Critiques / Q&A
Finding the Ultimate Truth with Cesar Santos
I sit down with Cuban-American artist Cesar Santos to ask him about his journey as an artist and his thoughts about art in general. We get deep and he teaches me how to philosophize 😛
Spirit Animal Drawing Tips – Caricature Critiques
There was a variety of problems students had, but in this critique, we’ll focus on what you should focus on exaggerating from a spirit animal when drawing your caricature.
Fixing your Mistakes – Blade Runner Caricature Critiques
Court explains how you can fix your caricature mistakes while sketching Mackenzie Davis and Ana de Armas.
Creating and Selling Art – Aaron Westerberg Interview
Learn from fine art painter Aaron Westerberg on how to create and sell art. Good tips for selling on Instagram.
Proko Live Q&A + Sketchbook Tour
Here’s the Q&A I did for the 12 Days of Proko. I answered a lot of really great questions that covered a bunch of different artistic and creative subjects.
Career Advice from a Disney Animator – Aaron Blaise Interview
Dive into a ton of interesting topics including how Aaron Blaise got his start as an artist, his experience working for Disney and some of his upcoming projects
Pushing the Exaggeration – Caricature Critiques
When it comes to drawing caricatures, knowing how to push your exaggerations to the extreme can really help you with design choices in your piece. In this critique, we’ll use a student’s caricature of Elijah Wood to talk about the importance of pushing your third caricature sketch to the limits.
Finger Drawing Mistakes You’re Making – Hand Critiques
We’re back for Part 2 of the Hand Critiques. This time I want to help you improve the way you’re drawing fingers. I’ll go over a few things that will help you make your fingers more expressive, dynamic and 3D. I’ll show you how to avoid 2 common mistakes – snowman and sausage fingers.
What Everyone Gets Wrong Drawing Hands – Hand Critiques
Going through all your hand assignments, I noticed most of them have one main issue. They lack structure. Constructing the hand from basic forms and following the primary – secondary – tertiary hierarchy resolves many other issues. It helps to draw the hand accurately from imagination, attach the fingers correctly to the palm, keep things in perspective, and even helps to shade. I’ll also show you how a focus on structure doesn’t mean you have to sacrifice gesture.
Why you Should Learn Color and Structure – Checklist Critiques
This student critique builds upon the previous lesson on using checklists to caricature a subject. For this lesson, the critique is broken up into two parts. The first goes over the dangers of sampling colors from photos to replicate a subject. The second goes over the abstraction process and fixing some of the structural errors of a caricature using a checklist.
