Drawing ‘Morgan’

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Drawing ‘Morgan’

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Stan Prokopenko
A full drawing portrait demo of Morgan.
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Cristina Kaiden
Hey everyone! My own attempt! I worked on my own reference pic. I tried to apply all that I learned in this wonderful course. I have had a hard time finding reference pics so in my search for a pic with shadows, I thought that a pic from the silent movies would do well. I was really happy with this pic because the model is beautiful and inspiring; but, now I feel that 1) she had more than one source of light; and 2) the black and white made it hard to discern the objects in the shadow. I am happy with the drawing. But, I am disappointed that I was not able to capture her properly. In the pic, she is a young, fabulous movie star; but, in my drawing, she is an older, austere woman. I think maybe it is her mouth and chin; I think I drew the mouth too low and the chin too small. The softness of her features is just not there. Btw, I did keep the highlight in her shadow part of the hair. I know that they should had no highlights, but I wanted to practice the hair so I gave myself artistic license to do so; otherwise, it would be just a black blob. Lol Any feedback would be greatly appreciated. @Jesper Axelsson
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Carlos Figueiredo
It's a very nice idea to use old PB movies as reference. The highlights and shadows are there, that you wanted to practice are there. Something you could improve is use intermediate values to softener the transition between the highlight and shadows. Because of the sudden transitions, the shadows ended of working as hard edges, and made what would be a young lady to look older with more protuberant face bones. I trust you can still fix this drawing pretty easily, you can just smudge a bit the hard edges with a paper towel, and it would add middle values that will bring back the soft aspect of a young face
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Cristina Kaiden
My final assignment! Yay! @Jesper Axelsson I hope you had a great Thanksgiving; despite the holidays, I managed to finish her on Thanksgiving. I did it in stages. I didn’t apply what you taught me from Nicolai because I was almost done with the drawing by the time I read your critique. However, I am working on my a different portrait that I will post keeping in mind your advice. in the meanwhile, I was not as happy with this assignment as the last. I had to re-work the eyes a few times, but they still didn’t get fixed; the eyes are not symmetrical. I also think that the nose is too big, and the mouth too small or off somehow. I’m not sure what is wrong with the mouth, but I feel there is something not right. I like the hair tho I think there is space for improvement. So compared to Nocolai; this drawing left me with many doubts and questions. Lol However, I am really happy that I tried drawing it; didn’t give up; and finished it. And overall, I think it was a real good effort. Any feedback would be greatly appreciated.
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Shelvs Fleurima
Line work study
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Shelvs Fleurima
Quick studies on work day. How do you shade quickly?
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John Carter
Broad strokes with the side of your pencil. Keep things bold and simple, establishing your shadow shapes first and then your midtowns. Keep it simple.
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Shelvs Fleurima
I will keep redrawing the last one until o got it
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Vincent Duncombe
Hi ... again :) @Luigi Manese, @Liandro, and @Jesper Axelsson . So did another portrait drawing. As always continuing to practice. While this is likely the last "offical" drawing for this course ... I will likely be revisiting both this course and the figure drawing course in the near future. I'm planning to do a bit more work on structure based drawing as well. And it is interesting ... I remember asking you all about drawing from imagination and that I didn't feel like I wanted to do it but ... Lol ... Now that I've been doing draw a box :) ... the idea of drawing from imagination has really ignited. At some point I'm sure I'll be jumping into the anatomy course. So, still a long road ahead of me I think. But most importantly now ... I'm enjoying the process. As always again really appreciate you all!
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Portrait 3 crop
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John Harper
Hey Vince... you forgot to allow comments on your Frazetta post.
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Liandro
Great work, @Vincent Duncombe! And a great critique by @Jesper Axelsson! When Jesper mentioned, I took a second look at your drawing and it really reminded me of Burne Hogarth’s rendering style too. Vincent, it’s awesome to know you’re following along with Draw a Box’s lessons and getting more interested about drawing from imagination! Later on, the Anatomy course should help you a lot, but even now, seems you’re harvesting the benefits of a constructional drawing approach already. Keep going! By the way: @Irshad Karim, the creator of Draw a Box, is also here at Proko, in case you didn’t know! :) Good studies!
