Florian Haeckh
Florian Haeckh
Florian Haeckh
This was hard and fun at the same time.
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Florian Haeckh
3 digital, 3 traditional. This was very hard. I did one more which I then overlayed over the photo, but kept it out of the set, because I wanted to get feedback from the community and not myself. So I have both.
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Thomas Vang Pedersen
9 heads done - 10 to go
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Florian Haeckh
very cool how you interpreted the planes
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Martijn Punt
Here is my level 1 living room, complete with an impractical sink and museum grade artwork on the walls. I used a fine liner pen for the final pass. This was a fun assignment and hopefully will attempt a couple of more.
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Florian Haeckh
Looks very good to me, no notes :) Ceiling sink! <3 and is that a kangaroo-drawing on the wall?
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Florian Haeckh
I drew my kitchen from memory, while sitting on the PC in my living-room. Pretty weird how all of a sudden I am not sure about certain details, albeit living in it for 4 years now :D and no, we don't have a sink in the floor ;)
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Florian Haeckh
Disclaimer: did them while watching Proko's critique video and they took longer than 5 min. But still wanted to share them in the hopes of getting feedback. Cheers :)
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Florian Haeckh
Thanks a lot Lynn, I really like your work as well!
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@mariabygrove
After doing all 24 poses, I was really unhappy with how my drawings came out. So then I tried the first three again but I spent much longer on each of them than Stan had suggested, probably 15min or so. I first worked with a lighter pencil at getting everything placed and proportioned more correctly, and then went over it with a darker pencil paying attention to the rhythms and line quality. I prefer how the 2nd attempt sketches look, but I'm conscious of the fact that this is not how we were supposed to work... Is it just practice, practice, practice - or am I missing some trick?
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Florian Haeckh
These aren't bad in my opinion. Doing a pose multiple times is actually a great way to improve your lines. Because with each iteration you gain more experience with the pose and can focus on nice line-quality. Don't forget, in order to have nice lines, "simply" do a fluid motion. It is the fear of messing up a proportion or making a mistake, that keeps me from doing nice lines. But not-doing a fluid motion in order to have a nice line-quality can already be seen as a mistake. It isn't easy to do it from figures, which is why Stan lets us practice from animals. Hope this helps :)
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Florian Haeckh
Wow, thanks a lot for the in-depth information about rythms. A lot to take in and I am not sure if I understood all of it. And not sure if I applied it correctly, but still I tried to look for connections to improve the flow and gesture of the pose. Great lesson
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Florian Haeckh
Hi Maria, thanks for the nice words. Line-quality is a matter of warming up my arm and finding a speed that is comfortable for me. I can't describe it better than what Stan said. Practice your line-quality by filling a page with nice fluid strokes from your arm, instead of hoping it will happen during figure-drawing. With time it will translate. Hope this helps.
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Peter Bajzek
Been waiting for this lesson! Figure drawing is my primary interest. I've made good progress using Michael Hampton's gesture approach, but hoping this will help me start to flesh out my drawings beyond wireframes. I feel like some of my figures are "OK" but I'm struggling a bit so input is very welcome.
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Florian Haeckh
Hi Peter, I hope it is okay, if I try to give some feedback to one of the poses. I think it is already quite successful. It reads very clearly and you captured the s-curve through the body very well. However where it falls short is in my opinion depth and dynamism. If you look at his arms and legs, you'll see that they are very similar in size. If you want to encrease a sense of depth you can achieve this (among other ways) by having the limb that is further back in the picture to be smaller. That happens in the photo btw but you made them a bit equal. Another thing would be to avoid parallels or almost parallel lines as you have them in the arms and legs. By tapering the limbs towards the ends you avoid parallel lines. There was a great lesson by Mike Matessi about this in this course. You can go back and rewatch it. For me that was an eye-opener. I made a digital sketch to illustrate my points.
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Lynn Fang
My level 1 and 2 assignments. It's hard to tell a seal from a sea lion.= = Seals more cute?
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Florian Haeckh
Really great studies Lynn. Also I like the ones from imagination. Keep em coming :)
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Florian Haeckh
8 from ref and 4 without ref. great exercise. I hope I can translate that to anatomy-studies.
