Maria Bygrove
Maria Bygrove
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Maria Bygrove
I thought it would be interesting to see Stan's finished level 1 and level 2 side by side. It clearly shows that the shadow and light areas broadly established in level 1 are still very much maintained in level 2, despite all the extra details. The only part that I wondered about is on the left side of the head, sort of between the cheek and the ear: I kept thinking it looked almost like a halftone, not a shadow. So I tested it by copying swatches of tone and sure enough, it's still darker than a halftone. It probably feels lighter only because of darker values surrounding it. Also, I wanted to ask about the concept of "contained shapes" that Stan talks about around minute 17. The video shows a couple of examples of artists who use contained shapes but could someone please suggest some counter examples? Artists that use non-contained shapes? It might help to understand the concept.
Rachel Dawn Owens
If I understand the concept correctly, ‘contained shapes’ refers to the definition of the planes. The blocky quality that you see in a Zorn or Leyendecker painting. Beksinski or Brian Froud might be artists who don’t use this concept so much. Thier values are still solid although the shapes move more organically. Not so blocky. I hope this is helpful. Good luck with your drawings!
Josh Fiddler
Re the values swatches, you're right. The magic of Simultaneous Contrast!
@rupertdddd
This was hard but I enjoyed the process. I found that the first drawing was generally the worst.
Maria Bygrove
Your 5 second ones look like there were done with a single line, without lifting pen from paper - very cool :)
Maria Bygrove
Brutal challenge! I feel I should have been able to do a better job with the 4min sketches but since I knew I was 'working against the clock' I started rushing unnecessarily. Later on the rushing was quite necessary ;D
Maria Bygrove
I used the 3D model from the Basics Course so my anvil has a slightly different shape but here are my orthos and the three view points. In the first one, looking from above, I feel like I didn't foreshorten then anvil enough and it looks very elongated. I think the other two are better. Also, it really helped starting with drawing cross-sections of the envelope box (in yellow) - this helped me to see the box dimensional and not just a bunch of crisscrossing lines ;) As I was drawing the eye-level view, I started to wonder: how would one do it in three point perspective? Would the third vanishing point be above or below the horizon and what would it depend on? Or would there be two more vanishing points and the anvil would be distorted as if by a fish-eye lens?
Marshall Vandruff
Look at Dave Sakamoto's to see. His example is not dramatic, but it answers the question - the third point simply alters the grid. Everything else is the same kind of thinking as in 2-point. And remember that "third point" must be "away," that is, In the distance, which you discern by asking which corner is closest. If it's at eye-level, it can then be four-point, with "away" being both up and down. But why do that here? This is a tough-enough job for now, and if it gets easy to you (good work by the way), we will soon have opportunities to warp space with warped grids.
Maria Bygrove
I started with some two value thumbnails and decided that I preferred the simpler shapes of the beard in the first one and the volumes of the head created by the shapes in the second thumbnail. Then I did a small five-value study where I tried to combine what I liked from the thumbnails. I feel that my final drawing lost some of the simplicity of the earlier sketches. Seeing how I struggled to control five values, I don't think I dare to tackle level 2 :(
Patrick Bosworth
I think you did a great job maintaining control of your values and simplified shapes in the final drawing! Excellent work!!
Maria Bygrove
Marshall Vandruff
Good show Maria!
Maria Bygrove
I’m so glad I took this course – especially alongside the figure construction one – they really tie together well. @Michael Hampton's clear, step-by-step approach, with each stage building on the last, helped remove the mystique and took the fear out of tackling figures for me. Thank you!
Michael Hampton
So glad to hear it, Maria!
Maria Bygrove
Michael Hampton
Nicely done!
Maria Bygrove
Ash
1mo
These are great!
Maria Bygrove
Following along with the critique. I even gave the last shading part a go but think it would have made more sense if I actually knew what I was doing ;) Will have to get around taking an anatomy class some day!
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