João Bogo
João Bogo
Earth
I really should take the time to write something poetic here...
João Bogo
This deadline seems a little tight. Normally we get 2 weeks, this time it's just 5 days
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Nicole Lee
Hello everyone, I have been practicing quick sketches due to limited amount of time I get to practice drawing lately. Below is my sketch from today. It would really be greatly appreciated if anyone could provide critics and feedback on where to improve. Thank you in advance!
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Reference
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João Bogo
Hey, Nicole. You did a good job in most of this assignment. However, there's a few proportional mistakes: the eyes are too big, nose and ear are to small and the mouth is the wrong shape. You also drew a more idealized version of him. Notice that in the reference the bottom thirds of his face are bigger than his forehead. If you did that on purpose, that's ok, if not just be aware of it. Since we're looking at a profile, so the features gonna be smaller than in front view. Also the shape will change. Compare how much white of the eye you're seeing in the reference and how much you drew, compare how much you're seeing of the outer side of his mouth and how much you drew. There's a phenomenon that you should be aware. We have a tendency to draw everything straighter than we see. That means drawing longer axis on foreshortened limbs or force full shapes even when only see part of the feature. We do that because we're trying to match our symbolic representations of stuff. But, as we practice it's important to consciously doing an effort to draw what we really see and get away of what we think we see. The value arrangement lacks contrast. Looking at the forehead, I see that you understand the forms and you're doing a good job representing the lighter values. The problem is you're not going dark enough in the shadows, and the transition from light to dark should be softer. Practice the 2-value phase of the drawing and make sure that your ligher shadow halftone is darker than your lighter light half-tone. Finally you exaggerated the double curve on the hair in the front of the face.. It exists, but it's not that much. Try drawing the rhythm the hair makes from the top of the forehead to behind the ear. It serves as a natural cross contour. Then you design the second curve but accordingly. I would like to give you a few tips on how to study and practice when you have limited time. But problem is there's a lot different practices that may be really effective or useless to you depending on where do you want to take your art. So, Would you mind to tell me more about what do you want to achieve in art? Are you studying just portraits right now or figure drawing, anatomy...and if you're just doing one sketch for each one subject or one for all? Is there any difficulty you constantly experience while practicing? Best Regards
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Joaquina Pernao
Olá! Utilizei o mesmo metodo, mas ficou imagens muito diferentes, está aceitáveis?
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João Bogo
Ei, Joaquina A diferença se deve as proporções. Ao meu ver, apesar da construção ter sido bem feita, em ambos você desenhou os olhos muito pequenos e a boca aparenta estar no lugar errado. O nariz está muito grande no segundo. Também o tamanho relativo da frente e o lado da cabeça variaram do primeiro para o segundo desenho deixando a cabeça mais longa. Esse tipo de erro é bem comum, então não se martirize por isso. Se você está começando agora, por hora, concentre-se em se familiarizar com o método de construção da cabeça de forma que consiga o fazer de modo automático independente do ângulo. Conforme você desenhar mais modelos vivos e você for aprendendo a desenhar as feições (olhos, nariz..), você vai aprendendo o seu tamanho relativo e como encaixá-las na cabeça. Um último conselho, como a maioria das pessoas desta comunidade fala inglês você aumenta suas chances de receber algum retorno sobre o seu trabalho se você postar as suas perguntas também em inglês. De resto, continue desenhando. Saudações calorosas
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chrispen
Hello :) I draw few eyes, one from proko, 2 from my photos and 2 from internet. Please feedback :)
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João Bogo
Very nice work, Chrispen The values, edges and proportions are working in all of these and they are reading well. The only one that I would like to comment is the last one. The child's eye. In all of those eyes you use creases to your advantage showing design and form. In this eye however the dark crease under the eye is a little too much. It looks like there's a deep scar in the lower eyelid. In kids and young people in general you want to diminish creases and folds to not age the person. If you're seeing this crease in the lower lid in the reference but if it doesn't add to the design or doesn't help to show the form you can edit it out. In case you're seeing this fold and you think important to the likeness of the subject remember that it's in the light, so play it down and draw it with lighter values so it still read it as part of the light and doesn't compete with the shadows. But , still an outstanding job. Keep drawing and best regards
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Thana
My attempt alone and following along.