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Jesper Axelsson
Hi @Vincent Duncombe Really nice drawing! Good structure and shading! I did a paintover: - I tried darkening the reflected lights. I think they are too light in your drawing, especially around the ear; when I squint the ear melts together with the darks. - I added some more dark halftones on his cheek -Your rendering has a round look; it reminds me some of how Burn Hogarth sometimes rendered. Personally, I prefer a little more chiseled look, especially when drawing men. In my paintover I tried to accentuate the structure of certain areas with straights (the cheekbones, the bridge of the nose and the cartilages, the chin and the plane changes of the cranium). In the ball of the nose I tried to look for sharper form turns: Instead of shading it all like a ball, I tried to look for areas that could be shaded more boxy, to get some variation Hope this helps :)
PortraitDrawing DrawingMorgan VincentDuncombe 2nd Gif
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Vincent Duncombe
Hello @Luigi Manese , @Liandro , and @Jesper Axelsson ... I hope you all didn't think I ran away! :) ... I have been keeping up with the practice. Posted a skull practice as well on the Male Skull application page. These are some of my studies. I think I captured some of the likeness. Still struggling with the planes of the face a bit with lighting (maybe I should choose some photos with more dynamic lighting?) and on the one not looking up ... seems like although I tried to fix it still ended up getting the mouth a bit wrong and angle a bit off from the rest of the features. Either way I always love hearing from you all. Let me know what you think! Thanks in advance! PS ... still struggling with the differences between how photos differ in appearance from the actual drawing :(
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Liandro
Great work, @Vincent Duncombe! What pops to me the most is how well constructed and nicely detailed you did all the facial features - which then leads me to notice that, indeed, it is putting them all together in the overall face structure what you might wanna focus on some more in your steps ahead. I agree with Jesper: checking the alignments and proportions at an early stage of the drawing will certainly help you keep everything nicely tied together on the face. But see if you can go beyond checking just with the reference - as Jesper suggested, try using Loomis’s (or Reilly’s) method. Either one should be helpful for you to work your drawing in a constructional way, thinking in 3D to build up the head (rather than just copy the visual relationships in the photo). Along with that, thinking in 3D should also help you figure out the spatiality of the head’s volume when you place the features on it, which is a step towards better understanding the smaller planes. As an extra tool to help understand the planes of the face, you could experiment with the Asaro Head - try googling it. Asaro’s head model breaks up the main secondary planes of the head in a very didactic way, so it could be a nice complement to the Loomis method - think of the Loomis head as the most basic, primary forms, and Asaro’s, as a structure of secondary volumes. If you can’t or don’t want to purchase a physical model (I tried and couldn’t, they won’t ship to my country 😩), I bet a 3D version of it (or at least images of the model in perspective) can be found somewhere in the Internet. But, of course, the most effective way to better understand the forms of the head is to study its realistic anatomy - bones, muscles and other parts. I know Steve Houston has an awesome series of videos about head drawing at NMA (http://www.nma.art). Also at NMA, I’ve also seen Iliya Mirochnik’s dissect all bones of the head in his very detailed Russian Academy approach to portrait drawing. Feel free to look up other resources to study from and see if you can find something helpful to you! Hope this helps! Let me know if you’d like to discuss anything further! Keep it up! 🙌🏻
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Jesper Axelsson
Hi @Vincent Duncombe, nice portraits! I'm really impressed by the subtle halftone work in the second drawing; kinda gives me a da Vinci vibe. - Like you said, in the first drawing the alignment of the features is off. In the photo her mouth looks like it's slanting down to the right a little more than the other features (And it does! I did a tracing of the feature lines to double check). But it's a little exaggerated in yours (and the nose caught on to this aswell). Just got to remember to check the alignment in the beginning stages, by doing a loomis head for example Cheers!
PortraitDrawing DrawingMorgan VincentDuncombe da Vinci
PortraitDrawing DrawingMorgan VincentDuncombe
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Ekaterina Batova
Hello. I've decided to post my drawing, even though I used Krita (which has to be studied all in it's own way), not charcoal and paper. Still, I believe there are a lost of similarities in the process. Any advice would be much appreciated.
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chekdot
Took some feedback from previous critiques and worked a little on improving structure. I am also trying to improve features because I think those don't come out very well.
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Jesper Axelsson
Nice drawings! - Watch out for making the reflected light to bright (unless its intentional). When the shadow is too bright the brain might misinterpret it as light --> the illusion of form is diminshed. Dorian Iten talks about it in this video at 8:10 https://www.proko.com/lesson/mind-blowing-realistic-shading-tricks/assignments Hope this helps :)
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Shelvs Fleurima
Some sketches study
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Christopher Alaimo
Is it possible to get the dark areas "darker with this cheap paper and only graphite pencil? Should I be using charcoal? Honestly I am sort of "afraid" of charcoal. lol
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Blue
3mo
I need help. I’m having trouble with values, compositions and plane changes. I understand the anatomy but shading and separating my lights from my shadows to enhance the forms under the surface is very challenging for me. 😩😩😩😩 I’m super confused when it comes to that.
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あん 愛
英語が分からず日本語で申し訳ありません。 人に伝えられるほど上手くない私ですが、Blueさんの絵は良い感じだと思います。 かげについてですが、形状に気を配ったのかもしれませんが、影をシンプルにすることは重要なことと私は考えています。そこに気を付けるだけで大分違いがあると思います。顎の下が二重顎のように見えてしまう、左目の横に円柱に見える箇所があります。もしかすると明るすぎるのかもしれませんので、もう少し暗く影の色は影の色で表現できるといいかもしれません。勿体なく感じてしまいます。 一応やってみました。PCアプリケーションの"粗い鉛筆"ツールを使った卑怯ですが、違いが見えると思います。
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Kim Stepney
Learning the basic principles thoroughly so you can apply them to all forms would make your life much easier. I highly recommend Dorian Iten's The Shading Course https://www.theshadingcourse.com/ which will start again September 8. He does live feedback sessions on your submitted assignments on Wednesday mornings, and these are very useful. My understanding of shading went from superficial and theoretical knowledge to a thorough understanding of applied shading.
