Liandro
Liandro
Cartoonist and drawing teacher
Liandro
You make a lot of sense to me, @otneb! Drawing straight on without sketching does sound like a learnable skill. And I completely agree when you say that, in order to learn how to skip the underdrawing, we need to practice skipping the underdrawing - I once saw a quote that read “the true drawing school is drawing itself” (or something like that). That’s how we learn pretty much any skill anyway: by putting it into practice, making mistakes and evolving our dexterity over time. Now, when you say “it will ONLY work with subjects they are already familiar with”, I think that’s partially true… it certainly must work BETTER with subjects they are already familiar with, since these must be more fresh in their visual memories, but I’d say maybe not ONLY. Betty Edwards refers to drawing from imagination as a kind of “dialogue” between the artist and the art: we start drawing, then we look at how it’s turning out and it “talks for itself” as what we see leads us to new ideas of how to develop it, then, as we draw these new ideas, we are able to unlock new thoughts - and on it goes. @Bobby Chiu also makes a point in one of his courses that I think relates closely to this idea of a “dialogue”: he emphasizes that we should constantly keep visualizing the painting in a small size so that we view the “whole picture” - and, by visualizing it as a whole, we can then make better decisions on what we need to add or change in it. I’ve also heard similar things from other artists like Stephen Silver, Hiro Kawahara, Djamila Knopf… and, in my modest experience (it will be clear I currently DON’T draw without and underdrawing 😅), that’s how the design process happens to me: I often start thinking, then, as I start sketching, what I sketch leads me to think new things, then I keep sketching, and so on, until I reach the point where I feel that what I have is ready to be finished. Overall, I guess the idea that imaginative drawing is sort of constructed within the very process of drawing is somewhat a common ground among different artists. In training, we’re all often encouraged to explore designs and layouts for our drawings through experiments, variations and iterations. But if sketching is such a key part of the process, how do people like the ones you mentioned can come up with a drawing straight on? @John Carter made an interesting point with which I agree: these very skilled artists who are comfortable drawing straight on have gotten so familiar not just with subjects, but with the PROCESS of contructional drawing that they can now “sketch mentally” and draw only the definitive lines without the need to see their sketch on paper to make the drawing progress - it’s indeed as if they’re doing an underdrawing in their heads, like John said. I believe that, most of the times, this “mental underdrawing” process happens so naturally and intuitively that the artist is not 100% aware of it (thus not literally “drawing in their head” consciously) - it’s the automatic (or subconscious, as @Nicolas CATALDO said) parts of their brains that can do that with little to barely no effort because of their extensive previous experience that lead them to get familiar with this process. And, like other skills, it requires deliberate effort, and certainly takes a lot of time to master. But a question I can’t help but think of now is: why should one bother to learn how to draw without an underdrawing? You’ll probably find many different answers to this - to me, personally, I think the main reason in most cases is because it’s cool. I think of it a bit like playing “virtuoso” guitar solos: it’s impressive as a performance, it awes people. It shows that an artist has excelled in mastering their technique. And, of course, it can also make them more efficient and fluent in the overall drawing process. But it’s certainly not a vital skill for most artists, especially since digital tools now easily allow so much flexibility for us to sketch, copy, vary, transform, iterate - so why bother? Well, ultimately, if one thinks it’s a cool skill to have, that’s why! Well, that’s my take! 🙂 Hope this all makes sense!