Joint Assignment5a
Joint Assignment5c
Joint Assignment5b
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João Bogo
Hi, Thana So I'm noticing that whenever you try for the first time to simplify the bones you're drawing bone by bone. Which is ok. But when you're drawing the figure, you'll now see all the bones, so you want to find ways to quick establish them so you can put the muscles on top. A good exercise would be whenever you draw bone by bone think about if you have half the time to do this same exercise what can you edit it out? Which parts are movable? What's the most important? As you're moving through this course you'll learn how to depict the bones, but for now simplification is the most important. I'm also noticing that you're drawing the bones too thin and your proportions are varying a little too much. Proportion is very important to a more realistic drawing. So make it a habit of measuring stuff for now. Pay attention to the relative sizes between the parts and their thickness when you simplify. But overall you're doing a good job. Your drawing are reading well and are clean. Keep drawing and Best regards
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sharkhead
I don't have the app but I invented some poses without it instead
IMG 20210822 232436429
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João Bogo
Hey, sharkhead Let me give you a little feedback and the previous one on this section because they have the same problem. To invent muscles you need to understand the its shape, form and function. While you are drawing the shape correctly and the sections, I do think your drawings are lacking a bit more of understanding of form and function. Because they are compressing and stretching in the right way. I would like you to re-watch the videos of the section but this time pay special attention to the 3-d form of the muscles (where the trapezium is thicker? where is thinner? what's the shape and thickness of the rhomboids? and when they are gonna appear more? How do you overlap the rhomboids and the trapezium) and their function (what do they do? when they gonna contract and when they are gonna extend? And in which way? How are they compressed and extended forms?) Then, I would like you to redo the first part of the exercises but this time in every assignment but really analyse what's happening in that particular pose. Ask yourself "What's this muscle doing? What is the movement is this model doing and in which way does that impact the muscles? How can I better represent this muscle? Do I make my cross contours more curvy to show the thickness or more flat?" Focus on the rhomboids and the trapezium. Forget the shoulder muscles, arms etc. Use gesture or simple forms to describe them. Your main concern right now is to understand the upper back muscles. Finally, come back to inventing. Hopefully by doing the previous exercise your comprehension of the muscles and your visual library will improve and you will do this part with more certainty. One final tip: stand up and repeat the pose you're trying to draw. Pay attention to which muscles are tense and which are relaxed. Normally the tense muscles will be more fuller and by doing the pose you'll get a more visceral comprehension of the gesture. Keep drawing and best regards.
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Matthew Kioki
I've started a second page of these and I'm getting a bit tired. Not sure what I'm getting wrong. I think perspective and proportions is still off. I'm going to continue doing 1 or 2 a day. hopefully something will click. Open to critique. So I've taken Jaoa Bogo advice and separated out the ones I think are the best. I don't want to waste anyone's time. I still think there is value in posting everything if someone wants to look through them.
Pelvishighlights
Pelvis
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João Bogo
Hey, Matthew. I should've been a little more specific in my advice. When I told you to select the better drawings I was thinking in work mode where everyone is busy and running to meet their deadlines. So at the time it didn't occur to me that that maybe there are people that learn better if they share their whole process and also a friend pointed to me that if you're starting right now it may be stressful to select your drawings. Because in a way you're evaluating your own work, and if you're learning something new, you don't understand the criteria for a successful drawing yet and you're new to self evaluation, I'm just introducing one more step to the process that's already complicated. So let me rephrase my advice in a more broad manner and just in the context of receiving feedback. Show your work in the way you're most comfortable with, but in the same time be aware that will impact the way you're critiqued. With less drawings you get higher odds of people going through each drawing. More drawings and people will focus their analysis in your process because in a realistic scenario it's impossible going one by one. In any case number your drawings regardless of how many you do. It's easier on the person giving feedback because he can say "number 1 has this problem, number 3 needs to be more that way, good job on number 23...", and it's easier for you because you can easily locate the exercise being critiqued in a faster way. Also being critiqued in anatomy is a little harder than being critique in figure drawing or portrait drawing. Since it's a advanced course, there are fewer people doing the course