Rhubarb
Rhubarb
Earth
Rhubarb
A couple of attempts. It was also interesting to follow along with the underpainting technique for ref #2, but I struggled with that one since I was testing out new brushes and it ended up a mess, so not including that here, lol.
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Rhubarb
Seahorse! I was stuck on this one for a while. I've done so little drawing from imagination that I had no idea what I was doing at first, and just awkwardly tried to mash references together, lol. Once I had the basic shape of my seahorse down, I started experimenting with details, but ultimately I felt that any small details would have made the overall design look too cluttered, so I left the final version clean and simple. I do think my last rough sketch had more energy to it than the final version, which looks a bit too slim and sterile, but that's not really important. I'm just proud of myself for completing this project! 🌊🐴
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Rhubarb
Week 2 of sketches from life. These got much better once I started paying more attention to line weight. I also found it more enjoyable to draw softer organic forms, compared to some of the very angular references I chose for week 1.
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Rhubarb
Week 1 of sketches from life. I haven't done nearly enough drawing from life, so this is an interesting challenge. There is an abundance of room for improvement for sure. It especially strikes me how very stiff some of these drawings look, and the darker contours make them look even stiffer and cartoonier, even though my intention was just to better define my lighter initial sketches. I will make an effort to be looser with the next ones.
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Rhubarb
These were so quick and fun to do! I focused more on the flow of these over measuring out proportions, but I think that's in line with the purpose of this exercise anyway.
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Rhubarb
I wasn't too sure how to approach this exercise at first. I had trouble determining when to use a specific type of line and what degree of simplification to go for. I think the boots demo also threw me off a bit - I initially simplified my first Skelly sketch more, but then I remembered how Stan had drawn every individual lace on the boots, so I went back and added in all the teeth and vertebrae. It was only once I'd finished the first 4 sketches and watched the last demo that something finally clicked, and I redrew Skelly prioritizing bold, confident lines without worrying too much about details or absolute accuracy. I'm determined to get more practice in with simplifying to CSI, as I feel I only began to understand it with the last Skelly sketch, so I'll be sure to do more sketches keeping this lesson in mind.
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Rhubarb
Already completed this assignment using graphite pencils since I want to get more comfortable with traditional media, but it can't hurt to do extra work digitally as well :)
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Rhubarb
Before and after watching the demo. I drew the first one way too small, which made the values and edges hard to control. Then redid the exercise and drew it twice as big, and that really helped. Also used the tip of the pencil to shade, which eliminated a lot of the visible paper grain that bothered me about the first sketch.
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@hasham1
Thank you for the amazing lecture, This is my first attempt to sketch a pear, I have created this digitally, there are some things that made this look weird, is because i don't know how to fix it, it is like when I was hatching line, sometimes it gets darker, and that add unnecessary value on a part where It did not need it to be, I would hugely appreciate the feedback and critics.
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Rhubarb
Good job on the overall shape of your pear and the way you designed your value blocks! As for the issue you're facing, I think it just comes down to the brush you're using. It looks like it's meant to replicate watercolor, and these brushes are generally unpredictable and not very well suited for this type of assignment. One of the things this exercise is meant to teach you is how to fill in large areas with an even tone. If you're doing this digitally, I would recommend using a brush that's similar to graphite (example 1). I'm not sure if Photoshop has built-in pencil brushes (I'm sure you can download some if not), but I know Krita has some nice ones. Just lower the size to how small a pencil point would be and that should do it. Alternatively, if you want to bypass this part of the exercise and just practice getting the values right, then instead of using a pencil brush, you can grab a basic firm-edged round brush, turn off the pressure sensitivity for opacity, lay down your 5-value palette on your canvas, and then draw your pear eyedropping the values straight from the palette (example 2). This way there's no chance of encountering the issue you had with additional values being created from overlaps between your brushstrokes. But I would still recommend trying a pencil brush later to get as much as possible out of this lesson if you're going the digital route. Hope this helps!
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Rhubarb
The first 4 pears are from April, then I took a break, and did the final pear (and peach from life) yesterday. I had trouble with the first batch since I was using old pencils that proved to be unsharpenable, so I felt I was constantly fighting against them and everything ended up very smudgy. Then I got a new, much better quality pencil set and tried it out on the last couple of drawings and it was a way better experience. Learned a lot from doing these! I wasn't sure how much to simplify at the beginning so I added more complexity with each drawing. The values got away from me a bit at times, but I can see a lot of improvement from the first attempt to the last. I'm glad I didn't stop at just one drawing per reference. Definitely useful to keep reiterating. Moving on to the portrait exercise next.
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Rhubarb
Really happy to finally start these assignments! I did these swatches expecting to see a big difference in how dark I could go using the different graphite pencils, but I didn't really find that a softer lead achieved a darker line like I've seen in the past. Maybe it's just this brand of pencils? The softer the lead, the buttery smoother it feels, that's all.
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