Steven Wolf
Steven Wolf
Earth
Stan Prokopenko
Congratulations to all the winners! This was a very difficult one to judge because there were way more amazing submissions than prizes. And if I counted correctly, there are 105 prizes... We will be adding all the digital prizes to your accounts within the next few days. For those that won prizes that require shipping, we will reach out to you. Day 1 Figure Fundamental Courses - @Hanna Looye, @Vue Thao, @Derek Austin Proko Model Packs - @Martin Dubček , @Archie chrisanthou, @Peter Orojan, @Beican Gao, @tofsel Small Wacom Intuos Wireless Tablet - @Rubens Araujo Day 2 How to Draw Fantasy Female Figures Course - @garan OLO Marker Zorn Set Signed by Stan - @lynzendra Mermaid Reference Bundle - @benjaminvictor, @Lil FatWombat, @Arnav Khalkho, @Johannes Schiehsl, @astridlr Day 3 Anatomy for Artists (Arms) Course Parts - @Archie chrisanthou, @pmak22, @Latari V☠ Proko Hand Reference Packs - @Jim Papaioannou, @Hanna Looye, @klaibee, @Bria, @Manuel Piedra Small Wacom Intuos Wireless Tablet - @Makoto Yasumasa Day 4 Block In Course - @DreamMist Portrait Fundamental Course - @Hélder Vinícius, @Tajih Phelps Proko Skulls - @Cesar Barcenas, @ariart18 Portraits and Expressions Reference Bundle - @Maryna Tkachenko, @Al Pinu', @Cecilia Stagni Day 5 Viking Model Pack vo1 - @cumpas, @Jean-Daniel Bouvet, @dalonghu Viking Model Pack vo2 - @Bryce Verket, @Gannon Beck, @Kenny Tafoya Barbarian Vol1 - @Joseph Osley, @onkelpedro, @Nate Barbarian Vol2 - @Moses Lee, @Matt Tsui, @loes roos Small Wacom Intuos Wireless Tablet - @Steve Lenze Day 6 Torso Parts from Anatomy for Artists Course - @onkelpedro, @David Martinez, @Alexis Riviere Arms Parts from Anatomy for Artists Course - @David Campbell, @klaibee, @Joseph Osley Legs Parts from Anatomy for Artists Course - @megreet, @mua, @Antti Kallinen Anatomy Study Reference Bundles from Grafit - @Merrill Hutchison, @Johannes Schiehsl, @Shannon Stone Proko Skull - @dalonghu Day 7 Templar Model Packs - @Maryna Tkachenko, @Tate Green Scythian vol. 1 Model Packs - @Kyle Mjoen, @icosah Warlord Model Packs - @Moses Lee, @soso17970 Medium Wacom Intuos Wireless Tablet - @Marco Sordi OLO Marker Zorn Set Signed by Stan - @Gannon Beck Day 8 Figure Fundamental Courses - @Rubens Araujo, @Vlad Mok, @heather08 Proko Model Packs - @Vue Thao, @carlosrdzart, @Tori Tempo, @Rüdiger Weghaupt, @illarstration Small Wacom Intuos Wireless Tablet - @arnaud defaye Day 9 Proko skull - @Veronika Zasadna Medium Wacom Intuos Wireless Tablet - @Jabin Portraits and Expressions Reference Bundle - @JASON WILLIAMS, @Jean-Daniel Bouvet, @Sikandar Kashfi Portraits Study - Light & Emotion Vol. 3 Model Pack - @Kyle Mjoen Portraits Study - Light & Emotion Vol. 2 Model Pack - @bhavanichamarti Day 10 Drawing Basics Courses - @Tori Tempo, @Sarah Rivera, @mariartsy Wizard Model Pack - @Veronika Zasadna, @Miko Signed Grey Marker OLO set - @Sinem Kıymaz Day 11 Drawing Basics Courses - @lynzendra, @mac hewitt, @leel Proko Model Packs - @David Campbell, @anonymouscrow, @saschu Proko Skull - @Matt Tsui Day 12 Creating a Comic Page Course - @Gannon Beck, @Makoto Yasumasa, @Eric A Comic Poses - Female & Male Pack - @JASON WILLIAMS, @Steve Lenze, @Olena Voronina Fighting Pose Reference Bundle - @Ricardo Martinez, @aral, @Konrad Słodowicz
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Steven Wolf
Are you going to do a small video where you go through the different contest winners? I think that would be fun to watch. I'd like to see what each of them look like without having to click on each name and find it. Also congratulations to all the artist that won a prize. It was fun to see all the different art people did.
