Chris Bodary
Chris Bodary
Pennsylvania
I love to paint and draw and all of the process that goes into the journey of mastery.
Chris Bodary
Always find the most obvious and easy color to identify the value, chroma and hue. Richard emphasizes this in APII. Anytime painting like that can get out of control from the start without taking some time to pick out the obvious stuff that you can get right, right away.basically any extreme, high or low. Then it gives you some control and can compare. I 100% see the likeness and the values of your portrait look very believable as well. Really good stuff 👍🏼
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Chris Bodary
Hey Jan, Looks like your getting a good feel for the medium. I think the helmet looks out of place because the highlight in it should be shinier than the pages of the books. The light reflecting off of that kind of material Would be brighter than those pages even though they are “white” pages. Add some occlusion shadows in between the top book and the top of the helmet and some more cast darker cast shadow as well and it will look much more realistic. The doll I think is a bit of the same if that is a plastic material it’s highlight should be brighter, maybe your colors got a bit muddy painting over the same spot too many times. I think the way you’ve rendered the books is great, the edges of the pages are awesome. I hope this helps.
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Chris Bodary
After going through this course I wanted to do a finished piece in oil after doing Nicolai and Morgan in graphite. This course has helped me a lot, if there’s anyone reading this and debating if it’s worth it… put the time in and you won’t be sorry! I’m excited to learn more and keep grinding. I’m always open for advice and critiques, please feel free to share your thoughts. This is an 11x14 gesso primed canvas. One of the cheap value packs. Wishing now I used something with more quality…
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Chris Bodary
Also challenge of this was my reference was a photo taken of a photo posted on Facebook. So the quality was bad. Had to invent a lot of flesh tones and put in some anatomy that I knew was there but not able to see in the photo. Couldn’t have done it without this course. 👍🏼
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Grant H
Asked for help
Hello. Here are a few Loomis heads and the start of a self portrait. I plan to take the portrait as far as I can before doing the portrait drawing course, then redo it afterwards to see the difference. I feel like in my drawing I'm coming out older looking. But maybe that's common during the early stages? All critiques welcome. Thanks.
LoomisHeads2
Self portrait 1.3
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Chris Bodary
Great idea. Excited to see the progress when it’s all done! I think the age thing is just cause the structure lines are there. The more lines on the face and less subtlety all translate to aging
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Chris Bodary
Getting better. More to do.
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Chris Bodary
This to me shows I’ve gained a lot from this course so far.excited to gain more! This drawing of Nicolai is about 6x8” in graphite on Bristol paper.
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squeen
Asked for help
This was a bit of a moon shot for me, I did it without reference to test my memory of anatomy. In truth, it started out as a quick sketch to work on that whole high-low hip thing that Stan makes a point about (avoiding vertically stacked shoulders/rib cage/pelvis & compression/extension, etc.)...but I couldn't stop. Posting it seems to be one of the few ways to force a cork into the bottle. Ultimately I was defeated by the foreshortened arms. To quote Kahn quoting Melville: "From hell's heart I stab at thee... for hates sake I spit my last breath at thee...". Yeah, talking to you foreshortening. I've going to go look for some references now, and see how I did on this little self-test, but I'd also love some tips on how to improve my figure-sketching in general. Back muscles (and the back-shoulder-arm-pit connection in particular) are also challenging to me. I must say that folks have been terribly helpful on this whole "journey into art" that I've been on for about a year now. The peer suggestions have been amazing, and I really take them to heart. What's obvious to one person, isn't obvious to another. Thanks also to Stan for Proko 2.0 and this new forum. Nicely done! Truth be told, I was very afraid that the free anatomy videos might disappear with this upgrade...I am so happy they did not! That, to me, is the foundation of Proko.com and what matters/helps the most. Lastly, it should come as no great surprise I had been looking at some Bouguereau paintings the previous day.
bather
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Chris Bodary
You do a great job challenging yourself. Gonna make you move to big things. 👍🏼
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Chris Bodary
Asked for help
Ok after a lot more practice and pages and hairs lol I’m starting to get it. Big difference from my previous posts. Definitely going to keep after hair, I feel it’s helped me see the form in a lot of other things non portrait related as well.
