I did the pear and posted earlier and decided to do a few more fruits. The banana was extremely hard to simplify the shadow shapes because it was drawn from life and I couldn't get the right lighting. So the set up or reference photo matters a lot when doing this exercise.
Here are my drawings for this assignment. I did the pear reference, a pomegranate, and i drew the level 2 reference twice , the second attempt I tried to make cleaner/clearer shapes (I struggled with the area around the mouth, lots of complexity there). Pencils i used were 2H, HB, 2B
Hi! I like the owl, looks great and the brush marks and outline. I'd agree a less varied/mottled background might be better. Smooth acrylic transitions aren't impossible though! A good water mister can really help, extender/retarder slows down the drying time well too or try using pure acrylic gloss medium and some water to get more if a flowing glaze that can be built up. They say it's best not to add too much water as it weakens the paint film but you could add a final layer of pure acrylic to fix it. My preferred method is a limited palette so I can remix and reproduce the colours easily for big areas but allow some variation. Also, a short brush can be used to push/scrub nearly dry acrylic around for quite a long time to get blends over dry paint.
OH WOW! it's floating! As for making smooth transition... I think the background works quite well with this textured colour, as long as it looks united. I use gouache with less water, it also has mixing problem if I want to go very smooth, but the strokes kinda looks interesting so I didn't bother to make it very smooth
I recently finished this painting of an owl using acrylics. I'm happy with the look of the owl in terms of proportions. Not so happy with the exaggerated outline, and the background. Using acrylics is a bit of a pain in terms of drying out and work-ability. I have a hard time creating smooth transitions, and use acrylics a lot as a wash (which I'm not sure is a good idea). Feel free to critique, and to share any tips regarding painting in acrylics.
Hi @Siqi, I love drawing and art and I also have a job unrelated to art, plus I have kids and general adult stuff I have to take care of on a daily basis. This leaves me with less time for art than I would like to have. One of the things that helped me the most to gain time is to always carry a sketchbook, I use this a lot when I'm waiting somewhere (for example when I bring my kids to sport practice), or during lunch at work. Most of my drawings are made in this way to be honest and I usually manage to draw each day. I also notice that it takes me about 5 minutes to get into the drawing zone. Sometimes I feel tired/reluctant to start, but I never regret it afterward. Don't stress/push yourself in the beginning, it doesn't have to be good, you don't have to show it to other people, you don't have to draw for hours. You will get into a habit of drawing over time and you will spend more time drawing as you progress, and now I get nervous when I don't draw for a couple of days. Another thing I did was to go weekly for a 3 hour drawing/painting class at an atelier, that's my time that's booked in advance and is non-negotiable. For me it was helpful to have this external thing to have a teacher motivate you, rather than it only being your own motivation that is driving you. Most importantly try to have fun!
First off I love these images. My father was a lifelong lover of horses and he made hundreds of paintings of them and this image reminds me a lot of his work. Second, I think the portrait already has a lot of line variation in it, and I think you are selling yourself short. I like the kind of work that has outlines emphasized, but that is just a personal preference. I know what you mean about lost lines though, I struggle with that myself and the only advice I can give is to think about where the light is coming from when you draw. That will tell which lines you can loose. Hope that helps.
Hi Martin, your drawings are very good and the way you add line weight is working, even though it gives a more stylised look to the final product. As some other comments have already stated line weight is a matter of design, thus the whole concept is very personal and is going to make more and more sense through drawing and practicing. That being said, there are some "ground rules" being analysed and demonstrated by Feng Zhu in the video below that may help you in your journey. The part that interests you is around the 32nd minute: https://youtu.be/22XYoenU-0c
I think it's just an issue of design, which is notoriously difficult to teach. You can use lines like Stephen Silver, or like Alphonse Mucha, or like Beauguereau. Some artists will use dark lines on the shadow side, others will use it on the light side. Some will vary the thickness, others not. I don't think it's something you learn like perspective, but more like style. Which means go find artists that you love and study their work to see how they use line weight
Drawing is very much like speaking: pronounce each syllable with the same volume in the same rhythm, and the result is boring. There are many ways to do it correctly, there are no hard rules, just rules of thumb: use heavier lines for heavier forms, forms in the shadow, forms nearby, forms that are important, softer lines for softer forms. Look at the work of comic book artists who work in ink, and practice in ink, because it is a dead-honest medium for practicing line quality, where you cannot cheat.
The drawings are very good anatomically and proportionally. I might add one more thing (I already see a couple of good advice comments) If you want to avoid the stylised look you shouldnt make the line the principal source of contrast. Yuo can still use the contour line but try to build the sharper contrasts in the mass shadows of the face for example. In the horse drawing I see the contour line being darker than the patches of shadow in the body and that flattens the drawing.