Grundini
Grundini
Earth
Grundini
I had another go at a figure drawing and also tried out some shading. Unfortunately I messed up the figure's size and placement on the paper and therefore decided to stop above the knees. Also the torso is squashed a bit. Apart from these things I'm quite satisfied with the outcome, especially since this is my first real attempt at this. As always feedback and critique is appreciated.
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Steve Lenze
Hey Grundini, These are all pretty good, especially the gesture, they don't feel stiff at all. I also think you have a pretty good handle on proportion and thinking about perspective. I think though there are some things that will help you, especially with perspective and a feeling of 3 dimension. The thing I think you could do is start to add some interior details to help show structure to your drawings. In particular areas that show corners to a form. These help make the form feel like it has sides, or planes to it. Also, look for areas you can overlap shapes to give the feeling of perspective to the shapes. This will also require you to use some interior details. In particular, think about how one form pushes into another form creating a pinch. This means the other side will be stretched and more simple. I did a quick draw over of some of your drawings to show you what I mean, I hope it helps :)
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Grundini
Hello Steve, thanks a lot for your feedback and for providing these ideas. I'm going to try to include these things in my next attempts. Your suggestions a really helpful!
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Grundini
Hey all, after a bit of a hiatus I went back to doing figure studies. Most of these are just sketches but I also started to test the waters with some rendering. I'm using polychromos pencils on newsprint paper. The latter is cheap and good for sketching but probably isn't the best paper for rendering. So I'll look into a better alternative for that. Feedback and critique is appreciated.
Grundini
I gave this a go and found the process quite interesting. I wonder how useful it is if I wanted to make a finished drawing of the last pose. At least as long as I don't work digitally I'll have to copy it from the transparent paper to drawing paper. Though I guess it's good for finding believable exaggerated poses nonetheless.
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Liandro
Hey, @Grundini! Sorry to be catching up late, and good to know you already received helpful feedback from our fellows below! It’s great that you’ve taken the leap to start sharing your work (nicely done, by the way). I’ve taken a bunch of Schoolism classes myself in the past, but I didn’t take Craig Mullins’s, so I find it cool to see what kind of assignments you get to do in it. Overall, I think your paintings from the course look stunning! The army scene, in particular, it took me a while to realize it was your piece and not the reference. And the Sargent study looks flawless to my eye, beautifully done. The first portrait is a piece I find to be visually striking (to my taste, it is the best of the three). It’s stylized, so it leads us to not compare it so much with the reference and look more at the piece for itself. I think it works great in most aspects; the only area which I believe could use some more work is the background, I feel as if it is a bit underdeveloped. No sure exactly what could be done there, but I’d try experimenting and playing around with it a little to look for other ways of composing it. The second portrait looks really good too, although, when I look at its reference, I think the facial expression lost a bit of its uniqueness. In the painting, it looks like a strong severe expression, which is cool, but the photo reference has some quirkiness to the brows and the way he’s looking up that, to me, looks more like there’s a story being told, like he’s communicating with someone with the way he’s looking. Also, in the painting, I feel as if the area of the cheekbones and jaw could use a little more polish and softness - at least enough to match the quality of the soft edges you did for the drapes of the “crown” (is that how it’s called? Sorry) The third painting has a really good polish, strong composition and nicely defined head structure as far as I can see. In terms of likeness, I believe the jaw line could have been made just a bit thinner and more angled if you wanted it to match the model in the reference - but if likeness was not a goal, nevermind. :) For the long run, one thing I suppose you could look for would be perhaps to loosen up your brushwork a bit more. But take it easy, as this usually may come naturally over time and practice. In the paintings you did from imagination, I see there’s a lot of potential! I feel there’s a clear intention of design and storytelling in these images, and looks like you’re also being able to implement your knowledge of anatomy and form. This is all great, definitely keep it up! On the other hand, I think going for looser brush strokes would help make the overall feel of the work more vivid and expressive. And, mainly, see if it’s possible to start your planning of the painting by thinking strongly about gesture and composition - these two things are what I believe could benefit your personal work the most as next steps to focus on. Hope this helps. Keep up the good work! Best regards!
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Grundini
Hi Liandro, thanks a lot for your feedback. I pretty much agree with your comments especially with the ones regarding gesture/composition and also the brushwork. I actually aim for looser brushwork but as I'm currently not very confident with my brushstrokes I tend to refine a lot until I find that it looks about right. I think this leads to the (in my opinion) too tight brushstrokes. This was very much the case in the personal pieces. I actually don't have a lot of knowledge about anatomy and therefore had too piece things together from looking at references. A lot of back and forth and refining of my initial painting then resulted in somewhat stiff looking brush strokes and characters. In the first two black and white paintings I actually like the brushwork much more. For these I had references and they were just exercises. Therefore I didn't care so much to get it "right" and this mindset led to more appealing brushwork. Unfortunately I'll have to put my drawing and painting a bit on the back burner because of upcoming work but I hope I'll be able to keep at it somehow nonetheless. Cheers :)
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Grundini
Did a couple of sketches for this exercise and tried to figure out their centers of mass.
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Grundini
Hey all. Made another attempt yesterday. Unfortunately ran out of space on the bottom of the page. As previously C&C is welcome. Thanks
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Grundini
Another go at mannequinization. Looking forward to some feedback.
