Brando Gould
Arlington, VA
I love anything and everything artistic! I am currently the art director at my job. My goals are to work in realism, carving stone!
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Axel
•
9d
added comment inProject - Line Master Studies
Asked for help
Would love any critique!
These are a lot of fun to do! Its an easy assignment to fall back on when not feeling very creative. References included.
I kept going with the De La Torre studies after watching Stan's demo. I did the Old Hun in his entirety as well as a Viking study. Found it hard to work with graphite so I wanted to try with ink which worked much better.
Main takeaways were:
1. Separate your lines. Spacing the lines can really alter the perceived value.
- I could've improved this in the Hun and did a better job with it with the Vikings.
2. Use lines that go with (and imply) the underlying form. This was a reoccurring theme in both De La Torre's and Watts's works.
- I could've thought about this more in the Hun.
Brando Gould
8h
serious work! those lines are spot on. great studies. My only critique is the viking on the right's deltoid is a little too low and small, it has a little bit of that snowman effect of both sides being similar as well. the original drawing has more subtlety to it. But great work overall! Love your penciling on the first guy!
Maren
•
2d
After watching the critiques I figured I’d better try again and not be so precious with drawing. It’s very hard not to. I wanted the weasel on the right to emphasize how long and tube-y they are with those funny round haunches, top middle to show some personality, but I think the bottom left is my favorite.
These are excellent! I love the gesture in the 3 lower drawings. Great work suggesting the fur, I wonder if the one on the right could be more successful if you added the pinch. We certainly have a beautiful stretch on the opposite side. How can you add a pinch while thinking about the underlying anatomy to bring that one more to life?
Great work!
@luc_
•
2d
Asked for help
Introducing: Ciri The Rat!!
yeah. The one from the Witcher. Cause she was a part of a crew that called themselves “Rats”. Get it???
Anyway. I’m really happy with how it turned out, but if anyone has some advice or critique I’d love to hear it!
Wow, these have so much personality! Beautiful renderings. I love the line weight you've chosen, but if I were to be picky, maybe the drawings could have more diversity of line weights. Specifically on the characters with clothing. I think you could tune down some of the bolder strokes on the clothes and choose to go bold only on the areas where you want to bring the viewer's attention OR in moments where there is one form overlapping another to give us a sense of depth. But I love your creativity with these! solid understanding of the forms and proportion.
There's an amazing book by Patrick J Jones called Drawing from Photos that helped me understand how to correct for camera-altered proportions. In the Rastafarian mouse photo, the lens is clearly foreshortening the mouse too much, I found that if I can correct those proportional things, I can have a better drawing. For that one specifically, the far leg and the lower body should not taper quite so much as the photos suggest. The lens that was used created a stronger taper since it was likely shot on a wide angle while very close to the subject.
Axel
•
2d
Asked for help
Taking a break from drawing roosters, hippos and buffalos!
Gave Robert Montald a go today. Trying ballpoint pen was a lot of fun. There were several interesting lessons to be had from copying his lines. My main takeaways were:
1. His shadows often go in a direction from the light source (not as much following form, I think).
2. He uses smaller lines to indicate form (the short ones on the arms). First I thought this was to show the texture of the jacket. However, I later found the same lines going over skin in other drawings.
3. He has fantastic control over tension in fabrics. It looks as if he draws lines towards points of tension (eg a button) and then fills out shadows between the lines. I enjoyed the tension in the shirt as opposed to the loose suit pants.
4. Montald has great knowledge of anatomy. Same as any other master I enjoy copying. I came to think of this because he indicates the extensor tendons on the back of the hand. Also, he has fantastic sense of gesture!
Any critique is most welcome!
