nahgul
nahgul
Earth
TK
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nahgul
Great drawings, really inspiring!
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nahgul
Hi there, I have been working on the figure drawing fundamentals course for a while now and although I do feel like I’m not confident enough to tackle the anatomy course yet I can’t help to wonder if I should be learning some basic anatomy along side the figure drawing fundamentals so that my drawings can start to look a bit more like humans rather than just mannequins. Or is it possible to make convincing human figures without any knowledge of anatomy and I just have to stick to the fundamentals? This might have been a bit messy, but I hope someone can give some form of an answer. Any feedbacks is very much appreciated!
TK
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nahgul
You just got a new follower
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nahgul
Also working with Mannequinization at the moment, pretty helpful actually. Thanks!
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nahgul
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Mannequinization
2mo
I have been practicing mannequinization (what a complicated word) and just wanted to know your thoughts on these recent studies of mine. I would consider these to be the better ones I’ve drawn recently but I still see some flaws in them and generally have a hard time drawing mannequins. I would really like to know your thought on these drawings. Personally I think that my main issues comes from drawing the legs, forearms and generally just the quality of my lines. Any feedback is appreciated!
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gwench
I think it depends on what youre're after, if you plan on doing concept art you'll probably mostly deal with neutral faces as you said so I don't think it's necesarry. However if you plan on doing something like animation or illustration I think it's quite essential
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nahgul
Can't respond to all comments so I'll just do it here, thanks for the clarification! I always knew it was important somehow but I had never really heard why so i guessed it was for more complex face expressions and it seems i was right in that regard. Thanks!
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nahgul
This might come off as a bit naive but I do not see the point of knowing the muscle groups in the face when you can just rely on the plains of the face. The only reason it might be helpful to be mindful of the muscles rather than the plains when drawing/painting a face that I can think of (I'm not an expert) is when you are drawing them in action (when the face you are drawing is making an expression), but I do not know. I would like to know your thoughts on this.
nahgul
Title pretty much says it all, just wondering what the reason for it is.
nahgul
Just want to know your thoughts on these simplified animal drawings I did for the structure assignment in the figure drawing course by Stan.
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nahgul
added a new topic
Twisting the bean
4mo
Having a hard time finding the twist in poses (especially the subtle ones), any general advice/tricks for finding it? Also here is one of my attempts at drawing a twisted bean + the reference which has a pretty extreme twist. would really appreciate any feedback.
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Liandro
Hey, @nahgul! I think @paper has given you some valuable help with your work already. And I agree that’s it’s becoming a pretty nice painting, whether the symmetry and likeness are spot on or not. I wonder if you’ve called it finished by now, since you’ve created this post a bunch of days ago. As an additional thought, one thing I’d highlight is that, in life, no face is ever perfectly symmetrical - in fact, most of us are so asymmetrical that, if we take a front portrait to Photoshop and do a “symmetry test” (mirror just the left side, then mirror just the right side, and compare the two images afterwards), it might indeed look like two different people. In case you never have, try googling “face symmetry test” for some examples! So, I guess what I mean is that it’s okay when the symmetry isn’t perfect in a drawing or painting. Sometimes, a little asymmetry is what can make a portrait more life-like. As for likeness, James Gurney’s post @paper shared sums it up completely! This is something we can learn from caricature: likeness in art is not achieved by copying exactly what we see, but by seeking to emphasize the most unique aspects of a subject. How much we emphasize determines if it’s going to be a very exaggerated caricature (such as the ones by Court Jones or Jason Seiler) or a representation that, despite some exaggeration, tends to a somewhat stronger realism (such as Sargent’s depiction shown in Gurney’s post), or even something in between. Either way, it always passes through an artist’s creative filter. In other words, to practice likeness, try not to go perfect about copying, but rather interpret what likeness means in each case and look for ways to translate it visually. Regarding construction, I’d reinforce @Jeff Reid’s suggestions about image flipping and using a structural method such as Reilly’s, Loomis’s or even just simple plumb lines and measuring techniques to find alignments, proportions and angles. Any of these can be criteria to check your painting to make sure the facial features all follow the same perspective and have cohesive spatial relationships to one another. Hope this helps!
