Jon Passig
Jon Passig
Minnesota
Jon Passig
Hey Stan, or maybe anyone else who can answer this- It's funny that this video came out around this time as drawing with rhythm lines like this in class has really upped my ability. But I've been wondering, is there any way to visualize, construct such lines when designing poses from imagination? Of course studying from life is important, but if you're a comic artist or animator- you do need to have an intuitive sense of this sort of stuff and ability to draw from experience. Thank you!
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Jon Passig
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Jon Passig
I legitimately don’t know if I did the assignment right or not lmao. I drew strictly in relation to CSI and decided what mark I was going to make each time before making it :/
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Jon Passig
hoping I can meet the cutoff just barely- These were fun- I really need to work on my laces/loops/folds, some of you guys killed it
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Jon Passig
On the off chance you read this Stan, was there any particular reason you chose to only use straight lines in this lesson? Before and after watching- i think it’s better but I definitely need to be more mindful of the shapes I’m creating. I have a habit of blurring my vision a little too much to see how the values are reading; which means I’m not seeing the distinct edges until after im done drawing.
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Jon Passig
I need help 💦 the overall mapping and everything went fine enough, I’m sure I could do better with it- but when it comes to laying down tones and shapes I feel disorganized and out of my element. I don’t use graphite pencils much at all- mostly digital and pen and ink, sometimes charcoal; but I really want to push myself and get better with this. I feel like if I could get better control over these things and mapping shadows that I could do a lot better. All critique is extremely appreciated, both related and unrelated to what I said above- edit: decided to give drawing the pear a go and get better feel for mapping out shadows and values. Realized that I should not be drawing these on rough newsprint like the one I did before, as it also carried a yellowish tone. I also realized how foreign this way of drawing feels to me. I do genuinely really want to get better at it though.
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Shefali Garg
Shefali With all the courage I could gather here is my 1st assignment. I see need for lot of improvement. But then that is why I took this course. Thanks for critiques
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Jon Passig
Taking the steps necessary and posting this will always get you to your goals faster, good job!
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Jon Passig
Really appreciate him doing this interview but I can’t lie, the amount of apathy he had for art, artists, and the many that will be displaced and abused by this system is disturbing. It’s not a requirement either. They could just *stop* doing it this way. They don’t *need* to use the art of non consenting artists, much less actual [extremely illegal content related to children] and illegal content in their data sets. If what he says is true, by his logic he could literally train AI to draw on its own without feeding it other peoples labor. Stealing grain from the farmer to sell them back their bread. and when he does admit fault and any level of concern for what’s happening, there’s a complete reluctance to do anything about it. It’s like the sheer act of talking to what he describes as a small amount of developers is a Herculean task. Assault rifles were invented, but you don’t see every Joe walking down the street with them. There’s nuance about it. You can’t just let this ‘boulder’ roll down a hill and crush a village blaming the residents that they should push it in another direction when you’re the person who pushed it in that direction in the first place. gross irresponsibility, delusional futurist 1930s rhetoric of an impossible utopia, and magical thinking about how the free market will magically solve any injustice. Trust me, if it were the case my mothers insulin wouldn’t be marked up 300% because of the arbitrary decisions of business people. The logic of ‘competition inspiring better prices and product’ is bull in most applicable situations and I’m not going to gargle the backwash of Silicon Valley transhumanists that can’t process that art may be enjoyable for more reason than pushing button and getting a dopamine rush at a pretty picture. I don’t hate the person, his genuine enthusiasm and clear love for what he’s doing is charming. But Marshall help us all if this is emblematic of what the majority of developers in that field feel. We are in for a *very* rough ride.
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Tristan Tristan
Hello, these are some of the mannequin drawings. I am struggling and any help will be appreciated.
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Jon Passig
When I look at these it kind of reminds me of a problem I had not too long ago where I had a very subconscious fear of overlap. I don't have a good method to prescribe for getting rid of it, but I have a hunch that practicing some more base gesture, and slowly integrating those into shapes would prove helpful. Lately I discovered what Ryan Woodward would describe as 'lines of rhythm' in his published sketchbook. The idea is similar to the concept of line of action, except a little less limiting. You're just feeling out the energy and larger rhythms of a pose, and with a charcoal pencil on paper and practicing some pressure control, you can really feel out the sensation of foreshortening as you over lap them in space. I hope that doesn't come off as a terribly b.s response. You just already seem to have the proportion and perspective of these pretty well down so me saying "draw da box bettah" wouldn't feel right lol
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Jon Passig
Babe wake up new Draftsmen arc!