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Vincent Duncombe
Hello @Luigi Manese , @Liandro , and @Jesper Axelsson ... I hope you all didn't think I ran away! :) ... I have been keeping up with the practice. Posted a skull practice as well on the Male Skull application page. These are some of my studies. I think I captured some of the likeness. Still struggling with the planes of the face a bit with lighting (maybe I should choose some photos with more dynamic lighting?) and on the one not looking up ... seems like although I tried to fix it still ended up getting the mouth a bit wrong and angle a bit off from the rest of the features. Either way I always love hearing from you all. Let me know what you think! Thanks in advance! PS ... still struggling with the differences between how photos differ in appearance from the actual drawing :(
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Liandro
Great work, @Vincent Duncombe! What pops to me the most is how well constructed and nicely detailed you did all the facial features - which then leads me to notice that, indeed, it is putting them all together in the overall face structure what you might wanna focus on some more in your steps ahead. I agree with Jesper: checking the alignments and proportions at an early stage of the drawing will certainly help you keep everything nicely tied together on the face. But see if you can go beyond checking just with the reference - as Jesper suggested, try using Loomis’s (or Reilly’s) method. Either one should be helpful for you to work your drawing in a constructional way, thinking in 3D to build up the head (rather than just copy the visual relationships in the photo). Along with that, thinking in 3D should also help you figure out the spatiality of the head’s volume when you place the features on it, which is a step towards better understanding the smaller planes. As an extra tool to help understand the planes of the face, you could experiment with the Asaro Head - try googling it. Asaro’s head model breaks up the main secondary planes of the head in a very didactic way, so it could be a nice complement to the Loomis method - think of the Loomis head as the most basic, primary forms, and Asaro’s, as a structure of secondary volumes. If you can’t or don’t want to purchase a physical model (I tried and couldn’t, they won’t ship to my country 😩), I bet a 3D version of it (or at least images of the model in perspective) can be found somewhere in the Internet. But, of course, the most effective way to better understand the forms of the head is to study its realistic anatomy - bones, muscles and other parts. I know Steve Houston has an awesome series of videos about head drawing at NMA (http://www.nma.art). Also at NMA, I’ve also seen Iliya Mirochnik’s dissect all bones of the head in his very detailed Russian Academy approach to portrait drawing. Feel free to look up other resources to study from and see if you can find something helpful to you! Hope this helps! Let me know if you’d like to discuss anything further! Keep it up! 🙌🏻
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Liandro
@Maria J Venegas-Spadafora, this is pretty good design work!! I love how cartoony the house feels. Nice use of the asymmetry on the bigger roof, and way to go compensating it with the brick chimney and other minor forms on the right. The background and overall composition might be a little bit too flat indeed, as Josefin K mentioned, but the architecture definitely tells a compelling story - It certainly has a mix of “funny and creepy” that’s pretty interesting to see. And I also love the way you’ve been working out the textures and colors. One little thing I see is that the smaller metal chimney (is that how we call it?) on the right side of the bigger roof (our left side) seems a bit too faded, almost lost, since its values are so close to the dark background. And it’s such a nice shape, so maybe play some light tricks in order to make it pop just a little bit more? Also, I’m curious about your process! I was guessing you started with a rough 3D model, then painted over it, was it? I’d say that how you develop this piece should depend on your goals with it and as an artist in general: . If you want to make it an “illustration-focused piece” (in case you want to boost an illustration-focused portfolio), you could give attention to the points Josefin K highlighted. Maybe try to bring up a stronger sense of atmosphere and storytelling not only with the house, which is already good, but also with its entire environment and surroundings. Make sure the lighting, values, colors, textures and visual FX are fully coherent throughout the scene’s mood. . On the other hand, if you want it to be more of a “concept-design-oriented piece”, I’d say you wouldn’t need to polish it as a single image. Maybe make some composition adjustments to make the house design stand out even more (such as making the “little chimney” more visible, as I mentioned above), but don’t spend too long in it and focus on taking the design process further: add some silhouette and shape variation studies, sketch in other views of the house, blueprints, front and side cuts, display details, maybe some perspectives of the interior, even expand it and add some props? These are possibilities, so you could decide on adding what you think would value this more as a design project. Of course, deciding on any of this will depend on where you want to direct your goals as a professional, your artistic identity, what kinds of jobs you want to work on, etc. Hope this helps! Let me know if I can help you with anything else. Keep it up!
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freedo0
Asked for help
i work on gesture since august so one month all drawings are 30 seonds ,i can say its a such hard concept to understaand but i think it comes a little any feedback appreciated ! @Liandro
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Liandro
Hey @freedo0! Sorry it took me this long to reply - my wife and I had a baby recently and things have been really busy 😁 I like your progress so far! Your drawings look simple enough, and also the poses seem clear. One thing I’d suggest is that maybe you can let go a bit of the idea of a “structure” or a “skeleton” - instead, think more of drawing “the pure moviment itself”. Maybe it can help if you imagine the figure is not a solid body, but instead made of liquid, like flowing water, or perhaps even “pure energy”. I’m adding a couple of sketches I did, hope they help illustrate this idea. You can let you arm run more loose as you find the rhythms - no lines need to be forced into precision or cleanliness, this should come naturally as you level up your skill. As you keep moving, also make sure to look for cues where you can apply some more exaggeration! A good reference to remember when studying gesture is the master @Glenn Vilppu - perhaps you’ll like to google some of his gesture sketches to keep in mind as you move through the Figure course. Gesture can be a bit tricky to understand at first, maybe because it kind of requires a sense of abstraction or synthesis - it’s not about copying what we see, but rather to “see with our brains and guts” - to “dissect” and visualize the sense and idea of movement behind what our eyes capture. It’s a bit more about feeling than it is about viewing. Over practice and time, as you tend to get more used to this way of visualizing, this can become more natural. Hope this helps! Best regards!