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Steven Wolf
I managed to squeeze in this expressions drawing before the end. I think it turned out alright, I didn't really capture the upturned head, and I didn't get the squinting look enough, and I think the eyes are not wide enough. But I kind of like looking at it all the same. I think, like most of my drawings, it looks much better when I look at the thumbnail or on my iPhone screen, than when it's full screen on a bigger monitor. I feel like that means that I at least did something right, that I like it then.
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Steven Wolf
Well it took me a few hours to get this done. I kept making changes to it, but I feel like the time was worth it for all that I learned doing it. There is still a lot I could improve upon in this drawing, but feel good enough about how it turned out.
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Steven Wolf
I kind of like what I did here, but I also am really disappointed with it. With more time I could have got it to a place where I felt better about it. I really need to work on clothes and folds. It looks better on my phone than on my iPad or PC. I don’t think it’s that terribly far from where I would like it, but that carries with it its own frustration. Good practice either way. The more I do of stuff like this, the sooner I will get to where I can get to a happier place with my drawings faster and with less struggle. Yeah, if I ignore what is wrong with this one it’s kind of cool. I’m probably being too hard on it, it’s just not quite the vision I had in my head.
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Carlos Javier Roo Soto
I just used the image from the YouTube channel community tab, did this quick caricature
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Steven Wolf
Nice work! Fun drawing!
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Johannes Schiehsl
Mermaids!? Well - I can't resist! 25 minutes is not much - but the reference images are lovely!
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Steven Wolf
Really nice work!
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@gabrael
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Steven Wolf
Very nice.
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Steven Wolf
I had fun with this one. I liked how it turned out even if it is a bit messy. I liked the mermaid being less messy then they random guy a drew completely from imagination. I like how it makes her look more in focus and real. I added some color too just to help it read a bit more. Before I started drawing I saw this image and could just see her sitting on the edge of a boat flirting with a sailor.
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Marco Sordi
2023/11/10. Good afternoon everybody. Here is another illustration of her Majesty. Until the end of the year I will only draw Elsa. Bruce Lee once said, “I am not afraid of a person who knows 10000 kicks. But I am afraid of a person who knows one kick but practices it for 10000 times”. I want to push my style as much as possible towards the style of Disney animators and character designers. And I want to be able to draw my favorite characters without any reference. If I draw a different character every day I will never master anyone. Of course I am also making other things, such as figure drawings and paintings, and continue to study the fundamentals such as gesture drawing, mannequin drawing, anatomy, etc. But I decided to dedicate at least two months to just one character, and honestly, with every illustration I draw I feel like I'm getting closer and closer to making Elsa look believable. So I hope I don't bore you. As always if you have any comments or suggestions please feel free to leave a comment. Thank you and enjoy the weekend!
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Steven Wolf
Nice work. I have a few notes on things that stood out to me that I think could be improved. First thing, is that her left arm, the one closest to us, seems thinner than her far right arm. I am talking about the upper arm. If either of the arms should be looking thinner it should be the farther one, because of perspective. It’s also a little unclear to me if that closer upper arm is meant to appear to be showing us just the outer side of it, which is what it looks like to me if I just look at the upper part, or if we are meant to be looking at more of the back of the upper arm while still seeing some of the outer side of it. If I look down at that elbow it looks like it has to be showing us a lot of the back of the upper arm. What was your intent there? Another issue is with the overlap with the one arm in front of the other. For the upper, closer arm, you have a tangent line there, where it seems that the closer arm, to us, is sharing a contour line with the far upper arm. Tangents play tricks on the eye and are best avoided if you can. To do that, you could either make the front arm overlap more of the far arm so it is clear that they are not competing for who’s contour line that is, or you could do what I would suggest, in this case, and create some negative space in between them, which would give a better read to the silhouette. This is even made more true in this instance, because the legs are also shown both together, with no space in between them, as well. This creates a kind of mirroring effect, of both less clear silhouette which further takes away from the impact of the read of the image. Now the overlap for the legs is good because there isn’t that tangent issue of the shared contour line. But it does give more of a quick read as being maybe one leg. If, however, you brought one leg back a bit in it’s placement of the lower leg and foot, so that there was negative space between the two legs, I think you would get a stronger read from the silhouette. Or maybe have her crossing her legs to achieve the same effect. Also right now the legs are doing the same thing, and the arms are doing mostly the same thing. That’s a lot of parallels for a pose. A pose will always be more interesting when you have variation instead. Her torso also looks a little stiff, that plus all of her limbs mirroring each other in parallels adds to the stiff feeling. Right now you have her looking back with her turned head, which is nice, but I think that would be enhanced if you gave a bit of a twist to her torso so that her chest would be facing a bit more towards us, with that closer shoulder pulled back with it. This would both make the head turn look more comfortable, and add more dynamics to the pose. And make it easier to have a space between the two arms, like I talked about. I also don’t know what you are doing with the hand which looks like it has one really big finger. I am assuming that was meant to be two fingers together but it looks like one big finger. The last thing is that line, looks like maybe a shadow that goes from eye to eye across her nose. Removing that would look a lot better. Other than that her face looks great. She has a nice expression. The hair looks nice too. Anyway, I think if you made those changes it would improve this drawing. I hope that helps.