and consequently there are fewer people critiquing. So I'm afraid that there'll be times that regardless of the presentation your assignments will go without feedback. So be patient if you don't receive any answer right way, try going through the next sections, and in the future come back and redo repost older sections. OK, with that out of the way, this is going to be a looooooong critique, because this is a very complicated subject. So, If you are frustrated with this section I would like you to know that this is a very conceptually difficult part of the course and outside of anatomy it's useless. This construction is based on cylinders in perspective, which is hard. Not only that is tapering flattened cylinders which is harder. On top of that you still gonna draw the pelvis which has the sacrum that is constructed either with curves in perspective or boxes with multiple vanishing points which is even harder...and if that isn't enough you still have to do this from your imagination. WHICH IS SO FUC...well you get the idea. I gotta be honest. When I'm figure drawing I don't use this bucket. Ever. It's so complicated, it fits weirdly in the body and it's not practical at all. But for anatomy it's useful because you understand better where the muscles of the legs, butt, back and abs attach. So give yourself credit for trying, if you understand it, good, you conquered one of the most difficult bones in the body and if you don't as long as you know how to draw a box and the landmarks you'll be fine. Let me break you assignment in a few parts so I hopefully can give you good directions in these: THE BUCKET In general I feel that you've done an excellent job. All of these buckets feel solid, show good structure and perspective. There are 3 main issues that I'm seeing that could be the reason while you're finding the construction strange. One is the tapering of the cylinders. In a lot of these exercises you're just tapering your lines as if it was a normal cylinder. These lines gonna converge faster than normal, specially when you're looking down on it. Second is where you're measuring the middle. Basic rule of perspective is things get smaller as they get farther. So if a length is in perspective the half that's closer to us is gonna be bigger than the half away. Therefore the it's center would be a little further back (not too much than what you're doing, don't go overboard). check the size of the length of the bucket when they go in perspective. Again the length diminish very fast Finally is the angle of the ellipses. This is the suckiest part of this assignment. With a normal cylinder (an extruded circle), the major axxis of the ellipse will be perpendicular the the long axxis. Which is difficult, but manageable. In this goddamned structure that's not the case. The major axxis is gonna be between where the the perpendicular axxis would be and the horizontal line of the top cap (check the beginning of the critique video, Stan explains better). But this new axxis is not constant, depending on the angle it's going to be closer to the horizontal line or the perpendicular axxis (infuriating, isn't it?) So here's what you do. Use the 3-d model. Find the long axxis, Find the perpendicular axxis, Find the horizontal axxis. Estimate the degree (how fatter the ellipse is) and where is the ellipse axxis (it's between those two). The ellipse at the bottom will point to the same direction but will be a little fatter. Where you cut the wedge also form an ellipse...that point to a different direction that the other two (because why not?). But word of advice, Just try to get the curve of the wedge. There're ways to estimate its axxis with a second 3-d model or following the cut in the bucket, but there's already to much to do. So recapitulating, if your bucket doesn't look right, Check the tapering, check the height of the bucket, check where you put the middle line and where you cut the wedge and check the angle of ellipses. CONSTRUCTION OF THE PELVIS Again, very nice work. There's two areas that I would suggest you to pay more attention. One is the two holes in the bottom. IN you drawings they are very random sized. try making they more constant. The accetabulum same thing. The second thing is the saccrum. First thing, you drawing too close to the border of the bucket. Check the 3-d model with the pelvis in the bucket wire frame. If you look it from the top it doesn't reach the wall of the bucket. There's a distance between the border and the end of it. Also the way you're connecting to the wings of the pelvis, Remember that it has volume, so where you can draw an edge or a more boxy form. Finally you're constantly twisting the sacrum. If you simplify the form into 3 boxes, While its vertical lines will have different orientations the horizontal lines will point to the same vanishing point. So make sure they align. It's a similar processo to draw bending fingers. Also notice that these 3 boxes don't have the same size and avoid drawing rounded tops for now. As I already said. that's too much too juggle in this construction. Where you can simplify use straights instead of curves. PRACTICING THE PELVIS. Finally. Tips for practicing. Whenever you're using the 3-d model. Have a second one open by its side. One you'll keep fixed, the other you'll rotate whenever you're in doubt. You can have a third one that's just the bucket ion the same position. This helps you investigate the form, where curves are going and will better inform your decisions when you