Luca Funckner
Luca Funckner
Argentina
Art student by my own. Inspired by Kim Jung Gi and Proko, and some books like Loomis' and Bridgman's.
Luca Funckner
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1mo
Hi. Before rendering check your measurements and plumb lines for accuracy. Use light lines to map out shadow shapes and create a value scale you can reference to help with separating your light and shadow families (highlights, lights, light halftone, halftone, form shadow, core shadow, cast shadow, occlusion). Work on underlying structure building up from simple universal landmarks.
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Luca Funckner
@heimata just like @mclychok says. Give more attention to the proportions. Use light lines letting the darker ones to show darkness instead of form. And look for the universal landmarks and how to represent them because that's gives a lot of solidity and character to the face, in this case. Hope it helps. Just to add something. Keep it up haimata!
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Luca Funckner
Hi Miguel. Better late than nothing. I think you are doing it great. I think you could simplify more the anatomy and parts of the limbs and try to be centered more in flow than flow and mass. But it works perfectly right as you are doing here. Keep it up!
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Luca Funckner
Some painting studies in black and white. The study is mainly to think on showing form through planes, trying to avoid Line to show the silhouette. Any criticism and insight is appreciated
IMG 20211105 112622833
IMG 20211105 112640306~2
IMG 20211105 112755643 BURST000 COVER TOP
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Luca Funckner
Hey men. How are you doing? About the portraits, I think the better ones are the second, third and nineth. Followed by the seventh and the eighth. Comparing them with the others you'll see that there is a deeper simplification of shapes while making thwm to transmit the form and light anyway. In a short amount of time, the good simplification of shapes is waht will give you the results. Lets see the first and the second one. Looks like in the second you went from big to small in a cleaner way, like without need to make a big stroke at the final like in the forehead of the first one. The problem with the first one, for example, is that you need to show in some way form when you have in the reference the face cut at the midle by the hair shadow. So it is tricky in the value arrangement. I think it would have come out better if you sacrificed the secondary light that comes from down-left. But if your goal is only represent what you see, it is a valid reference and approach. In the sixth I feel like the contrast in value in the cheekbone is too much. There you need to make the same transition than in the shoulder in a compressed way. I would say, also, that in the ones that I took as better ones there is a better and simple composition, in the use of shapes and in the clarity of them. I think you could improve mainly by observing and trying to improve the shapes and their relation from your references. Like trying a realistic one, which has its own shpes to be improved sometimes, and then maybe something a little more stylized. Now, if you got better the better ones by a better undertanding of how to reach it in Time. I mean, just by fast understanding and work. I am not sure but you could try to only get the primaries and some secondaries in the first half. And then you go for some tertiary forms the rest of time, and looking haw to improve the relations of the primaries and secondaries. But it depends on haw you actually work in this sketchy portrait practice. Hope it helps. Good luck and keep it up!
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Luca Funckner
Hi @Rubén Frutos. I think it come out nicely as rendered exploration. I would choose something more simpler to focus only in the design of shapes. But it works too if you can do it naturally. Also, you used your reference but as reference, not just coping. So it is is well done in that aspect for me too. About the shape design, Im learning though. But what pops up for me is the background. You have spike-like shapes with directions that goes into several places. That's ok, but the background does, in a minor way, the same. Try to use a circle or square as background. Because of its stability it will probably be a good contrast in shape design. An mwwebe a change in hte value scale to make the character to pop up more would be better too. Hope it helps. Keep the practice up!
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Luca Funckner
Hi @Shelvs Fleurima. Now I see this. Looks like you are going here for some specific style. Like a critisism for these ones, the last two have a problem with the lighting. You want to show the light source, but at the same time the forms looks like they receive the light from another direction or the light size should be too much bigger (last one). But I like your ideas. Keep it up! Plus this, work on what I wrote you and it will improve for the next month if you keep it consistent and smart. It is a matter of understanding the fundamentals more. Good luck!
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Luca Funckner
I have just entered to your profile. I see you are trying to experiment knew things ( I just saw your profile background with its style, correct me if Im wrong). So good luck man!