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Liandro
Looove it! 🙌🏻
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Liandro
Hey @monkeyxmonkey! I’ll start with your questions: 1. I could read the whole story quickly and with no confusion, so yeah, to me, it’s pretty clear what’s going on! Even in this rough sketch phase. By the way, I personally love visual storytelling, silent films and practical comedy, so, in my point of view, this works pretty well with no speech. 2. To me, it doesn’t feel boring at all. The angles are dynamic, the story itself provokes curiosity, and not sure if you intended this to be a comic page or a storyboard for an audiovisual piece, but I noticed you also varied the proportions of the frames in the overall page compositions, so that’s cool, especially if it’s meant to be a graphic piece. Dynamic composition techniques are awesome! But not using them doesn’t necessarily mean the piece itself would turn out boring or “unsuccessful” - there’s a lot of stuff (and also a lot of subjetiveness) at play. Allan Moore and Dave Gibbon’s Watchmen is almost entirely composed in a “staccato” style (regular frames in a gridded page - for some, considered a “boring” way to compose because it uses a lot of repetition), and Watchmen is known to be an icon of success in the world of comics. 3. My spontaneous reaction at the end was to smile while thinking “Medo!” (“fear” in Portuguese) - so yeah, I guess you pulled off a good combination of creepy and funny, at least to me. As a suggestion, I’d say you could take it further and develop the drawings some more. Perhaps do a finished version with ink, and maybe even some color? Whatever you choose, as you develop it, try to give some special attention to the set and the props - establish a solid sense of perspective, use good reference and design them with care! They may not be as much the star of the story as the characters in this case (well, the remote kind of is, but the rest, not so much), but anyway, when we take some time to nicely figure out sets and props, it helps immerse us in the story and makes the final piece stronger and more compelling as a whole than when we don’t. Hope this helps! Keep up the good work! o/
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Liandro
@John Carter I agree with @Yngwie and I think these actually look pretty good! They feel loose and sort of quick (in a good way), but then they also show a nice solid sense of construction (and that’s not an easy balance to manage). Good job and thanks for sharing! And yeah, the guy with the open mouth totally reminded me of one of Rockwell’s illustrations too. 🙂
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jcarter20
Asked for help
Here are a few more tv doodles- this time it's Vincent Price from the movie "The House on Haunted Hill." I tried to slow myself down and make more careful measurement observations, but they turned out a bit stiff as a result. The doodle on the left was an attempt at a caricature of Mr. Price. Hmmm- more study is needed :-)
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Liandro
I like these! I wonder if you drew them using still images from the show as a reference or was it while watching the TV (and then I wonder how do you make careful measurements from moving images 🤔)?
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Liandro
So cool, Josh! I really like how you synthesize the visual patterns of the reference into your designs!
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Liandro
@Davi Lo How cool! This is solid work, your time certainly paid off. I think @Rebecca Shay makes a pretty good point considering the lighting, so I'd like to add up to that! I'm not biologically qualified to discuss color temperature though (I'm partially colorblind 🙈), but I can talk about the overall lighting scheme and the value relationships. Basically, what I find is that a bit more contrast on the character might help bring up the scene! So I made a grayscale paint-over on top of Rebecca's edition of your original work, and here's what I added: . I made the bounce light areas a bit more bright, especially on her torso and clothes (when I squint at the painting, I feel like this extra contrast on the bounce lights makes it more clear to read the beautiful twist of her pose); . Added a rim light on the right side of the character to make sense with the big sunlight coming from behind (and it also makes her figure pop some more); . Lightened up the background a little more, especially on the surroundings of the character so that the darker values on her could gain more power; . And I added a few tweaks to try to make the scene feel more natural: a bit more sub-surface scattering on the drapes on her shoulder; a little light bleed on the strong highlight of the sword; and a bit more blur on the background for a stronger sense of atmosphere. Hope this gets the point across! Since I'm not a painter or lighting specialist, there might be more stuff to work on... but I tried my best, and these are the things I could find right now. Hope this helps!! Let me know if you have any questions or thoughts. Best of luck! And keep up the amazing work! o/
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Jule Hollstein
Hey, here are my ear studies. Would be happy about some feedback :)
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Liandro
Stunning job, @Jule Hollstein!! I love the quality of the linework, the value contrasts and the shrewdly defined anatomy - it all looks really great! If anything, I'd suggest you try other poses/perspectives other than side view or frontal 3/4 - perhaps include a top-down view, or a 3/4 from the back, or even a total front view (maybe you have done any of these already? Feel free to share!) And if you're up for an extra challenge, try also including some more extreme angles, such as an "oblique top-down" or a "bottom-up / contre-plongée view" (hopefully these names will make sense for you to get what I mean :) ). Keep up the excellent work! o/
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Lashia Lee
Hello! I want to break into the animation industry as a character designer or visual development artist for feature films. I've been learning design fundamentals from Schoolism lectures, books, and mentorships. I'd love to hear your feedback on my portfolio!