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Jon Passig
Looking forward to sharpening my foundations. Thank you for including intermediate assignments in this.
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Jon Passig
A mix of 30 second and 2 minute gestures. I would really appreciate some critique on how what I could do better with these, what sort of points I'm missing or need to focus on more, etc. Is there anything I should practice on more before moving into the bean section? Any feedback and or recommended resources would be very much appreciated, thank you.
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Jon Passig
I've been working in the past couple weeks to improve upon these and focus on making my gesture more energy focused and eliminate my focus on contour for it.
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Jon Passig
I really need help on these haha. I think the two main things I'm struggling with is defining a consistent decisive perspective with them and exaggerating them to have the design more clear-cut and readable, though I could be totally off base on those. Any critique/help/observations is super appreciated! @Jesper Axelsson I think one time you mentioned I could @ you if I needed help in a critique, I hope you don't mind me doing so.
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@teye
Hi! finally have the time to pick figure drawing back up again. These were the last 2.5min sketches I did. Looking forward to any feedback!
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Jon Passig
Looking good! You’re definitely feeling the notion with them and doing a good job of not getting hung up on details. I’m not terribly experienced with this but if I were to offer anything you could use to improve upon these, try to pay more attention to foreshortening and which masses are closer to you. I use it as one of the main things I pay attention to while drawing, seeing how many overlapping forms I can make. Though obviously in a time restricted and simplified gesture drawing, you’ll want to be a lot more decisive with what you include. I hope this helped.
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Jon Passig
Went through the figure drawing course when I first started drawing a couple years ago, but this was pre-Proko 2.0 so it didn’t have a community feedback feature attached. I want to properly go through this time and improve as much as possible. below is a mix of 30 second and 2 minute gestures Please give feedback/critique if at all possible, regardless of skill level or experience. All is worth quite a bit. What should I work on and practice before moving on to the next section? Are there fundamental problems in the approach to it? Is there anything I did right that I shouldn’t change? Thank you.
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Jon Passig
Stuff like this would make Stan smile
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Jon Passig
As ready as you'll ever be. I think there's a lot of hang-up on here sometimes about whether or not someone is 'ready' to start learning something. In my experience it's better to try and immerse yourself with different topics regularly, rather than trying to complete one fundamental at a time, if that's even possible. As far as anatomy goes, you should have a good conception of 3d space, basic perspective, and some understanding of figure drawing. All of which you seem to demonstrate above.
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Jon Passig
Christmas came 9 months early this year
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Taylor Bankson
Hey y'all. Struggling significantly with gestures. These were 45 second gestures from this movement: https://www.bodiesinmotion.photo/motions/1813/fullscreen?index=0 Some I ran out of time, one I took a second stab at I would deeply appreciate some guidance on what I'm not seeing or doing. It feels like as soon as I start drawing with the timer, I have no idea what I'm doing again
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Jon Passig
I know somebody else said to turn the timer off until you get comfortable but I believe that flying through drawings is what helps you discover what’s working and what isn’t. the most noticeable thing right now is the lack of coherent energy moving through them. Everything looks like it’s trying to split apart from one another. I know it probably isn’t what you want to hear especially since you’re already consuming one form of material to learn figure drawing but, I think if you read and worked along side some of the FORCE figure drawing books it would really help you understand the rhythms the body goes through. As a general rule of thumb relating to this, when doing figure drawing or gesture studies, try to avoid symmetry in the parts you’re drawing. If the pelvis feels like it really is just shifting to the left, feel free to let it do so and draw it with two lines moving left as opposed to having to maintain its egg shape. I know it’s confusing but I promise with some more drawing and studying, itll become much easier and enjoyable.
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Luke Ng
Some of my gesture studies. Critiques are welcome
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Jon Passig
You're doing a lot better than I did when going through the gesture course lmao. These are great. One helpful tip I've heard lately that has been working for me is to remember and consider the arms and legs to be like tentacles. Or at least have the triangular shape of them. If a limb is out-stretched and in one easy swooping form, it can extend the whole way through, if it's compressed like when you flex your biceps, you can separate it into two tentacle triangles. This has the added benefit of making you choose the separation between them, the perspective, and track the motion of the gesture.
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