Felix Oesinghaus
Brandenburg, Germany
27, studied game design + computer science, oil+ digital painter/3d artist, wants to be the very best like no one ever was
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Felix Oesinghaus
•
2yr
added comment inLandmarks of the Human Body
Any feedback would be appreciated! I feel like side views are a big struggle because the wrap around of the clavicle/shoulders are much more difficult to show
Marco Sordi
•
2yr
Asked for help
2022/7/14. Hi everybody. Here's my new illustration for a trading card game. The subject is a Viking Princess. Thanks for any comment or critique. Good night.
I think the values are a bit too much everywhere. She seems to be illuminated by a very strong light both from the front left and behind, Even at the side of her head where it is in shadow, the hair is almost white, there is too much contrast all over the place. Sunlight would typically be brighter than fire but if this is supposed to be a daylight scene, why is the background not affected by it? The reflections on the sword should pick up the environment around it rather than just white. Did you use a model in a studio as reference?
Lots beans. Still struggling with the charcoal. Stan also seems to make the beans shorter and fatter compared to reference to exaggerate the overlap and squishing. I can't help myself and tend to make skinnier beans with less overlap. Also because it is a sphere as a base it doesn't change in perspective so it feels like the same drawing over and over again.
Alright Felix, these are not bad, but there are 2 major things to improve here, the 1st is size, these are way to small and that size limit is stopping you from pushing the poses further, 2nd is line quality, now this is something you are going to improve over time but it would not kill you before your start your drawing session to fill a page or 2 of circles and ovals in various sizes and widths.
Here's what I want you to do:
#1- Draw bigger --you don't need to a bigger sketchbook, thou I would recommend it-- you can just draw bigger but less-per-page poses in the same sketchbook, not only you'll have more space to push the poses but you'll also visualize better the result before putting pen to paper.
#2- What I said before about filling pages with circles and ovals, this are warm-ups that would help you loosing up before drawing. And you need to learn to draw using your whole arm specially from the shoulder so you have a bigger range of motion. Stan has a video about drawing from your shoulder, and there are several others on the internet about the topic. And you need to draw from your shoulder to your whole arm if you want to draw bigger drawings because the wrist and fingers have a more limited range and motion. Also train yourself to draw with softer and cleaner lines with just a few strokes, so you have a less messy drawing, then you can add harder lines on the contour of the bean and wrinkles.
#3- Get different photo reference, I see many of these are from the examples Stan puts here. And that's good, humans learn by copying what others do, however this is something we should not abuse. Now we have knowledge but we need to know how to apply it on our own in order to keep it. So look for photo references that don't have a bean drawing next to them and draw YOUR onw bean of them, And do 30sec to 1min poses because like the Gesture exercise it would train you to ignore the details and focus completely on the motion of the torso.
Here are so good library of poses and you can subscribe for free and they won't ask for your credit card. https://community2.lovelifedrawing.com/c/reference-library/
Good luck.
Felix Oesinghaus
•
2yr
OK so I'm finally getting around to doing this course. I have some experience with life drawing but typically only ďo it observational which sometimes ends up stiff. Doing quick gestures is really tough. I wanted to test my knowledge so I did a lot of these twice, first time only looking at the reference and then again after seeing Stan do it.
Is anyone else struggling with charcoal. For me it's just super messy and rough looking and doesn't feel nice to draw with. I'm switching back to graphite and try to atheist hold it like stan
Felix Oesinghaus
•
3yr
How do you take reference pictures of yourself and turn it into artwork that doesn't look like yourself?
I think there is a strong sense of style and design language which I really like. With 1 and 3 the issues are lack of contrast. It reads like a more flat comic style with the lineart turned off. This is definitely something that can work like in Disney's sleeping beauty but it definitely will always read more flat, especially if you don't have a proper background. It does seem like you are stepping in the direction of treating it as more 3D so just make sure you're applying light more consistently
What are some good examples of artists who apply light really consistently? I want to grow my visual base to that sort of thing.
Felix Oesinghaus
•
3yr
There is definitely a lot of character here, which is great. The proportions are a bit cartoonish, you tend to make the legs too short and and feet too big. Also you tend to exaggerate every curve rather than just the curve of the pose/spine. I'm sure not all of the female models had bulging biceps like this so don't be afraid to throw in more straight lines!
Felix Oesinghaus
•
3yr
I think these are generally pretty great! I Proportions are good and there is a good balance of mostly straight lines and some curves. I like 1, 7 and 8 the most. With 3 and 4 the perspective seems a bit confusing, where is the horizon supposed to be? Also good idea to do some longer poses after warming up with shorter ones so you're forced to commit to more detail as well!
I've honestly never really thought too much about perspective while doing gesture drawings. I sort of compartmentalize perspective and gesture into separate areas of my brain. But I shouldn't, you make a great point. And yeah, I think long poses are a good idea, that's something I never do but I think I'm going to have to start. Thanks for the critique/advice Felix!
How does color in photos differ from real life? When painting plen air you often don't have enough time to capture a specific light moment, but continuing painting from a photo often doesn't work because the saturation is way different. Or shadows that seem full of light in real life become super dark and grey in the reference photo.
How can it be that the shadows are warmer colors than the highlights? I thought that it is characteristic that shadows have colder colors...
That tends to be true with a blue sky and sunlight: blue ambient light in the shadows and warm on the light side. Indoors there is often warm bounce light that make the shadows a lot warmer.
