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@gruvan
•
1yr
added comment inHelp with head abstraction for caricature
In your drawing you went with a very slanted forehead and the back of the skull pulled back. In the reference I see the opposite, a very vertical forehead and back of the head. I feel you'd capture the essence of the subject better if you tried it the other way around.
@wickedtuna
1yr
I see what you mean with that. Thanks for the input
Steve Lenze
•
1yr
Hey Wickedtuna,
I don't use the Riley abstraction, I use the Loomis method to line up my features. One thing that they have in common is the center line. This helps us keep things lined up on the face properly. It also gives the sphere of the head a sense of 3 dimensionality.
So, I did a quick sketch to show you what I found, I hope it helps :)
Hello, I have some trouble getting the abstraction right in this drawing. I can't get the center line right and the mouth area troubles me most. Also the brow ridge I find hard. Any help on this is more than welcome, thanks.
Attached are my attempt, the rough sketch and the reference.
Asked for help
Hello! I would like to have some feedback on my exaggeration choices and on keeping a believable anatomy. I also attached pictures of the whole process. Feedback on that is also welcome! thx
@wickedtuna
•
2yr
Asked for help
This is my try of Nicolai. I noticed halfway the placement of the ear is to far from the eyes, I decided to continue and practice values. Further comments are welcome!
•
2yr
Great job! I was just working on the ear sculpting lesson for the portrait sculpting course and this drawing shows that you really seem to have a grasp on the 3 dimensional forms. You should consider sculpting the ear too! ;)
@wickedtuna
•
2yr
This model really helps understanding the head in different views. Here's my attempt.
Steve Lenze
•
2yr
Hey wickedtuna,
Nice job on this drawing. Despite the proportion issues you already noticed, it is a pretty good likeness.
@Magnus Marshall touched on the value structure of your drawing, and I wanted to elaborate on that a little more.
First of all, the skin is almost never going to be the white of the paper (unless it's a high key image) so you need to make sure the skin has a local value that represents the skin in general. If you notice, her skin is mostly in shadow. If you compare the value on the top of the nose to the value of her cheek, you will see that the cheek is much darker. Comparing values is very important to get our rendering to feel like it represents the reference.
Also, keep in mind that there are hard and soft edges. Cast shadows tend to be hard and form shadows are soft edged. This helps sell the idea of form and is an important element to our rendering.
I did a quick paint over to show you some of what I'm talking about, I hope it helps :)
Hi Steve, thanks for taking your time and really clear explenation. The paintover helps a lot to understand, I will use this on my next drawings.