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Shelvs Fleurima
well I took my time polishing this one, and did a bit of photo bashing for the background
07243B32 F2D2 4DD9 AF9D A9F64453FF73
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Luca Funckner
Hi @Shelvs Fleurima . First, I am not sure what you tried to show here, but keep in mind the rules of the community. I think it is inside, but take a look to them to avoid problems. Now, what I see are a not clear lightning. It looks like it receive light form all around, but like electric-strong lights. When actually, the environment shown by your background where is the character is a forest or something really different. So, it needs more work on the textures that actually have the different materials you show through form. I can see a human body dressed and in a seductive pose or action, looks like it is your intention here. But, If I read the image by its texture, it looks like plastic or metal that has a strong white light and the form reflects it. At least the highlights look the same and they are all around the main character. To sum up: study more texture and form variants, and how different light sittuations work on specific points of views of forms. So, I think you should go for more drawing. Hope it helps. Keep up the motivation to work! PS: keep an eye on your goals to try to reflect them in your art. But this is completely up to you and the seriousness you put on your thing (it will be different an sketch form a rendered painting, but at hte same time the sketch can give more value to people, or just yourself, than the redered piece).
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Luca Funckner
Hi @vakarmalik.I think it is helpful the way in which you are studing it. It is like a master study, where you try to achive what you see and try to learn the process of the artist that you are coping of. But it is not enough. And in this case in particular, where the piece you are learning from has already a lot of simplifications. It is useful but you need to complement it with something else like trying by yourself to paint a landscape, lookins all its details and simplifing it. Well, if you are just making an study of shape design: then consume more artist that have that appealing that you found here and aspire to achive in your art. Also, if you haven't yet, look at proko's videos on perpective and lanscapes. If you are looking to understand more about shape appealing, look also for thing that are related like theory on it and other art topic like enviroments. I suppose it will influence your shapes too. But maybe it is not what you want; idk exactly. Hope it helps. Good luck and keep up the practice. PS: I have seen Sinix's video on Shape appealing and Marco Bucci on a topic like it really useful.
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Luca Funckner
Key words to look for in your studies: "simplification of shapes", "shape language", "master shapes study", and "shape design". Those terms will hep you find stuff, plus shape appealing.
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Luca Funckner
Hi @John Carter. I think they are nicely done! What I get from your write is that you don't like the lack of character of most of the heads, you need to look more for reality. If you are used to draw from imagination, the best way is to improve your consumption side and add images to your visual library. If you do not have any problem on trying to draw from observation, just go for it too. Also, if you want to "feel" the solidity of form or you prefer going for something with some kind of structure, go for learning what are the components of the head, from bones to muscles and skin and fat (only if you are not doing it yet. I am supposing you got used to use a really specific combination of basic forms, like a manekin. Idk). I recomend to play with references. Analize them from observation and drawing, as you prefer. To go for a perfect copy or use them as inspiration is up to you. Hope it helps. Sorry for the long text, keep up the practice!
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Daniel Foust
Hello everyone! Here are some of my gesture studies. I think these are all hour long sessions, starting at only a few seconds per pose and then ending with ten minutes or so. I do a lot of traditional figure drawing with pencil and charcoal as well, but the digital ones are easier to upload.
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21.03.08
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21.03.31
21.04.01
21.04.02
21.04.05
21.04.12
21.04.14
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Luca Funckner
Hi Daniel. Looks like you indestans something of anatomy to simplificate it and get some mass in the gesture. I recomend to do some anatomy studies and gesture studies, like separated. And then mix what you have gotten from anatomy and from gesture in both: quick sketches, where you give more importance to the gesture but giving some landmarks about proportions and mases, if you get the time; and then go for some more long anatomy drawing, where you get the gesture first, and applied the anatomy the best you can without broking the gesture (I think here is optional going to value, the thing is to get the anatomy, its structure and movement, correct). Hope it helps and nice work. Keep it up!