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Steven Wolf
Thanks for the video Stan. Every time I watch a video of you doing / talking about your process for using rhythms for gesture drawing I gain more insight to ways of thinking of, and going about tackling, your method for rhythms and gestures. After watching this video I feel like I have a lot of room to explore using longer rhythm lines. I watch Michael Mattesi’s Force Fridays every week, and he has a different method for thinking about rhythms which concentrates on the rhythms of the forces of motion and gravity that move through the body, instead of drawing longer rhythm lines. In his case, the longer rhythm lines would be the imaginary lines that connect the lines that you draw, flowing that force from the one line to the apex curve of the next opposing sides line. So I had to adjust to the way that you go about it. I really like Mattesi’s Force method, but, at the moment, I find your method works in a way that is easier for me to get things more consistently “accurate,” when drawing from a reference. I feel like I am getting better results this way. Although I do find that when drawing using, more, your type of rhythm lines, I am still trying to think about how the Force would flow through it. I am convinced that there is some way to incorporate both of your two methods into one hybrid version of the two, and that that method will end up working the best for me. Right now my brain is a bit caught in between. I also wanted to thank you for your kind words about my comments. That was really nice to hear. It meant a lot. I always worry when I give feedback that I may be incorrect, or just think something is supposed to be done one way, when there are actually other ways, that I don’t know about, that are as equally valid a way of doing something. I don’t want to steer someone away from something that is just different from the way I understand it, but is not “wrong.” But at the same time when I feel like I might be able to help someone, I feel like I don’t want to not try to do that. You have encouraged me to keep trying to be of help, even though I am still just learning myself. I find it actually helps me understand some things more when I take the time to try and explain it, because I really have to think about it first.
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Marco Sordi
2023/10/11. Good morning everybody. I fixed the character design I posted few days ago and thanks to your suggestions it looks much better now (though her left eye in the 3/4 view still gives me some problems). Thanks a lot.
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Steven Wolf
Yeah, that looks much better now. Nice work!
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Lin
Asked for help
Here is my submission. I tried to apply some of the things we've learned so far, sorry if I made a mess!! D: This one was difficult but very fun.
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Steven Wolf
Wow what a difference from when you first posted about this! That is a massive jump! Really nice work Lin! They are fun to look at. Almost looks like Mike Mattesi drew them. Your lines look great! The line weight is fun. There are a few areas that I see that could be improved. In your first pose, the far upper leg, his right, looks a bit too symmetrical in shape. There is the same issue with the upper arm. Designing a better shape for those parts would help a lot. Another thing that I think would help with this one is to show a line for the hip above his left leg, our right side. As is, it looks like the leg is attached too high, and you lose a bit of the torso’s feel. On your fourth pose, the leg closest to us, on the upper leg it would be good for it to taper in some towards the knee. Right now it looks really symmetrical. Which means it doesn’t move our eye through the shape. Then the far leg would be improved if the bottom tapered in at the ankle, on the lower leg. As for upper leg I think it would be better to just keep that bottom line a straight. Right now you have it curving up at the pelvis and it’s giving it a pinched look. Even with those issues they are still really fun to look at. But making those changes, I think, would make them only more impressive. I hope this helps.
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Thieum
Asked for help
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Steven Wolf
These look really nice! Great job. Really nice work. They are fun to look at. Nice lines.