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Jessica Harrison
Hey Blue! First off your drawing is off to a good start. To help with the values, squint at the reference to simplify everything to just the two values, light and dark. As you add more value, detail, and progress in the drawing squint less and less. In your drawing right now I think the biggest things value wise are going to be getting the dark of the background and her hair established more, so it frames the face. Then group together the shadows on the face and subtle push some more dark darks in the eyes. I included a little draw over of your drawing.
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Christopher Alaimo
Well, probably should have used charcoal.
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Avinash
Hi friends I think I have gained a lot from the course. Sharing my latest study for which I have used couple techniques from the lessons and other proko tutorials, personally I do see lot of areas of improvement post completion. Do share your critiques and suggestions please
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Alexander
My lay-in and shadow map of Morgan. My main goal was to get proportions correct and create the illusion of form turning. I don't plan to render here, instead moving on to do more lay-ins. Any advice or critique is welcome.
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João Bogo
NIce job. This show a lot of improvement. The proportions are sound and the values are holding much better even though you don't plan to shade it. I agree with @Jesper Axelsson about softening come of the the edges. Shadow mapping is about separating the light from the shadow but is also about indicating the hardness/ softness of an edge. If you are in doubt, you can take a look in the work of Brian Knox https://www.instagram.com/brianknoxart/ . Observe how even in the simplest of lay-ins you have variation in the core shadow, soft edges, hard edges, and the drawing communicates well. Another thing is to seek more variation in the design of the shapes in the shadow. For example the hair. I think you're using too similar curves and round shapes. Try varying the spacing between the highlights and mixing squares and triangles where you can. Keep Drawing and best regards
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Jesper Axelsson
Hi @Alexander Nice study! I think you succeeded well with the proportions! It would be nice if you add some dark halftones to soften transitions (in other words: giving more variation to the core shadow), if your goal is to create the illusion of form turning. I hope this was helpful :)
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Enrique Nuñez Mendoza
Hello! I want to share with you my latest portrait illustration. This one is completly from imagination. Lately I´m having a little bit of an Art Block. I´m excited to hear your feedback. Have a great weekend everyone!
Vampiro
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Shelvs Fleurima
looks nothing like her. Where did I go wrong?
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Peter Anton
The shapes aren't correct, that's all. There are 4 main components to realism: shape, value, edges, and color (in that order). Your drawing skills aren't the problem here, it's your eye. The problems that occured in this likely happened very early on, before any of the details were applied. We naturally have a tendency to "correct" poses by making them straighter- and that's part of the problem with this. You've underestimated the amount of tilt in the head and made it less tilted than it is in the reference. You're also drawing the eyes and lips as if they're head on, but we should actually be looking up at them. It would be good to spend more time in the early stages getting the big shapes right, comparing the shapes to each other (ex: hold your pencil up to the reference horizontally and learn that the the top of the lower ear lines up with the upper lip, not the bottom of the nose) You can do the same thing vertically. I'm attaching a cast drawing to show you how a block-in works. See how I'm just looking for the abstract shapes of shadow and getting everything right at a simple level, working lightly so I can make changes very easily? Then once I have the big, simple shapes, I fill in the shadows, then do the midrange values/transitional tones where I work out the edges
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Shelvs Fleurima
The lips are my biggest issue right now.
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Marco Sordi
2021/5/29. Hi everyone. Here's my weekly assignment for this section. Thanks for any advice, suggestion or critique.
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Richard Petkiewicz
For my second full drawing, I did it from a photo of a friend instead of Morgan
Shivani
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Peter Anton
It looks great, just too soft. I think a little bit of plane study (Asaro heads) would go a long way
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Liandro
I like it!
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Marco Sordi
2021/03/02. Hi everyone. Here's my new work. Thanks for any advice or suggestion. Goodnight.
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Christopher Alaimo
Gorgeous!
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Stan Prokopenko
Hey Marco, this is nice! It think it could be improved with a few things. Sometimes you're using too much line instead of tone, like in the nose and neck. Especially in the neck it would help the composition to soften some of those edges. The neck muscles are a bit distracting from the face. I really like the way you designed the hair!
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Bradwynn Jones
I like the texture and the work you did in the hair! Very cool. I think some darker values in the hair would help to balance values overall and pop the drawing (increase it's 3d feel). I love your dedication Marco. You make me study more!
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Enrique Cordero Blanco
Looking for comments
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Founder of Proko, artist and teacher of drawing, painting, and anatomy. I try to make my lessons fun and ultra packed with information.