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@asgota
•
2yr
added comment inMannequinization Assignment Example 3
Hey, those are some of my manequins, let me know if there is something to improve
Datief
2yr
Hi. I see you get too much into secondary forms. I don't know if you are actually going for that but maybe some simplification could be useful. Anyways, keep an eye on how the perspective of the main masses (head, ribcage and pelvis) interact and change the limbs perspective from pose to pose.
Also, I think doing two or three times the same pose is better than a bunch of different ones. So give it a try a see if with each time you discover something different that you didn't observe in the last one. Timed practice is useful to not get off of your goal and actually doing it
Hope it helps! Keep up the good practice!
Ps: timed practice is useful at your speed. Between being able to do something and not being able to think too much. Hope you have a good practice!
Hi Abraham. I see you have been doing studies on the anatomy course by Stan Prokopenko continuously. What is good for the rhythm.
You would find useful to give some more time to the section-lesson you are in. But I am guessing. In general a week could work. You will see about it after experimenting some time. The goal is to learn the understanding of the muscle, its shape, mass, and movement more than just its knowledge. So going slow would help for that. And coming back to previous lessons from time to time, too.
Another thing that would empower your representation is to get back, whenever you see it purposeful, to practice the basics of drawing. It would go deeper more or less each time, on things like perspective or lightning on itself, for example. That will affect how you work with the rest of things.
Hope it helps. Keep up the practice!
Marco Sordi
•
2yr
Asked for help
2022/9/1. Good morning everybody. Here’s my latest anatomy study (Conte Sepia 617 and General White 558 on paper Pastel Mermaid, 41x30 cm). From @Patrick Jones’s e-book “The Anatomy of Style”. Thanks for any comment or suggestions.
Hi Marco. Nice drawing. The volume is strong. And the silhouetes look really good.
As suggestion out maybe of anatomy. Loks like that in the drawing of the left. In the pump of the sacrum. The light and the strong dark of the shadow, and the clash of it, is exactly as the one on the left gluteus. And so, gives a sense of depth that says they have the same volume someway.
It would need to have lower the value of the darkness and light on the sacrum area. Even if that is what you saw on the reference. If that is the case, it is a matter of going slower and planning through the process what should be perceived more perpendicular to the lightsource: volume perception through light reflection.
Hope it helps. Keep the work up!
PS: remember you can do some small sketches of smaller number of values of light and darks that you will use. And beacuse it is to think on the volume through lightning, you could simplify the masses all you want always you can judge the sense of volume and plan over it. It will save you time on long term.
Hi, is there a limit to how much you can submit? like can you submit like 5 paintings? I am in like a hyper productive state right now and therefor has a lot of ideas for things I'd like to make and submit.
Hi. On a comment below has been answered that you can "submit multiple paintings as different submissions".
Good luck!
Asked for help
I want to ask for feedback while the major attributes of the piece are still malleable. These WIP images are attempts to "study" the painting before diving hard into it. These images should show where I am at in terms of composition, values, and colors.
I will begin refining (i.e., redrawing) the sketch over the work week: mapping the 3-point perspective, nailing proportions, and indicating mechanical details. I hope to complete the refined sketch by next Sunday at the latest. So, feedback regarding composition is the most time critical. Though, in the long view, I believe I will need the most help with color and light.
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I think I like where the composition is currently; however, there could be danger in falling too in love with one's first draft. My starting idea was that I wanted to show a pilot's viewpoint while banking through a turn, with a companion craft leading the turn. Then I remembered that I have been meaning to do a tribute piece for an esports team I flew with last year in a Star Wars flight simulator. A super group of guys! Each rebel starfighter in the image will represent one of the remaining team members. (Note: I am not fully done with the background scene. Need 2 Y-Wings to fill out the team, and generally more battlefield chaos.)
I grabbed the base reference by going into the sim and trying to replicate the scene I had in mind, screenshoting my view from the VR headset.
From a storytelling perspective, I want to convey the maneuver being performed, that an attack on the Star Destroyer is underway, and that the bridge/superstructure is the focal point of the attack (particularly, the Shield Generators, which are the orb-like structures).
Another objective I had was to practice cropping closely for sake of immersion. I wanted to avoid the temptation to pull back and show the full Star Destroyer or push the X-Wing away, so its wings were no longer clipped by the cockpit frame.
Potential problems I see with the composition have to do with rule-of-3rds, big-medium-small, and my decision thus far not to crop the cockpit more.
