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Practice Thread 2: the Second Practice Thread Edition Anonymous 08/24/2021 (Tue) 06:11:59 No. 3859
A thread for people of all skill levels to dump their works-in-progress and studies Old Thread: >>3 Resources: Northern Kentucky University Drawing Database - Marc Leone "the Basics" Playlist: https://www.youtube.com/watch?v=Vtd6uwNFl9k&list=PLMXbAPr21di-Ox-dmDwL2riWedei1dn9S[Embed] Ctrl+Paint.net Free Video Library https://www.ctrlpaint.com/library/ Anatomical 3-D Models: https://pastebin.com/9VgmQQPk Random Figure Poses: New and Improved! https://www.posemaniacs.com/tools/thirtyseconds Random Google Street View: https://www.mapcrunch.com/ Books etc. (from Sticky): https://mega.nz/#F!es1BSKQR!spODyd0iaQmMelGA2GscFw
Edited last time by loomis on 03/29/2022 (Tue) 19:16:24.
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>>3861 Little too wide, features like eyes and ears a little too small. Watch your angles
>>3866 I feel like he's accepting a proposal for some reason.
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How do I keep doing this? Am I drawing somebody while I'm observing the subject in front of me? Also how do I make the eyes look downwards?
>>3871 You're looking back and forth, observing your subject as it relates to your drawing using the comparative measurement drawing strategies you should be familiar with. Keep doing the Bargue plates in particular, I do not think you're getting much from trying portrait drawing at this time but I don't want to discourage you from trying necessarily, either. >how do I make the eyes look downwards This is an anatomical question, the external and internal appearance of the eyes change depending on certain factors. Nothing I can tell you on this will help you at your current level, you just need to learn how to ascertain spatial relationships which you will learn intuitively through doing the Bargue plates and then apply them to your portrait drawings. You need to learn to see the "real" shapes and not symbolic ones. You are getting better at that, for the record, but at this rate it's going to be a long slog.
>>3871 For this subject specifically, I can say you can help her look downwards by lowering her eyelids even more. Second her irises should be partially obscured by her lower eyelid. In your drawing they are barely touching, but she partially has them actually beneath the lower eyelid.
>>3866 Looking at it again now from afar everything you said is clear as day, idk how I didn't see it
Is shading easier with a pencil over digital? or is there no difference / once-you're-used-to-it type deal? I haven't had any instruction on shading from the book i'm going through (Drawing on the Right Side of the Brain), so I tried just doing it in >>3861 but it just made her face look dirty, I did the same in a pencil drawing and it did register as shadows instead of dirt.
>>3875 Different mediums require different methods. You wouldn't shade with paint the same way you shade with a pencil. Treat digital as if it were completely different from traditional pencil or paint because it basically is until you start getting into it more.
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>>3873 >>3872 It's slowly starting to resemble her but looking at different things. How would you draw them anatomically?
>>3878 >How would you draw them anatomically? My man, the study of anatomy takes years. I can recommend you to anatomy books. Loomis is a good choice, Burne Hogarth is popular, I like Jeno Barcsay, but at the end of the day I can't explain the anatomy of the human face in one post. If you have a very specific questions I can give very specific answers.
>>3878 >>3879 Anatomy is one of the last things you will ever tackle when learning how to draw. To clarify what I mean by anatomy, I mean musculature, the skeleton, etc, the physical parts of the body and how they move and relate to one another, stretch or contract. You can be a great artist and get by knowing very little actual anatomy, so long as you understand three dimensional shapes.
>>3878 You should first learn the shapes that compose a head and face. You can worry about the details later, now you first have to understand how to properly build a head. You can also print that girl's photo and with a red pencil, try to break it down into simple shapes. I also recommend doing quick traces instead of slowly drawing a line. Don't spend too much time on it either. When practicing is better to spend 10 minutes drawing 10 faces, 1 minute each than spending 10 minutes on a single face.
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>>3871 turn off your left brain, and flip the canvas 180. it tells your brain to stop thinking "oooh a human face! that's a nose, ooo that's the mouth" (which makes you draw the features based on what it tells you) and instead go "THIS IS DARK SHADE, THERE IS LIGHT SHADE". shade it based on the thing you see
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Old
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>>3880 >>3879 >>3882 >>3961 I know you are all spending your time to help me by telling me where and how I should improve but I'm having a hard time trying to apply it as you say it. I'll just keep doing it daily and do small improvements.
>>4002 Try to measure the proportions of the head and understand its structure. It's boring but if you apply it well you will have half the battle won.
>>4002 It is all practice for now my dude. As long as you're drawing on a piece of paper and trying to do better, you'll get marginally less shit eventually.
I honestly don't think these construction abstractions are going to help him when he's still struggling to draw from observation alone, he's mostly gotta focus on that imho, form can come later when his Bargue plates start looking better.
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Right, time to move from her, since I see that I'm just stuck currently, I'll come back to all of this eventually. But, for now time to continue further in KtD. >>4003 These will help me a lot more when I fully learn observation. Thank you.
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>>4012 I forget if Right Side of the Brain mentions this technique, but I'm going to venture it will help. If you're fine giving it exactly one more try anon, put a grid on the picture you're drawing from and on the paper you're drawing on. Pic related, instead of drawing the face, replicate as closely as possible each square of the grid as best you can and see what that gets you.
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>>4016 Another example.
Comfort zone, comfort zone. la la la, la la lala
>>4012 I'm still a beginner, but one thing I notice is that a lot of "reference points" don't seem to line up. Fore xample >the left of her nose should be more rightward than her left part of her lips. On your drawing it's the opposite. >From left to right it should be (1. her right chin, 2. her right mouth, 3. her left chin, 4. her rihgt mouth). 1 and 2, as well as 3 and 4, are swapped on this drawing. > the tip of her nose should be more rightwards (from your perspective) than her left part of the nose. >the left part of her right eye lines up vertically with the left part of her chin. I'm not sure if artists explicitly pay attention to things like this when they draw or not, since I'm not sure it's not really forming a mental construction/perspective as much as it is double checking if your drawing lines up.
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Scrapped poses
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>>4016 Here's my result, I keep having trouble with the eyes..............
>>4028 Holy shit what an improvement. Yeah her eyes are a little off but that looks waaaaaaaaaaaay better anon. Like just compare that to this >>3864 Just black in her pupils and point them just a little lower and I think you'll be fine.
>>4029 Yup, I stand corrected. That clearly helped him along. It kinds of reminds me how the sight-size method using an actual physical plumb line improved my "figurative" plumb lines from my imagination. I always kind of looked down on gridding and stuff but if it can help someone learn then it's more valid than I gave it credit for. Just because I never needed something like that doesn't mean it might not help somebody else.
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Never done live figure drawing before, made some huge mistakes but the rush of having to nail a drawing down in less than 2 minutes is mind opening. Made some huge glaring mistakes as far as body width on some of the later ones, and I super fucked up the leg proportions on the one where she was leaning over. This shit is hard, but fucking worth it. Can't wait to actually be good at this garbage. Also sorry for weird lighting, was in a rush.
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Two more to go, light mapping... >>4029 >>4031 I'll just grind continously without stopping.
>>4048 Also, I forgot to say thanks. Thanks for the continuous help to this ultra beginner.
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>>4080 Based and Strugglerpilled
>>4080 I'll rest in the grave.
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I've been working with a fountain pen recently and aiming to improve my stroke confidence. >>4080 Oh fug, I just wanted a MgFlurry not a fight for survival DDD:
>>4104 I like the utility pole, you did a great job with the piles of leaves on the ground, I like the contrast between the pole and the rest of the image. One problem would be that while the consistency of your angles is decent and communicates well, I'm still seeing a lot of variance that brings down the quality. Mostly in the upper third. Very good all around though, I like it. Second does nothing for me. I'd say it's distorted, but I think that's intentional. Squiggles really distract from the quality of the lamp. Bricks have shit consistency. Branch is boring, lines aren't looking that high quality, though the leaves communicate well.
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Sorry for filling this thread so much with my shitty drawings...
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>>4108 It's the practice thread, nibba. Kinda the point.
>>4108 Don't worry bro, we would tell you if you're shitting up "the masterpieces only thread". You're dumping in the right place.