simplify. Practice the male and the female in the same position. It helps you observing and practicing the difference between the genders in a more intuitive way. Also practicing opposite views helps you fixing it better this forms. Walk away when you're stressed or frustrated. our eyes become blind in these situations. We tend to do the same lines, same mistakes over and over again, but we are convinced that we are trying some different that is failing every time. Just take some time away from the drawing. Some times just an hour away, a cup of coffee can renew your eyes and you catch your mistakes easily. Finally don't expect to get this right away, keep practicing and when you're done with this section, keep practing a little every once in a while. This is very easy to forget because you don't use this bucket in anything else. I did that. I had to relearn this section 3,4 times when there was a muscle that attached to the pelvis. When you think you get the gist of it, practice 2, 3 pelvis every couple of days to keep the memory alive. Eventually it settles in your mind. So, this was everything that I know about pelvis. And I hope this helps you to have a way less frustating journey learning this that I had. But patience. It's hard. Be compassionate to yourself. Keep drawing. Best regards
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K.O. Light
Hello, this is my assignment for the neck muscles. I did a skinless study to understand how the neck muscles look as I find it to be very confusing particularly when the neck is extending. Do the muscles like the semispinalis capitis, splenius capitis and trapezius just contract and shorten when the neck is extended or do they also bend and fold? Or are all of the folds visible on an extended neck just the skin? The last one I did (bottom right) has the model extending his neck and I am not sure if the folds are just the skin or the muscles as well. Thanks!
Neck Muscles Assignment
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João Bogo
Answering your questions: There won't be folds in the muscles. The folds will always happen in the skin in response to the contraction of the muscles. But the muscles themselves don't really fold. It's like when you wear a long sleeve shirt. When you bend your arm, its volume remains the same but as you bring the parts together the fabric will compress resulting in folds in the bending side. With that being said let's analyse the neck. When you extend the neck the semispinalis capitis, splenius capitis and trapezius will contract and bring your head back. Normally the result more plausible would be a straight line. But, in reality as the trapezius is attached to the spine through the nuchal ligament, so it will inherit its curvature. Since it's the muscle more close to the surface, it will force the other ones to its path and the result will be two fuller cylinders that follow more or less the curvature of the cervical portion of the spine. Depending on your body fat percentage, you can try poking the back of your neck when you look up. It's possible to feel the hard form of the muscles under the soft skin folds. That, hopefully will give you a better understanding o what happens. But remember that in reality you'll probably see the forms of the muscles blending the folds or in some cases it will be covered by long hair. But if you understand the theory you can design accordingly. Best regards
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Jule Hollstein
Hey, here are my nose studies. :) I was struggling especially with the shading.
nose 0
nose 1
nose 2
nose 3
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João Bogo
Hey. Jule Very good! All these exercises are very well done. They are solid, show form, have good design overall. You really did a great job on these, while showing good control of your pencil. I also commend you for the way you're practicing, because I can see improvements from the first drawing to the last. I think you can improve value and edges. Value structure is good but I think you can still give a bit more contrast to these drawing. Try using more than one pencil to give you more range. Softer pencils will allow you to go darker and harder pencils will give you lighter tones. Experiment with those. If it doesn't work out you can always come back to using just one pencil.And about the edges, I think that you're relying too much on hard edges. try mixing softer ones to improve your design. In relation to the nose, specifically, I think you're still having problems with the primary form of the nose. Some times I see you drawing the nose too vertical and the bump in the bridge feels out of place. Try practicing by constructing the primary triangular form first and then adding minor forms. Be really mindful of the inclination of the nose and always compare to the reference. But again, very good work. Both in this nose studies and the mouths and ears. Try mixing up studying features with studying full faces. Doing just isolated features can become boring after some time and when you do a full portrait is easier to judge the relative size of the features because they are next to each other. Also it shows that your work is paying off. Keep drawing and best regards
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João Bogo
Dad humor comprises all the jokes that simultaneously make your 2-year-old laugh, your 12-year-old cringe, your wife question her life choices and compel the nearest dad in your area to tell a worse joke.
