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DuDung Tak
•
3yr
added comment inDrawing ‘Morgan’
Asked for help
Not too proud of this one, I wasn't patient enough to fully shade and render the face, and I found myself rushing the piece when it requires care. As I feel more dreaded than motivated to finish this piece, I'll consider it done for now. I finished covering all the materials on this course, and its clear I'll probably revisit them again and again!
I would appreciate any feedback on the lay-in part, which I did put some time to make it accurate.
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3yr
Your features look really good! They are just on a different tilt line than the reference.
Try to draw that far side nostril peaking out. Most times if I see the far side earlobe just barely peaking out from the head I will skip it. However with the far side nostril it's better to use it to help anchor the nose to the face and show perfective. Master Stan does this wonderfully on this drawing and he and other teachers I had at Watts Atelier back in the day always stressed that technique. Another little quick trick for the lip lay-in is to draw an overall rhythm of the upper lip then use a c curve or v shape for the upper center of the cupid's bow. This overall initial lay-in rhythm line helps the lips feel like they are wrapping around the mouth cylinder. You made a good drawing and just watch out for the head tilt angles is all. I still have to double check myself on that. Great work!
Ayush Dhruv
3yr
i think you want to make a bit more shading from the dark side into the lights to make it transition and blend better. specifically on the cheek. Right now it looks like a hard line from dark to light.
Its a solid drawing overall in my opinion though. You should jump back into it.
Julia Whitenight
3yr
Why the dread?
DuDung Tak
•
3yr
Asked for help
Finishing this was like running a marathon, I hope it gets easier for the next one. I don't think I did a good job solving the hair and the wrinkles. Any feedback would be appreciated!
Wow it looks amazing. Keep up the good work. I still got a long way to go. But you are really inspiring. I've got to try harder now
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3yr
Really good work! Take a look at the head tilt. The center line of the face is off tilt from the reference photo. This is placing the far side corner of the mouth too far under the nose vs in reference pic. You can use vertical plumb lines to check your work throughout the initial lay-in phase. I like your edge work in the cast shadow from the nose. You can also apply the same Hard to Soft edges in the eye brows as well. Also watch the edge of the cast shadow on his neck. Though it is pretty strong in the pic I would soften it and darken the light area of the neck a bit more to keep this area from taking the attention away from his eyes and face. Sometimes we make decisions to change an edge or value from the reference photo for sake of the drawing. I like what you have so far. Good work!
DuDung Tak
•
3yr
Asked for help
Drawing good hairs is hard, I think you need a strong spacial awareness to plan and map out strands so the shadows and texture makes sense in form. Following the proko steps they are obvious because he has solved it for me, but when I try on my own, I get confused.
Any feedback would be appreciated!
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3yr
Hi @DuDung Tak Nice drawings!
I´m not sure if I understand what you´re confused about, but I´ll give answering a try:
"I think you need a strong spacial awareness to plan and map out strands so the shadows and texture makes sense in form"
Yes, when drawing hair, or anything 3D it´s helpful to think of space and structure. You seem to be aware of this; in your 2nd drawing for example the strands are wrapping around the cylindrical form at the forehead. Great!
"plan and map out strands so the shadows and texture makes sense in form"
Remember that you´re free to design the strands as much as you want. You don´t have to copy each strand exactly. Compare Stan´s drawing to the photo reference and you´ll notice that he didn´t copy all the strands. As long has he draw lines mimicking hair, wrapped around the major form, it works. Also pay attention to how he groups the strands into to larger groups.
Hopefully this was helpful :)
DuDung Tak
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3yr
Asked for help
Its quite interesting how everyone's ear now looks similar once you know the structure behind it. Before I always felt ear as a random mess.
DuDung Tak
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3yr
Asked for help
I still feel a bit hesistant on really putting dark values. Managing values with plane changes hasn't really clicked with me yet.
If your drawing based off of a photo, try putting a black and white filter on it and compare your values of your drawing to it. It can really help show how dark the values go, especially when it’s tricky cause of a color change (like red lips to skin tone) and you’re still working out squinting to compare relationships.
DuDung Tak
•
3yr
Asked for help
Here are some noses, knowing the anatomy really helps to decide which shadows to exaggerate when the light range is soft!
DuDung Tak
•
3yr
Asked for help
The soft lighting in eye photos made it harder to find strong distinction between light and shadow. So I tried to invent some shadows to enhance the form, but I clearly need more practice and care. How do you tackle shading when the range is so narrow and the plane change so subtle? Do you invent your own light or think of it more as an ambient occlusion pass?
Still its exciting to see a "belivable" eye to pop up even for a quick sketch, when my previous drawings eyes were just almond eyes. This feels great!
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3yr
Good question. I think it depends on the artist and how they like to work. For brightly lit images I would organize the mid-tones into larger shapes and push the value darker along with using line work to show form. I would also push the way I handle edges. For example I would make the top of the eye brow softer and the bottom boarder of eye brow crisp in its edge as it wraps over the brow bone.
DuDung Tak
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3yr
Asked for help
Minute degrees matter more in extreme angles, and its quite hard to fight the urge to "straighten" the perspective. I guess more practice is the answer.
DuDung Tak
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3yr
Asked for help
Here are some side view heads with reference to the 3d model. Inconsistency from my free hand circle caused variations, but its interesting to see that most "makes sense". I think there is alot of leeway for drawing imaginary heads, as the proportions vary alot. But I think these inconsistencies will scream out when trying to copy a life reference, since our eyes are very sensitive in this matter.
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3yr
Hi @DuDung Tak Nice drawings!
It would have been nice to see more squash and stretch in the top right one.
Andrew Loomis shows this very nicely in his book "How to draw the head and hands". If you google "action of the head and neck andrew loomis", I think you´ll find some image from that book
I hope this helps :)
DuDung Tak
•
3yr
I used the 3d model to draw some front facing loomis heads. It seems for extreme tilt, I have a significant tilt in the side planes and the curvature of the head. Im guessing its the foreshortening, which is exaggerated by the short focal length used for the 3d model. Is this correct?
Yes and no. The 3-D model is mimicking real life where the back of the head is wider than the front. The curvature in the front plane it's because it's constructed over a ball, so the front plane inherits its cross contours.
I don't know which perspective algorithm Sketchfab uses but I'm guessing that it would slightly exaggerate the size of front plane, that's why you can't see the tilts from the front view.
Just be aware of it while you study. You can substitute curves for lines as long as you understand of the construction.
Best regards
