>There is one thing not to do, and that is simply to drift along with the daily routine, making no extra effort. You will soon find yourself middle-aged, having done nothing more than routine jobs, and being little farther along than you were years ago. The extra effort is the difference between the great mass of mediocre artists and the comparatively small group of very good ones.>And in Art, study can never stop. You will find sketches galore in the studio of the good man, with the paint quite fresh. The mediocre artist's sketches are old and dusty.>I have seen so many middle-aged artists still hoping, whose samples are frayed at the edges, and thumb-marked with time. Sometimes it has been a matter of years since they sat down and actually did something to give their hopes any promise. They are plodding their lives away at something they hate, and doing nothing about it. These are the men who never seem to have had a chance. The truth is, they never seized a chance.- Andrew Loomis, Creative Illustration/Studies/ General is all about improving your art and never settling for mediocrity. Every artist is a student, forever and ever. Anybody, from beginner to pro, can post here. Any style is accepted. Critiques are welcome and encouraged. Let's make this a productive thread!Read the fucking sticky: http://www.alexhays.com/loomis/Recommended Resources:https://hackmd.io/7k0XRnIQR6SValR77TDfZw?viewLast Thread:>>7062670
Great choice on op pic, anon
This page is less so of a study page and more of me trying to apply the things I've been studing.
>>7146397Posting the same thing hereI feel like the more you study, the less "free" you begin to feel when you try to sketch things spontaneously from imagination again, like every stroke I'm about to make is gonna be wrong.
forgot to post this one, still going through Huston's book>>7136975thanks, your figure is really nice.
>>7146428do you have the texture used for your background?
>>7146434From Lane's Surface & Overlay Textures. Toned Paper (5) if I remember right, I just adjusted the saturation and value.aHR0cHM6Ly9tZWdhLm56L2ZpbGUvNDZ4U1FRcFQjYXFQUUNJbjNuUjk4aU5mckFwMEJ1WWhMWjJlM0pITEk3YW1BclF1bnlmdw
>>7146444thanks, but uh..what is that code?
>>7146455It's a link to it, use a base64 decoder.
>>7146444nta but these are a treat ty
>>7146458oh, i seethank you so much
>>7146403
>>7147849The left is the reference
For whatever reason, it was a lot harder than the piece with Diogenes, but whatever. Not very happy with the result either, not happy at all.I hope I learned something.>>7146428Good looking hands, mate.
>>7147850
bump
Other than using someone else's drawing, what should I keep in mind when trying to draw clothing?And also, how do I draw plants fast?
>>7146428Holy shit what brushes? That looks almost exactly like traditional
>>7151688I used the ballpoint pen brush and one of the chalk brushes from Lane's Photoshop Master Pack. You can get them from here >>7134908
Sargent copy
>never settling for mediocrityI definitely settled for mediocrity, at least to some extent, with this study. for the bigger portions I was more labored in my measure making, but with some of the smaller stuff I eyeballed it. I also did not go as far with the variation of darks as I could've; I almost entirely just used an HB (I know, I know). just wasn't feeling that amped to finish this one, maybe cus I'm busy with end-of-the-semester shite. took a little over 2 hours in total. also>http://www.alexhays.com/loomis/doesn't work for me
>>7154174bargues just seem like one of those things where the materials are really important for doing it correctly. as a normal pencil sketch, that foot looks great
>>7154191thanks. and yeah, I should make the resolution for my next plate to try to use the materials as advised. I've done a few plates up to this point so I have a decent idea of the method, but my process is based on how this chick teaches it:>https://youtu.be/Znr1OY-aHhM?si=8rbFP0Z7haE0CdS7she uses charcoal but says graphite is fine. but she had a bunch of freshly sharpened sticks, which I have for HB pencils but didn't make use of them.
>>7152284also did the exercise Huston suggested, exaggerating the core shadow and highlight.