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nahgul
Thanks for still responding, threw this one away a long time ago lol but these are some usefull tips
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Giselle
I think you captured the likeness really well! What stands out to me is that the values are a bit on the lighter side so you lose contrast. Your darkest dark looks right, but the lighter shadows on the left side of the face aren't deep enough. In the reference, that side is a lot darker and shadows are a bit more defined with some noticeable hard edges. Maybe another pass at defining the shadow shapes and deepening the values?
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nahgul
Yeah I think that is why I think it looks a little bit “flat”. The lack of contrast made it harder for me to define the planes of the face resulting in a flat look. Also, I might have to work on the right eye a bit.
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paper
Oh hey it's you Hey this is pretty good,you definetly improve your likeness a hell of a lot.Your value structure is good too,nice simplification on the light side.I guess if I have to give a critique I think you made some of the side on the left a bit too light and I think you can soften the edge of the eyebrow a bit.I also personally think the structure inside the ear could be a little bit better,so maybe study that a bit more (I recommend Vanderpoel plates and copying them) (Here's also an overpainting if that help) But other than that,great job!Please,if you do a little more work on the background (and also the above)This'll be a very good painting!
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nahgul
Oh hi @paper, thanks for responding! Do you think I should maybe exaggerate the values of some plane changes with a little bit more loose brushwork going on to avoid it from looking flat and "cartoonish" or is it good as it is? The photo reference is pretty bland in my opinion.
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nahgul
Hey, I think I have been working on this portrait painting for a little bit too long and now I feel like I have become immune to it’s downsides. So to solve this problem I would like some objective criticism on it.
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nahgul
I know some of the differences but do you lose anything by using acrylic instead of oil if you want to paint in an oil painterly manner?
paper
Hello @nahgul,this is a pretty good portrait!I quite like the subtle green near the mouth and eyes.(it actually kinda remind of this Ilya Repin painting)I also quite like the unfinish quality of the hair and shirt to the more finish face, Honestly you say that the face isn't symetrical but it looks pretty good to me!IThough on the topic of construction,I do feel that the bottom left chin is a bit geometrical,that it kinda feel like it should be more round,(if that make sense).Also (and this a bit subjective)I suggest softening the eyebrow,the area where the hair touch the face,the nosed and mouth in shadow,the area where the shadow meet the light in the neck and the outer area of the ear to give more edge variety in the face.(here is a overpainting of my solution if that helps) On the topic of likeness,since you're not comfortable with sharing your photo,I'll try to give a general advise.If you're aiming for likeness,I recommend doing what John Singer sargent did and slightly carricaturing the face so the most recognisable feature become more obvious (here's a blogpost exampling how Sargent does it http://gurneyjourney.blogspot.com/2010/09/caricature-and-likeness.html) But other than that,good painting,please keep going,you're doing an excellent job
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nahgul
@paper Thanks! now that I think about it, I think the problem might be the anatomy and proportion of the features in relation to the reference rather than the perspective/construction. Might have to share a photo for you to get a better idea of what look I'm going for.
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nahgul
The right side of the face doesn’t look like the same person as the on the left side of the face and I’m having a hard time making it look symmetrical. The painting is not done but the construction and likeness feels off. Would prefer not to share a photo of the face but you can probably critique it construction wise. Also your overall thoughts so far would be appreciated.
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Kristian Nee
One obvious one would be to put a photo next to the mirror. That way you can still keep the "life" aspect from the mirror, but still maintain the information of having a photo. The next thing I'd say is to make sure you're well lit. It's hard to invent something from your head if you don't have a road map on what to do. The more you can make the drawing linear, the easier it'll be to achieve definite shadow shapes and from there it's just a matter of refining those until they hit that likeness you're after.
Charles Barque drawing Course 9
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nahgul
Alright, I'll try that. But what if you're working exclusively from a mirror? Is it just a matter of standing very still so that you can measure properly?
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nahgul
I have a hard time measuring the proportions of my head/face from a mirror because it's constantly moving, unlike other subjects. Any advice/tips/general rules for when you're making a self-portrait with good likeness from life?
nahgul
6mo
I know it looks wrong but I'm not quite sure how I should go about fixing it, any feedback is appreciated.
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