Nice work, I like the shapes and I think the small blue color notes you put in the 2nd picture are pretty interesting :)
Nice attempt at a fun photo. I like retro-futuristic stuff. My opinion is that for the most part, you captured the energy. The biggest thing that needs work is the head - the rest of the body captures the fun "whaddya want" pose. You could always tighten everything else up though. I've drawn heads too small and too big, and you can probably figure out your own mistakes there when it comes to what's wrong with it. And the head is in a very unusual position where it's like straight up and down, but it's also forward as if her heads moving on a flat plane back and forth, and not "rotating" around as the head typically does. You could try working through Proko's 30 second or 2-minute gestures to get a feel for how he draws the head and neck in contorted positions (if you have those courses). Then go back and figure out how to draw the head in the right position. If you don't have the courses you might just have to use a circle or a box and play with the positioning of the head until you find a place that's just right. If you were working digitally you could probably just lasso the head, increase the size, move it a bit "forward" in relation to the body in 3d space on your 2d paper. From there, it's just about getting those facial features and the proportions down. Or maybe you could also try tracing the head digitally if you haven't done too much head studies. Or if you don't want to redo the whole thing, and you want to work strictly on paper, you could just practice the head a few times on a separate sheet then go back and fix it.
A couple hours of beans and gestures simply following along with the trainings. (Note: These were done digitally about 3-5 per page, then condensed for sharing purposes). Fun to do these along with the videos because 1) If you move fast, you can sometimes see if Stan ends up with similar shapes or lines to know if you're on track. 2) You can quickly see mistakes such as not hiding a face behind a shoulder properly. Also for someone building up the endurance to draw, having someone to follow along with, and having the images "stream" via video as opposed to having to open up each new image everytime you do a new drawing is helpful since you can focus easier.
Does anyone actually use the Loomis head to draw real portraits? Or is it primarily used to come up with "made up" heads? I've still got a lot of work to do to understand the Loomis head with it's planes, proportions and all. But I've recently tried using it as the "base foundation" for drawing or sketching real portraits. Put another way, I can use the Loomis head to come up with all sorts of interesting and bizarre looking heads, but as soon as I try using it to duplicate an image of someone elses head, it doesn't come out right. And then I need to resort to going back to proportions and contours as opposed to designing the Loomis head and "drawing the parts on" like a Mr. or Mrs. Potato head.
Are there any expert constructive head critics who are able to break down some of my head structure mistakes? I have a tough time making my heads not look like round baby heads - I've read through Loomis and the first parts of the head course and for some reason I keep constructing heads that seem to be too round. And also constructing the "ear to bottom of chin vs ear/cheek/front chin" areas. Either my head keeps coming up looking "flat" or the chin to neck area looks abnormal. Thanks!
Found myself on the lot of Walt Disney Studio's and decided to take a few moments to copy their Water Tower Mickey along with a few designs on buildings. Did you know a main executive building of theirs has large statues of The Seven Dwarves holding up the roofs instead of regular pillars? Mickey Mouse was interesting to draw. It's no secret his design based on a handful of simple shapes because animators back in the day needed to pump out thousands of Mickey drawings per day. But if you even look at this one copied sketch, you can see so many advanced elements in play: Gesture and movement with the body Foreshortening of the arm on the hand to the right Facial expression etc... Definitely a good moment to think about the animators of Disney history and how they literally had to draw every character frame by frame by frame by frame by frame x 2819 Also, back to the Seven Dwarves. It was tough to catch all their features beyond outlines. But from a distance, you can quickly see how shapes such as oval arms and big round cheeks fit together to create interesting characters. The rest of this sketch is sights from around town surrounding Mickey to include the Cartoon Network building (not to perfect duplication). On another note, roofs are very aesthetically industrial looking.