Thanks for the video Stan. Every time I watch a video of you doing / talking about your process for using rhythms for gesture drawing I gain more insight to ways of thinking of, and going about tackling, your method for rhythms and gestures. After watching this video I feel like I have a lot of room to explore using longer rhythm lines. I watch Michael Mattesi’s Force Fridays every week, and he has a different method for thinking about rhythms which concentrates on the rhythms of the forces of motion and gravity that move through the body, instead of drawing longer rhythm lines. In his case, the longer rhythm lines would be the imaginary lines that connect the lines that you draw, flowing that force from the one line to the apex curve of the next opposing sides line. So I had to adjust to the way that you go about it. I really like Mattesi’s Force method, but, at the moment, I find your method works in a way that is easier for me to get things more consistently “accurate,” when drawing from a reference. I feel like I am getting better results this way. Although I do find that when drawing using, more, your type of rhythm lines, I am still trying to think about how the Force would flow through it. I am convinced that there is some way to incorporate both of your two methods into one hybrid version of the two, and that that method will end up working the best for me. Right now my brain is a bit caught in between. I also wanted to thank you for your kind words about my comments. That was really nice to hear. It meant a lot. I always worry when I give feedback that I may be incorrect, or just think something is supposed to be done one way, when there are actually other ways, that I don’t know about, that are as equally valid a way of doing something. I don’t want to steer someone away from something that is just different from the way I understand it, but is not “wrong.” But at the same time when I feel like I might be able to help someone, I feel like I don’t want to not try to do that. You have encouraged me to keep trying to be of help, even though I am still just learning myself. I find it actually helps me understand some things more when I take the time to try and explain it, because I really have to think about it first.
Thanks Stan, I'll keep doing them! And I'll make sure my feet rhythms are up to standard! Honestly it just gets more fun once you get better at it, so for me it's not such a struggle anymore to sit and do quick-sketch! Can't wait to fail at drawing cubes and cylinders next, oh boy! :)
Thank you, Stan, it feels so strange to be called advanced when only 2 months ago I was first trying to understand beans and tapered lines and boxes and 3D space. XD I have been practicing and hopefully some of the proportion issues have and will continue to get better. Thank you Steven Wolf as well, you always help us with excellent critiques. 😊
Hey Stan, something that always helped me in school was always asking the teacher what a certain concept or lesson was trying to eventually teach me to be able to do to help me visualize the concept of the lesson better. It can feel discouraging at times when i practice I don't feel like i'm seeing the eventual arrival location of the practice. If you, or anyone else could help me comprehend what you would say the "major" long term effect of the lesson is all about that would really help me out. Please excuse me if i am coming off as rude, i have a bad habit of seeing the trees instead of the forest.
hi y'all, HELP PLEASE. Where are level 1 people supposed to quit? I missed where the stopping point is. Here's 3 hrs & 2 tries & I can't find the forrest OR the trees! I haven't missed any lessons, done all the assignments, draw on my own, etc & this is way beyond me. Don't get me wrong, I want to learn how to draw people, but this is crazy. What am I doing wrong? Thank y'all for all the help
I'm struggling a lot with rhythms for stretched limbs where it's a series of subtle bumps but no very discernible bend. A flowing curved line completely obliterates any semblance of the object itself while addingany detail ruins the flow. How would you guys deal with this arm and this leg here? One curve? Two? Straight lines?
Practicing what I've read of Mike Mattesi's FORCE's book for the first time (with the lil bit of rudimentary body knowledge from Proko's Figure Drawing Fundamentals) :D :D I wish there were enough hours in the day to practice everything!!
I have no idea if you read these @Mike Mattesi but you speak to my soul!!! The moment I saw your work, it was like...coming home somehow. I've always wanted to draw flesh with force, I just didn't know how to express it, or how to find resources that fully encapsulated what I had in my mind, that mix of graceful gestural fluidity combined with the solidity of flesh, of meat. Thank you for your invaluable work, I got your book from our library and if I do ok with it I will for sure purchase your courses. <3
Realized I'm soon going to reach my 3 month anniversary since beginning drawing! I wanted to compare progress as I started from a very embarrassing absolute 0. Currently putting myself through a perspective bootcamp, doing my homework through a migraine was....an experience. x_x But we forge on....
Thank you for the critique! It is so unbelievably encouraging and means a lot that my linework/tapering efforts are paying off!! :D :D I have neuropathy with dual splints, so good linework is both a struggle and an aspiration. I was really surprised to see you mention Vilppu because I felt an instant kinship with him in the way he approaches gesture. I've not studied him in-depth, but I've watched one of his videos (with plans to look at more); since we approach problems kind of similarly I've tried my best to take his advice on to eradicate my gesture sausageitis. 😅
I struggle with noses so I went and practiced some, the help of Aaron Blaise's wonderful Anatomy course, and littleulvar's tutorial. My first proper nose practice! I'm fascinated with the major alar cartillage and the way it connects to the rest of the nose.
I am facing a challenge: my sketches after the demo are more static than before the demo. The reason I believe is that I used CSI and a "quick sketches" mindset before the demo and used short "scratchy" lines after the demo to try to replicate the interesting shapes Stan creates. Unfortunately - mine don't render as good as his. I feel like I can either draw movement with very basic shapes or static drawings with interesting shapes. Any tips on how to avoid making the confident CSI lines look static when adding the detailed shapes? Thanks!
The beans felt really hard at first but they got a lot easier by the end. I found forshortening the most enjoyable, whether it's because I was more comfortable with beans by then or something else, I'm not sure. I thought it would be the worst part for sure! Twists are the most challenging for me.