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squeen
Asked for help
Hi all. In one of the guest video lessons, an instructor said "a piece is only as good as its worst element". I did this sketch from an unusual angle to try and stretch myself. Please help me find the "worst bit". There was no reference, just my memory of anatomy from the proko course. Maybe it's a prototype for a fallen soldier on a battlefield. The musculature clearly looks "wrong" but I am not seeing exactly why---perhaps the lats? Would someone please point out to me what muscle group I have misplaced, poorly attached, or forgotten? I have no allusion about it being anything but an "oops" drawing (I just want to know why), so please have at it! Thanks.
figure prone2
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Chris Bodary
A good way to find the “weak spots”, is to cover different parts at a time. Things stand out as either looking correct or wrong a lot more. Cover the legs and torso, then head and torso then head and legs. See what jumps out. to me the legs look a little flat, makes them look like they don’t belong to that torso, which has a lot of nice form and bulk.
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Chris Bodary
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Chris Bodary
Asked for help
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Chris Bodary
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Really curious for some feedback on this what you guys think.. Im going to do a few pages of these little hair studies cause I know I struggle with this more than other things. I took pictures of each step so maybe I could see where it starts to fall apart. I think it starts looking unorganized after the separation of shadow and light stage. Probably tried to copy too much of what’s there instead of designing. Thanks everyone!
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Chris Bodary
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Manoo Murthy
Asked for help
Hello: I was hoping for some feedback on my eye studies. I am particularly interested in feedback on proportion and perspective. I find drawing eyes in three quarters view frustrating and am not sure what I am doing wrong. I have never studied shading/rendering so I know I have a lot to learn there. It is ok if you don't want to comment on it as I will be studying that on my own at some point. Thanks for the help!
2021 07 17 14 44 Office Lens (1)
2021 07 17 14 44 Office Lens
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Chris Bodary
That Gandalf in the last one? nothing jumps out to me as “out of proportion” usually those things stick out as the most obvious. I can see a sphere shape in the eye ball for sure. I think you can gain a lot in these from more structure around the eyeball. Really get the socket and brow structure laid and then do eye lashes and eye brows. These look great though, definitely have some emotion behind the different looks.
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Shelvs Fleurima
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Chris Bodary
Use the 3D models and really pay attention to the fore shortening. I can see the structure in these heads is there, it just needs the “trick” of foreshortening to fool the eye more to thinking it is tilted or seen from a different angle. The features and placement of them foreshorten but also the whole ball and flat sides on the ball should show some foreshortening as well. Try tracing over the 3D model or even a really well done extreme angled head and compare to your drawing. These things helped me, I’m still trying to get it too.
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DuDung Tak
I still feel a bit hesistant on really putting dark values. Managing values with plane changes hasn't really clicked with me yet.
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Chris Bodary
If your drawing based off of a photo, try putting a black and white filter on it and compare your values of your drawing to it. It can really help show how dark the values go, especially when it’s tricky cause of a color change (like red lips to skin tone) and you’re still working out squinting to compare relationships.
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Chris Bodary
Lips have been a challenge for me more so than the nose and eyes. Focusing on the “T” intersections during the drawing stage really helped me a lot. Excited for more. Let’s go!
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Chris Bodary
Hey Miguel.these look epic! From life or photo or imagination? Just curious. I do notice one thing in the photo on the right. The path that winds away has some perspective issues unless perhaps i have your horizon line in the wrong spot. Every time the path changes directions they should go to a new vanishing point. I tried to markup the photo with my fat fingers on my iPhone so it’s a bit sloppy. Sorry bout that. The clouds and gesture of the mountains are great. Good stuff.
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Shelvs Fleurima
Asked for help
The small pic is before portrait class, the bigger one is after. I think I improved? but I always mess up my foreheads
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Chris Bodary
Definitely. I see a lot of improvement in the eyes and nose especially. A lot more believable structure. Keep on.
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Chris Bodary
Really looking forward to this episode 👍🏼👍🏼 Do you guys have any advice for choosing a composition? I’m pretty new to plein air, It’s a lot of fun and rewarding in a lot of ways. But whether it’s an epic scene or just a simple object, what are some tips to finding “what I’m looking for” whether it’s the color inspiring me or the shapes (and negative shapes) being made? Really curious both your thoughts on this. Thank you!
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