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Marco Sordi
2023/10/9. Good afternoon everybody. After reading @Steven Wolf's critique I decided to make some major changes to my latest illustration. Steven pointed out to me that the pose wasn't quite correct with the right foot raised. So I checked several photos and based on them I moved the right foot forward quite a bit making the toes touch the ground. Now the pose seems much more stable and solid. The hips were also not aligned correctly. I think they should be ok now, well I hope so. Then I widened the waist slightly because if the right leg moves forward the twist of the pelvis should also bring the right side of the waist forward so that that side is more visible. Finally I added a background color with a subtle indication of the floor so that Snow White doesn't appear to be floating in the air. Thank you Steven for your very important feedback!
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Steven Wolf
Yeah, that looks a lot better now. I am happy that was of help.
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Marco Sordi
2023/10/7. Good evening everyone. This is a character design I'm working on these days. For the moment I have finished the basic look and I would like to know if I am proceeding correctly. To align the features of the face and hair I used guidelines. In particular I would like to know: 1) if the protagonist looks like herself in all three angles. 2) whether her eyes, particularly in the 45 degree shot, are in the right position and in the right proportions and perspective. 3) if the hairline is too high or the forehead is too wide. Obviously if there are other problems or mistakes please let me know. I know they are all very busy but if I could get some very kind and professional feedback especially from @Liandro, @Steve Lenze or @Martha Muniz who have already been really generous and helpful with their advice in the past, I would be really happy! Thank you!!!
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Steven Wolf
This looks very nice to me! I have a couple thoughts. On the profile view I am not sure that her muzzle fits the three fourths view. When I look at the three fourths view I don’t picture that protruding forward as much as you have in the profile view. I don’t know that I am right, that is just my impression. Another thing that I notice on her profile view is that her eye seems like it is in a, non-relaxed, wide open expressing of surprise. It’s a very intense look. In the other views her eyes look casual. I see why it’s like this, because of how you shaped the eyes, so I don’t know if you have to redesign the eyes so that on the far sides they don’t look wide open, or if you just fudge the profile view so that you are not seeing the full iris. I like how they look in the other two views. I hope that helps.
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Marco Sordi
2023/10/8. Good afternoon everybody. Here's my latest illustration. I need your help because i get the feeling there's something somewhere doesn't work properly when I try to set a background but I can't say what it is. Sorry. Your opinions would help me a lot. Thanks and have a good Sunday.
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Steven Wolf
I think it’s because you have her standing too close to the wall. Also, is the foot on the far leg meant to be hovering off of the ground, or resting with the tip of the toes on the ground? If it is meant to be hovering, why? I don’t think hovering is right for this pose, because she seems firmly planted in a resting position, based on the pose of the rest of her body. It seems odd that she would be just balancing on one leg alone. If that foot is meant to be providing support then I think it would improve the pose to have the tip bending forward to show that it is helping to support her balance. That foot would probably have to come down a bit for that. I am not sure about the perspective. Something to consider is that most of her weight is on the closer leg, so that means the hip on that side would be pushed up, and the far side of the hip would drop down, so that far leg would start a little lower down. Doing something with that might help you with making the far foot touching the ground with the toes bent without making the leg seem too long. Just a thought I had that you could consider, if it is useful to you. Right now that foot looks like the heal is pressing through the wall because of the perspective. So try pushing the wall back a bit, and consider having the far foot bent at the tip to help plant her position. I think those changes would help a lot. Looking at it more, I am wondering if it wouldn’t look better if you made her waist a bit thicker. I am not sure how stylized you are intending this to be, but as the rest of her looks pretty normal that might stand out as feeling odd. Right now her arm mostly blocks it, but if it wasn’t, I’m not sure that it wouldn’t stand out more. Just a thought I had. I didn’t notice it at first. All that being said, really nice work man! It’s fun to look at. I really like this interpretation of Snow White.
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Steven Wolf
This was a very rewarding assignment for me. I had to figure out how I wanted to go about doing the rhythm based gestures, as there are many options there. I tried different things and slowly figured stuff out, and at the end I feel like I have a workable method that produces acceptable results. I feel pretty good about my work here. They are neither as good as I had hoped, nor as bad as I had feared. I like looking at them. Doing these has giving me a lot of confidence, and makes me feel more determined to get good at gesture drawings. I can’t wait to see how good I get after working on this for the next year! I know there are still a lot of room for improvement, but I feel like I just need time and effort to work that stuff out. Really, Stan, I have to thank you. A few years ago, when I realized that I would need to get good at drawing gestures to achieve my art goals, I kind of stalled out, with frustration, and slowed down with my drawing, because I had such a hard time understanding how to even go about gesture on my own. I have been studying it ever since, but still struggling to do it well enough. I got to where I felt I understood what other artist were doing, but still had trouble doing it on my own. I feel like this course has taught me some of the missing ingredients that has finally helped me get over that last hurdle. Instead of getting bummed out about the struggle and the result of my gesture drawings, I feel really enthusiastic now. I’m finally at a place where I can work on gesture and have fun with it and get good enough results to make me want to keep working on it. Which means that I will work on it much more, and improve much faster, and that feels so great! Instead of dreading doing gesture, I am really looking forward to doing the next one! I’m so happy!
