@seazeff
added comment inProject - Organizing Line Weight
4mo
Asked for help
I prefer harsh and direct critique, please don't hold back.
Level 1 hierarchy method and light and shadow method.
My own observation is that maybe I'm not pushing the difference between the thickest and thinnest lines in the hierarchy method to a large degree and the light and shadow method is also showing some of that to a lesser extent.
I struggled with figuring out exactly what to do with the darkest areas (ear and fold by front leg) with the light and shadow method. I tried to give the same treatment I did with the fold to the ear and it looked very strange, so I dialed it back even though there isn't much of any light there.
I felt unsure about how to handle the light and shadow method and was a bit frustrated. I think I rushed it at the end because I wasn't really sure if I was meeting the brief.
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2yr
Thank you for tagging me. I like the design change on his left arm and I think the treatment of the metal is greatly improved. Well done!
2yr
After watching the critiques, I realize that I did the previous 6 exercises incorrectly. Should I go back and do them over or move on?
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2yr
Tried my own take on this one. The fingers are a bit strange. Not sure if cylinders are enough.
2yr
I was just watching the critique video and saw that we weren't supposed to be drawing the finished product Marshall did but rather creating our own. In hindsight this makes sense, however, I saw that the the majority of homework posted on the feed was people copying Marshall's work and followed suit. I'll do my own rendition from here on out.
2yr
I'm still unsure what I'm supposed to be doing on these. Do I draw the reference from the start or do I copy whatever Marshall does based on his observation? Looks like half the students are doing each.
2yr
Tried using some different angles from the video. I'm not sure how successful the XYZ one was, but I feel that the XY was pretty accurate.
Am I supposed to copy Marshall's or try to find the landmarks myself? I've been trying to not copy his and go with what I see in the forms, but I see most people replicating his.
I've done a ton of still life drawings and am fine if it's an observation exercise, but I just want to make sure I'm learning what was intended here.
I used the skeleton foot shown during the video as the reference
2yr
I'm hoping these become easier once I know where the muscles attach.
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@seazeff
2yr
Hi Orion!
The quality was a bit blurry, but I've made some changes to show where you can improve. See attached image.
1. Midline of face too far to the side plane. It looks like you're trying to draw these from imagination which is ultimately the goal, but I would strongly suggest using reference when starting so you can get the visual library built up.
2. The midline should be very close to parallel to the vertical mark on the sideplane. Basically, once you get to the eyebrows you can drop the line straight parallel to the side plane vertical line.
3. The sideplanes of the head in a frontal view taper inward. The back will flare out a bit, but it's less than a perfect circle.
4. Your sideplanes are too short. They should be approximately 2/3rds the height of the circle. Your faces are going to be very smooshed and short if your sideplanes are short.
5. Initial circle needs a major and minor axis of very similar length to work.
There are other things with the more extreme angles, but I am out of time. HOpe this helps!
Sean
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2yr
Asked for help
I'd really like a critique. Thank y'all!
2yr
Hey Ruben!
I think your design is coming along well. I think the pose suggests there is something sinister about him. The way he's looking to the side, the way his hand is occluding his face, and the fact that he is an upside down triangle all suggest this guy cannot be trusted so when you say he's a riff on Scar, I think that you're pulling that off nicely with the shapes.
I like the design of the sword, the shape is very appealing, but it cannot functionally go into that scabbard as it's too large. Even if it only went up to the unsharpened part of the blade it would be too large for the scabbard. Also, that sword would need a counterweight in the hilt to prevent it from absolutely obliterating the wielder's wrists. There are ways to lighten the blade to make it more believable without a counterweight such as adding a groove (fuller) in the center mass of the blade. This is only important if you want the character to pass as believable. If you're going for a more cartoony style then the sword can probably pass... still maybe a bit too big compared to scabbard though.
The legs are a bit long and because they are so narrow compared to the torso this effect is exaggerated. If you're going to keep the legs this long, A camera angle that is higher up looking down would work better and then the upper body would be benefitting from the foreshortening. The size of the torso and legs makes me think that it should be looking down with foreshortening, but your horizon appears to be at crotch level. Crotch horizon is not something I tend to do especially when you're not trying to draw interest to that area. Maybe if you're drawing cute girls and want emphasis on the booty or something.
As far as lighting goes, I think you are doing well, but overall it's lacking some consistency. For example, the plate on his back is heavily reflecting the blue of the cloak (which is fine) but if the back in low light is that reflective, I need to see that consistently over the piece. Part of the scabbard should be reflected on his thigh. Another example is that his right pauldron is not very reflective at all and almost has the same texture as the purple cloth.
The dark edge around the border is a personal pet peeve of mine, but I think you've pulled it off more tastefully than most do. The exception being the sword. If you want to draw attention to the sword do that through contrast by making it more reflective or doing something texturally to draw attention to it. I think the black border around it is too much.
The more I look at your work, the more I'm drawn to the back area with the blue reflection. I think that's an area you should try to emulate in the rest. It looks like a lot of time was spent there and it comes across as much more polished.
Overall I think you have a pretty good design started and am excited to see what it looks like when you're all complete. I'm not sure if you can do it on this site, but if you can tag me in that post I'd love to see it!
Sean
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2yr
This one was much easier. I was able to get it as is without reviewing the video reference, but now that I compare them there are some differences between mine and the ref. I felt like the pectoralis major was overlapping in the middle and i couldn't see the sternum, but in the ref it's full sternum.
Is it best practice to include the bony landmarks even when they are obscured?
2yr
This was by far the hardest yet. The bony landmarks were very useful early on, but at some point I just got lost in soft tissue and couldn't identify where muscles were. After completing this I compared mine to the video reference and there are a lot of inaccuracies, but despite seeing where I went wrong, I'm not sure how I'd know to do that without better understanding where muscle origin/insertions are.
2yr
Legs are a bit of a mess and I have no idea how the forearm muscles work, but I'm pretty happy with the way my torso came out.
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2yr
It started out pretty slow and I wasn't sure if I was on the right track or not. I was struggling to remember how you did the connective tissue of the left scapula. After 5 minutes of struggling I realized that I had drawn the entire tringle of the scapula out already. With that information it became clear where the connective tissue would be.
I'm really glad that I struggled through that instead of checking the video for a hint. I don't think I'll forget that lesson and am pretty proud of myself for that as reluctance to struggle has been my biggest hurdle in learning to draw.
My lumbar area is significantly different than the reference in the video and I'm hoping to figure out what I'm doing wrong as I get further in.
Oh yeah, the double contour lines on the glutes is because I forgot to put my contours on a separate layer and realized they were going the wrong way, but it was too late to undo them. I'm not very familiar with photoshop and couldn't figure out how to get the history brush to work specifically on that section. I'll have to look into it.