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>>4108 those maps are great for animation and pretty cheap just keep on drawing from live and you'll improve
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Did some practice in grafx2.
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>model no shows the class >get put in groups to draw each other >get le ogro de las Americas as subject >at the end of the session get gently instructed by the professor that you don't always need to pursue 100% realism What did he mean by this?
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>>4220 Drawings itself is decent, good line weight variation in quite a few areas but a little sloppy-looking in others. I feel like you have the same problem with hands that I do: carrot fingers.
>>4221 Curious to know what you mean by carrot fingers since looking it up doesn't really yield results. I honestly thought the hand was one of the better parts of the studies so I'm eager to know how to fix that.
>>4217 It means you're scaring off his shekels, goyim. Can't have her lose heart and stop coming.
>>4223 > Curious to know what you mean by carrot fingers since looking it up doesn't really yield results. Just look at your own hand and the image. Notice any differences? Many people tend to do carrot fingers. I still sometimes do it, when I'm lazy. It's that the fingers are drawn kind of pointy and thin towards the end. The fingers get's slightly thinner from top to bottom, but the width stays almost the same for the entire length of the finger. Only the very tip is rounded off with a gentle curve.
This is the practice thread. I won't give you pats on the back. I'm trying to tear everything you draw apart. hehehe
>>4225 NTA, I would state that using this definition only the pinkie is a "carrot finger". His ring finger appears to be quite well structured by comparison. If anything is wrong with the hands though it isn't the taper but rather the size of the knuckle relative to the fingers. Especially with the pinkie, the knuckle is just a touch too large compared to the width.
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>get a grizzled old man in the studio today Incredibly satisfying to draw
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Need to get out of comfort-zone
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one more
>>4373 You're getting quite good at painting E. Well done fella
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>>4397 Glad to see you're putting in work, judging by your foot with the guides and your foot without the guides you are getting a bit better at eyeballing proportions but you still have some work to do. I really want you to be doing those Dynamic Sketching exercises a lot, your lines and curves would be so much stronger by now if you'd put some more effort into that. Full discloser I was doing it for several hours a day, every single day, for like a month but it was worth it because everything I did from then on was super clean and far less labored. >it was probably easier for me because I'm autistic as balls tho too
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Finally managed to draw something after a long while. A couple sketches from a photo and I finished a plate of Bargue I started way back when. After many false starts with attempts at simplifying, plumb lines, thumbnails and such I settled on a viewfinder-cross which got me aligned on the paper. On the first sketch the proportions are bit messed up, on the second everything else. On the Bargue plate I realized how rusty I am, resulting a near rage-quit.
>>4404 Ah I thought you were our other friend at first; I was going to call his improvement remarkable, however knowing who this is now I can understand your frustration but don't give up, you're just a little rusty. This is (unfortunately) normal.
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>>4404 You're already far better than me, idk why you think you're giving up. >>4411 It's pretty easy to tell me apart from everybody in here.
Drawing a beard is surprisingly difficult since there are no long flowing lines with a clear direction. >>4412 I mean rage-quit as in "snap the pencil in half and storm out for a smoke"
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Could be worse, I suppose...
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Tried fucking with colors, came out surprisingly not shit thanks to a failed study that helped me learn heads better. I really need to learn how hair works though.
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>>3859 Been fucking around with wooden blocks and a lamp for more than a week now. Sorry for shit lighting btw, everytime I set it the way I wanted to I got pic 5.
>>4457 Pretty colors
>>4477 I've been meaning to get some wooden blocks/ cones and spheres myself, they seem like a real useful tool especially for beginners.
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I somehow drew everything but the tits right. This is even more baffling when you consider that I drew the tits before the shirt yet the shirt fits almost perfectly. This is a whole level of fuck up I've never experienced before.
>>4490 Aw shit, I just noticed while tracing that I fell for an optical illusion, it looks like the right tiddy is small because of that piece of the shirt going outward.
>>4490 It's pretty obvious you just shifted the right edge from the right armpit a full fucking inch. There isn't even an optical illusion going on you just fundamentally failed to notice how small the gap between armpit and boob is. Pro tip: The boob is teardrop that rolls off the top of the armpit, not a floating orb glued to the chest.
>>4490 >>4495 Wait now I'm even more confused, were you not intentionally trying to shrink her bust? Because you kept her boobs symmetrical, there is no optical illusion, and you just ignored the giant amount of boob sticking out of her shirt. Perhaps try drawing what you are seeing before drawing ''what you know" next time.
>>4483 >>4456 >>4412 >>4397 >>4355 >>4252 >>4229 You're making steady progress, don't get discouraged. Keep practicing patiently and diligently, and you're gonna make it. When you're working through the Bargue plates, remember to take full advantage of those plumb lines. You can use additional plumb lines if you're confused about where a particular line should go. Also, you will probably find it much easier to simplify curves into straight lines.
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Turned out surprisingly decent considering how sloppy I was. It's never occurred to me before that you can draw the outer corner of an open mouth like that in 3/4. Which is weird because I've definitely seen it done.
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Poompkin
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>>4574 Whoops
>>4575 That's a nice Poompkin
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Test
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>>4687 I can already see the improvement in your work. I think it's a good time for you to start drawing more geometrically complex things and practicing shading on those geometric shapes. I mean compound shapes consisting of the primitive forms (Quboids, cylinders, pyramids, cones, spheres). Try simplifying an image into these simple shapes, while not caring about proportions too much and not caring about details at all. Then try to shade it with a very clear separation between the light and the shadow. Make sure to include core shadows and show a difference between form shadows and cast shadows. Be very subtle with value changes in the light, then fucking go balls deept in to the shadow, then be subtle within the shadow. That would be really good practice for you right now, which will probably make your head hurt a lot. If I see you putting effort into it, you'll get a free illustration of your choice. ^^
>>4730 To clarify what I mean: For example take an animal and try construct a more or less similar thing out of primitive shapes. This means arranging the primitives within 1-,2- or 3 point perspective and then applying the images shading more or less to those forms, as best as you can. They don't need to be too accurate. But it's important to try and keep the separation between light and shadow as clean as possible and to make it very clear which shadows are form shadows and which are cast from one for on the other. It might help to imitate the lighting set from the photo with a lamp or so. That's what atudying is about. You get what you put in. It's as simple as that. Study smart and hard and you'll look back at your work and will be even more disgusted than you are now. ;D
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I feel like dumping stuff. I've been sketching arms recently.
>>4751 Props for realizing that the Coraciobrachialis exists. ;D I'm not sure weather you've realized it, but the brachioradialis has it's origin behind the lateral part of the brachialis. It originates from around the lower third of the humerous and attaches on the inside of the base of the thumb. It seems you could make that a bit clearer with the way the contours look. I'm currently working on a manga and started illustrating the "Why you shouldn't date fat girls" comic. ^^
>>4752 >started illustrating Nice. I had actually misunderstood where the Brachioradialis attaches, thanks. Although I haven't paid that much attention to that yet. And I just cut the tip of my fucking thumb off. AGAIN.
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>>4730 When I finish both KtD and Bargue, and I don't really know what you mean too.
>>4765 > and I don't really know what you mean too. Lucky me. Then I don't have to paint you an illustration. That was close. I just made that offer on a whim. I have so much fucking work to do. lmao Copying from reference always valuable. But it's only one part of a wholistic skill set. Practicing to draw 3D things from your imagination is the core of drawing believable images without reference or with less reference.
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Hrmm...
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>>4986 I'm done with KtD.
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>>5032 >>5037 Keep up the Bargue, breh. You're still having some control issues though-have you been doing the Dynamic Sketching stuff or not really? It does look like you're improving bit-by-bit in this regard in either case. Your visual measurement skills are certainly getting a bit better I think.
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yeah, I need to figure out how to use my construction shapes to make a human form
>>5045 Cute doge tho
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>>5047 Well done, a lot of those look as good or better than the ones in the book lmoa
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A
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>>4730 Upon re-reading some of these posts, I think I should take this advice as well.
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I feel like I'm making progress but I'm also paranoid that I'm practicing in a "wrong" way. Should I keep going with stuff like this, and study different body types, muscular, skinny, bony, etc.? Should I break things down into basic shapes, or is just finding the contour enough?