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Florian Haeckh
ThIs is so hard. Not done but I am currently on vacation with my family and I tried to squeeze it in. I realized that at some point I draw with angled lines rather than with shapes. Not sure if that is understandable.
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Jamie C.
Perhaps not a popular opinion, but here goes: Having struggled with how to approach this assignment at the start, does anyone else find it super frustrating that Stan gets wrapped in analyzing submissions from folks who are way, way beyond the beginner level? This isn't the first time, but it feels like he's getting distracted by "ooh this is nice" and not focusing on the actual lesson at hand. This was billed as a basic fundamentals course for beginners, but there are obviously a lot of samples here that are from artists that are very experienced, if not already professional. Maybe they're just showing off or maybe they're chasing Likes, but it makes what was supposed to feel like an entry level course - and the community attached to it - much more advanced and really exclusive than it arguably should. I could care less if my own submissions are critiqued, but it leaves at least me with a "Why Bother" feeling when we're examining stuff from concept artists and other obviously experienced artists in what's supposed to be fundamentals class. For me, a relative absolute beginner, it would be much more helpful to learn things from people making the same mistakes common at my level. Perhaps I misunderstood the course intent or maybe I'm not the intended audience. If I could offer a critique, it would be more productive to dedicate more time at the start of each project assignment for a clearer statement of what the assignment is - or more importantly *isn't* - and perhaps some more examples, and then to more selectively chose examples that highlight those specific goals. Just my two cents; thanks.
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Florian Haeckh
This is an interesting point and as someone from the more intermediate group I feel like I can add to this. 1. as was said now a couple of times, the course is for beginners and intermediates, so it felt like a great opportunity to brush up on my fundamentals. 2. I never received a formal art-education, only very spread-out courses here and there and self-study. So having this course going from A to Z is great for me. I can see where my assumptions are correct and where I have holes in my knowledge. 3. I guess everybody likes LIKES, but this is not my focus here. In fact, a critique where someone just says "well done" and then goes to the next person doesn't really help me to grow. And since Stan's skill-level is waaay up there above mine, I am sure he always finds something to critique. Which is the way I learn the best. 4. Having many different skill-levels makes the critiquing-process not easier for Stan. People need to get from the critiques what is applicable to their own work and not compare themselves too much to other people. This is a lesson that applies to art but also in general, I feel like. That being said, having an art-goal is a great way of staying on track and not get lost in the day to day struggle of improving. 5. I am here because I feel like Stan is always trying to do the best job he can in order to make the lessons fun and engaging. And having a group-discussion like this really makes the class more lively and I think is good for the community in the long-run. Thanks for reading
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Florian Haeckh
This one was really fun. I stayed with the hippo so far, but might do the other animals as well.
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Thomas Vang Pedersen
I love the line work by Bernie Wrigntson, the way he varies between hatching that follow the form and hatching that follows the rhythm/gesture. How he uses thin lines in the light and indicate texture, and in the shadows he uses think lines/shapes in a more abstract way.
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Florian Haeckh
Great summation of info on the study. I think it really helps to engage as many areas of the brain as possible (the drawing portion, the writing portion, etc.) to help with the learning process. <3
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Florian Haeckh
Hi guys, really great assignment, though I struggled finding line-art that has no shading. I figured that hatching is ok-ish and tried my hand at it. From left to right: Anders Zorn, Some artist at Grafit-Studio, some unknown french Baroque artists, John Gyudo, Michael Hampton
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Florian Haeckh
I am currently on vacation so I couldn't trace but drew from ref. Slightly skewed it. Lit from left and from right.
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Florian Haeckh
my practice pages. I also added a 5 minute figure drawing to keep it more interesting :)
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Florian Haeckh
Day ... I don't know :D These aren't from one day, but done over the last weeks. I work mostly digitally but since starting this course, I feel less anxious when drawing traditionally. The helmet took longer than 30 minutes... hope it is okay to post it, since I used the concept of starting with 5 values and it worked so well!
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Dave Sakamoto
Hello! I decided to try my hand at baby goats. I don't draw animals often so it was a bit of a challenge.
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Florian Haeckh
Those are really nice. I like the one that is jumping the most. Giving it a cranium makes it look really solid. <3
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