>>7152284i wasn't familiar with this painting, it seems very rare or under some copyright. it's also one of the worst sargent portraits i've seen, i'd recommend almost any other thing to study from.you didn't really copy the drawing. you should focus more on accurate colors, values, and drawing. your edge control is non-existent, you're not matching light values, and the shapes are just wrong in a lot of places. you're copying the idea of his impressionism as noodly blobs of color and not the shapes and forms he's conveying (for example, the downturned plane between teh cheekbone and beard). focus more on accuracy of the drawing and the colors. the charcoal drawings are good to study, if you can find larger scans of themhttps://npg.si.edu/exhibition/john-singer-sargent-portraits-charcoalhttps://commons.wikimedia.org/wiki/John_Singer_Sargent#Drawingsstick to bigger brushes and don't worry about them being textures. hard round/flat/elliptical is what you should be using before playing with effect brushes
It's not still life again, but I did come across an artist with a nice collection of small oil paintings that I decided to study for the sake of colour. Not sure if it's the right idea, but what the hell.
>>7155015Great colors friendWho's the artist btw?
>>7154566Thanks for the crit.For context, this is the image I used as reference, from Huston's book. Usually I check for a higher quality image first but I forgot with this one. You're right, the one you posted would have been a lot better to study from. Although as you said it's kinda bad for a Sargent. I was a bit surprised to see him credited as the artist.Reference aside, all of your critiques are spot on. I rushed through it, especially the drawing stage and the brushes weren't helping. For the next one I'll keep everything you said in mind. His drawings are great, I'll definitely study them later. Also found this rip of his portrait drawing book if anyone else wants it. High-res but has that weird scanning/printing/compression effect on it if you zoom in.aHR0cHM6Ly9tZWdhLm56L2ZvbGRlci80dWdsaVR5YiNONWU0WDV0TjFpaWVseDZ0MV9lVzBB
It's not much, but better than nothing, for the sake of bump.>>7155404Thank you, it's Carol Marine.
Just me slowly going through Jack Hamm's book, thought I might as well post it here, since it's not like I can post it anywhere else.
For whatever reason, yellow-orange colours seem to me to be much more complex than others.At most I don't like the amount of extra strokes I make, books say do as little as possible, and here I'm moving the brush up and down thousands of times.
>>7146444Hey this is great, cheers anon.
Hola AmigosBeautiful work, everyone
>>7162031thanks anon
what do you guys think?
An unfinished Zodd studie from Berserk I did 10 days ago I think.I started master studies three weeks ago maybe, haven't made many of them. I was the guy who posted the two Frazetta ones last thread.
>>7162665
>>7149448>>7147850>>7147849Try using something with opacity, it'll give you some blending
Ok, I'm pretty lost right now, I'm doing studies, gesture drawing and I'm making some of my own stuff. But I checked the recommended ressources and Master Studies are front and center. Should I slow down on other stuff and really focus on them ?
>>7162463really cute anon, good play between desaturated greens and the brighter reds
>>7162463this is brilliant, anon. I love it>>7162665good work anon. The more you do them, the better. Visual information overlaps between studies, and past knowledge cascades onto new>>7162905The truth is, as long as you draw from reference, you will improve. You need to be seeing things, either in the real world, photos, or art, and that needs to get into your art somehow. My opinion is that master copies are the foundation for your art technique, but the real world is where you expand your visual library. There are lots and lots and lots of professional artists who would disagree with me though. Listen to what the pros have to say, and try out different ways of studying for yourself.
There was a higher res scan of pic but like a dumbass i grabbed the first one i saw on some site and went with it instead.Rushed the face and didn't clean up some mistakes because i really wanted to move on from this.I need to draw more.