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Lolo
Asked for help
This course went from beginner to advanced real quick. Very frustrating, and the poses are too advanced and now seals make me cry.
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Steven Wolf
Don’t worry, you are not expected to get this right away. Stan is just teaching you how to start thinking about it, and working on it, but it’s going to take some time working at it to get good at this. You are doing fine. I thought a couple of those were pretty good. I started learning to draw from reference, and learning anatomy, and I could get a likeness, eventually, but my figures were stiff. When I learned that it was highly recommended to get good at gesture drawing first, I stalled out for a few years with my drawing, as it was very difficult for me to get my head around it, and I had to learn to draw with better line control, as I used to do little chicken scratches. I have watched a lot of videos on gesture, and seen a lot of different ways to go about it now, and I’m still working out what way is best for me, but at least I now understand it pretty well intellectually. Doing it is harder, but all I really need now is just to put in the time with lots of practice. Do one, evaluate it, and try to improve on the next one. Be patient with yourself, it’s going to take awhile. But the more you practice the faster it will go. Try not to compare yourself to other students who may have been studying drawing longer than you.
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Rohit M
Great lesson! More of this please!! Two questions I had was on concave vs convex shapes: (1) Mike, in his lessons on shapes, relates convex to positive and concave to negative shapes which I did not fully understand. How does convex and concave shape usually work or are used in rythm and shape design? (2) I noticed that Stan was sometimes putting two almost parallel curves to denote hands or even legs below the knee, but there was enough variation that it looked good. But when I try, arms start to look like a flat ribbon curving: Eg - ( ( not sure what the secret sauce is here? Also, on a side note (not to the topic) - I think the video editors on Proko team love Stan tearing away the paper :P - they showed every shot of Stan removing the paper when he moved to the next drawing...haha
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Steven Wolf
It would help if you showed us what you mean. For question 2 show a picture of you trying to do that and it coming out like a flat ribbon. Also take a screen shot of the part where Stan has done the almost parallel thing in a way that looks good to you. That way we will know what you are trying to do and what you may be doing wrong.
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Lin
I'm struggling a lot with rhythms for stretched limbs where it's a series of subtle bumps but no very discernible bend. A flowing curved line completely obliterates any semblance of the object itself while addingany detail ruins the flow. How would you guys deal with this arm and this leg here? One curve? Two? Straight lines?
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Steven Wolf
I think you are looking too much at the lines of the contours. It’s easy to confuse the various bumps with the overall rhythm of the limbs. But what we want to be looking at is the overall impression that looking at the limb as a whole leaves us with. I think that the arm is in a perfect position for a nice curve, on the bottom, that starts at the torso and moves through the forearm. I would not focus on trying to capture the triceps in that first rhythm line. Instead I would do one long curve down the whole arm, and then later add the extra bump on the triceps if you are adding more details. It will help you capture the true impression of the rhythm without loosing it in the details. I think on the top part I would do more of a straight that tappers down from the shoulder to the wrist. After that I would add detail over it by making a short curve for the top of the deltoids, and one for the top of the forearm. There are other ways to handle it, but this is a way that will help keep things from getting off of the main rhythm or looking disjointed. It’s so much easier for your mind to work on one thing at a time, especially when you are learning. Start simple and add complexity on top. For that leg I would do the curve on the outside of the upper leg, and stop at the knee. That would be one thought. Every line should be a thought. I would make a small slight curve for the inside of the knee, then make an outside curve from the knee to the foot. For the inside of the upper leg I would make that a straight to the knee. Then I would do another straight on the inside of the lower leg from the knee tapering down to the foot. Also a line doesn’t have to be completely straight to be considered a straight. It just has to have a mostly straight feel. Also if you have a small curve on half or less of the line we call a “straight,” and the rest of that line is straight, if it is opposite a longer curve line then it will still read as a straight. Because it is more straight than the opposite line it will feel straight by contrast. If that makes sense. Anyway, that’s just how I see it. I’m still just learning as well. There are other ways of doing it and thinking about it.
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