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
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?
Please don’t apologies for the size of this wonderful lesson. It was a great lesson! It actually felt really condensed, like you used the time to say what you most needed to, and nothing else. It felt like it went by fast to me. I would have been fine with this video being twice as long. I always appreciate lessons being as informative, and clear, as they can be, and if that makes them longer, then that’s fine with me. Actually, when I saw the size of the video, I got excited because I knew it was going to have a lot of good information in it.
I wound suggest not thinking of the pelvis as being on a twist in this image. Instead it might be helpful to think of the pelvis sitting in place, the same as it always does, but in this image it’s in a slighting three fourths position, and we are looking down at it. So just draw that as you normally would if there was no twist. As far as for the rib cage that is twisted from the pelvis a bit. A good thing to take note, is that the model here is not actually twisting, in the rib cage, as much as it first appears. The shoulder blade, of her right arm, is being pushed back and out, which makes it appear that there is more twist to the rib cage than there actually is. But if you look at the indications of her spine, you can see that the twist isn’t that major. You can see that the spine is really just twisting in between the pelvis and the rib cage, to connect those two different positions. Remember both the rib cage and the pelvis are in fixed positions, meaning they don’t themselves really deform much. The spine, the Thoracic part, is connected to the rib cage in a fixed way. When the Thoracic rotates, the rib cage is coming along for the ride. So if you understand where the spin is, that should help explain what the rib cage is doing. Just remember that, in this image, the rib cage is in a three fourths view, which means you are not just looking straight at the back of the spine, which means you are going to also see it’s natural curve, that you can always see from the side view. Don’t get that confused with the twist. In this image the model’s pelvis is slightly turning away from us to the right, and I feel the rib cage is slightly moving away from us to the left. So think of them as both being in static positions in separate three fourths view, and then attach the two using the Lumbar part of the spine. Maybe look at pictures of the rib cage in a three fourths back view to help you understand. I hope that helps, and that I didn’t say anything incorrect. That is just the best I could come up with from looking at the image. I am still learning too. I thought you hadn’t received any comments yet, but just saw that you have. Oh well, maybe this will still be helpful.
Thank you Stan! This was just an awesome demo! It has really helped make things a little clearer to me, I look forward to making another attempt at the assignment, and see if I can better apply these concepts. You really did a great job of explaining these concepts and showing us how to apply them. I think it helps a lot when you tell, and show us, how not to do, and think, about it, and then tell and show us the right way. It helps things click because there is less room for ambiguity and misunderstanding. I appreciate the effort you are taking in trying to understand how we might be misinterpreting something, beforehand, that you are trying to teach us, and adding the extra clarification to it. This is a great course! I just wish it had been around years ago, but I’m very glad that it’s here now.
This was a fun assignment. I feel like I get the concept, but in practice it’s more difficult. It is hard to keep the whole picture in mind. There are a lot of different things to distract my brain away from thinking about what is the best shape language while drawing such as proportion and angles. I had hoped to get more done by now. I had to spend most of my time warming up, because it has been awhile since I have drawn much, just resting my inured shoulder. It’s crazy how rusty you can get. I didn’t warm up yesterday and felt that I just couldn’t draw at all when I was working on this assignment. But today I spent a lot of time warming up and at the end my lines started to behave more, and I had a much better time of it. I will try and get a few more done if I can. I want to keep working on this.
Hi everyone, I did a portrait exercise using a model I have seen on a Stephen Bauman video on YouTube. I am not really satisfied. I really struggled with the proportion. It is definitely an aspect I need to work on. Amongst other things, eyes are not as I would like them to be. I’d love getting your comments on this one. I wish you all a wonderful day.
I don't know why, but the more I tried to measure, the proportion became worse. Especially if I do it with the envelope method. I hope I can get some feedbacks on this. Especially on how to use the envelope method, since to be honest. It's really counter intuitive for me, since to be able to envelope correctly, I need to measure the figure beneath it, which defeat the purpose of the envelope itself (?)
I didn't see the downloads until just a few minutes ago. I followed the visual style and did some measuring. Although, to be honest I struggle with the measuring. By struggling I mean I seem to take an inordinate amount of time to measure and when I think I have it, I measure again and come to realize that nope, my proportions are incorrect. I'll try it again with the newly downloaded portraits provided. In the meantime, here is what I managed by doing the first 3 videos of the visual style. I know it is still not accurate, but would like to hear some feedback as to what I need to improve. Yes I know I added features (like the mouth and the eyes) when that's not part of the first 3 videos.
Is the summer sale discount supposed to work with "Marvel's The Art of Storytelling" presale? Or can you not use both sales on the same product? I'm not sure if it is just not working, or if it isn't meant to work.
Yikes 😬 that was difficult for me. It was a big jump in difficulty for me from the only using straight lines lesson. I got the snail but I don’t have confidence in my line drawing so it came out scratchy. 😕 I started the boot but was getting too frustrated so had to stop for a while. I need more practice drawing curved lines so gonna practice that for a while.
added a new topicThe Mindset That Will Help You Get Better At Line Control.