>>7162954>good work anon. The more you do them, the better. Visual information overlaps between studies, and past knowledge cascades onto newThanks youI've got a question about gesture. I've watched Finch's video on gesture tips and drawing the Marvel way. When I'm doing gesture, should I bother with the body type of the guy I'm drawing or not ? Is it comparable to a study ? Should I focus on drawing the muscle etc or just trying to understand how the shapes connects between them and changing them as I want to help me understand ?First drawing, tried gesture but I think i've complicated it, second memory drawing.Ref below
>>7163651
>>7163651>>7163653The gesture drawing part of the David Finch roadmap definitely is the most confusing part. It does not help that every artist has their own definition of gesture. "Gesture", the way David Finch describes it, is not really gesture. It's more like mannequinization. He wants you to practice breaking down the body into simple forms, like cylinders and spheres. The goal is to not only capture the basic body type, but also the proportions and the action of the figure. This cylinder figure is the base on which you build the muscles and finishing details. Loomis' mannikin in FDFAIW is teaching you similar things.Personally, the way I learned gesture was from Vilppu and Michael Mattesi, and it involved capturing the flow, force, and thrust of the figure. In other words, the pose. The difficulty here, is that it's really hard to keep your proportions accurate when you start your drawing with rhythms. However, if you combine Vilppu's way of figure drawing, with the accurate master copies + memory drawings that Dave teaches, I think you will end up with the best combination of both gestural movement and also accuracy in proportions.Vilppu: https://www.bilibili.com/video/BV1Fr4y1q7nK/?spm_id_from=333.337.search-card.all.clickThe further along I get, the more grateful I am for the things I learned from Vilppu. Yes, my observational ability and proportions were weak for a long time, but in return, I feel like I got a really good sense of rhythm and form from his teachings.It's up to you, though, to study however you'd like. You don't even have to do gesture drawings if you don't want to. Sorry if everything I wrote just confused you even more.>>7163287I like this anon
>>7163708Thanks you very much and no, I wasn't confused with your post. In fact, it helped me understand things much more.I think for now I won't try gesture. I did a little of that few months ago and I felt disgusted by doing it for the only reason it was trash (accuracy problem). I had the feeling of wasting my time kek. Will retry this when I'll be more confident and a little more experienced.I will continue with mannequinization of the body and developping shape consciousness.Pic related, a unfinished studie of Guts I made monday or tuesday. Should I try to shade or I should focus on drawing only the body without clothes and shading ?
I haven't done a single piece in 4 days, it feels terrible. But then I looked back at what I'd done in a month and it felt even worse. I swear it would be easier if studying didn't make me feel like useless shit.>>7158282That's beautiful, Anon, I like your brush strokes and how they make the whole picture, I wish I could do something like that. For whatever reason I always go for the biggest brush possible. Do you have any other work to share? Would be nice to see them.>>7163287>>7162954Great figures!
>>7162954Nice figures
>>7165550>I like your brush strokes and how they make the whole picture>For whatever reason I always go for the biggest brush possibleIt's funny because clear shapes and stroke efficiency are exactly the things I lack and I like ur work for. The grass is always greener on the other side I guess?>Do you have any other work to shareMy output entirely depends on how I feel on a given day so I don't think I have anything exactly like this, but here's my small gallery, maybe you'll find anything interesting there https://dad.gallery/users/5364
Anyway, for some reason I thought I could make a study of a photo, 3pic, but in the end it turned out to be complete shit, so I gave up halfway through. Both colour and texture got me completely lost, so yeah, it looks like meh. Gonna live with this shame forever.Some days I just can't see colours, shapes, proportions and so on. Not like I can on better days though.>>7165841Looks like your output is great, just as your level. And so it is your picture in OP.
Here's a command you can run to pull URLs for a bunch of master art if you've got a Linux/UNIX based bash shell. Need to install 'jq' first if you don't have it --for i in $(curl --location --request POST 'https://api.artic.edu/api/v1/artworks/search?limit=10' --header 'Content-Type: application/json' --data-raw '{ "q": "$WHAT TO SEARCH FOR, ie: cats", "query": { "term": { "is_public_domain": true } }}' -s | jq -r '.data[].api_link'); \do for j in $(curl -s "$i" | jq -r '.data.image_id'); \do echo https://www.artic.edu/iiif/2/$j/full/843,/0/default.jpg; \done; doneProduces output like this:https://www.artic.edu/iiif/2/e8e67721-bbb1-d007-82bd-c430ea73db70/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/e1c9e502-1632-828f-f893-b166b6cc17d9/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/fe394433-14ae-89e0-136f-31cbdb390771/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/752c8b28-5873-2ddb-f7cd-6ea9e4766195/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/86706756-2cf8-6a7c-58cc-90efaa4db124/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/c7a1688c-8a21-8eab-086d-3537b1506705/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/07b26469-589f-e3e0-dd58-be1d4daad30d/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/4e2df5e5-10ff-9b80-db1c-419895f1054f/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/91dea26d-71c5-c5b2-19e3-feb5bcecb5bc/full/843,/0/default.jpghttps://www.artic.edu/iiif/2/ec366a5f-e152-b4eb-3822-6473f644a21b/full/843,/0/default.jpg
Haven't posted in this thread before. I've been posting in /beg/ for a few months. Been drawing since late September last year, have made lots of progress but am struggling with consistency and need to seriously sort my sleep routine out as it's affecting my ability to draw. Have been trying to get into a routine of doing figure studies, but so far I struggle to do one and here is what I have done today. ( I have had a few days where I did multiple, but I tend to get impatient so my quality suffers). I still seriously struggle with drawing toes, fingers are getting easier but still look quite poor. I can't seem to consistently apply what I learn to things (sometimes I'll draw fingers as cylinders, other times just outlining them like I did here), and on some days it feels like my skills decline a lot, while on other days they feel better. I dunno if that's just what happens when you're learning at first, as you haven't fully developed your technique so inconsistencies will occur for a long while at first.