>>5112 You're on the right track, the more figures you draw like this the more little nuanced details of the "figure" you'll commit to memory/your "mental library" and with that the more you'll be able to add/subtract to or from any reference material you may use in the future to suit your taste. As you're drawing these figures try consciously thinking about different abstractions like their form, construction, the negative/positive space they're creating with how their limbs and extremities might be positioned, what any vertical, horizontal or diagonal plumb lines might show etc., not only to increase your accuracy in these individual drawings but to improve your own conception of these ideas and reinforce your ability to apply them.
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I guess doodles kind of count as practice.
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>>5112 Want to hear a secret tip? Try to first understand why you find the image appealing. Then try to capture that essence you've extracted. I can see that you are careful with your drawings, which is good. Speed is build on top of a solid foundation. Practice slowly to eventually become confident and fast without you even realizing it. Not only try to use plumb lines or a grids to exactly copy the image, because then your brain will think in terms of plumb lines and grids, which will make your drawings look stiff or even make you incapable of using the things you've learned in drawing from imagination. After "studying" a lot, I understood how I actually wanted to study. Then I started to always focus on seeing flows, paying attention to negative space and trying to capture the energy of the image. The end result might not be an exact copy, but it usually ends up capturing the essence of the reference. It tends to also have continuous and clean lines. Not scratchy bullshit, which is the result of being to overly pedantic over the perfect line, which leads to the opposite result. Don't worry about copying exactly what you see and focus on capturing movement and flow, while adding structure (accute angles and straights) where you feel like it's necessary. Obviously only if that's what you want. Realize that the way you practice informs the way you will think in the future. If you use the explained mindset of figuring out the essence, you will be able to draw things that have this essence from imagination without scribbly lines.
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Eventually, my caricatures will be recognizable...
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>>5135 I would recommend taking more time for a single piece. It's not about the volume, but the effort you put in. During the creation of these images, you thought in terms of lines. Try creating images out of clean value shapes. Obviously the related pic my lazy attempt at illustrating what I mean. It's useful to try to change up the way you think from piece to piece. Maybe you set as a constraint that you can't take of the pencil and have to finish the whole picture within a single stroke. (Good to learn and feel flow.)
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>>5136 As in adding more depth to the lines? Something like in this one here?
>>5137 > As in adding more depth to the lines? Something like in this one here? As in "not using any lines to define plane changes. In my example the lines that outline the shapes are not supposed to really be visible. Just make sure to fill in the shapes with the same flat tones everywhere. Try your best to create clean lines and try to stay within the lines while shading.
I mean the lines you use to define the shapes, if you want to use any at all. You probably want to use at least a few lines for defining the light patches and shadow shapes.
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As of right now it's 6:10 AM. I opened the window and observed the outside. There is a barn here with a metal roof. I noticed many interesting things. When observing something under weak lighting conditions many of our color receptors don't function properly (or maybe don't activate at all. I'm no expert on this.) The cells which are responsible for distinguishing light from dark are always active though. (Again, don't quote me on that.) They are scattered all over out retinas. I noticed a dotted pattern in the shadows. (That's nothing new in an on itself, but I became more aware of that fact and that I could integrate it in my art. The dots are noticeable. I mean, it's noise, but not the kind of noise you could emulate with a noise layer in Krita. The dots and patches are slightly bigger. Also the roof that I know has a hard edge in bright sunlight, had a fuzzy edge. Not a blurred effect that you could achieve with a gaussian blur, no. It was broken up. It kind of had something of a fata morgana. Maybe, because the air in my room was relatively warm in comparison to the cold outside night air? I think I could replicate that effect digitally with a smudge brush that is not round, but has some notice angles and uses a bit of texture. (I recently played around with such a smudge brush, so I got the idea of using that while looking out of my window and trying to figure out a way of replicating what I see.) Then I went into the other room, where a mouse trap lies on the floor. I knew where it was lying, but coming from a room where I turned on bright lights and stepping into a room without, it took a noticable amount of time for my eyes to adjust and to be able to observe the mouse trap on the dark carpet. First I didn't see anything except gray noise, then the trap started to slowly fade into vision, still just a fuzzy shadow shape of more or less a single value (besides the dotted shadow pattern). After around what felt like two second, I was able to discern a light and a shadow side of the flat quboid shape. The relatec pic is trying to emulate what I saw. The picture uses two noise layers as visual enhancements. One simple noise layer like tumbler artists use it. (I've slightly blurred the noise, reduced it's saturation and lowered the opacity.) The second noise layer has bigger specs and is rougher. I created it the following way: - create new layer filled with blank color and apply random noise - apply a gaussian blur (10px in both axis) - add oil paint filter with a stroke width of 6 (Krita, very GPU straining, result will look almost like a flat tone) - then apply an auto contrast filter - set the layer to multiply - play around with the opacity and a layer mask (I used a white transparency mask with a 10% gray in areas where the light hit. That makes the pattern very faint in those areas. I didn't want to completely get rid of it. It should still be very, but very subte. Not noticable, if you are not deliberately looking for it.) You might say it looks good, but only because you don't know what I was aiming for. If you are pushing yourself with a certain piece, you will usually never end up with a result that is as good,real,believable, whatever as how you've invisioned it. But you can still appreciate what you've created, know that the next time you will get closer and that you've improved with this piece, because you pushed yourself.
>>5143 tl;dr
>>5144 dubs
>>5135 Those faces are far better than previous ones you've done. Keep working
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>>5138 Mind you, I don't have any talent for drawing and I might've started from negative instead of 0. So I have hard time replicating what you're telling me to do.
>>5150 These drawing look decent. > Mind you, I don't have any talent for drawing and I might've started from negative instead of 0. So I have hard time replicating what you're telling me to do. Yeah, it is probably hard for you to understand what I meant, without the necessary experience. Ok, so honestly I would recommend to leave out the shading from your drawings and focus on proportions and clean lines. (It really doesn't serve you to shade your images at your current skill level.) If you can somehow emulate shading using clean lines, then that would serve you, because you're exploring using lines for as much as possible. The point is to focus on a single technique. I thought you were comfortable enough using lines, so I proposed using patches of value instead as a completely different way of thinking used to broaden your horizon. I was always decent at drawing, so I unfortunately can't really relate to your current situation. I really want to assist you somehow, but expecting too much from a student will hinder his progress, because of the resulting frustration. Let me give you this priceless piece of advice instead: Just practice. ;)
Two loomis heads
>>5181 Pretty nice, you did very well on the tilted head
>>5182 Thank you for the compliment not gonna lie it was my second version at drawing the tilted baby head and I did a different one just before I am reconsidering redrawing it tbh the bottom of the lower face isn't full and wide enough its lacking balance and size its too small esp the lower left cheek. I'll repost the the 2nd redraw later
>>5183 In this one I can kind of see you fighting with the part of you that has ready-made symbols for what you're seeing versus the part of you that is recording your observations dutifully. Drawing on the Right Side of the Brain talks about this phenomenon, but to spare you the details I think it's interesting that in this piece you demonstrate the ability to capture the surrounding contours of the subject, the internal proportions and spatial relationships quite well, but you have a few issues with the nose, eyes and lips here. Contrary to the reference: >you've drawn the ridge of the nose too long whereas you can see it is a "broken line" in the reference >you've drawn the nostrils as two large holes in a sort of "symbolic" manner; in fact with regards to the nostril we view as being on the left, the reference is depicting primarily the side of the tip of the nose, a contour obscuring the nostril owing to the tilt of the head >You've drawn the lips in a sort of "symbolic" manner here again, much like a lips emoji or a pair of wax lips facing fully forward towards the viewer. If you observe the reference more closely you'll note how the form of the lips changes when seen from an angle alternative to straight on Don't be disheartened though, I feel like you're so close to "getting it" when it comes to observational drawing and I'm happy for you.
Edited last time by loomis on 12/02/2021 (Thu) 04:06:17.
>>5184 Yeah good pointers I redraw it all I can say is I draw the ear too small. It reminds me a bit of a fish.
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>>5192 You've attempted it twice now so good work, they're not perfect but there are many more where that came from so consider moving on assuming you haven't already and try a new one.
>>5204 Holy your drawing looks awesome i dig the distinctive look you gave it especially in the eyes. I moved on too new faces today I seem to be getting the tilt of the ball of the circle of the head its off, it's never aligned to the similar angle as the ref. What have you been up to art wise recently if u don't mind me asking?