So, the bridge/superstructure, which is the focal point, is vertically centered. And, even if I treat the window as a "frame-within-a-frame", the bridge/superstructure is still vertically centered. Counterpoint!? Maybe I am the Wes Anderson of the vertical axis?
In terms of big-medium-small, the foreground X-Wing is similar in size to the bridge/superstructure.
I may be able to minimize these first 2 issues if I push the perspective slightly. The bridge/superstructure shrinks and gets pushed farther into the corner of the windscreen. The X-Wing grows slightly bigger.
Lastly, in terms of the cropping, the image could be claustrophobic. We are immersed in cockpit more so than in scene going on outside it. But I think there are some visual and storytelling benefits to being pulled back like this, too.
I like this composition. But these are potential shortcomings, as I see them. If someone with more experience is like, "Yeah, you should really fix these (or some other things) to take it to the next level," then that is what I got to do.
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I think the value study came out well. This battle is taking place in a sort of nebula called "The Zavian Abyss." In game, the colors of the Abyss look unpleasant, in my opinion. So, I want to reimagine the colors and lighting scenario to be more evocative of an underwater scene.
I found an underwater photograph I liked, grayscaled it, and used its values as a guide.
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I have the least amount of practice with color. My objective with this color study was to make sure that there was some sort of hue shift in the shadows. I aimed for a shift toward turquoise. Although, physically speaking, there isn't anything in this environment that is scattering turquoise fill light. The nebula color implies merely a deeper shade of blue for the fill light. This was a small aesthetic experiment on my part, but I am not committed to it.
In the light, I tried for a very small hue shift towards cyan. But I wanted to keep the source light relatively white, so that I am not completely washing everything out with blue.
The most awkward area in the color study, I think, is the X-Wing. The paint scheme is supposed to be yellow and black. It looks army-toy green. I may have done the hue shift in the shadows incorrectly. Or I did it just fine, but there are not enough lit areas from this angle to give the shadows context. If the latter is the case, I can shift the overhead light slightly to the left to light more surfaces of the starfighter.
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Later in the process, there will be many color and lighting effects I will be eager to explore, especially with various local sources of light, such as the explosion, blaster bolts, and indicator lights. However, these studies have not attempted to account for these effects.
Hi @Isaiah! I have just seen your post. I think the interior of what would be the ship is taking a really close amount of space in comparison with the windows. May be the roof is not nedeed. Or it could be higher.
Anyway, it depends how you trait the illusion of light at the end. Guessing you will work on the outside of the ship, it would need more space. But the action feeling is there. So that´s something to look for if you change it.
Hope it helps. Keep up the work!
@levee
•
2yr
Asked for help
I drew it digitally on my tablet, is that fine? I made sure to really focus on the simplicity of the gesture, so I hope I achieved that.
I think it is nice execution , with the silhouette too because it is simplified in favor of movement.
I would say to keep the silhouette out if you are really new. It is better to be focused in the gesture than the mass that describes that gesture. I mean, you see it. But you need to focus on flow of the pose and try to get it with just descriptive-simple line/s of action. Mass and silhouette if for later in the process.
Nice result anyway, keep it up!
Datief
•
2yr
Asked for help
Here is some sketches of structure on painting. I am not used to go any further because I focus on mayor decisions practice. So, what would you say I could improve till this point? It can be on anything you see related with showing form, it is what I focused on here - including lighting
There are looking actually very on point.
I think what you could do at the moment is tighten up a little bit and see if you can still hold that energy you have in this loose sketch? You seem to get the shadow pattern quite well, but some places there are some fuzzy areas (hatching? but that could mean the edge treatment). Overall it's good enough.
Also, why not simply draw your own pose/character based on the same lighting situation? Then you can verify you understood the structure and deformations.
@hiflow
•
2yr
Asked for help
I'm having trouble deciding what folds to keep and what to let go. I understand the concept of flow, however I'm having trouble applying it. Help!
A useful exercise is to do the same subject-reference but aplying different ways of getting its form to show up, and light if you do as well.
About your xamples, they look great to my concern. A good rule of thumb to keep form is always to use folds to show perspective by what mass is in front and what behind. So here you have already the folds of the skin. But where there aren´t and you want to emphisize some mass that is in the reference, you can: 1, show it in a way in which it doesn´t disturb the rest; 2, ignore it and keep with primary and secondary masses, taking care of the light-source direction and its illusion.
Again, nice work. Keep it up
•
3yr
Like the commitment to the prompt. Did you use a fountain pen for this?
Do you find yourself finding more successful references with human figures and exaggerating their proportions? Or it is with having as reference other artists works?
