Asked for help
I might as well just be posting every few weeks now seeing how I somehow just don't post every week. On the main post will be my latest assignments, and reply threads to it will just be studies or gesture exercises and stuff like that. I started mannequinization and it (like the landmarks before it) was really scary until I actually started doing it, where it then actually seemed really simple. Here they are (Robo beans, gestures, muscle studies will be on reply threads) Any feedback appreciated! @Liandro @Jesper Axelsson @Diego Lucia
Hello. Testing the new site which has pushed me to be a bit more proactive with my drawing. This is my attempt at mannequin assignment 2. Right now I hate my art style, I hate my lines and I hate my work. But I know its rust and a forever work in progress. Really getting stuck with the mannequin. I have been 2 strict with the shapes and am trying to loosen up and think more of what feels right.. I know I have been lazy in some areas like the hands and feet but feel I’ve got bigger issues right now. I’d appreciate a little push and feedback here if anyone can help. What should I focus on?
So far I have been practicing gesture more and is happy with my results so far. I am very happy I am getting better, finally. What do you all think about my results. I tried my best to do #5 although it did not come out that great. Do you know how I can continue to improve.
Nice work! Looking at your beans though, I get the feeling that you drew along the contours of the bean, which misses a very important process of the drawing: draw through! Drawing through is important as it takes the multitude of things that you need to juggle when drawing the bean and simplifies it down into manageable steps. Drawing two ovals to represent the masses of the torso and the pelvis, connecting them with lines, adding orientation features (folds, twists, etc) and then adding the center line is a much easier process than trying to draw the bean straight from contour, as trying to draw it as is without any drawthrough means you're trying to handle perspective, proportion, orientation, and gesture at the same time, which is a crazy amount to handle, especially for artists who are just new to the bean. Try as Stan does in the videos and follow along, he usually does the drawthrough process as I have described. Sometimes he'll start with the longest lasting arc - that technique is usually seldom used in this stage of the figure drawing course and should probably be avoided until you have a good grip on the bean's proportions, as starting with the longest lasting arc is essentially starting with contour, and we've already covered why that's not the greatest idea in the beginning. Keep it up!
Asked for help
Here’s my first few attempts with the bean. Did the first two pages yesterday, the other two today. Hope it’s not an issue that I posted these before my gestures. I just signed up here today even though I’ve done a few gestures before and just wanted to try out something new first.
Asked for help
I feel a little lost on bean practice. This is the last one I did for the week, but (ignoring my really scratchy lines) I don't feel like I capture foreshortening or twist really well.
Hello, I'm currently studying the Figure Drawing Fundamentals course. I'm aiming to do gesture exercises as a warm up before study sessions. I still find gesture quite difficult to grasp. I often run out of time or I get too hasty and feel like I could have used my time more carefully. Proportion feels very challenging. I'm not sure how I could become better at it. It feels quite difficult to focus in general, there are so many concepts to keep in mind. I'm posting some 2 minute poses from today as my first test post. I'm very excited about Proko 2.0! I hope to learn to use this website quickly. I'm very grateful for any critique.
I would some help on the mannequin I usually just draw them using boxes and cylinder but can't grasp my head around seeing the shapes you do should I stick to my own way or draw mannequins you're way and if so how?
Asked for help
5/16: 4 weeks later, I've switched to actual charcoal, finals are over, and I've rewarded myself with the pleasure of guilt-free doing nothingness for a few days which makes me wonder how people do nothing all day because I feel horrible not doing anything LOL (so not quite guilt free i guess). I didn't realize it's been that long. Since then I've moved on to the robo bean and gotten frustrated at my suckiness. All the work from the past 4 weeks is right here (in the reply thread), sectioned out. Feedback appreciated! @Liandro @Diego Lucia @Jesper Axelsson And updates on personal life, I've signed up for Marshall's perspective bootcamp and Kirk's analytical figure drawing class! Also planning to take perspective at CDA as well, so I can get my fundies up to scratch. My mom said she'd support my art classes as long as I keep up with school (AWESOME!). Really excited to see the launch of Proko 2.0! I'll try to post more often, the announcement of Proko 2.0's launch date made me realize I didn't post in forever (and should probably post before it launched for one more round of feedback before I'd likely have to pay for the feedback hehehehheh). Thanks @Stan Prokopenko @Mike Jara and the Proko team for the incredible work they do for the art community and acting as a gateway for aspiring (or curious) artists everywhere! Y'all changed my life :) ..hopefully I'll post more often than every 3-4 weeks from now on LOL