More loomis heads
>>5220 Looking good! You have a bit more of an angular style than the references but it's good!
>>5205 >>5220 I hope you draw some Christmas cherubs soon anon.
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>>5224 >>5223 Meh, slow progress, good enuff.
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Will redrawing lewd art help me draw femazoids better?
>>5228 I guess
>>5228 yeah, I remember seeing this in /ic/ long ago, pretty helpful with building a visual library and what not
I started figure drawing again. >>5222 Maybe I will after I am done with drawing baby faces I am going to move on to drawing brats >>5221 thx. I think I draw too straight lines or something freehand drawing is tough I think loomis is using a campus to draw his circles wouldn't be surprised >>5224 Nice tea cup isn't that from the drawing video course by Brent Eviston?
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Doomp >>5238 Your figures show improvement. Keep it up
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>>5245 >>5244 >>5243 >>5242 >>5241 >>5240 >>5239 Excellent, it's good to see you've been hard at work.
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>>5239 >>5240 >>5241 >>5242 >>5243 >>5244 >>5244 >>5245 Over what period of time did you do these? Asking so I can do a rough personal reference.
>>5205 I don't do much of anything unfortunately lately, I've got major productivity issues. >>5238 I think, though you are still struggling, you are seeing the most success with the Bargue and Loomis reproductions so keep at it. You are certainly allowed to try doing whole figure drawings but there is much more visual information to compartmentalize and express. Make sure you are taking what you might be learning doing the Bargue and Loomis drawings and translate them to the figure drawings.
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Wtf am I doing, lmao.
I butchered one of the baby faces. >>5249 It's alright. My figure drawing are all from observation I don't really have a technique for it yet I really am only at the start of loomis books with faces atm. Never heard of Bargue or of his methods I did get through like half of the book of keys to drawing before It became boring. I can really only apply what I know to faces. >>5239 Thx. Your stuff looks great very good anatomical structure, what book or source are you using to draw them from my guess would be something semi realistic type figures guessing from some of the cartoon like figures. >>5250 Nice elf lady and the legs are looking good. Does the elf lady come from a reference?
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>>5248 About two or so months, I think >>5259 A lotta hampton + some bridgman + a little reference (should improve on this) I really shouldn't have skimped out on faces and values and it shows
>>5259 You are doing a better job picking up on individual details, but some of those "details' details" such as their relative size, angle and so on are evading you as of yet. WHERE THAT BABY'S FOREHEAD IS, NIGGA!? I think you're beginning to understand some of the important concepts of observation drawing but you're just making some rookie mistakes which is throwing things awry a bit.
>>5260 Hampton's stuff is good ur faces aren't bad. Ur producing good work keep it up. >>5263 Ikr the baby's forehead is nonexistent draw the hair to low and overall draw it too small. Yeah getting the angles right is hard what rookie mistakes am I making would be great to know I am just going too continue practicing the one of the figure drawings were drawn in 5 minutes and the other 10 minutes the one that is more complete is the 10 minute one. Thx for the pointers anon they help a lot.
>>5260 You're doing well, and it's good to be conscious of your comfort zone-you also have to be willing to confront the things that might be outside of it. I struggle with that quite a bit, myself. It seems I'd rather be on the cusp of giving up than actually do what I know for a fact I have to do to improve and I don't want that that bad mentality for anybody, especially someone like you that shows a lot of promise; keep up the good work. >>4220 I kind of feel like the criticism of this was a little disproportionately harsh and the explanation for what was done well was a little flippant (I was the "carrot fingers" guy, for context). What I should have said and what even then I believed was that your linework really came a long way by this point I think, and this piece and the McFroggy that preceded it exemplify that when compared to some of your earlier work. Whatever missteps one might point out are relatively minor, for example I don't like the shading lines you have on the back of the calf in the kneeling figure because, unlike most of the lines you use elsewhere, you have those in a sort of very short "radial" pattern rather than following the same trajectory (as is the case in the very appealing lines you have going from the character's back towards his front in the arm-supported figure). I don't think I've seen you post in a while but I hope you're still at it, you'd clearly been working hard behind the scenes and regret not giving you a substantive response with your last posts.
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>>5264 Here is a visualization of some comparative measurement strategies as it relates to some of your more recently submitted works. Most of them have multiple things that would fit but I tried to keep it simple. Top Left: the use of existing features to extrapolate spatial relationships between significant points in the drawing, in this case the distance from the eyes to the hairline Top Right: Watch out for both the angles of significant features like the ear and also their size, you can see a pretty significant disparity there. You've done a solid job with this one overall I'd say, just note how much bigger the ear is on yours relative to the reference as well as the angles being quite different. Bottom Left: Ignoring the comparative measurement problem of the short skull I focused on angles again, see how the point of the brow relates to the point of the chin in the reference? Cutting through all of the excess contours and focusing on simplified relationships like straight lines can help keep you from getting lost in the details. There was also a pretty big discrepancy between the ears in your piece and the reference Bottom Right: This one you noticed you made a mistake with, however what's most noteworthy about this is that you followed your own improvised browline properly, so well done with that.
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House looks meh.
>>5270 Don't overdo it on the details-or even bother with them at all, really. You just want to get the concept down and that's just eating up time unnecessarily. Just look for the geometric shapes (the "outlines" you could call them) and try and understand the concept of vanishing points etc.
One of my Drawpile "reversal" studies (me on the right, original artwork on the left). It's not perfect but I'll refine it a bit next time I'm on to get it a little closer.
On too brats now. fuck me I need too get my own references for figure drawing most of them from websites timed in class mode are utter garbage >>5266 Yeah you have a really got point I need to go back to using more of the pencil measurement techniques such as plummet lines and I really need to start drawing axis lines of the angle before I put the whole structure down and I need to compare lines more for placement of the face all of this I have too do before I start to darker in the lines my structure and prep needs work hard especially before I put down more detail and compare points to other points on the face so my proportions are more to size and align more to the reference thanks for the critique was great.
>>5281 You did quite well on the baby heads this time around, you're recording the details quite accurately with a few flaws here and there; the size/silhouette of the first baby is taller than it is wide in the reference whereas yours is more rounded, and then for the other baby the ear is just slightly off. Well done! I encourage you to continue practicing complete figure drawings as well, just consider everything you now know about plumb lines, negative/positive shapes, and other comparative measurement techniques we'd discussed thus far.
>>5281 (For the record you should export your figure drawings at much higher resolutions so we can actually see them, the current resolution works fine for the Loomis heads but not so much for photographs and drawings of a complete figure)
>>5282 I think how I might be able to fix the size/silhouette of the face shapes is to draw each shape of the face into parts instead of drawing on big single shape as a base because clearly they are all of different width and of different heights and are split into shapes I haven't tried doing this yet but I will try to next time. Problem I am having with plumb lines is how do I establish a middle point and balance my measurement whilst measuring because I am always start from my thumb to the end of the pencil tip how do u find a center balance point while measuring a symmetrical shape. >>5283 It's starts to get dark by the time I take photos of the figure drawings I will try to take photos next time with better lighting should help improve the visual quality of being able to see the details.
>>5287 >I will try to take photos next time with better lighting should help improve the visual quality of being able to see the details. The lighting isn't really much of a problem it's the 403x202 resolution. I guess I never presumed that maybe that was a limitation of your camera though so I apologize if that's the case. It's okay, but it's going to be hard for people to offer any kind of advice when the picture is that inscrutable. If your camera isn't capable of taking higher resolution figures then consider taking a single picture of your drawing vertically and submit the reference photo as a second image entirely, that would probably help a lot.
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A continuation
>>5294 The wiggly coffee cup has a sort of appeal to it. You really need to work on that manual dexterity and control though, man. The Peter Han exercises are essential, to get the kind of control you need "organically" through just drawing randomly it will take a lot more time. At this point in time you should be doing this as much or more than you're actually drawing. https://www.youtube.com/watch?v=wgDNDOKnArk https://www.youtube.com/watch?v=o1lleIBzn3A >>5301 Looks like it's coming along well. Keep it up!
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Basically finished, need to clean up various things however. Second is a filtered version that i was experimenting with
Tried more of the heads with the pencil measuring method. >>5290 Good idea I am going to separate the two, Is it more visible now as stand alone?
