@desmond68
@desmond68
Earth
Smooth moves artist keep it up!
Ian McNeill
Hello, Pose is well done! I see you are watching the horizon line more closely in this one since the subject is so close to the ground. Keep that up. With regards to the head, the issue causing the foreshortening to be off is the chin in your sketch is too far down and forward causing the neck to push down and forward appearing shorter than it actually is. It also causes your brain to see the ears further down than they are in reality. To foreshorten the jaw I have heard that the best way to envision the chin and face is like a cylinder. If you can get a cylinder in space to match the direction and lean of the face in the photo you might have a slightly better time with the foreshortening. I can comment on the rest of the pose later but I stuck to the head since you mentioned it directly. Hope this helps!
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@desmond68
Thanks for the help man! Really appreciate it!
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@desmond68
I had a lot of trouble with the foreshortening/proportions of this pose, especially the head.
Martha Muniz
Hi @desmond68 :) This is a good exercise to get familiar with applying the anatomy on a real pose, and I think you captured a lot of the anatomy groups nicely with rendering as well. I would still recommend trying to start with the gesture, as this helps catch proportion deviations compared to the reference, giving you a chance to assess your drawing early on. When it comes to the arm, it may appear shorter than in the original due to the comparison to the legs, which did become longer. I added a quick drawover to show this visually. Also, don't forget to add the squash and stretch as muscles are pulled and squished together. You'll see this on the thighs against the calves, and also on the external oblique as the torso bends sideways. When working from skeleton to added muscle on top, there can be a tendency to draw the muscles with less mass and closer to the skeleton structure, so it's just something to keep an eye out for. Hope this helps!
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@desmond68
Oh, so that's why the legs looked off to me, thank you!
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Ian McNeill
I made a picture example to make it easier on my typing as I don't want to confuse you. Pose is good overall. I love the shading and the character comes through in the face. I have marked what I noticed in the picture provided. I hope it helps you further. Lemme know if you need clarification! Good job!
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@desmond68
l always find visuals like these really helpful, thank you!
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@desmond68
@andek
Values are wrong. Look at my example, it was enough to darken some places to make the drawing read better. Try it yourself on your works. Just use a free graphics program (such as Krita).
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@desmond68
Thanks!
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Jesper Axelsson
It's very similar to shading light skin tone, only that the local value is darker, so the shading will be darker overall, and the highlights might pop more, due to the higher contrast. I think you'll benefit from practicing value control. There is a video on how to do a value study it in the shading course How to Organize Values. You can get it for free in the Proko Course Sampler. For me juggling five values right away was tricky. I first practiced two value studies, then when I felt comfortable with that I moved to three values, then four, then five. You might want to try the same. If you find it tricky to draw even tones at a desired value, you might want to practice doing a value scale. Cheers!
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@desmond68
Thanks for the advice!
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Jesper Axelsson
Hi @desmond68, nice drawing! Sure, I'll give some feedback on the proportions :) - The torso and head seem a little big. - In your next drawing, pay more attention to the angles. Apart from improving proportion, this will also help you capture the pose better. If you compare the leg, to the right side of the page in the drawing, with the same leg in the photo, they have different angles; in your drawing it leans to the right, instead of the left as it does in the photo. The arm is another example. In the photo the arm is bent into a sharper angle than in your drawing. Imagine striking the pose yourself; first as if you were posing as in your drawing, then as if you were posing as in the photo. Can you feel how bending the arm like in the photo has a different feel to it; more tension and energy. The point with mentioning this is that angles are not only a tool for copying things accurately; they also play a big role in capturing the gesture. You could even adjust the angles to bring more energy into the pose. You could also look for the angle between parts, like the knees for example. In your drawing they allign almost horizontally, whereas in the photo their relationship is oblique. - What are your art goals? What type of work do you want to create? Knowing this might help me guide you better. Do you have any examples of art, by artists that you admire, that is the type of work that you'd want to create yourself? I hope this helps :)
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@desmond68
Ohhh so that's why the arm that i drew looked off to me, thank you!
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Ian McNeill
Asked for help
Self-Taught Curriculum - Night Two Still having trouble comprehending how to 'feel' the forms and keep them loose while also just showing the movement. Started with ten 1 min poses then finished the rest as two minute poses. Occasionally stopped to try to get clarity from some videos. Unfinished ones were due to me trying to slow down to try to 'see' the movement. 28 days to go.
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@desmond68
Nice work Ian, keep it up i can feel the improvement, i wish you good luck on your curriculum!
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Ian McNeill
Night One of Self-Teaching starting with Figure Drawing. Towards the end I think i found my stride. I took some noted from Live Life Drawing and it helped out with visualizing the figure. Most of the gestures were from Proko. The last ones and the ten min sketch were from Live Life Drawing.
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@desmond68
Thanks for posting Ian. I think you're relying too much on capturing the contours of the figures, gesture drawing is not about describing the contours nor the silhouette, it's about seeing and exaggerating the CONNECTIONS/FLOW between the forms. i hope this helps.
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@desmond68
I tried drawing a simplified skeleton mannequin and putting the muscles on top, i had some trouble with the arms though, are they too short?
Ian McNeill
I recommend checking out Michael Mattessi’s “FORCE” the book specifically. but here is his YT channel where he discusses some of the contents. https://m.youtube.com/channel/UC88alnRehVTXcQ0rRReyLcw
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@desmond68
Thanks!
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Julia Pe
Hi, pay attention to the negative space between the two legs, and you will spot all the differences. Also i saw a Prokos video yesterday, about: how to give feedback to yourself right away, in order to spot all the line deviations. https://www.youtube.com/watch?v=1J7RQvKnWf4&t=21s and in case you don't have a computer, you may print the image that you want to draw in the exact same size, draw it using the same proportion 1:1 and use it as a comparison guide afterwards when you want to check for any mistakes, using a ruler, a grid, etc..
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@desmond68
Ah thank you!
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Julia Pe
Hi there. All the edges inside the body are soft edges. The outline of the figure is a hard edge. The artist decides how he will represent them. Look for example how Burne Hogarth uses both (hard and soft) and he creates a very strong impression . https://i.pinimg.com/474x/1d/79/5e/1d795ee7089df79521fc9070e83008fa.jpg
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@desmond68
Oh i see. Thanks!
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@desmond68
How do you decide what edge counts as hard,soft or lost on this model?
@desmond68
2mo
(Poses ranging from 30s to 10m.) How much should I exaggerate a pose and how do I exaggerate a figure that's just standing straight up?
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