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@osa
•
3mo
added comment inDemo - Portraits in Perspective - Level 2
This was challenging but, really fun! Please let me know what you think. I think I lost some structure as I added details but, I still like the end product.
Quinton Larrimore
15d
Looks amazing!
Quinton Larrimore
•
28d
Asked for help
The first image is me just cleaning up the image and trying to apply some of those previous lessons we learned across the course. Image 2 has the vanishing point and how I constructed everything. Image 3 is my thumbnails for deciding what I wanted to do and some problem solving too. I should really try to do a vanishing point off the page. I can't quite put my finger on it but I feel like my work is boring. If anyone has any feedback I'd appreciate it.
Antonio Cabrero
•
3mo
Just tried to understand the perspective in a geometric way but I believe I got confused and over did it and the image looks flat. Any ideas how to better interpret this image?
I think the big difference between yours and the reference image is that you are solely using linear perspective and the other is using both atmospheric perspective (the fog) and rendering (light and shade). Yours looks decently constructed though. I don't really feel like yours is flat.
Quinton Larrimore
•
1mo
Asked for help
Attempt 1 before the demos. I'd love feedback if anyone has any for me!
1.) I started with the top left figure. I didn't start as loose with this one so I think it feels a bit stiff, but I got my proportions pretty good and I think the actual flow and shapes look nice.
2.) Next I did the left pose with the head measurements. Not quite warmed up yet still. I messed up the angle of the pose and I think there are some anatomical issues. However, I think I did a decent job salvaging the pose and the rhythm lines.
3.) The lady sitting in the middle was next. This was a bit more gesture-y and I think I did a decent job here. I also started to play with rhythms in the face and I discovered that that also kind of works! At least for this attempt. I went back and tried it on some of the other faces and I think it helps.
4.) I did the top right DIO pose. I kept this one loose and sketchy to try to capture the energy and time myself. I think that was a 1-2 minute job and I think I got the rhythms and pose down, but I wasn't quite sure how the anatomy works on his back left leg.
5.) Finished up with the bottom right. I spent a bit more time on this one and I'm very happy with how the rhythms and proportions turned out. I cleaned it up a bit just to experiment with the magic wand.
Quinton Larrimore
•
1mo
Asked for help
Attempt 2: I would appreciate any feedback if anyone has any for me. Unsure if I did the gesture portion correctly. I feel like my lines have a decent amount of energy in them but it's still feels hard to put that concept into practice. Either way, thanks!
Love the energy! Nice confident lines. I see you've departed a bit from sticking to true proportions, but honestly it makes me like the shapes even better;) I guess would be nice to see more of those construction lines.
🤯🤯 My brain is short-circuiting. I can understand trying to inmate the same shape or lines the person you are studying did..... but that is it. I don't know how the artist started ( did they lay in or go directly to drawing, did they use a box or circle when constructing the head.... etc)
In this Glen Keane sketch. on top of the above things I have stated, there are places where he did more than one line to get the line he wanted, am I to drawing all his attempts or the fine line he was was happy... how do I know which line that is even? some lines idk what they were supposed to be, could they be a previous mistake or maybe they are leftover evidence of his lay-in (if there was one) before he found what he wanted to commit to?
Please send help lol
I tried to do a study of Soirie Kim but I feel like I copied more than I study. the picture with all the yellow is her original and the pencil is my copy/study. I uploaded mine twice because I applied a black-and-white filter to it to try and take some glare away
I think it boils down to asking yourself why an artist MIGHT choose to use a certain line. It could be because it is a high or low contrast area, or the thing carries a lot of weight or doesn't, or the details of something need to be highlighted while others aren't necessary, or a bunch of other different reasons. There's so many possibilities and so many decisions to be made.
When you sit down and start one of these study sessions, I think the first thing you should is take the piece and physically put it far away from you. What do you notice about the lines? Which ones pop out and which are faded?
In Stan's previous lessons, he had a focus on hierarchy AND light and shadow. Glen Keane probably made the hair darker where he did in order to separate it from the rest of the body and also to bring one of the back locks a little bit closer to the viewport. The areas beneath the feet or hands are darker because they would cast a bit of a shadow on the branch and because they also would stand out from the branch. The knee, lower back, bottom of the right forearm, and the right arm are all dark because they could be a.) hard places or (in my opinion more likely) places with a lot of tension and weight. Even Tarzan's eyebrow is darker because it is furrowed and full of tension.
So, it looks like Glen used most of the concepts, which Stan showed us previously, in a variety of ways. Maybe he made this piece to explore how Tarzan moves, or sits in his environment, or to design his character, or something else like that. I'm not sure. I think if you keep experimenting and practicing while keeping those things in mind then you'll start to intuitively do it.
I hope this helps,