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Henning Hundt
Hi there, I am concerned with the Loomis Head and find it difficult to simplify. But this is mainly due to the construction approach and its perspective (Therefore I'm working on drawabox to improve my imagination of perspective and construction). I have the following questions and I ask for your help: 1) Are my Loomis heads going in the right direction? 2) How can I best check whether my Loomis Heads are correct? 3) Can I do an overlay somehow? 4) When would you start using references from real people to study? KR PS: Many thanks in advance for your feedback.
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João Bogo
Hi, Henning. Answering your questions: 1) They are getting there. Mostly you're having problems with the perspective of the head. A lot of your lines are not converging to the right point and/or are not forming the right angle. Also the proportions are a bit shaky. The ones you did after Stan the thirds are all over the place. But your construction process is solid. as long as you keep drawing boxes and you start measuring more, your internal sense of perspective will improve and eventually you'll draw more accurate heads. 2) You can compare what you did with the 3d model. If you don't have access to the one on the one in the premium course you can find fairly accurate ones on sketchfab.com or you can sculpt one. It's not that difficult. Always check if you placed the lines correctly (the brow, chin and nose lines are parallel, so they should slightly converge to the same point or at least be parallel) and if the perfect thirds are the correct size (the should be equal if looked straight on, or in case of extreme views they should get smaller as they go away from us. 3) Did not understand this question. 4) It's up to you. In the Watts atelier (the online course at least) you would study the Loomis head, the skull, the Reilly rhythms, the Asaro Head and features before you'll study models. This course you'll study the Loomis head and the features before tackle a full model. When I started years ago I studied models from the beginning in parallel to studying features. There's no right or way, do it in the way you're most comfortable. However, it's important to know that the Loomis head is an idealized version of the head. Most people don't fit those proportions. So you have to adapt. Stan shows the process in these videos: https://www.proko.com/course-lesson/quickly-draw-heads-with-the-loomis-method-part-1/discussions https://www.proko.com/course-lesson/draw-any-head-type-with-the-loomis-method-part-2/discussions https://www.proko.com/course-lesson/intuitive-portrait-sketching-with-the-loomis-method-part-3/discussions Hope this helps Best regards
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Eleanor Qu
Sorry about my terrible linework when I'm doing this kind of assignment QwQ
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João Bogo
Hey, Eleanor. First of all, don't be sorry for your lines. You're trying something new. It's completely normal that you still don't have complete control over your pencil. Think about it. You don't see babies giving their first steps and immediately apologizing after because they were trembling while walking. No, They just fall on their bums, stand up and try again. Parents conversely don't look down on their babies for that first clunky walk. They are happy just to see their first steps. But if they weren't and started to punish the baby his mistakes, anyone in their right mind would call child protection services. As we grow up we start to judge ourselves too much about what we should be, what we should know, what is acceptable. And at the same time we live in a society that chastise people for trying and laughs at the other's mistakes. Which create this stupid idea that you should go to some place to learn, but you should already know everything before you start. Don't get caught up on this. Remember babies. Babies are awesome. they are the human equivalent to kittens and puppies. Give yourself credit for trying, give yourself credit for trying something, and when you fail just laugh it off,get back on your feet and try again. With that being said. if you want to improve your line work, there's this video from Stan: https://www.proko.com/course-lesson/how-to-hold-and-control-your-pencil/assignments Having good line control it's a matter of grabbing the pencil more lightly and drawing more from your shoulder and elbow instead of your wrist. There's a lot of good exercises like drawing ellipses and long lines. You can find a lot online. It takes practice and it doesn't happen overnight. So keep practicing and be patient. About the exercises, I would like to recommend that you watch or review the video on structure: https://www.proko.com/course-lesson/structure-basics-making-things-look-3d/discussions For now, I would say focus on the spine. Try understanding what each portion does and use cross contours to separate them and give more volume. And substitute the rib cage, pelvis and head for boxes. As you continue this course you'll learn how to draw the pelvis and the rib cage and redo this exercise. But at the moment I think is more important to you to get a grasp on their boxy forms on space and their orientation. Keep drawing and best regards
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amourartstudio
BEHOLD! The amazing Captain forearms and his Feline companion mighty coffee cat!!! Hailing from a small unknown village deep in the forest, his forearm internal structure morphed into a material hard as steel due to many years of hard labor. He can often be seen carrying the civilians' shopping bags all in one go. Due to his unnatural physique and kind behavior he was pronounced as the best gym bro worldwide. The legend says that he has never lost a single arm-wrestling match, but despite all the fame he receives he remains very humble. Yet his current status and power could not be achieved without the help of his whiskered ally... COFFEE-CAT The cat supplies all of the local regions with the finest coffee beans. The whiskered spirit achieved divine Aztec barista skills including ancient coffee brewing techniques, gaining caffeine-induced magic from his ancestors. His goal is searching for the poor civilians lacking caffeine in their bloodstream and guiding the poor souls towards the nearest high-quality coffee shop. Warning: due to his high concentration of caffeine aura standing in his immediate presence certain side effects can be experienced, including, but not limited to: - lack of sleep - high productivity levels - rise in work motivation The heroic duo takes care of the citizens' mental and physical well-being with their powerful superpowers fighting against everyday fatigue. Both characters were inspired by my dad and our family cat Miko.  P.S. Signature logo designs are included as well ;)
final1
logo
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João Bogo
Best representation of Dad's forearms so far.