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dynastyk96
I did one minute gestures using Michael Hampton gesture tips. I want to know what I can improve on.
Gesture #1
Gesture #2
Gesture #3
Gesture #4
Gesture #5
Gesture #6
Gesture #7
Gesture #8
Gesture #9
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Luca Funckner
Hi @dynastyk96. I think they are nice. But I feel the lack of perspective and form because of the countour lines that you didn´t make. Im taking about the Michael Hampton examples in the book, in comparison... But they are nice though. If you are just starting don't go for too much structure. The most simplificated will be the easiest the way to concentrate in gesture that is the goal of this lesson. I don't know if you have more experience in this, and some perspective and anatomy. But if you are just starting and you actually feel hard to do gesture with some structure: go for gesture as something by its own. And as other exercise/practice try the gesture and add some structure later. If you actually have some experience, go for it. Give yourself your time per pose and try to focus in the gesture first, and add then something of the structure before the time goes up. Hope it helps. Keep up the practice!
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Luca Funckner
It is not bad Elior, but you can improve the volume. Try to see the following video of Dorian Iten in proko's channel: https://www.youtube.com/watch?v=6vapw6n6FyU Just watch the video and try to remake your drawing not based in what you have done, but in the steps of the process shown in the video. Also, don´t be afraid of making the values of the cheekbone closer to the hair's value. You will see it do not destrys necessarily the form. Just find a way to get to it. Hope it helps and keep learning!
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Luca Funckner
As a recomendation, always try several ones. With each element of your story. Then you will have more options or at least the best ones as final thumbnails.
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Luca Funckner
Hi Atharva. I think you can try to do it more in ruins, first of all. But, in both cases, if you destroy more the castle or let the overall arquitecture be there, try to make it more more ominous. Like making the shapes more as thornes and stinging shapes, . Right now, it gives me the idea of an ancient medieval castle, in the mountains and abandoned. But no more. May be there is something with the character that appears. Hope it helps, but it is a little late. Keep it up!
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Kensei Tron
Gesture/Shading Study Feedback is appreciated.
img015
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Luca Funckner
I would say the core shadow of the back of the shoulder is not correct. Being it the pass form light to shadow, and there is no light. So it destroys more than it helps to the 3d mass sense of the plane in htat part. It slould be just one plane for the back and the shadow of the arm. Anyway. I fthere is something that you tried to represent, do un a more subtle way or ignore it. Because it do not help with the form in that place. Nice drawing by the way. Hope it helps and keep it up.
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Luca Funckner
Hi Sam. I dont know too much about it. But the dragons on heartstone looks more like solis drawing where they have colored in. While your attempt feels more as a direct painting and maybe more sofisticated painting. Also, notice that they use background. And they do not make it to show in big scale. At the same time you need to recognize something in the card really easily. So it is simplificated. Then, I would say that your dragons are more complex in the way you have worked them than the ones seen in the cards. In the card you have dragons that are mainly monocromatic (you have some variety, but not as in yours. I guess is the technick of the artist on it) . In yours, looks you have at least two main colors: one in the light and one in the shadow areas. They are fynne by themselves, but not as imitation of the style of Hearthstone's dragons. Where I see that black is the thing there are for the darks, instead of color. Hope it helps. Keep it up!
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Miguel Nieto
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Luca Funckner
Este también. Boceto-estudio rápido. Pero claro y eficaz
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Miguel Nieto
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Luca Funckner
I think this one is better. It feel with the elements more deffined in general. Like you got better the way to simplify it in a lower range of greys. Se siente realmente diferente al último post actual. Espero que te ayude. Que no decaiga!
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Miguel Nieto
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Luca Funckner
Hi Miguel. If it helps, try first to define just by observation of the element the areas of light and the areas of shadow. The big ones. In the first two, you heve really clear and only one light source. So, as necesary you need to get that clarity of light/dark of the reference of study. In the first study, you got a really dark plane where it is actually light side of the element. That's way a tell you this. Try the sequence of big to small in the figures and light planes. Hope it helps man. Keep it up
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