>>7167864We’re competing against Japanese dudes who have had the privilege of drawing since they were five, maybe even before that + private ateliers + private tutors + 10 years of experience by the time they’re 16 or some shit, so you’ve got to give yourself more time to develop. You said you started last September so that’s longer than most people would be willing to stick with this cursed thing called art to see if it would pan out or not - as long as you keep drawing (and ideally practicing a certain way and enough) you’re gonna make it You’re already picking up very basic 3D forms, the key now is to keep accumulating more of these: more forms / shapes, with which we can describe the human figure with. I will at least ask, have you tried copying plates from Morpho / other artists / books? We can only learn so much from doing raw figure drawing from a photographic reference all the time, because the photographs themselves do not inherently contain every possible combination of curves / lines which are the most useful for describing the human body with, hence you will find many anons here who have gone through and copied a lot of Vilppu / Bridgman / Morpho for example, because we have to get those shapes and forms from somewhere, but getting it from a photograph won’t work until we got it from someone else who has already distilled that information down into forms that actually do work. It’s reinventing the wheel blah blah blahDo you live in a situation at all where you can allot more time to drawing? I’m a neet and I sleep polyphasically to try to draw / paint / art as much as humanly possible. And even so, I haven’t had some epic explosion of improvement because that’s how hard it is to make it in art with literally zero talent. I can do a memory repetition up to 10+ times before I feel like I’ve learned anything from doing a copy. Some people can get to a certain level but never push it hard enough to break through to the next stage where they make it.
>>7167933I'll have to do Vilppu and Bridgman eventually. Maybe I should at this point. Currently yes, I am a NEET. Issue is I need a decent amount of sleep and sleep at the right times, issue is I tend to sleep later than I should and things like warm weather and stress can cause problems. I recently began gradually exercising more, since I was super out of shape, which may make me a bit more tired at first but it is gradually making me feel better. I have occasionally drawn half decent (for a newbie) stylized/anime type drawings but they aren't too good yet.
>>7167961Neet-life is indeed harder than most people would realize because of how repetitive the routine is, which itself can be extremely mentally taxing. It's like being in prison. We have to get up and do the same thing everyday. But I have to make it. People are counting on me.Drawing is so deceptively simple, that it’s very easy to lose patience with oneself / lose hope / lose sanity / lose faith in the process, but we have to make it.A lot of crazy spiritual / mental / philosophical / consciousness (I mean shit, it’s whatever you prefer or want to call it) shifts have to occur to really make it in art after a certain age, and even within a certain timeframe. I’ve dedicated most of my waking hours to speedrunning art, the rest I just hope and pray for the best.Well, best of luck, anon. Speedrunning drawing / painting is one of the most insane / brutal things I’ve attempted so far in this lifetime, but I feel like it’s a worthy goal, one that I must accomplish before I die, even if I achieve nothing else.(P.S. I know my answers in /beg/ /int/ are normally very short / very terse, but I never mean anything negative by it; I just try to include everybody who draws no matter what)
>>7168023My motivation is just so I can draw whatever's in my head, make money with it, and not have to spend way too much money commissioning artists which really does drain your finances after a while and just leaves you feeling dirty on the inside. Tomorrow I'll probably do a figure drawing and then try to draw something fun. I appreciate your advice, and I can tell you still have a long way to go, but I wish you luck.
