Spine Assignment Example 11-19 - Draw Models

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Course In Progress

Spine Assignment Example 11-19 - Draw Models

1K
Course In Progress
Stan Prokopenko
In this video I will show you the proper way to practice drawing the spine from a model.
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Sita Rabeling
The tracing and copying felt like cheating at first, but it's a great help for learning. In the last two I drew some of my own lines. Sorry for the wrinkly paper.
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John Masterton
All ways a challenge in many ways, relationship, proportion and clean lines but putting the pencil to paper. Yah.
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Jesper Axelsson
Great job! - Make sure to keep the tapering from bottom to top consistent. In some of these it's a little wobbly Keep up the good work!
Anatomy Spine JohnMasterson
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kugeltisch
Finally done, i would love to get some critique :D (i did them with a ballpoint pen)
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Matthew Kioki
I did it! Open to critiques.
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João Bogo
Good job, Matthew I can tell you worked really hard, but let me give a little advice not related to the exercise. Whenever you have multiple attempts at an assignments, show only the best version or the latest version of each item. It makes really hard on the person giving feedback to analyse what you're doing right or wrong, or what you need or doesn't , what knowledge you have or lack because there's so much information to process. For example I can see you fixing a few mistakes each sketch you draw. But since those mistakes reappear later i don't know if you're making a conscious effort to correct them or if you're guessing each time randomly. So whenever you're submitting your work for critique, show only your best work. Even If you draw 100, show the best 10. Show the best drawings that you know that's something wrong but you don't know how to fix it. You get better feedback this way, because it'll tell you stuff that you don't know and will give you a direction. Even if i were to give feedback on all of these 60+ drawings, half of my feedback would be stuff that you already know. So it's a little futile. To be clear, I'm not telling you to draw less. You're drawing a lot, and that's an excellent habit to have. By all means, keep doing it. But whenever you're presenting work whether it be for a client, an employer or for feedback show only your highlight reel. In most cases people don't want to or don't have time to see your whole thought process, they just want to see the final product. For example, a comic book editor only wants to see 5-12 pages (some say that even 3 is enough) of your best work. They don't have time to go through your whole sketch book or read your indie 100-page graphic novel. They just want to know "If I give this guy a script, would he be able to do it?" With that being said, let me talk about your assignment. As it's already been said, you're having wonderful habits of drawing a lot and trying to correct each attempt. i'm not gonna assess the head, the pelvis and the rib cage, because in theory you'll learn them later. I'll just focus on the spine and address stuff that is happening consistently. There's two things you can do to improve your drawings. One is improve the cross contours. Most Of your drawing shows lines that are not wrapping around the spine. And instead of giving a 3-d feeling they are flattening the drawing. Be mindful or those. Wrap the rubber band around the spine and draw just enough to show volume. A good approach would be drawing cross contours only at the beginning and end of the sections. Don't overdo it. Second thing is be really careful to not break the spine. It's composed of only curves. If there's a point or a sharp corner, smooth it up. This was a long critique, I went out a tangent and start talking about the real world, but I hope it helps. Keep drawing and best regards
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Rick B
Lessons 11 through 19
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Philippe Girard
Impressive. Very nice. You should do some studying on the ribcage alone, some of those have a pretty ambiguous shape. Also pay special attention to make the parallels actually parallel (nose line on 1, chin on 8...). Finally, keep in mind that the joint between the pelvis and the sacrum is pretty much immobile. On 8 you put those 2 on very different perspectives so i would recommend thinking of them as a unit. It'll prevent some serious pain in the ass when contructing the figure. Keep up the good work Rick ( ͡° ͜ʖ ͡°)
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ehioe
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Jesper Axelsson
Hi @ehioe These are really nice! I´ll try to look for things to improve on: - In the second image, the spine is too thin on the drawing in the top left. - The length of each section seems a little inconsistent. It helps to relate them to the skull ribcage and pelvis. Study especially the relationship of the thoraic portion and the 12th ribs' attachments to the spine - I like to think of the thoracic section as tucked into the ribcage, following it´s c-curve arc. In some of the drawings on the first image, it´s not doing that I think you´re ready to move on to the next lesson, just carry these notes with you. Learning the ribcage and pelvis will help you with placing the spine accurately (especially the ribcage) I hope this helps :)
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Isak Heldt
The colourful are pre-Proko and the others are Proko-draw alongs. Had fun!
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William Starkoff
Here's what I got! Any critiques welcome!
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Nela Dosoudilová
It seems like, that the gap between rib cage and pelvis is too big. I would do the ribcage bigger (probably as big as the thoracic section is). However, I am a student myself, so you don't have to take my words seriously. I might be wrong as well.
