Josh Fiddler
Josh Fiddler
Montreal
Recovering mathematician, computer scientist, and pro chef. Professional Artist in Training. GenAI is theft. Art is NOT "content".
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Josh Fiddler
Did it a couple times. Here's most recent.
Josh Fiddler
Looking back at this now, I see that I could have done a better job showing the asymetry of weight distribution in the legs. And I think I put the humerus on backwards.
Josh Fiddler
Question: The 3/4 view... Generally speaking, you say the edge of the face should be parallel to the tilt. Do you mean parallel in 2 point perspective?
Michael Hampton
Yes, I believe that's what I mean. I just don't want the angle of the face to not match my initial 2D lean.
Josh Fiddler
That was a dense lecture! Just want to recap because a lot was covered. Please if I'm wrong anywhere, let me know. For This Step 6: Key Planes and Forms of the Skull First, the Side plane of the skull: defined by the Temporal Fossa using for points to get height and width A. Define the height of the Temporal Fossa (FT) i. Place brow line and wrap along surface - everyone's brow line is different, moving up or down, straight, pointy, or non-existent - placing it marks the transition from the front of the skull to the top of the skull ii. Wrap the base of the nasal aperture line - defines the bottom extent of the TF B. Define the width of the FT i. Place the Temple - most often visible as the pointy end of the brow as it turns the corner to the side of the skull ii. Place the back of the head C. draw the ellipse that fits in this space and divide into four: up and down, front to back: D. Place the ear, using 5 lines into a D shape or C shape, depending on how you think of these things E. Locate the TMJ, the joint between the base of the skull and the mandible/jaw, and the auditory mietus, together they look like a little number 8. It is under the bottom of the ear. - it will look different depending on whether the jaw is open or closed. Study this to see how it moves IRL. - use this as a framework to add the the jaw, which begins at this structure just in front of it. F. Add the Jaw, noticing/deciding the angle of remus relative to the mandible: more up and down, or longer deeper angle? Gender differences may help applying from the average. G. Add the Cheek and cheekbone - Offers the Loomis rhythm as it makes a nice solution - top of ear, in a long c-curve that ends at the front end of the mandible - divide with a line from the corner of the jaw up to the c-curve to give the gesture of the angle of the cheek itself - the Cheek Bone itself can be added - extend a line out from the top of the TMJ to the base of the nasal aperture line just in front of the plumb line from the temple. - Add a second line up to the wrapped line fro the bottom of the eye-socket/top of the cheek bone. - makes a nice triangle place holder for later refinement - Turn the corner and show the front plane - add a couple nice s-curves up from the side plane of the cheekbone to create the edge of the socket H. Time for the Plane of the eyes - socket's are angled up from the outside to the keystone on either side. - this gives planes of the forehead for free by extending these lines up through the brow-ridge. - add the keystone I. Now can add the nasal aperture, the extent of the cartilage, and the planes of the nose itself J. Add the denture Sphere - orientation of the face - what do the teeth and lips add to the features of the face - adds the mass of the chin below the denture sphere, - again this will assist in placing the averages and we can go from there Next Features: Defined by Pockets of fat - Discusses the Canthral Ligament, the connective tissue that gives the angle of the eye - This tilt is what we usually ascribe to the aesthetic beauty of the figure. - ROOF Fat
Michael Hampton
Damn! Always love the notes you take, Josh.
Josh Fiddler
Lots of fun with this one. Started by just exploring what was there. Later iterations started to explore what I wanted to emphasize.
Josh Fiddler
Watching the Demos, I realize that I could have been more exploratory on values. In the end, I think I got trapped in what I was seeing, even though I wanted to push things. Gotta get away from sticking too closely to the reference.
Josh Fiddler
Yassssss! Okay, as I have the new book, they are a FANTASTIC complement. Your exposition on the topic is really informative and clear. Stoked.
Michael Hampton
Thanks, Josh. I really tried to design them to reinforce one another. Glad that comes through for ya
@amaka45
Need too practice some more.
Josh Fiddler
Would you like any input? I know it's been a while but...
@josephl
Did these throughout the week while slowly watching the critique video. I tried to use a variety of reference I could find on Pinterest. The last 2 sets are after I finished the video. Feel like I got a lot better but need to still work more on hard poses and wrapping lines.
Josh Fiddler
These are great!
Josh Fiddler
Super helpful to see other's stuff and know a) I'm doing alright and b) where my challenges lie: form intersections, and getting the under-planes of the jaw properly positioned. I'd add also getting that initial ball right. Time to refine!
Josh Fiddler
Down Facing with pinch in front messes me up. But hey, practice makes progress.
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