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>>5324 I'm not a very competent painter so I feel like I'm in no position to offer advice, but perhaps something is better than nothing. Maybe that kind of thinking is why there's so rarely any discourse here. So let's focus on the face since I think you've done mostly a good job with the body. Your values seem a little inconsistent to me. Maybe it's just the lighting in your reference or her makeup, but the direction of light seems to differ from that on the body and the values of your shadows look too light to me. Even if the light in the reference was very diffuse, I think your main concern when painting has to be making the form read. I assume the root problem is that you need to observe the planes more carefully; reference multiple images of the subject from different angles, as well as the asaro head as a sort of simplified instruction for what to look for. I'd recommend blocking in the planes and shadow shapes roughly first and then blending between them, and once you have that framework established you can make minor adjustments with an opacity brush. With the mouth I think the color is throwing off your perception of the values. If you desaturate her lips you'll see they're almost completely undefined. Also the stage-left iris was rather far to the outer corner giving her kind of a derpy look. Watch out for that, I usually measure that compared to the corners of the mouth. ... And apparently I'd gone into some kind of low contrast mode when I recorded this. Whoops.
>>5336 Shit, I forgot. Maybe you're aware but every plane facing the same angle compared to the light source will have basically the same value, except for differences created by light falloff, occlusion, and ambient light filling in your shadows. If you break it down like that it becomes much more manageable. As long as you know what value one plane has, you effectively know the value of all the other ones with a similar angle as well.
>>5336 >>5338 Danke. I knew there was something off with the values in relation to the planes, but I wasn't sure how to fix them
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>>5363 I'd say the main issue is that you need to pay more attention to the placement of the feet and the center of gravity. She looks like she's about to fall over because you got those wrong, although that may just be the angle of the photo, but then the foot placement becomes even more questionable. That should improve the proportions of the legs too. These are common issues and I think it basically comes from starting with the torso and placing the legs after the fact, you need to consider the overall pose before getting into specifics like for example the exact curve of her back or thigh. If I were to give one specific advice on how to think about this, it would be to observe the location of the joints in relation to each other rather than the shape of the limbs, and draw the limbs between them. Also imagine a line straight up from between the feet and note where the head is in relation to that, that should help you get the balance right. Another big thing to point out is that her left leg isn't properly connected to the body. You need to visualize what's behind the visible parts when things overlap. Draw through the form to avoid mistakes like that. https://youtu.be/tCZIqbRDphs?t=60 Overall I think you may be looking too much at anatomical detail, at this point broader measurement is much more important. You've done a good job with the shape of the right thigh for example, but again, the pose of the legs is off. It's the bigger picture that holds a drawing together.
>>5364 Very nice, these are exactly the kind of spatial relationships people should be looking for. Cut through the details and see how one thing pertains to another. The more you do this, the quicker you alternate between these different concepts of observation and measurement until you get your result. I can already see a lot of improvement with baby head guy's ability in that regard. >>4548 This is a pretty nice portrait I think I and many others slept on somehow that deserved a response that never came, well done Anon-if you're still here (sorry!). If some of you newer guys look you can see subtle pencil marks where this artist plotted out their drawing's features. Even when you're drawing ostensibly from imagination or very loosely based on reference you will use these observational drawing concepts so they are worthy practice.
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Sigh...
>>5374 >first two pics YES Finally, try and stick with that for a while on top of the other drawing you're doing, don't get impatient-watch the video and follow along with all the different kinds of exercises. I did that for many days and many hours before I got to where my lines are now. >second two pics You appear to be getting overwhelmed with the details of the real portraits you're viewing, I think, much like the other anon, you should consider trying some of the simplified stuff from Fun With a Pencil. Consider posting the photograph you're attempting to draw as well so people can take a closer look.
>>5364 Thank you very much for you helpful pointers I apply the drawing through the body and behind and doting down the ligament. started too notice head line up with foot and comparing where lines goes by cross referring.
>>5376 I intend to do the full course, I can't just stop at the first video. Fun with a pencil from Loomis? That one? Also, I don't really use references other than the Bargue plates one at least not anymore.
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Unless, the process is in step by step like in Bargue I fail completely to do anything even remotely to a reference.
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>>5387 No fucking words, lmao.
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>>5336 A measurable improvement
Though I suppose the values could be pushed a little more. Another thing I should work on
I made the left arm too small. The cranium I drew way too light
Now started spending 25 minutes on a single figure drawing
The head on the figure looks too big compared the rest of the body proportions or am I seeing it wrong?
>>5387 Working with real life or photo reference is harder, don't feel bad about that. The Bargue plates are laid in with very straight lines and angular shapes, and those are easy to observe. But I think the point of the plates (one point anyway) is to teach you to look at the world in the same way. Try to simplify the reference into the same kind of angular shapes with the initial sketch, and then smooth them out. Looking more carefully, and forgive me if I'm wrong, are the two pictures of Bargue plates two different drawings? Because I don't believe that's the point of this exercise. The Bargue plates teach you a process of going from a sketch to a rendered image. The first step with the angular bits is just blocking in the drawing. You're meant to build the finer detail on top of that, and then lay in the values. It's the same drawing, just in different steps of the process. Hair is a beast of its own and until you've learned how to abstract it as form, don't worry too much about making it look like hair. Just focus on the bigger shapes. >>5472 It is a little big, yes. I would be more concerned about the legs though, you consistently draw them very short. Measuring the figure by heads (figure drawing for all its worth, p.26-33) can help with both those issues since they stem from the proportions of body parts being inconsistent in relation to each other. The exact proportions vary between people and depending on how you want to exaggerate them, but I think these proportions make a good baseline. Although rather than measuring the figure as being eight heads, I find it easier to break it down like this. From the top of the head to the crotch is four heads, and the legs are the same length as that. That said, this is a very rough unit of measurement. Especially if you're measuring a photo of a posed model. The outline of the head changes a lot at different angles, the abdomen can compress a fair bit, and the limbs bend. It's more of a general guideline to keep in mind than something to measure meticulously on every figure.
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>>5475 Thank u so much for the critique boy did it helped I applied it the loomis 8 head woman figure measurement and it turned out good on the figure I draw my head is a bit small. I am on the head part atm on fun with a pencil hopeful with time I move on to the body and on to his book about figure drawing. Loomis's material is so top notch
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>>5475 I don't lay it on top of each other but draw them on different papers.
The hips are not wide enough. The figure as a whole is missing some form of better structure of width.
>>5479 You're making the process much much more difficult than it needs to be. That plate you drew, plate 32, shows three stages of the same drawing at different points in time. Each of those stages would be done by building on the previous stage, using the same sheet of paper. The outline you drew in your first pic is reasonably accurate, but that accuracy was lost when you moved to another sheet of paper. The entire purpose of drawing the basic outline of the subject is so that you can more easily see how the lines relate to each other. Also, if you simplify the contours into faint, straight lines, it's very easy to make corrections. Then when you begin to create more detailed contours, you will already have a framework with accurate proportions. >>5480 You might find it easier to work through some of the observational exercises in Keys to Drawing or Drawing on the Right Side of the Brain, or the Bargue Course, as our other friend is doing. Learning to use plumb lines and negative space, for example, will help you to keep your proportions consistent. Loomis doesn't really emphasize that in his book. In Fun with a Pencil, there's a very brief explanation on page 117, and in Figure Drawing for All It's Worth, the section on Procedure (pages 86-90), might be useful (I might have missed some pages, so please feel free to correct me). Loomis' books are great sources of information, but there's a bit of a caveat. I am going to quote an anon from the previous practice thread who gave me some very useful advice. Anon #1 said: >I am a Loomis advocate but I don't think you should limit yourself to this method 100% for drawing from observation. This is more an abstraction for creating imagined heads. The measurements in the Loomis head are somewhat consistent with the real thing and they're good to have memorized and make use of, but when you're drawing from pure observation you will probably get better results mixing in observational abstractions like plumb lines, negative/positive space and the like as well. The Loomis head is good for what it is but it's also somewhat rigid and in portraiture you'll see the subjects making expressions that compromise their symmetry. Anon #2 said: >In his book about this, Loomis plainly states the construction method is meant to be only something to do a quick check on proportion and position of features, along with being easy to throw on for checking composition. If you're trying to seriously study and draw a face, the Loomis method is not going to help you as much as seriously studying it ala >>2381 (What Anon #1 said) >One big misunderstanding I think happens on this board is that Loomis had decades of traditional art training and experience behind him so he had already broken his back against the concept of anatomy before figuring out his construction method. His method for quick construction was never meant to be a replacement for actually studying anatomy, just a way to use what you know faster. To actually study the anatomy this anon has the general idea >>2381 don't let Loomis drag you into drawing what you know, draw what you actually see when studying from a reference.