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paper
Christoper Beaven made some really good point and pretty much said out most what I was thinking,so I try to not repeat what he already said. On the first painting,I noticed the head is slightly bigger than in the reference photo(but I can't tell if you zoomed in on the face and this was intentional,so feel free to tell me below),though the overall painting itself is drawn quite well.The second painting I really like,I think you had a healthy mixed of soft and hard edge. On the third painting,while I agree with Christoper that you made too many soft edge (I advised making the nose and the mouth more hard) but I actually advised making the left side chin softer (Kinda like how Leyendecker does it in this painting)or atleast make the value closer to the neck.I also advised making the area of the light a little bit lighter,as right now the value is a bit too close to the dark area (Here's a David Kassan for example of lighter value) The fourth painting is also really good,the photograph you use remind me of an Ilya Repin painting,though the actual color pallete you use remind me of this Mikhail Nesterov painting (Below).I advised making the ground darker, more like in the photograph.Because right now the ground value is too similar with the sky and it also make too much contrast with men in black suits. On your personal piece I think the one with mace has really good anatomy and you did well on the structure of his armor and body, but I found the gesture a bit too stiff (though that one may be subjective)I advised looking up Frazetta and studying some of his drawing to get a more dynamic feeling (though doing gesture studies is also good) I don't have much to say on the final painting,except that it's slightly too much to the left (Again,very subjective) Well that's all I have to say,I hope it wasn't too subjective and it was somewhat useful.I apologize if it wasn't too good.
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Grundini
Hey Paper, the larger head in the first painting wasn't intentional and up to now I didn't even spot the difference. I'm pretty satisfied with the second black and white portrait. I think it is one of the stronger pieces of the bunch. The third painting was actually done with a technique where you start with very transparent and soft brushes. That's probably where the overall softness is coming from. I agree with your other comments as well, also with the ones on the personal pieces. So, thank you for the useful comments (be they subjective or not :) and also for providing the reference images. As I mentioned I probably won't continue working on these pictures but I think your feedback will also be helpful for future paintings.
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Christopher Beaven
Hey great job in putting you work out there! I know its difficult sometimes but it can be invaluable. I like all the copies for the most part you were able to get the drawing correct and the colors spot on. In the color portraits there some lack of structure. That has everything to do with corners of the form. Steve Huston talks about that a lot in his book. I like the textural brushes you're using but the use of hard edges and soft edges on many of the paintings is not directed as well as it could be. The hard edges on the actors eyes is great but the rest of the face is too soft and it looses its structure. The photo of the soldiers has some wonderful depth with the line of men decending into the background with the officers having sharp edges. But you lose some focus in the officers by having all of them in sharp detail. I really like the black and white warrior swinging the mace its very consistent throughout but not much to say with you last fantasy piece. The composition is flat and not as dramatic as the content could have been. Other than that great job on putting you work here. You're very far along in the digital painting than many others I've seen and light years beyond me. Keep moving forward and creating!
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Grundini
Hey Christopher, thank you very much for the feedback. I pretty much agree with all of your comments. I am going to try to focus more on hard/soft edges in future images and also look up the book by Steve Huston. When I did the black and white image with the warrior I got carried away with the details very early on and I think that this shows in the image. It feels a bit stiff and in my opinion would profit from looser brushwork. Regarding the other fantasy piece... I also think that is is lacking something, and doesn't really convey the "story".
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Grundini
Hey all, around mid 2021 I started to get a bit into drawing and (digital) painting. I find that going forward it will be probably be very helpful to stop painting in a bubble and start getting some feedback. Therefore I wanted to share some of my pictures in order to get opinions. The first five pictures have been painted for the Craig Mullins Schoolism class. I've also included the reference for these, so you can see what they are based on. IIRC The topics for these were: - use different painting-techniques for the three portraits - paint a colored version of the black and white photo - do a master study of the Sargent painting. The last two images are personal fantasy pieces I did just for fun. Now, even though these paintings have problems and I'm not really satisfied I probably won't continue working on them. Nonetheless I think it'll be great to get some feedback in order to improve on future images. So please fire away, any C&C is appreciated!
Grundini
My first attempts at mannequinization. I did these before watching Stan doing these poses. I sometimes found it hard to decide on what shapes to use and I'll have to look at the examples and the lesson again. Nonetheless C&C are very welcome.
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Grundini
did a couple of robobeans today. Critique is appreciated.
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Grundini
Two more attempts at putting down the landmarks. I'm leaving out the musculature that's included in the examples as I feel that I don't have enough understanding of that. I had some problems with the scapulae (?) and I guess the proportions are a bit off. As previously feedback is highly appreciated :)
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Grundini
Trying to put down landmarks of the back on two poses. Will be helpful to get some feedback.
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Grundini
One more.
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Grundini
My first attempts for this lesson. Not easy at all. C&C are very welcome.
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Grundini
Hello, I seek critique for several gesture drawings I did recently. Nearly all are around the 30 seconds mark but for some I took about 5 seconds longer. I often find it a bit hard to look past the contours and to just see the motion, especially with more static/stiff poses. I had already posted some of these a couple of weeks ago but I didn't receive any response. Therefore I'm now trying again to get some feedback. Comments and Critiques are appreciated! Thanks in advance.
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