Activity Feed
Phoenix Baldwin
•
1mo
added comment inSimplifying Jack Frost's Palace
Another great breakdown, Marshall! The composition of that round room is so graceful with the action of the staircase. I'm working to apply similar thinking to the images I've been collecting... doing so definitely has been showing me how underdeveloped my visual eye for Perspective is. I can identify, roughly, the vanishing point on clear one-point perspective images. But I get pretty lost in more complex scenes. I think continuing to break down images like this and doing sketches beside - rather than on top of! - the images, is helping in that!
Umar Khalimov
1mo
What a great exercise, gonna try doing that myself as well but maybe with pen and paper. Thanks for sharing!
@lazy0
•
7mo
Asked for help
These are the mannequin studies, It took me a lot of time with these because I had to measure proportions.
I feel like my mannequins are lifeless and boring, I'm having a lot of trouble with the, Head, Neck, Feet and hands. They are hard to make look good.
The neck makes it look stiff and the hands and feet makes the drawing look wonky and weird. Please Give me honest feedback, I want to know what I can improve on, because its getting hard for me to see my own mistakes even if I flip the canvas(at least on the first two).
One thing I noticed on most of these is that the ribcage and pelvis boxes are not deep enough/too flat. If you try to imagine a ribcage in those boxes you could notice that it would be way too squished.
On a separate note, a couple things that helped me when drawing mannequins is actually finding the perspective of the environment that they would be in. I try to first establish a horizon line, the height of the whole figure (could just be a vertical line) and then drawing a box that represents the orientation of the figure, which forces you to find (roughly) the vanishing points. This way, you get the perspective of the whole figure and not each individual structure on its own. This will later enable you to draw that figure from a different angle by changing the perspective of the box. It's the way that Kim Jung Gi simplified his method and I personally learn a ton from practicing it, even if I want to unlive myself 2 hours in.
@palyo
•
2yr
Asked for help
Hi everyone! I just finished reviewing these drawings for the pecs assignment after watching the critique and demo videos. I would really appreciate any kind of critique.
Hey, Palyo.
It looks like you are attaching the Sternal section of the muscle a bit too low here, especially in the skelly drawings. From my experience, the clavicular section inserts the lowest on the humerus and the abdominal attaches the highest. The sternal portion's lowest point is either higher than the clavicular's or at least on the same level (sometimes connecting even to the same tendon. There are a ton of genetic variation on this muscle!). That means that Clav. section will overlap every other section and the sternal will overlap the abdominal.
In your skelly drawings, abdominal part seems to attach lower than the other two, making the tendon very wide, which wouldn't give enough room for other muscles, like the bicep, to pass through. If you look at dissections of pectoralis major (which I would highly recommend, seeing it on an actual person is extremely useful), the tendon is surprisingly thin for such a big muscle.
Good luck!
Ernesto Palma
•
3yr
I would like to submit feedback on the rotation of the 3D models. The axis that we are allowed to rotate the model in make it difficult to tilt to a forward bending position. I hope there is an update where we can navigate the camera instead of tilting the object. Help me if the function is already there. Thank you!
Yeah, it's the limitation of the Sketchfab website. The pelvis model is on p3d and doesn't suffer from this problem. I think all models should be moved somewhere else (like p3d) where you can rotate the object.
Hi Stan,
I live in Singapore. Can I watch this later. Please let me know
I'm pretty sure the recording will be available after the stream, as with all the previous Proko livestreams.
HELLO everyone, here it is my movie poster.
I tried to create a poster for a sci-fi movie, which would be center around a journey between planets, self-discovery and improvement.
Those were and are topics of great interest to me, especially anything related to astronomy. Since I can remember, I have been fascinated by what is out there, but more recently I have been on a self-journey and try to understand myself, so I decided to combine those topics into a sci-fi movie.
Hope you all like it.
How did you learn perspective and made it intuitive? I know how to technically make a correct scene with a correct grid (with the visual ray method) but don't know how to practice perspective so that I develop an intuitive sense for it. Do I just draw a million boxes until I feel comfortable? If so, what should I be thinking about while drawing those volumes (horizon line, vanishing points) or just focus on making them look correct?
Thank you.
Umar Khalimov
•
3yr
They are indeed and this is a great exercise! For perspective drawing, drawing through the box can be quite beneficial because it forces you to understand its true 3 dimensional volume. Good luck!
Kianna Peppers
•
4yr
Asked for help
Hi! Been rather busy as of late. I started this lesson last week and desperately wanted to finish this before more work came in, but I rushed it near the end. Not quite satisfied as I still don't really know what I'm looking at yet, so I plan to redo this lesson. Any feedback and honest critiques are greatly appreciated!
All previous assignments are available on my FB page here. Thank you in advance!
https://www.facebook.com/saved/?list_id=4730838993696368&referrer=SAVE_DASHBOARD_NAVIGATION_PANEL
Not an anatomical critique but I would withhold from shading on a pure white canvas. You can lay in a flat value that is close to the midtone that you see in the photo (a value from the light family that isn't a highlight but isn't near the core shadow either - a halftone). This will vary from person to person (different skin tones and lighting schemes) but having a grey value as a basis means that you can push it darker and lighter - creating a 3-dimensional form.
Also, vary up your edges when you are dealing with different kinds of forms. As a rule of thumb, broader and softer forms like muscles will have softer edges and harder forms like tendons and bones will have sharper edges. Analise the edges in your reference and decide what kind of edge you will need to use. Putting cross contours around each muscle/form will reveal what kind of edge you need and where to place it.
Good luck
Umar Khalimov
•
4yr
I am not sure if that was intentional but the neck seems a little too wide. Typically, the neck attaches a little deeper from the chin but since everything else is placed so well, I am guessing that this is my ignorance of anatomical variance.
I also agree with Kross Hatch about using bolder shapes and being more confident with your values and brushstrokes. Pushing your values further at either side will add more depth to the head, which is even more important when dealing with flat angles like profile and front on. Even if you don't see it in the reference, adding ambient occlusions and highlights can do a lot with making the forms looks more 3 dimensional.
About the ear, it does seem like it is a little on a large side and is positioned lower than the brow line and the nose line. However, ears can vary so much from person to person that it isn't even a real issue and could have been completely intentional.
Overall, a great painting. Good luck!
Funny, I was worried about the neck being too long. Thanks for your feedback. My fiance does have strangely long earlobes but I'll take a look at the proportions and placement of the ear next time he sits for me.
