Activity Feed
Amu Noor
•
13d
added comment inProject - Gestural Torso Boxes
Asked for help
This was challenging. I definitely got confused with some of the poses.
@joh48
13d
U did amazing
@joh48
•
14d
How come there's a limit on daily download on the platform.....i thought as long as u paid u do it on ur own terms and time...........discuss the view with Stan if possible. thx
W. H.
•
2yr
Very good, high quality photos for drawing, but I wish they includes more type of human faces.
Wil Stark
•
3yr
Asked for help
Hi everyone! These shoulders are TOUGH. I'm especially having trouble with the scale and angle of the shoulder blades. Like -- without many available landmarks on the front it's hard to definitively guess what the shoulder blades are doing! Any tips would be much appreciated!
•
3yr
Hi @William Starkoff , yes they are TOUGH! I struggled too with this assignment. I'll try to elobarate on the topic. Hopefully it can be of some help :
X-RAY VISION
I think Marshall Vandruff was the first one I heard using the term X-ray vision in drawing, meaning that an artist can see what's not visible on the surface. How does it work? I've been thinking some, and I believe what happens is this:
- The artist learns to draw something, a bone for example, from imagination. He knows what it looks like from any angle.
- When the artist analyzes the anatomy of a figure, he can't see the bone.
- But then he thinks: what would this bone look like from this angle?
- His brain compares his mental image to what he's seeing, suggesting where the bone might be
The artist has "X-ray vision" by imagining what might be there, based on aquired knowledge.
So a good starting point for getting the shoulder girdle right is to get to know the 3D model of the shoulder girdle and ribcage so well that you can draw it from your imagination. When drawing from a front view photo, you refer to your imagination to find the placement of the hidden scapula.
For me it has also helped to use touch, to find hidden anatomy. Looking at a front view photo reference I would imagine touching the persons back, feeling were the scapula is. We've spent a life time in our bodies and it's fascinating how well we know and feel it.
I could also imagine touching what's in my drawing to feel if anything seems off
Imagining striking the pose yourself, trying the feel where you scapulas would have been, could also help. The figure you're drawing will have them in a similar spot.
I hope this was helpful :)
Matthew Manghi
•
4yr
I think these look great and I definitely see more of a sense of "cube and cylinder" construction here over the more contour stuff you posted earlier. Very cool! Keep going with defining those big shapes, I have found that the more I understand how to move those shapes in space the easier building heroic scenes is becoming.
You mentioned heads and I think the Asaro head is great, but I'd also suggest checking out pg. 89 of "How to Draw Comics the Marvel Way" for heads. It's a bit of a simpler breakdown than Asaro and has been a huge help for me. I attached a photo of the page, but if you don't have a copy of the book I'd say it's a "must read" for comic book art and I go back to it all the time. :)