1. Knowing what to study, when, and for how long; Generally since I just started I am still focusing on the fundamentals (especially figure drawing), but this is something that you'd have to find out through research. For example, since I want to be a manga artist, I'd need to know: The art fundamentals (figure drawing, composition, perspective, color and lighting, etc.) Beyond the fundamentals (character design, environment, etc.) The history of the craft Storytelling The native language These are things that you'd need to research. The sooner you get a grip on what exactly you want to do with this, the more clear your goals can be. Though saying this, in addition to the things you have decided you must know, be sure to throw some experimental classes in there to add a nice pazazz to your own personal art. This tip was one of many that Peter Han gave me in the Dyn Sketching class, and helps especially to make you stand out and not just be "another artist." For how long, it's mostly rough blockouts of time mentally and then instinctually moving on when I feel it is enough (or investigating further when I feel the necessity). Not a very helpful answer in that front I know. As for when, Stan and Marshall have talked about on the Draftsmen podcast to realize when your creative hours are, and safeguard it at all costs. This is a good idea, but once you've practiced anything enough, practice goes from something you force yourself to do to something you just do. When it feels weird or even hurts to not practice is when you know you've gotten there, though that kind of feeling takes a very long time to cultivate. As a side note, my personal creative hours happen to be late at night, which also happens to be when I want to sleep, and many times I've chosen to sleep because I'm just tired. This kind of justified procrastination is extremely dangerous, and I've started using the chain method to try to get over it, and it might be helpful for you. The method's idea is simple: Keep a physical or mental calendar. Now practice one day. Now practice the day after. Here now you have a "chain" of practice days. Your goal is now simple: Do not break the chain. How to keep the difficulty level appropriate: Again if you're starting with the fundamentals like me you're gonna be pretty bad at everything, so there's no wrong turn. Just don't go into trying to draw an entire animated movie by yourself and you should be fine. I try to learn at least one new thing a day to make me feel that I'm always improving, but that usually comes after my finished exercises, though this can vary. Personally it helps for me as doing the same routine too long makes me bored of doing it. You cannot know what is too hard for you until you actually try to attempt it, so go try it. If it's too easy that it's boring it is time to either move on or relegate that to a brief warmup before your actual practice session. Slaving away is seemingly a bigger morale killer than actually attempting something that you can't actually do, so if anything keep pushing yourself. Stan doesn't tell people to make sure they master each module in his courses before moving onto the next; it's 2 weeks max. Whether or not you're comfortable with it or not. We move on to further concepts because many times you will be practicing the more fundamental and basic skills when you're practicing more complex things. And if people didn't move on to bigger and better things BEFORE they mastered the basics, then no one would be beyond drawing straight lines or perfect ellipses. I know personally that some of the things I've drawn that I'm most proud of were things I never thought I'd be able to do in the moment but just went in anyways. The mistakes I make make me laugh anyways, so it's an interesting time! Tracking your progress: I keep a public instagram progress account and post whenever I have stuff to post (ie whenever I practice). Not only is it a good way to keep progress but is a great way to train your mind to not post for the likes, since (assumedly) you won't like many of the drawings you put on there... but other people might. It's a nice way to get over the barrier that many social media people feel when they post something - that the post HAS to be perfect and HAS to be successful, which is a problematic mindset. And if you post everyday, you'll start getting on the algorithm's good side.
That was really inspiring! Personally I've always had a hard time finding art parents so all those resources that you guys mentioned seem really interesting to me. It was also really surprising to know that James went to UC Berkeley, since I'm a student there right now (finishing up freshman year) :D
Time from my last post til now: LANDMARKS! They scared the hell out of me and they still do. The jump from having gesture drawings to now seemingly having muscles all over the place terrified me but I eventually just put my nose to the paper and forced myself to do it, and this is what came out. The top row was me trying the figure myself before getting confused and watching then following stan, and the bottom row is a gesture drawing and then a landmark thing beside it. Any feedback appreciated! @Liandro @Diego Lucia @Jesper Axelsson
From the time of my last post to now: I'm very lucky to be friends with someone who's my age and goes to artcenter and even more lucky to have him as a private mentor. Under his instruction I've started doing less 2 minute poses and more 1, 5, and 10 minute poses, which makes it kind of awkward for me to post all of them at once. The 1 minute poses will be on the main post, and the 5 and 10 minute poses will be on separate replies under this post. I'll talk about each of the time limits as I get to them. As for 1 minute, I didn't expect it to be so short. In my head I was like "oh its double 30 seconds thats forever" but then actually trying it I ran out of time super quickly. I started to get a handle on the time but still struggle with drawing the gesture of the legs from the front or the back. I remember the "2 c curves for the leg from the front" tip Stan said, but am still really shaky with legs in general. Any tips? As always, feedback appreciated! @Liandro @Diego Lucia @Jesper Axelsson