I wrote this for people struggling to draw nice lines. People that have poor line control. I feel your pain. I used to have bad line control, and had to drawing things in little connecting lines that should have been one line. I wondered if I was just lacking a trait that would allow me to draw nice lines. Watching others that could draw nice long smooth lines that went where they wanted them to go seemed like magic to me. Even when I got good enough to capture a likeness, it was still a long and frustrating journey of crawling along the page with small lines that I had to spend a lot of time erasing and adjusting. It made it difficult to start a drawing because I knew it would be a frustrating struggle, that would take a long time. But I have learned to draw nice long lines that, mostly, go were I want them too. I still do have to take time to warm up, and practice regularly. It’s a great feeling, and you can get there. What I did to help myself improve my line control, is to simple work on making lines that I imagined making. Mostly straights and curves. I concentrated more on straights at first. I would try to draw long straight lines finding the way my arm naturally found it easiest, at first. I tried to draw lines that matched the one that I had just drawn but a little under it. Then tried to draw over the straight line to see if I could match it. I tried other directions to my lines. I added in curves. When I could make nice curve lines I started to work on making them start from one point and hit the other point while staying a nice smooth line. I tried drawing at different speeds to see what worked best. Some speeds work best for different things, such as what is easiest to make a smooth line, and what is easiest to make an exact line that goes where you want it. I had tried doing this some years ago, but my lines were still bad, and I found it frustrating, and got discouraged. This time I let go of my connection with my want to get it right. The lines would be what they would be, my goal was only to improve from the last stroke, or, if it was better than normal, to match it. I made a game out of it in my mind. I allowed myself to be interested in the possess of it without the added weight applied by needing to have a good end result. When I would make a nice line that did what I wanted, I would try to take note of what I did. When the following line would be worse, I would do the same, but would not allow myself to think of it as a frustrating struggle, that would lead to feelings of disappointment. There was nothing to be disappointed in, I was not looking at the bigger destination of drawing well, in those moments, instead a mistake would give me just as much helpful info as doing a line well. I replaced frustration and disappointment, in my mind, with curiosity and interest. Like in a video game where you keep trying to beat a level and making mistakes, and then falling for them again, while you remind yourself not to make that mistake next time, and try again. Every time you make a nice smooth line that goes where you want it to go, it’s like you beat a level, and that feels good. But that doesn’t mean that you are done with that level. That means you play that level again, and again, and again. Sometimes winning, sometimes not. But the fact that you don’t get it right every time is part of what makes it so interesting. When you are working on this skill, you are not trying to make a pretty picture. The end result of each attempt doesn’t matter. Each attempt is only there to help you with your next attempt. The more you play this “game,” the more often your attempts product nice lines. Then at some point you start drawing something and you see it coming together with nice lines and being more fun than struggle, and it will feel magical. In between sessions, of playing this line making game, watch videos of artist, that draw lines well, drawing where you can see their arm. Study how they move. Watch the line that they just made, study the line, then rewind and watch it again just watching what they do with their arm this time. Then try it yourself. Keep trying different things, such as speeds of drawing the line, and different ways of holding your pencil. Then watch other artist, with good line control, make lines again, and repeat. Keep curious and thinking about it. Imagine yourself doing it in your head. If you can make this fun, you will do it more. I now find it fun and stress free to work on line control. It’s more like mediation for me now. I do page after page after page of this in one session. I do it on copy paper, and my iPad. I wish I had done this years ago. But back when I first tired I hadn’t yet found the positive attitude that makes this successful. Just one year ago I was really bad at line control. I’m happy to be able to do it as well as I can now, and I look forward to getting much better in the future. In the meantime, I’m going to keep playing my line control game. I hope this helped to inspire someone to think about this process differently. It doesn’t have to feel like boring and frustrating work. It can feel more like play if you let it.
I wanted to do three different studies by three different artist, but I only managed to get one done. This is a great exercise, I will definitely do more of them. I’m glad I did this. It’s giving me more confidence. I have been mostly working on line control exercises, so it was nice to actually draw something. My line control exercises are really helping a lot. I was bad at line control a year ago, and now I feel like I am passable at it. This course has helped me a lot already, and has made drawing more fun for me. For my assignment I studied the artist Carlos, Gomes Cabral, AKA carloscabralart on Instagram.
Thanks Stan, this was a great help. This video has lots of great tips in it. It really helped clarify to me how you intended us to work on this assignment. I would have worked a bit differently on mine had I seen this video first, and not just for these references, but for any. I feel it will go a bit easier next time for me. I will also let my sketches be a little more messy next time. I see what you mean as long as you keep your searching, or even lost, lines light, and just darken in where you decide they should go with dark lines, you will still have clarity with your design that will read well. I was pretty concerned with my lost lines making my drawing lose clarity as I worked on this assignment. I think if I just keep things light longer then I wouldn’t have to worry about undoing, or erasing, so much. Something that also sounds more enjoyable. Although, I think too many lost lines, even drawn lightly, could still confuse even the person drawing at some point. Also, there is still the issue of messing up with the placement of your dark lines, and or deciding lines need to be moved after you have placed them, that will still make you need to erase or undo sometimes, else you will have your dark lines looking like a lost lines mess. I’m sure it’s just one of those things that the more you do it, the better you get, the less of an issue that is.
I tried to stay loose and keep things simple. The urge to want to perfect and clean things up was stronger than I had expected, but I did my best to let it be kind of messy. I would have kept messing with it but I wanted to get it done in time so I am stopping there, which is probably a good thing. I’m working digitally in Procreate, and I am still fighting for line control, so I did have to undo a bunch as well, just to keep it from being a complete mess. I tried to find a good balance between too much mess and not enough to keep to the instructions of the assignment.
You have to follow those perspective lines that you find. So if you don’t know perspective you will have to learn the basics to see it. To me those pictures look like the camera is about where the abs are for the guy, and where the chest is for the girl. So that is my best guess.