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First time posting in the practice thread. I've been mostly experimenting with these sketches. These are all impulse-draws. I've taken a liking to Glen Vilppu's style, but I still find myself anxious when I draw. That's mostly because: 1. I feel like I don't know "what looks right". 2. I've had moments on what I thought was right ended up being wrong as fuck. 3. Both coalesce into making me feel like I'm emotionally not allowed to know what looks right. it's absolutely ridiculous, and I'm tired of feeling that way. the first two sketches are the most recent. Sketch one, I gave up on the right figure because the hand would be misaligned with the arm if I continued. Sketch two has a circle practice and another figure practice, but I gave up because I thought by not having a line of action, I was making it too stiff. Sketches three and four were an experiment in using an infinity shape as a body outline. Because of my issues, I don't know if it looks good or not. I figured I'd get these out and see what you guys think, because honestly, that's the first step I need to know what "good enough" is.
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>>5490 Try tracing a bit and see if it helps with making things look right. If you really want to draw the figure perfectly you can just erase a lot and use all the digital tools available to you. When practicing of course you will make a lot of mistakes. >sketch1 Just keep practicing gesture until you feel comfortable incorporating form and volume. Anatomy is not a huge concern at the early stage of a drawing. You will have plenty of time to refine later on. Vilppu is good. >sketch2 Gesture takes priority so just focus on that. Using your shoulder and drawing bigger can make circles easier. Peter Han has a good course on this. >sketch3 >sketch4 An outline probably would not help because it changes at every angle. Not to mention that the chest and hips are tilted in different direction in most poses. Try Michael Hampton for this. You will probably improve very fast if you stick to it.
>>5481 I took a stab at drawing her. Unfortunately, I'm a schizo, so, as with many of my doodles, it overlaps with another unrelated drawing. Because of that, I didn't get her nether regions. It's also really small, so it was quite a challenge getting a face on her at all.
>>5485 Already did keys to drawing in the past got thorough half the book but I quit. I didn't like it used the plumb lines for ages in the past found it after a while useless and counterproductive compared to just eye balling it. They are training wheels it comes down to personal preference and so forth. I just prefer loomis's stuff I like the in depth details and stuff it's just more interesting to me but oh well it's different for everyone. >>5492 It's pretty good anon. I like it especially the shading. Keep about the drawing, you are awesome at it.
>>5494 >useless and counterproductive >They are training wheels Why do you think so?
>>5494 son. I hate to break it to you. but you don't know how to ride a bike yet.
I did a quick portrait of the Afghan Girl, but I fucked it up because she looks sad rather than piercing. I should probably practice on clothing. The second image was my previous attempt which is a lot smoother but looks more like Greta. It actually made me stop drawing for several months.
>>5498 I put some more work in. It's an improvement, but the hair and hijab look like shit. I might consider this done because I don't want to work on it anymore. Fuck clothes.
this thread full of boobies hehe
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>>5501 Your values and proportions are quite good, you have a keen eye for observation. Although compared to the reference the shadow on her cheek and behind her face should be much darker. Squinting can help you observe values much more clearly. You might also want to read How to Render by Scott Robertson to better understand how to structure your lights. Can't remember if that's in the resource hub, but otherwise it's available on archive.org. The Russian academic painting course is also quite good, but you'd have to find that elsewhere. If achieving a likeness is something you want to focus on, maybe watch some videos on caricature. There's more to it than just measuring accurately, and that's hard enough on its own. When it comes to the form and shape of hair and fabric I think about both of them like this; Try to describe what it's doing, not what it looks like. The shapes of both those things are largely made by the forces acting on them. For fabric, look at how it folds, breaks and overlaps, not what the exact form is. If you understand that, getting the form right is much easier. Look up the 7 types of folds quite helpful for simplifying it. There are some all right videos on youtube about that. For the record, Inert folds which are mostly what you see in the afghan girl are really the hardest kind. Everyone struggles with those. For hair, try to break it down into clumps, or "cards"similar to how 3d artists build them. For rendering hair you need to look at the larger mass and basically ignore individual strands altogether. Try to look at the properties the larger volume has. It's not super noticeable in the afghan girl, but if we were to think of the hair as just one big ball of a particular material, that material would be somewhat transparent around the edges, as the strands are less dense there. The same applies to clumps and flyaway strands outside the volume. This effect is actually pretty easy to achieve when you understand it. It's very readily observed in this Leyendecker piece. There's obviously more to it, but there's not much point on getting into specifics. I'm honestly not that good at it myself. Observe hair under different lights, cross reference with how other people draw and paint it, and read as much about rendering as you can. Don't expect stellar results if you're still comparatively new, I guarantee you that you are underestimating the amount of drawing you need to do to achieve real control of what you're doing. But I do think you're doing very well. Happy new year.
>>5503 I'll try the squinting. I've isolated a couple reasons why the values are off. The first is that I did most of it with a really dull HB pencil before finding a 4B. The paper I'm using also meant for charcoal drawings rather than portraits. The second issue is that I have little experience drawing black and white from a color source. In fact, I think the Afghan Girl is the only image I used for portraits that was in color. Pic related is one of my earlier portraits (also slightly elongated in an editor because the original is compact) and even if it's slightly wonky I had a much easier time. Still, even putting that aside, a lot of it is just that I need to get more practice in general. I've tried drawing John Coltrane and a couple other black musicians, and it's very hard for me to get the dark complexion with the shadow. I'm going to focus on fabric for now because I think that will be more rewarding than trying to work on hair. When I do get to hair, I'll try working with light, straight hair, and then gradually go curlier.
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Lmao, shitto.
Final result. I really skipped through the last of it and it's all made up the hijab as I went, but I experimented with a few techniques and learned a decent amount. First thing is that I need to create shade gradients for the main colors so they're more distinguishable since I'm losing that bit of information. The next thing is that I'm going to sketch more lines. When I lined it up with the original I discovered that her right eye, which is where I started, is essentially perfect. From there on, though, I made her eyes slightly wider and her face longer, which is why she looks more Indian than Afghani and about 16-17 rather than 13-14. The final major takeaway is that I should avoid sketching shadows so soon so I don't have to worry about cleaning them up. Store's closed tomorrow, but come Monday I'm going to get some art supplies. Is there anything I should buy besides some pencils, a sharpening knift, some erasers, and a sketchpad?
>>5508 You know, at least the thumbnail looks good.
>>5495 Because I have used the method for ages and am sick of it and it's not for me I personal don't like measure with a pencil its a waste of my energy and offers not much of a better result if I didn't use it at all. Sucks the fun out of drawing for me. >>5496 I will get there in time who knows
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Slightly lesso shitto.
This took about 80 minutes, not counting the 20 wasted minutes of erasing and repositioning her eyes and nose. I'll post the reference photo once I'm done with it because it's not quite as accurate as I'd like yet, so I don't want any premature judgements. The face is mostly done, I'll do a little smoothing and fixing some things. This is really only the second time I've done a side profile, and the first at such an angle. So far, it's turning out better than I thought it would. I know I said I was going to do something with folds, but this is just something I'm doing in my spare time until I get better pencils since all the stores are closed for the holiday weekend. >>5513 Just out of curiosity, what's the purpose of those lines in the first one?
>>5518 He's doing the Peter Han Dynamic Sketching exercises, something I'd recommended him to do for quite a while now. It's encouraging to see him go through with it as he still seems to struggle with his lines. It took me many, many hours and dozens upon dozens of such pages before I was able to develop that strong manual dexterity.
Fuck it. I hate sweaters. It's done. Please critique. I ignored the ponytail because shading sucks and I like the more androgynous appearance.
>>5525 This is actually the first time looking at it at a higher resolution because I was looking at it in my browser at it scaled down and only downloaded it for the post. I had no idea her right eye was visible. I also missed the little bit of her right cheek between her lips.
