After seeing the critique on one of the studies after Claire Wendling and noticing I made same mistakes, I went on to give it another try. This time really focusing on trying single strokes - rather than constructing shapes with multiple lines. Before the critique I was too absorbed by the proportions. With these I was more mindful about my line quality, so in order to no get overwhelmed, I took only parts of 3 different Claire's sketches to practice.
My art father: Karl Kopinski I really like his sketch but man, so disappointed when I see those pictures next to each other But nobody said it would be easy, other studies of Kopinski are waiting for me :)
Bought 200 (digital)MAD magazines online 😃 Here's Woody by Mort Drucker. First I studied him with graphite pencil, took a photo and worked on it in Procreate.
Had another go after watching the demos and critiques. I chose this drawing by Claire Wendling.. I really like the scratchiness and use of many lines to create single contours and shapes.
Very challenging assignment, might do a few more yet but I'll weave them into the course through out
Study of a Frank Cho dinosaur, tried to apply Stan’s advice from critiques. Except I should have broke it into small pieces, instead of recreating the whole thing. By placing them side by side, you can really see all the errors.
Hey everyone, hope you are okay. I have a question that got basically nothing to do with the vídeo. Contextualizing, I'm a level 1, I know we didn't reach Values yet, but I'm thinking in buying one of Proko's color course, to do along with Drawing Basics. And I wanted your opinion, you guys think its too early for that or its fine to do so? If its fine, which course is the most reccommended for a beginner?
Critique #2 is actually a woodcut, so it is a step removed from Dürer's presumed line drawing made first, then cut into a woodblock either by himself or by a master cutter. If you are cutting a block it is obviously difficult or impossible to get very fine lines, tapering lines, soft edge lines, etc., the focus of this assignment.
Thank you so much Stan! Definitely appreciate the look even if it's not quite what you were looking for. Had a lot of trouble with them given how dang good those artists are ':D but yeah, I'll definitely give them another go-round. or two. or three.
Honestly this video was more helpful as a "this isn't a line study" vs going over what is a good line study. I have been so lost figuring out what the thing is and by knowing what it isn't proved to be very helpful here.
Thanks for the tips Stan! During the week, i did 1 hrs studies of the peter's work, but my focused was also on his process of thinking with shapes. It's really fun and helpfull this exircise
Again, so much useful and valuable information, so many tips, so much inspiration. I'm itching to go and draw and put on paper the energy I get from these critique videos. Thank you Stan! :)
Heya! After watching both of the demos I have gathered some thoughts on line master studies that I'd want to share! As a beginner it might be complicated to see various things at once when doing a master study, even when trying to focus on lines! Why? Because lines show contours, edges, textures, highlight points of interest, delineate shapes in space! So if you don't think of WHY a line was used in a certain way at a certain point, you might also not learn anything about how the master uses them! There were examples in critiques where lines were used to draw the shape of the hair and put a highlight to show it's bulk (Gibson example), so if the person drawing it doesn't put consideration into it, it wouldn't be a complete master study! Or not understanding how master's lines either conform to edge or rhythm of the picture, making them work as a whole, or even any of the compositional purpose of line weight! But the course haven't touched on any of the topics of rhythm or edge yet, so it would be wise to focus on technique more and then come back to line master studies later! And just like Stan showed, you can create your own warmups that you should probably do to absorb how exactly the master places the strokes, or at least do it in your own way that achieves the same effect! You can do simple exercises like hatching a plane like the master, then tilting that plane and hatching, or hatching a whole cube in space with the technique until you're familiar with it, try to pull a single stroke into abstract shapes if the master does that e.t.c. Try to do it in different ways, find the most effective one for you! Then after you do this a bunch either come back to studying the master you learned that from now with the proper muscle memory OR apply it in your own projects! Do what's most fun for you! The warmups you create are very important because you are going to focus exclusively on technique before you focus on applying it with complex elements of shape design and forms in space! Hope any of you found this helpful. Remember, applying learned principals in your own work is a skill of it's own so don't forget to practice it! Ok, bye!
Thank you once again, Stan. I tried again with less focus on faithful reproduction of the original, and instead tried to put down the lines more confidently. Ironically, I seem to have ended up with a closer copy than my previous attempt! In some places I tried to break the curves down into CSI. I may not have gotten the line weight right, but I’ll be working on that more next time. Study of Claire Wendling:
Really valuable info! I found this exercise to be the most enjoyable of all so far. It was nice to try and evaluate a master's work "in the wild" and really analyze how they did what they did. It occurs to me that we really are fortunate also to live in the time that we do, where we can go on YouTube or Proko and actually watch modern masters draw in real-time, which I think really helps speed up the process of learning. Thanks again for your insights, Stan, love the course!
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