Philipp Meyer
Hamburg, Germany
Engineer by day, artist by night.
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added comment inWatercolor Sketches of 90's Hip Hop
I think they look great! Maybe the brush stroke shape could be more definitive, since your style is very graphic. Right now they look like you just put a stroke down and the shape is whatever the brush shape is, without much of your thought and control. Other than that I love the colors and the facial structure.
Philipp Meyer
1yr
Thank you. I actually never really think about the brush strokes themselves. I'll try to keep that in mind in the future.
Izak van Langevelde
•
1yr
The rule mentioned by Robertson and others is a rule of thumb. It is not mathematically correct. However, it is the only practical guideline known to mankind, so let's stick to it...
Can you give an explanation or a proof that it is just a rule of thumb and not mathematically correct?
Hi,
lately I had some doubts about the construction of ellipses in cylinders. In the art books dealing with perspective (e.g. Scott Robertson - How to draw, p.72) it is said that the minor axes of the ellipses will vanish to the same vanishing point as the middle axis of the cylinder and its sides. I was not fully convinced and therefore did some research on the topic. I found a math forum where people were discussing just that topic. The mathematicians seem to be of the opinion that the minor axes do have a different vanishing point than the sides of the cylinder without actually giving a proof. Check the thread here: https://math.stackexchange.com/questions/3823048/is-the-line-created-by-the-minor-axis-of-an-ellipse-concurrent-to-the-lines-runn
Does anybody have an actual formal proof for the theory of the minor axes sharing the vanishing point with the sides of the cylinder?
I did some drawings and tried to be accurate with the construction. In my drawings the vanishing points of the minor axes and the sides of the cylinder aligned. My drawing process was first constructing a cube in perspective, then transferring the cube and the vanishing points to another sheet of paper and constructing the ellipses inside of the squares in perspective. After inserting the minor axes I checked whether they were in the correct spot or not with a small mirror.
Hi,
these are a couple of 30 minute watercolor sketches I did in the last couple of days. I am struggling a lot with still life paintings in art school at the moment. Therefore I tried to familiarize myself with the medium a bit.
Let me know what you think. Any critique or tip is always welcome.
Philipp
Yiming Wu
•
3yr
Oh wow! You did a really good job I think! As for cool/warm tone regions, for now I think basically it's for shadow and lit areas, and actually it's quite free, you don't need to rule that down very precisely. From the original image you can actually see the warm light source and the reflected warm light on the body, indicating it's probably from a warm blanket underneath or something, while the feet are largely cooler.
Thanks for your answer.
A blanket reflecting warm light would make for a logical reason for the warm reflected light in the torso area. Maybe it would be better to have a photo reference or life model and choose the colour temperatures according to what one sees in the model. Otherwise I guess it's hard to reverse engineer the particular artists's process one is referencing.
- Philipp
Hi,
lately I have been trying to figure out how to use the trois crayons (three chalk) approach. The images show a drawing I used as reference and my attempt. Sadly I cannot remember the original artist of the reference image.
It is unclear to me, how to decide, which areas to consider as cool (black) and which areas to consider as warm (sanguine). Is there any approach or rule that has been particularly successful? For example: "Always keep the cast shadows and core shadows cool and form shadows warm."
I couldn't figure out any logic like that behind the choice of colour temperature in the reference drawing. Any inside or thought on that topic is appreciated.
Thanks in advance.
- Philipp
Philipp Meyer
•
4yr
To me your drawing feels a bit long and thin. Especially in the upper torso. Also the arm feels a bit long, even though I didn't check your drawing by measuring the proportions. Additionally I would lengthen the back of the head a bit and lower the ear.
Other than that great job on the lay in.
- Philipp
Hi,
I tried to organize my thoughts regarding the process of figure drawing. I usually try to follow a five step process that starts with gesture und shape followed by simple forms and 3D construction. Regarding the anatomy I always think inside out starting with the skeleton, then continuing with musculature and finally some surface rendering. I thought about illustrating these steps for a while. What do you think about that kind of step by step approach? I am still debating whether a simple "draw what you see" approach to figure drawing might be more useful or not. Propably that depends whether drawing from imagination is the ultimate goal or not. Thanks in advance for your thoughts.
- Philipp
Philipp Meyer
•
4yr
Hi David,
the paper has great influence on the textural outcome of the shading. I believe the Strathmore 400 series has a quite toothy texture which propably shows in your shading. Maybe try a smoother paper and check if you can achieve a less textured appearance of your drawing. For graphite maybe try Canson Mi-Teintes and for charcoal Fabriano Roma or a hotpressed watercolor paper. Other than that I really like your drawing.
- Philipp