>>5526 Just do like the pros do and play it off as intentional mistake. Regardless I really like the textures you got going on. Only a few places I find questionable. You harshened the shading on the corner of her nose and mouth and made her appear slightly older. Besides her right cheekbone you have a bit of shading that connects from the orbital socket to the jaw and I just don't see that in the original. Assuming you weren't going for accuracy, I don't know what that shading is trying to tell me. What is casting the continual shadow from her right eye to her jaw in an unbroken line? It can't be her own voice because her own geometry can't do that. Her hair has a weird shading problem where it splits. On the top half of the split you have horizontal strokes, which can be justified by the source, but then the highlight has strokes going almost perpendicular in relation. The source has them on the diagonal, so you really want to follow that texture flow for convincing hair. On the lower side of the hair split, I can't see justification in the source for it being horizontal at all. Again, maybe you weren't going for accuracy, but if that's the case I don't know what you're trying to imply with that shading in particular. Does she have one patch of hair styled in one particular direction? Otherwise I really like the hair, it has a nice feel to it. Bit harsh on the shading on the right side of the forehead, I can see why you would think to add that, but I would state it's probably an area you wanted to abandon source slightly and keep it bright. In general it's going to read better for the face. Good job with the lips. I really like them and the eyelids. Really digging the sweater texture.
>>5531 T-thanks. I originally was using that photo for an exercise where I look at the reference and then draw it as if it were upside down. It was extremely frustrating, so I was drawing it normally and that was also very frustrating. The shading wasn't really the focus of the exercise because I was going to get a full set of pencils the next day and a proper sketch pad; it was the proportions because I had gotten them so wrong on the Afghan Girl. The shading was just to kinda complete it and because I really can only draw what I see, but anything could go so long as it didn't look to egregious. Funny thing is I ended up fucking up her nose and chin even though they were better in the earlier sketch. The only major thing I really need to fix is make her neck shorter and her jaw a tad bit more forward. Another thing, I knew I was never going back to this pad once I had gotten my new, proper one made for graphite rather than charcoal, so instead of fixing it the next day and posting it, I just posted it that night.
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Paint practice. Probably could've done more with it
>>5540 Very nice job, you're really getting there.
>>5540 Agreed, you clearly have a better understanding of light now. You could maybe have a clearer distinction between cast shadows and form shadows. If you really exaggerate that the edges of cast shadows are hard and form shadows are soft the result looks much more believable. There's something about giving the two distinctly different properties that just makes your brain interpret the shapes as light, almost regardless of how accurate the rendering is. I annoyingly can't find any good examples of it but if you keep a lookout for it you should come across something sooner or later.
I adding shadowing to my figure drawing I think for the first time
I real lack3d shapes in my figure drawings so I tried applying it by using a photo reference and at the same time using a wooden manikin in the same pose as the photo I started out and took most of the time to get the 3d shapes down from the manikin by the time I started to focus more on the figure in the photo I was running out of time and barely managed to add any details
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Somebody help me, how do I go from rough draft to finished product? I am beginning to understand how to construct things, but when I get this far I just don't know how to keep "refining" or "rendering" after this point. Not saying it's good, I'm just getting "stuck" st this step and don't know how to go further. I've tried to just force past it but usually it just turns to shit after a while. Is it just practice? If so, what the fuck am I practicing?
>>5599 I wouldn't use a pen like that as a beginner, you need the ability to correct your mistakes. Lightly draw your construction in pencil and then overlap it with your stronger, final lines. You should focus on observational drawing at this stage imho (negative/positive shapes, plumb lines etc.), until you know how to properly observe it is very difficult to "construct".
>>5600 Cool, duly noted. Now let's imagine hypothetically, just hypothetically, I knew how to construct. Just hypothetically, what do you do afterwards?
>>5601 You have exhibited that you understand the basic theory despite the faults in your drawing, but that doesn't make you proficient at it, so like anything else it will have to be something you practice. Consider getting some glassware or other objects and drawing them using construction. It helps to put rubber bands around them to divide them into smaller. more manageable sections.
>>5606 I see, I see. You're saying I need to practice. I agree. You're saying I need to practice basic observation, plumb lines, negative and positive shapes yes? I agree. Now, assuming I did that, and I agree with you that I need to practice that, I 100% agree with that. What do I do after that?
If you feel you're up to it then draw some personal work, get discovered, and go pro. I'm not sure what you're expecting people to tell you at this point. Alternate practicing and doing personal work; you will feel the need to do the former less as you become more satisfied with the latter, ultimately that's really all there is to being an artist.
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>>5608 I don't feel up to it. I feel up to practicing the step after basic construction along with basic construction, so I can understand what I am basically constructed towards. Else I feel completely disoriented in space during the process. I either freeze or shit the bed. I am shit, my art is shit, I am autistic, I can say any other number of demeaning things about myself if that will soothe your ego. I just want an answer to the damn question. If the answer is "just keep practicing basic construction and magically all the steps after that will make sense" I'll fucking take it. Is that your answer? I don't think it is, but I'll reach for anything at this point.
>>5609 You could view simplified construction (like the stuff in the early pages of Fun With a Pencil) as the ground-level basis for perspective drawing, so if you think you're starting to understand construction, a dive into formal perspective may be something you ought to consider.
>>5610 In that case I am already studying formal perspective (after having studied simple perspective in Perspective Made Easy) and I will hope to god that helps me nail the rest of the damn steps. I'll just keep trucking along that route now. Not >>5575 or >>5567 btw
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scrap
What is the best way to practice to achieve jitter free lines and to make accurate strokes? Should I be practicing both digitally and on paper or on paper only for this?
>>5636 Peter Han's Dynamic Sketching course on youtube. Start with paper, you can practice woth digital as well but I never did, really. It just translated over. Be advised that if you have a small/chinese tablet it will be next to impossible in either case
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Doomping
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Very nice döömps as always
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How to do hair?
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>>5656 Depends on the hair. You want to look at the big shapes and contours first and work your way down to the details, same as many other subjects
>>5657 >no 1,312 ft freight ship gf stuck in my canal
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>>5718 Really feeling those forms, fella, keep it up
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>>5725 You did a decent job with that block of value on the second image, it has a little inconsistency here and there but looks quite smooth nonetheless. When I've suggested you try and have all of your strokes going in roughly the same direction in the past this is pretty much what kind of effect I was looking for. Unfortunately you got bored or something and started deviating a bit but in that sort of central upper area where you'd done it it looks quite good. Keep practicing!
I'm the anon who did >>5508 and >>5525. No progress, because I've stopped drawing after a string of failures. I got new supplies and decided to try drawing dark skin and so far it's nothing but garbage. These are all my attempts in the order I drew them. The second one was going somewhere but I threw in the towel once I started getting to his face. Any tips on how to get better shadow? I should really read that book I was recommended.
>>5728 Not better shadow. I meant darker tones.
>>5728 layering strokes of soft graphite or charcoal will get you your darkest darks; I'm not sure what the process itself would look like though-dark skin is pretty difficult in traditional mediums because it requires so much finesse to look appropriate.
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>>3859 These are a few sketches from a few days ago, I've been studying Bridgmans as of lately but I feel like I need to try doing more. Any suggestions?
>>5748 Try and think about what your focus is and see it through, if you're studying Bridgman then go through the whole thing thoughtfully. I did the whole book in a single day so don't be intimidated, it might seem like it'd take you forever but you can chip away at it for a week or two, you'll get there.
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I found a very old art reference video a while back. It felt almost disrespectful to just let it sit on my drive without drawing at least one pose.
>>5770 Oh, very interesting-and appealing-interpretation of the figure. Whether in a sketch or painterly style I like graphic depictions such as this that dial back a lot of extraneous information on the whole but still give the viewer everything important. Thanks for posting the video, too
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Ready for battle.
>>5775 You did a good job with your lines here. You still need to learn to treat your shading with a bit more sensitivity-but that too looks at least somewhat better than many previous attempts. Keep it up.
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Scraps Note - My torsos are too damn long
>>5809 I don't know about that, they also have bigger heads which kind of throws those kind of rules out the window. I'd say maybe but barely if so. Just don't overcompensate and turn them into Dwarves is all.
