqKd2XB844
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Conner Zeuli
Having a really hard time with the 30 second gestures. I know it’s hard but the results from the 30 second attempts can be really deflating… Not sure what I can do to fix that. I know it’ll come in time, but still. Would appreciate any feedback.
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faye zhang
I understand completely, when I started I was drawing very stiff stick figures. It takes time to train our eyes to see the motion and draw how it feels. I think your sketches are a good start, I like that you chose dynamic poses and that you are drawing long continuous lines for the legs and torso. Although in certain sketches, you are still drawing the contours of the breasts and legs, which breaks the flow. For 30s gestures, you can disregard the hands and feet and challenge yourself to draw the pose with only 5 lines.
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faye zhang
This was a challenging (but fun) assignment, especially since form is my weakness. I need to work on my boxes and cylinders more, and I will check out Marshall’s perspective series and Draw a Box to help with that.
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mac hewitt
I was drawing animals today so thought I can practice with this exercise. The cow was from imagination and the other 2 were deer's.
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faye zhang
Love how you kept the fluid gesture of the deer while simplifying the structure.
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