Ron Kempke
Ron Kempke
Earth
Richard Gruber
Hello Stephen, Great job. I just finished watching the entire series of real-time videos and I got a lot out of it. You gave lots of good ideas about technique and things to think about while creating a portrait like this. But... at the very last moment of the final video, there's a bit of a surprise. In the image below, the left side shows how your drawing appears throughout the real-time videos. Then, on the right side, we see the final drawing in the "Thanks For Watching" screen and it is much darker with more contrast. Can you please tell me which one, left or right, best represents the final image? I actually like both, but I'm about to try this portrait myself and I want to mimic your approach as much as I can. But now I'm not sure what my end-state is supposed to look like. Thanks Rich
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Ron Kempke
Why is the drawing on the left so much narrower?
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Ron Kempke
2D profiles are easy but the hard part is visualizing what happens to those 2D shapes in 3D. Can you show us that?
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Adan Rodriguez
From page 70 of Drawing the head and hands by Andrew Loomis? Can you spot the mistakes?
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Ron Kempke
I can understand you're wanting to produce a likeness but, by focusing on reproducing the features before you can demonstrate a clear understanding of the 3-dimensional form and structure of the head, you're guaranteeing yourself disappointment. Take it from one who's been there, done that.
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Ron Kempke
After hearing Stan, I'm not sure this is the right course for me because I had hoped this course would provide exercises to help improve my observational accuracy. That doesn't seem to be Stan's objective and I suspect that AI is the motivating factor for his choice of topics.
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Ron Kempke
Bravo! We've been justifiably chastised. Maybe if we follow Stan's sage advice, we may actually see our drawing skills improve. What a novel idea!
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Brad Clement
One of my own hiking boots. Perspective of the toe seems a bit wonky, but to be fair, I have pretty small feet.
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Ron Kempke
Stan, you've clearly explained how we can use only 5 values (3 in the lights and 2 in the shadows) to indicate the form of a single object but, when we are faced with multiple objects that have different local values, how do we use those same 5 values to describe their forms if we want to show their local value differences?
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Ron Kempke
Very informative. Think "paint by number".
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Nathan CIPIERE
Can't wait to start the long run and improve a lot. Here is where I am from now, looking forward to get better at value, line quality and everything. I'm really happy sharing the journey with you guys, let's work together !
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Ron Kempke
I think you misunderstood the assignment because your drawing lacks value shapes.
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Ron Kempke
Stan, I purchased this course mainly for the exercises, especially those that will help improve my seeing and recording accurate proportions. I imagine they will be closely tied to seeing and recording accurate shapes.
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Geert-Jan
Week 18: The last week of this unit. I've continued the 250 cylinder challenge, and i'm 200 cylinders in. i could use some feedback on these. obvious they are not correct. But i'm wondering how you would get a better result. Drawabox states that you should eyeball the boxes and make an educated guess for the converging lines. Also continued lesson 4 and created a bunch of studies of insects. To reward myself for the work of the last weeks, i've bought myself some nice colored pencils. I've drawn attached frog with them ;)
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Ron Kempke
All box and cylinder verticals should converge to the same vanishing point and the near corner angle of the box bottoms should not be acute (smaller than a right angle) as you show.
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Ron Kempke
Sounds like it's an out-of-control virus that has very little to do with art.
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Ron Kempke
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Ron Kempke
Comet, Nice attempt but, before you concern yourself with modeling (shading), you need more practice seeing correct proportions. I noticed a few things in your drawing that detract from a true likeness, if that was your intention. Her left eye sets back a little too far in your drawing and eye, eyebrow and jaw are slightly stretched horizontally from the model's. If you extend a line from the model's jaw, it lines up with the front of her ear canal. Also, the model's straps aren't spread apart as far as you show and your sternocleidomastoid muscle should be directed to the pit of her neck instead of straight down. Try drawing this head by eye, then lay your drawing over the reference and hold them together up to a bright window to see how closely you've duplicated the proportions. Comparing your drawing to the reference in a mirror also helps to exaggerate any differences in your drawing.
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Ron Kempke
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Marco Sordi
2022//8/31. Good morning everybody. Here’s my today’s 30 mins warming up exercise. Thanks for any comment or advice. Have a good day.
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Ron Kempke
Where's the construction? I see only copied contours and shadow shapes.
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Marco Sordi
2022/9/1. Good morning everybody. Here’s my today’s warming up exercise exercise. Thanks for any comment or advice. Have a good day.
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Ron Kempke
Compared to the model, lines through the eyes and the mouth corners are not parallel in your drawing and they diverge slightly as they recede. Try adding the features over a simplified construction drawing to assure correct alignment.
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Nicola Hayward
When is your drawing basic course coming out?
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Ron Kempke
Yes, Stan announced this 4 years ago. What gives?
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Vivien FRANÇOIS
Hello, is someone working with an anatomy book to place the mucles at the right place ? Like an anatomy book for bodybuilding for example.
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Ron Kempke
Did you intend to put all of the model's weight on her bent leg?
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Nihi Sus
I thought you should do a gesture drawing first and then go over it with structure but Proko went straight into the structure it seems
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Ron Kempke
I, too, was disappointed that Stan didn't start with a gesture. I don't know if it was intentional but his drawing differs from the model's pose. The model is erect but she leans forward in Stan's drawing. If it wasn't intentional, a gesture drawing would have prevented it from happening.
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