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Liandro
Pretty cool work!
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arianna_calabretta
Hi everyone! I'm Arianna Calabretta from Italy. I studied drawing and illustration at Comic School of Palermo. Since then I worked as freelancer with some publishing houses. I would really like to work as character designer or as background artist. Thank you so much in advance for looking at my portfolio. https://www.instagram.com/arianna_calabretta/
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tramonto più immagini di cane e uomo variazioni colori nero
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Liandro
Awesome work! Love it!
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Prasad Natarajan
Hi Stan, read about portfolio review from your instagram page. I am a wildlife artist have been full time artist since 3 years, have been working on various mediums. I mainly work with traditional mediums. When it comes to colors i tend to struggle and keep works pending for long periods of time. It would be very helpful if experts can review my portfolio and guide me! Thank you for the opportunity!
Common Indian Toad Prasad Natarajan Insta
Acrylics Brown Winged Kingfisher Prasad Natarajan
Acrylics Spotted Owlets Prasad Natarajan
Acrylics Rooster4 Prasad Natarajan
Oil Osprey Prasad Natarajan
Pen BrownCappedPgmyWoodpecker Prasad Natarajan
Pen Chinkara Prasad Natarajan
Pen Indian chameleon Prasad Natarajan
Pen Spotted Owl Skull Prasad Natarajan
Pencil Jungle Owlet Prasad Natarajan
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Liandro
Wow, this is beautiful!
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Liandro
Hey, everyone, I accidentally cleared all my dashboard notifications 🙈 So I'm not able to see if anyone tagged me on a post recently (between last Wednesday and today). Please feel free to tag me again if you were waiting for a response from me and didn't get it. Sorry for any inconvenience! 😅
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Vincent Duncombe
Hello everyone. Some ear studies from the lesson videos. Some of the shapes not as accurate as I would like but continuing to practice along with doing practice with the draw a box class. Hopefully everyone is doing well! @Liandro @Jesper Axelsson @Luigi Manese
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Liandro
Pretty good, @Vincent Duncombe!! I really like the 3D forms and the anatomy. I think I'd make the Tragus just a little bit bigger on the one to the right. Other than that, I think this looks excellent.
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Liandro
Hey @Mark Sukaiti! I can totally relate to your concern and felt the same way for a long time. I'm a cartoonist, so I absolutely love sketching loosely, generating ideas, iterating and messing around with a creative process. For us who are more into this "fast-paced" creative part of making art (as opposed to mastering detail-oriented picture-making techniques), polishing and rendering can feel like a boring thing to spend long hours on. However, as we scroll down our feeds and see so many skillful "eye candy" artwork across the Internet, we can't help but wonder if THAT's what we should be working on instead... But from what I've learned so far in life and in art, what I truly believe now is for each one to do their own thing, whatever it is. So I'd say don't worry about making your art in a way to please what you think other people might like better - do the art that pleases you and show it, then the people who share similar interests will come to you. And there definitely is plenty of artistic value (aesthetic and even technical) in sketching and concept, so if that's what we like the most, let's go for it - let's get awesome at it and let people know that's what we're really interested in. Of course, this doesn't mean we get lazy or neglectful. There's knowledge and technique to good sketching and concept, so I definitely encourage everyone (myself included) to study and learn as much as possible, even - and, sometimes, especially - things that are out of our comfort zone. I've had a share of studies on human anatomy, realistic lighting, painting, textures... and, even though these things might not show a lot in my cartoons, I feel like they definitely create a grounding support for my process and for my art to express what I want in the way I want. Nowadays, I tend to face these as two separate activities: studying to level up whatever skills I feel I need to work on at the moment, regardless my personal creative preferences; and creating artwork to convey my own ideas in the style, medium and process that I prefer, regardless the skills or techniques involved. Hopefully this makes sense! :) And here's a quick list of some awesome artists off the top of my mind whose work is more focused on either line art, sketching and/or concept (and, in the case of some cartoonists, is also far from "well-polished") - maybe it can help inspire you: . Nico Marlet . Alex Woo . Bill Schwab . Charles Schulz . Sergio Aragones . Bob Mankoff . Shane Glines . Stephen Silver . Mike Mattesi . Diego Lucia . Taylor Krahenbul . Roz Chast . Natalie Nourigat . Andy Estrada . Laerte . Bill Watterson (and sure there are many others I didn't remember to include. And, by the way, this list is in a completely random order - they're not listed by my personal preference or by the "quality" of their art or anything, I just spilled them out erratically as I remembered). Hope this helps! Let me know if you have questions or other thoughts about this. Best of luck in your art journey! o/
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Jo Sheridan
Sorry, it wasn't uploading so now you get this three times!!
