could i think of visual alignments, the term Stan uses when talking about Rhythms, as the arms in the Michelangelo: The creation of Adam. as Gods hand flows into Adams hands with the fingers touching. The Rhythms, the visual alignments is the flow between his arm and adams arm? I'm trying to wrap my head around it if possible. Thank you in advance.
i have a question from other students or from a teacher. I've always sort of felt like i'm going to fast. In many lessons now we've been asked to set a time limit and not go over it. And i've never had an issue approaching what i call complete in significantly less time. But i worry i'm sacrificing quality while doing it, but even when i'm thinking about slowing down i still go way to fast. How you do all approach this? I'm trying to slow down and maybe its a mental game or something i'm not fully grasping.
Hey Stan, something that always helped me in school was always asking the teacher what a certain concept or lesson was trying to eventually teach me to be able to do to help me visualize the concept of the lesson better. It can feel discouraging at times when i practice I don't feel like i'm seeing the eventual arrival location of the practice. If you, or anyone else could help me comprehend what you would say the "major" long term effect of the lesson is all about that would really help me out. Please excuse me if i am coming off as rude, i have a bad habit of seeing the trees instead of the forest.
I see a lot of people saying how they could of been happy with a longer lesson. I feel like i'm drinking out of a fire hydrant. Thank you Stan for being as careful as you have been making these lessons as consumable for both beginners who struggle with understanding the concepts and for people who are naturals.
I have a pretty philosophical question. I've been keeping up with the assignments. And i know proko has spoken on length about how the lessons are not so we can draw a good (pear, seal, apple, etc) but we're practicing the fundamental of the subject, But how do we get from here, drawing seals etc, to there, drawing our figure, or face, or masterpiece. I want to be able to draw really good action poses, or beautiful scenes with people smiling looking at each other. But at times i feel insecure that me drilling the practice doesn't get me closer to my goal. I assume it comes with applying the principle to other things. But then when i draw something for me, I don't accomplish anything near what i want to do. Sorry, this message just comes from a place of discouragement as I am not trying to not compare my self to other artists that started at the same time as me, but appear to be making tons more progress then me, but without this amazing course. As an artist my greatest weakness my whole life is fighting the feelings of insecurity that come along with feeling i'm not good enough or that I will never be good enough to be a masterful artist. Unlike something like a physical sport like baseball, i have a hard time seeing the ball being hit by the bat as progress when it comes to art.
so watching Stan show students what they could of done instead has brought a question to my mind, when we do break from the reference versus when do we stick to the reference? There was times he would sort of bend and spaghetti the reference just a little bit, then other times he would say how there was a bump or something that needed to be shown otherwise it was over simplifying the reference.
So i had a question. Recently I have been only having a lot of time for just the practice content. For someone who wants to get better at drawing, is just practicing the lessons for my only time in my schedule for practice going to help? Or should i alternate days where i draw something i see or something I like?
I would really love some critique. I've been hearing about gesture for a decade now, but I've had trouble grasping the concept. Even after watching Proko talk about it twice, it still feels very confusing to me. Gesture appears to be like making everything noodle-y instead of capturing its concrete shape. It's like we're asked to not focus on contours and instead draw the gesture. But then again, isn't the gesture itself based on contours? I suppose I might learn differently from other people because the years of trying to precisely pin down what gesture technically is have eluded me. I am super hopeful that I can grasp the concept better, so I can infuse my drawings with more dynamism. I'm incredibly hopeful that I can create beautiful and dynamic things from my imagination.
I'm having a really hard time trying to figure out how to stretch out a lay in an hour. I cant figure out what i'm doing wrong. I am stressing myself out the whole time that I'm not taking anywhere close to an hour to do this. How do i slow down to be more careful?
All week i've been exploring this by drawing more head shots. its a really fun form of problem solving. I am often asking myself, "Am i measuring enough? Should i measure more?" All in all though its very fun! I am loving drawing like this. I try to get one layin done a day.
I followed along when you were starting initially so I could make sure I was committing the steps to memory. This assignment is particularly exciting for me I want to go and practice it a hundred times. Sort of feels like all the lessons before this were building up so we'd have the understanding to be able to comprehend this lesson.
I have a quick question. I'm following along with Proko, obviously i cant replicate it my self, so i'm pausing and executing the step , then watching him to it then executing it. Then I plan to after i'm finished with this to do a wholly originally protrait following the steps again. Is this a good way to learn the process? Its a lot of memorization.
Really liked doing this exercise even though I feel I took it too much into the realm of cartoon drawing. On a side note, can anyone help me figure out how to draw an Icosahedron from the side? I gave youtube a go and the tutorials are all very geometrical and rely on using protractors and rulers. As an artist, I thought these shapes were meant to be freehanded using geometrical knowledge. I've no trouble with the rest of the shapes but this one is an absolute kick in the face.