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@fluffybuttss
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2mo
added comment inProject - Rhythms
Asked for help
I think I've gotten better over time, with the standing one in red being the last one. Though after watching the critique video, I do feel like I'm forgetting to look for the rhythms between the forms, and have instead drawn..."dynamic contours"
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2mo
You are definitely warmed up by that last drawing! Did you do any quick studies before jumping in? If not, it may help you loosen up and be ready to go by the first drawing. Little 30 second gesture drawings can prime you for finding the rhythms in these poses as well.
@fluffybuttss
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2mo
I'm not sure what it is, but sometimes I don't "see" the gesture that Stan is trying to indicate. And what normally looks like a basic straight line for the gesture, Stan sort of just...makes it S shaped anyways, because that's more interesting. Like the spine on the last drawing, it's head or top portion of the body is going straight for me, but Stan made it an S shape
Gesture is mostly about energy and movement. So although a straight line can be part of a gesture, you’re often looking for more flowy lines. In your example the animal is moving away from us and in doing so it’s shifting its weight to the right. Making the weight or energy move that way. So the gesture is not a representation of the spine but of the movement.
@fluffybuttss
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2mo
Asked for help
This took me about 5 hours over the course of a very long time. I feel like I could have finished this a lot sooner had I just "let go" but I also felt like that would have disregarded the point of the exercise
@fluffybuttss
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3mo
Asked for help
I spent 2 hours so far and I’m still not done, yet I’m SEVERELY bored, I would rather do everything by eyeballing it but I’m pushing through it
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3mo
Push through! These exercises will help you eyeball better down the road, it's worth it :)
@fluffybuttss
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3mo
Asked for help
I got very sick and it messed up my whole streak, but I’m finally back! It was INCREDIBLY difficult to narrow down the shapes for me.
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3mo
Welcome back! The shapes in your rooster are super cool.
@fluffybuttss
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6mo
Asked for help
The artist I used for my master study is Nagabe. 1st image: Reference. 2nd image: 1st attempt, it was bad and I was rushing it. 3rd image: I traced over the original to fully understand his decision making without getting caught up in the proportions. 4th image: 2nd attempt, came out a lot better than the first
I got a bad habit of rushing it too. Talking through my lines really has helped me (though I might look like a lunatic, oh well), telling myself to slow down and things like "yes that angle is sharp, and that one shorter than that, it tapers off here and gets darker there".
I agree with Melanie. Tracing can help a lot with proportional work. The eyes, for me, are always smaller than they seem.
Anyways, great work. Really interesting illustration there. Kinda freaky.
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6mo
I think tracing is a good tool to include in the toolkit. It can be used incorrectly of course, but in this case you had a goal (understanding decision-making for line/shapes), executed it, and then redrew another on your own to apply what you learned. Great process and I think your study looks great!
@fluffybuttss
•
6mo
Asked for help
1st image: Hierarchy of importance. (Learned: I should vary my line weight even on the thick lines just to make them more interesting). 2nd image: Light and Shadow. (Learned: I can give higher line weight to the lines that are in light, just to make the contrast clear, as long as it’s lighter than the shadows). 3rd image: Another attempt on the 2nd image using what I learned, I stopped once I thought I understood it.
My favorite of yours is the second. I love the contrast. But I wouldn't use such a long line to suggest the head on the right side. I think I really thin line which runs parallel to the horns would suffice. Having it go all the way up to the ear seems strange.
Anyways, great work!
@fluffybuttss
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7mo
When I worked on my version, I never thought that I was "allowed" to give variety to the lines, and so all my lines (even though they had different thicknesses) had no variety on their own and were very linear. Going from thick to thin as the contours go into the inside seems very interesting too, I'll be doing that next time I use this method.
I ended up trapping myself by thinking "make contours thick, and the rest thin". Looking at the reference as I was working would have helped a lot with discerning what is important, rather than just making the contours thick. By not looking at the reference, everything else within the contours becomes "just less important details".
Asked for help
Critique my work if possible! I believe my drawings are sorta clean, but with the penguin I ended up having to erase a bit around the belly because it ended up being too chaotic and unreadable
All readable. My only critique is the hand. I feel like you got to caught up in being technical with it, and tried to match contour