You've done a great job with this study, I love your takeaways. If I were to critique the drawing, i would say to specifically watch out for repeating shapes in the patterns of any shadows. Specifically calling out the arm holding the bottle, your shadow shapes look too similar to each other whereas the original has much more intentionally designed shadows. I think you got an amazing sense of the gesture and the balance of the pose. If I were to be picky, the far arm (his left) has a much higher overlap than the elbow you've created. Maybe you made that decision consciously. I don't think it changes the drawing very much, but in the original, that long curve does simplify the right side of the body.
Great job on the line weight and form!
Kevin Patel
•
7mo
Hey here’s the mannequinizations I did! I appreciate any critiques. Right of the bat I think there are a few issues with proportions and I think some of the contour lines could have been better like explained in the video,
Awesome work! I think the drawings are going great! You can really tell the tip and tilt of the masses, i think you've simplified well, I don't think I have a good enough eye to critique your work, i would just like to encourage you to keep going! I like seeing your notes to yourself! Are you working digitally or traditional? Its hard to tell!
Brando Gould
•
6mo
Asked for help
I learned a lot of great things in this video. How to keep my lines light, how to solve for complex measuring, trusting when I think something is off. I spent quite a bit of time on this drawing. One critical piece was after getting frustrated and giving up, I erased the eye socket shapes and kept measuring and learning and adjusting to get them closer. I am happy with the results although I'm far from where I want to be, this is a major improvement in getting accurate comparative measurement in my journey. Time to do five more!
Eddie Maldonado
•
8mo
Asked for help
This lesson showed me how hard I squeeze my pencil. When I was in school, I would squeeze the barrel of the pencil so hard against my middle finger. I developed a callous on my middle finger but never put this together. I felt more comfortable with the lighter grip as I continued to warm up. The lesson also taught me to slow down and ghost in the line instead of fully committing to a stroke. I’m guilty of drawing faster than I’m thinking, but it’s a good lesson for me.
Those a re great takeaways! I need to lighten my grip and go slower on my ghost ins as well!
Gannon Beck
•
10mo
Asked for help
I did a few of these. I've done this lesson before and I don't feel like it's my strongest skill. Not that the ideas aren't useful, especially the idea of stretch and pinch, but I apparently am not great at drawing ovals.
I agree! They look pretty good! but practicing ovals is something I also need to get better at, Sometimes I feel like the brush i'm using just isn't what feels right, but i know it's probably just me.
@quitpayload
•
11mo
Asked for help
Okay so, I've been trying to grasp the Robo bean for literally months now, and I just can't figure it out. I've tried following along with the examples to no avail and I've tried tons of different ways of visualising them to no avail.
I've tried to move on to the next parts of the course, but I can't grasp those either. I'm at a total loss as to what to do next.
Also just to follow up, if this is really challenging, perhaps take a look at the drawing basics course! I have been drawing for years and it has helped me MASSIVELY!
John Connell
•
1yr
Might be attempting too much here - using both boxes AND landmarks on a new pose. It seems the boxes have more to do with the gesture and the landmarks more to do with the anatomy...true.
I don't think you are taking on "too much" by placing the boxes in here. There are a lot of great reasons to find the box. But to give a little bit of my personal experience with boxes, they are only helpful when placed in the correct position. So for example, the top corners of the box representing the hips should perfectly align with the PSIS and ASIS. this can be challenging to do from a photograph, but not impossible, We can often see at least some indication of the PSIS points or ASIS points, but usually not both so we have to go on the tip and tilt of the trochanter to accurately assess the side we can not see. The bottom of the box for the hips will align with the pubis and the triangle of the sacrum can point us in the right direction. This can be challenging but a really great exercise in seeing beneath the skin and accurately finding those landmarks so that you can place those boxes in the right place. For the ribcage, you can find the 10th rib with pokes out on the left of the model on the second photograph in your reference, and you can use the manubrium (if seeing the front of the model) to judge the tilt. I don't know of an accurate way to judge the top of the box on a model from the back. potentially at the 7th cervical vertebrae?
I find these boxes super difficult to place in accurately, but what they can do is help you understand what planes of the body we are seeing.