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Lara Lara
The urban legend says that the talented engineers at Wacom created a special -and very complicated- experimental secret code for all their products every time they needed to fight their own creative blocks. Until one day I've found this to be true! It was after many hours trying to solve a creative challenge, I fell asleep on my keyboard and, I just don't know how but my face got the right code for my Intuos Pro! Intense lights and sounds woke me up... my drawing pad was no longer on my desk, it was standing next to me! waiting to introduce itself -himself!- as Wacoman, protector of the creative nature ready to take me into his never-ending fight against the relentless creative block.
Lara ProkoChallenge UnexpectedSuperheroes WacomanCover001
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João Bogo
Very Cool! Looks like one of Bruce Timm characters.
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renva
Introducing: Half Man. Is he a man? Is he a half? Yes. His past is shrouded in mystery; All his enemies know of him is the quick flash of pink cargo shorts and socks, followed by death.
HalfMan final
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João Bogo
That's the best slogan so far!
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Juan Sanabria
I introduce you to Captain Fetuccini. Cooking 5 star meals during the day, kicking ass during the night. Food critics and evildoers beware.
Cap
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João Bogo
Imagine the crossover with Gordon Ramsay.
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gauravsartwork
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João Bogo
♪♫ Marshall man, Marshall Man. Does whatever Marshall can. Draws a box any size. Using his perspective lines LOOK OUT! Here comes the Marshall Man... ♫♪
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K.O. Light
Hello, these are my assignments for the upper back muscles. Thanks!
Skelly   Upper Back Muscles
Upper Back Assignment
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João Bogo
Very good, K.O. Light That's a very well done assignment. If I have to nitpick i would say that maybe you could use the direction of the fibers as cross contours to show a little more volume. But the way you draw is working well enough. The second part shows a lot of consistency in your process. I see you constructing your figures with the bucket and the bones underneath. When you take the time to do this kind of work it will show in the future as your anatomy becomes more and more solid. A tip on the second part of the assignment: the ones that you did just in line are successful because it makes sense to define every muscle with line. As you're moving towards more painterly figures you're adding 2 degrees of difficulty (value and edge). So you need to think more about designing your value arrangement and your edges. In both of those I missed a sense of more unified value structure and the edges are too hard (specially the second, which makes the figure looks tense). So whenever you're observing the anatomy, try thinking which muscles are tense and which ones are relaxing. Pay attention to the several degrees of softness an edge can have. And remember the hierarchy of forms when you're shading. Primary forms first then secondary, tertiary... In this case The primary form is the cylinder of the torso, then you have the the secondary forms of the muscles and finally you'll have striations. So arrange your values accordingly. Best regards and keep drawing
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Saulo Henryque Reis
Hi, I love the eBook summary. Will they have it in the future? As in the other modules? Thanks
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João Bogo
Probably yes. But as far as I know there's no time table on that. We just have to wait a little more.
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Senlem Jmr
Superhero Proko Xtro Penko. He feeds on bad artists and transform them into amazing artists. He holds a brush, million years old, that sucks the energy of bad artists.
20210810 210228
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João Bogo
You either die a hero or live long enough to say "It's my style".
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