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Some rare alone time in the 'pile doing some Hogarth studies
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More Hogarth
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This Gottfried Bammes nigga be drawin' he skulls with eyebrows 'n sheeit
>>5832 I'm encouraged to see some fairly confident/long lines in these drawings. I hope you're continuing to do those Peter Han exercises because, as much of a tedious burden as they are, they will pay off.
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Semi old schtuff >>5875 I like the leftmost skull
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Im trying to keep the habit
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Bridgman studies
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>>5907 Breddy gud hondos
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>>5910 Thanks fella, well done on that head there
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scraps
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Just some studyin'
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Oh, shit. I found it. The best exercise for helping someone first begin to learn to draw. I could have made my own image about it a long time ago but I was too lazy. I thought it was from "Keys to Drawing" but every time I'd had the inclination to look in that book I had a hard time finding it.
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Doomp
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>I opened the thread expecting to see the same posts but there was like 7 more Damn, King. I kneel I see a little Bridgman in there too >more like "Cringeman", amirite? XD
First time being able to draw at work since the boss gave his formal approval. Still quite a few hours left so I'm hoping to milk it as much as possible
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Just a study from a book (as usual)
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Stuff I forgot to 'ensmallen'
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>>6007 Some Hampton?
>>6024 Actually it was a book I was less familiar with. "Classic Human Anatomoy in Motion" by Valerie Winslow ( https://libgen.is/book/index.php?md5=5A1C3BBAB4B9946F9FAF5D49ECFDFFE0 ). It seems to be a pretty versatile book-I'm guessing that's a common pose though as I feel I've seen it before and perhaps more than once.
Edited last time by loomis on 03/28/2022 (Mon) 21:59:19.
>>6023 Talk about spam.What a way to hog a thread
>>6027 I hope he keeps "hogging the thread" by being so studious and productive and I hope you try and out do him. I want to see a hog fight in this ITT thread.
I use to hog this thread but not posting 15 pages at a time I only posted quality. Practice threads After anon.cafe /loomis/ died Never really saw a point anymore to posting on these boards. You just feel too alone sometimes. u soon accept it and go ur seperate ways. What we had on anon.cafe was special people actually wanting to draw especially figure drawing but drawpile killed it, Never will there ever be that again was a thing that come naturally was driven out of passion for drawing. Never will there ever be something that made me want to share drawings that inspired people.We can't have good things in this world they never last. All it took was one anon to make doing art beautiful. That grace will never see this earth again. Even they gave up once everyone left. Doing it alone for too long was the breaking point. You can't carry the beckon of hope once it's lost. U can only go on for a so long pretending that some will return and join u even though u know it's a lose cause. After so long one gives in to the reality of the situation. Once it feels pointless that's when u stop seeing a point to it all. Sharing the beauty of art. Should be something more than just nonsense drawings. Without quality u got no one to strive to better themselves. Few anons have the ability to inspire & to shine. It's a rare gift few appreciate. The one who sets the bar. They flourish until someone destroys it all for their own personal gain. Rip loomis of anon.cafe it brought joy to life. Thx loomis ur creations will never be in vain. U made the world just a little bit more bearable, Doubt I will see anyone with so much passion for art and dedication in my life time. So nice and genuine u were. Loneliness is the burden of a artist. One must carry on their journey even if their world s'hatters and fails all around them. Never forget drawpile poetry slam. Do one thing for me forget about me. I'm not worth it. Enjoy the art community u built with the people who care for it. The lest I wanted to do was say thanks and goodbye. Well this is goodbye for now
>>6027 Decent shit to be "hogging" the thread with, go and hog it with him.
>>6031 Thanks for the kind words. I'm sorry things didn't work out with artga.in or the Drawpile but you're still more than welcome here, as are anyone else from anon.cafe despite any differences. Because of our association with the 8chan name this board isn't liable to grow much into the future, but I'll still be here lending what support I can until the end, superficial though it might often be.
posemaniacs.com is back with improved models, and now they've re-added the timed drawing feature as well recently. Enjoy!
>>6040 aawesome, thanks
>>6040 Awesome!
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>>6094 The hatching is fairly well done here and I love the bulls. I have a hard time reading the figure in the bottom though; if they're supposed to be an adolescent their proportions are a little off-kilter, he looks like he's 6-7 heads tall like an idealized adult but is half the size. The woman behind the bull seems to disappear underneath, as well. It's okay though, keep working at it!
Back to basics for me. I have great control in digital at this point but I'm kind of struggling here in that regard. However a big part of that is the very small size I'm drawing at as well. At least that's how I'm coping at the moment.
Still using a 2B but I'm using the one I have meant for drawing at least, and I think it's helped smooth things out just a bit-not that the marks themselves are the important part in these kinds of studies but it is nice to a have a little bit better control of the results regardless (at least it feels like I do heh)
My animation mentor long ago recommended the book "Anatomy and Drawing" by Victor Perard and, while I kind of wrote it off at first because I didn't like the style when it came to certain subjects early on, the book gets very good when it arrives at the actual subject of anatomy for which it provides a fairly exhaustive reference. https://cloudflare-ipfs.com/ipfs/bafykbzacebuh3h7kc6jz75x52ubdwnion2kspnniv6zwcuq5plkyy5mvfes4i?filename=Victor%20Perard%20-%20Anatomy%20and%20Drawing-Dover%20%282004%29.pdf
Edited last time by loomis on 04/13/2022 (Wed) 05:52:00.
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My handiwork for the night
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Semi-scrapped stuff that I may come back to >>6101 >>6104 Breddy gud. I also find your fuzzy linework pretty appealing. How far do you tilt the pencil?
>>6116 I often hold the pencil pretty much completely horizontally and nearly parallel with the paper when doing things like curves and ellipses, and then when I'm doing vertical lines I align the pencil more with the direction of the line itself but still have it quite low and close to the paper.
How good are u at figure drawing?
>>6136 I need improvement for sure
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No comment.
>>6138 I would post but I already post in other places and second in the past barely anyone else figure drew when I posted so the mood was never there. It takes a very long time to get good at figure drawing.When u do it so often your rhythm and tempo is like a dance performance. The flow becomes stupid. Your averages become very consistent. Maybe it is just me, it give u such a rush and enjoyment. imo it is up there with the things to do for fun for drawing.
>>6139 Good to see you again. Have I ever showed you this exercise yet with the dots? I think I had a hard time finding it in the past and was too lazy to recreate it myself though I was aware of the theory-I think doing it will help increase your accuracy. I also keep suggesting the Dynamic Sketching exercises so you can get nice smooth and confident lines such as those in my clipboard drawing here; don't give up on that it really does help.
Edited last time by loomis on 04/24/2022 (Sun) 05:55:03.
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>>6141 I keep doing the straight lines one, all of the time.
>>6160 Pretty good, I like the way you modeled the shadow shapes. Hopefully you can see in the face how such incredibly subtle differences in length and angle can affect profound change on the end result. >>6161 Well done on the lay-in of that second cast.; your lines are quite clean there. The problems then seem to begin as you attempt to shade the drawing, which is a very particular and time-consuming process that you are kind of rushing through. Here's a brief video on a few different techniques to think about as you're shading your drawing. I recommend paying special attention to the techniques at the 4:25 and 5:30 mark for the purpose of shading these cast drawings https://www.youtube.com/watch?v=DaxL4gYwUrU
Edited last time by loomis on 05/02/2022 (Mon) 01:52:46.
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Does anyone keep a separate "notes" sketchbook/folder? I often come up with a good way to simplify something and then I just write it down in between 500 sketches and eventually forget about it. I've been thinking about making a folder just for that sort of stuff to make it easier to find it when I invariably forget how to draw.
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>>6184 Kind of. I will make notes in my sketchbook sometimes. Then I will transcribe and either scan or photograph the page if images are important to these notes. I also take notes in a large. txt file I have created. I am thinking of consolidating everything into a word document. Additional thing I started doing are post-mortems. After finishing a more serious sketch, I will jot down: >what I learned from it >what skills I tried to apply and how well I did that >What went wrong >What Went right >What could be improved >Any other thoughts related to that sketch I just leave them be in my sketchbook as they are too piece-dependent. I found that they help me a little bit, especially in conscious application of specific skills I am trying to master.
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>>6199 Your caricature studies are improving, breddy gud
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