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Liandro
Hahaha!
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Liandro
@Jo Sheridan Hey, Jo! Things have sure gotten more exciting around here, haha! I thought I had an idea of how much a newborn would demand from us parents, but, wow... you only know once you experience the real deal. Anyway, I've been slowing down on work a bit, it's true, but still trying to find a little time to show up here now and then. So let's get to it! I think your composition looks good, I really like how you managed the contrast in his hair's textures on the different sides of the portrait, as well as the values on the background. I think you achieved a great degree of likeness, and I'd even say you enhanced his facial expression (I like the expression in your drawing better than in the reference). Two things that call my attention as areas that could have adjustments made are: 1) The nose: I think its lacking a little bit of structure. I see it lacks structure in the reference too - the photo is a front view, and the lighting isn't helping show volume on the nose. So maybe you could go beyond the reference a little bit and give a slightly stronger hint of the anatomical planes. 2) The eyes: it seems to me they might have gotten a tiny bit too big. I really like how defined the edges and contrasts are though, it really helps draw our attention there. One more thing is I think you did a great job designing the shape and forms of the hair mass with all these loose strands and thin locks - definitely not an easy part! Hope this helps. Let me know if you have other thoughts! Keep it up o/
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Liandro
Hey @Jonas Gezels! Looks like all your questions orbit the core of perspective basics - Vanishing points and horizon line/eye level are the most crucial concepts to undserstand perspective. I think it's great that you're having these doubts, it means you're in the middle of the learning process. I'll try to answer your questions as objectively as possible, although what I think will really help you is that you spend some more time studying these subjects until you feel them making more sense in your mind and in your drawings. . Yes, "horizon" and "eye level" roughly refer to the same thing - it's the height from where the viewer views the scene. An image in perspective (be it a drawing, a painting, a photo etc.) is always an image that represents a specific point of view - it's like where seeing the scene through someone's eyes. If this someone is a person standing up on the ground and staring straight ahead, we'll get a perspective that is close to the ordinary human experience of sight in daily life; but if the person goes up or down (ducks on the ground, flies on a hang-glider... or whatever), their eye level (a.k.a. the horizon of their perspective) will change accordingly. . Can objects in the same drawing have different horizon lines? No! For each scene in perspective, there's always only 1 horizon. I like to think of the horizon not as something "out there", but as a property of the viewer's eye. Also, rather than a line, I prefer imagining the horizon as an imaginary plane that crosses the viewer's eye level and divides what he sees into upward and downward, as illustrated by Phil Metzger in this first image I attached. (The words in Spanish read: nível de vision = "eye level"; "this part of the tree is above eye level"; "this part of the tree is below eye level"). . And is it possible for objects to have different vanishing points than others? Yes, totally! In a scene in perspective, the horizon is just one, but the vanishing points can be multiple! Actually, it's more common that each object will have their own set of vanishing points (rather than all objects in the scene follow the same points all the time). A simple way to think of it is like this: if two different objects are aligned in the scene, they will have the same vanishing points; but whenever they're unaligned, each one will have their own set of different vanishing points (see second image attached). Now imagine a scene with several unaligned objects and you'll see that the amount of vanishing points in a scene is pretty much unlimited! Finally, I have to recommend two of the best perspective resources I know of today: - CtrlPaint's Perspective sketching series: https://ctrlpaint.myshopify.com/collections/foundation-skills/products/perspective-sketching-1-the-basics - Marshall Vandruff's 1994 perspective series: http://marshallart.com/SHOP/all-products/all-videos/1994-perspective-drawing-series/ Hope this helps! Let me know in case you have other questions. Best regards o/
Captura de Tela 2021 08 28 às 17.11.28
Captura de Tela 2021 08 28 às 17.18.05
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