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mameko
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Jesper Axelsson
Hi @Shuwen Pan, I think you´ve done a great job with the spine! In your first drawing, don´t forget to bend the thoracic portion to follow the curvature of the ribcage and that the spine gets thinner as you move up the body. It would also be helpful to indicate the start of each section (Lumbar, thoracic & cervical) with a cross contour. Being clear about the three sections of the spine and where they attach has been a big help to me; the lumbar section sits on the pelvis, the thoracic follows the arch of the ribcage and the cervical tucks into the skull. i think of these three sections, then I blend them together. For me, once I learned about the ribcage it was much easier to get the thoracic portion of the spine right I hope this helps :)
Anatomy Spine ShuwenPan
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Jason Winter
Doing some self critiques. I've got the jpgs of Stans examples, my copies of Stan, and my own versions done without seeing Stans work. I've also written a few notes to try to clarify the areas that need improvement. Structure and range of motion are the two biggies, I think. I'll be redoing this lesson, there's a lot here I don't understand.
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ML Sund
Here's my stuff!
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Jason Winter
#proko Here is my attempt. Included are my versions of the models, drawn before seeing Stans drawings, and my copies of Stans drawings. If I'm noticing anything about my versions, it's that I am a: Failing to accurately discern the surface landmarks in order to correctly place the underlying structures, and b: Not pushing the poses enough to create a dynamic pose. Comments welcome.
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Nanna Skytte
This is my attempt on the Draw Models exercise. Any feedback or criticism is very welcome! :)
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Jon Passig
Thanks for your critique in advance
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Kadin Lane
I did half of the poses for this part of the assignment, and now I'm going to watch the examples for these poses before tackling the second half. As always, any critique and advice is welcome.
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João Bogo
Right now, what you're struggling the most is proportions. You're drawing the pelvises too short and too wide. Although the female pelvis is wider it still would be taller than what you drew. Another thing is that you're not looking for the landmark to position the pelvis and the ribcage. Try to look for the iliac crest and the sacrum to determine to where the pelvis is pointing, and the ribs and the externum give you a good clue for the ribcage. Then try to draw them as simple boxes paying a lot of attention to the relative size between them. When you're done with this try this exercise again with the more complicated forms of the egg and the bucket. Best regards
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Kadin Lane
And here's the rest!
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Margaret Langston
Yes. I am copying the demos.
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Stan Prokopenko
These are great copies! Very clean and accurate :)
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omarg
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Bradwynn Jones
nice work!
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James Mayr
Asked for help
As  @Liandro Roger @Martin Debenham suggested, I focused first on the gesture and overall shape of the form, but always keep the 3D space in mind. I tried to imagine how the gesture line / outlining are moving through the space. I will definitely try do develop that, because I found out hat imagine the objects in 3D space while drawing the projection of that object on paper is one of the most joyful experience while I'm drawing. I explored a little bit and that was my conclusion so far: If i using line that I can wrap around a form then the 3D Mindset works very well, but if I draw a silhouette of a pose with not very much depth information, I found It much harder to stay in the 3D space mindset. Because of that I was looking other lines than just the shape of the figure (e.g. like a curve around the back or but) to get the overall shape of the figure. I would be interesting what are your experience in the "sketch stage"? Are you sharing the same things? what are you doing different and why?
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Liandro
Looks awesome, @James Mayr! The conclusions you've taken seem to be right on spot. It's really cool that you've been able to find it not only helpful, but also fun! The sculptor analogy @Martin Debenham brought up makes a lot of sense to me, too - in a way, the thought process behind "drawing in 3D" seems to be very similar to sculpting, since both deal with "constructing and modelling forms in a 3D space". It's been great to witness your progress! \o/
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Martin Debenham
Hi James, the only thing that Id say is basically to agree with you:, regardless of what exercises you are doing for Proko, really follow up on the 3d visualisation thing in a creative way and bring as much joyful experience and inspiration into your art practise as possible. It almost sounds like you are a sculptor who hasn't quite discovered that that is what he is......or maybe not, I don't know..
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suntory
03 draw models
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Filip Mladenovic
I think probably finding the angle of the hips is still the hardest part for me. Then it is getting the proportion width/height of the hips correct...
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About instructor
Founder of Proko, artist and teacher of drawing, painting, and anatomy. I try to make my lessons fun and ultra packed with information.