one day I will get gestures. even though these look like max 5 minute gestures they take almost an hour for no reason at all
Still suffering>>7146403>>7147849>>7147850>>7149448>>7167933>>7168023Still suffering>>7162700I do bro, I just suck that much
>>7168023>Neet-life is indeed hardlol, fuck off
I think I spend too much time, too little actually, doing studies with texture brushes, I don't have many of them and I only use 2 99% of the time and yet. So I decided it would be nice to do some still lifes with a regular hard round brush.It was a simple subject, side view, no details or texture, but it's better than nothing and it was kinda fun and quick, by my standards. But I feel like most of the time I just move the pen around aimlessly and then it somehow makes shapes.Sorry for the tl:dr's, they help me vent my frustration.>>7168057>My motivationPersonally, I think motivation sucks ass, it doesn't last long and doesn't help much, it fades away in a flash and leaves you with nothing. Cold, emotionless perseverance is much better, at least for me.
>>7146428 >>7168210One day I’ll figure out textured brushes>>7149436 >>7167805Copying another artist's finished piece means a lot of problems we don't have to solve for ourselves (when doing something from a photograph / from life by ourselves i.e. not copying)>>7152284 >>7153948 >>7154174 >>7154532 >>7160524Simple primitives / still life first>>7155015These are nice>>7157719Would like to see your imagination work / any finished pieces>>7157977That's the shit I mentioned in the previous thread; it's inevitable>>7158282OP>>7158443 >>7162130 >>7162463 >>7162954Soul>>7162665 >>7163287 >>7163651 >>7163746Thousands of these>>7165550Such is art>>7165837Glad to still see you around>>7168067 SoulYet another grayscale study (originally posted in beg int, my home thread)
>>7168695
>>7168695>Copying another artist's finished piece means a lot of problems we don't have to solve for ourselves.I think you're gimping yourself.>>7147849>>7147850>>7149448>>7168095Especially if your taste in references is this bad.
>>7162907>>7162954>>7168695Thank you for your kind words!
These are my studies from yesterday. I think I'm beginning to understand how to think in more of a painting way instead of seeing everything as lines
>>7168067I think it's about time I learn how to draw hands.
There's certainly a certain appeal to a simple hard round brush that I didn't see before, not like I do now, but it's a bit clearer to me. These two pieces are by no means refined, but I had a lot of fun and now I feel that applying rough colours and finding shapes is more important and harder than the rendering that comes afterwards.On the other hand, I feel like I'm doing shit just to avoid studying books.>>7168067>>7168981I like your gestures, I hope you're both the same man, lel, they look nice and fluid, at least to me. Mine look like total shit and I can't just get "that" feeling. I have tons of problems getting simple S and C curves to look the way I want them to.>>7168695>Copying another artist's finished piece means a lot of problems we don't have to solve for ourselvesI agree, I don't know how to simplify or omit things, combined with the lack of theory and practice, it makes certain pieces too hard for me to understand. I just hate to stop studying halfway.
>>7168999This is from "Still Life Phase I" of the Watts Atelier courses page:"one object rendered in each of the 3 palettes: Burnt Umber Pick-Out, Burnt Umber White, and Phthalo Blue Black and White...""By this time you may be tiring a bit of the limited monochromatic palettes. Remember, repetition is the mother of skill. Big emphasis on this line- ***Jeff himself used each palette he is introducing for at least six months to a year.***It seems then that each particular hue on the color palette is almost like its own training block that has to be considered separately from others - it makes sense that we have to spend an extremely long time just being exposed to each color for us to develop a certain sensitivity in being able to control it and paint with it effortlessly, and even more time being needed to do the same things artists are doing when they put together a still life in their particular unique way (Carol Marine in your case with your studies, with shit getting even more advanced for things like an anatomically correct portrait)So when we try to do something straight from photograph, and even with trying to wrangle multiple palettes no less, I think that can explain the large skill gap between copying a painting somebody has already done, versus trying to do what they're doing, for ourselves (from a photograph)
Hey, is Bridgman's "Complete Guide to Drawing from Life" a book a beginner (second week trying to learn how to draw) can follow? I tried following the first drawing and came up with picrel but I'm not sure if I'm actually understanding and learning or just (badly) copying the step-by-step.... maybe that's the whole goal of the book?I'm sure my question sounds rushed but I don't see the point on following a book if 90% of its content will fly over my head.
>>7169153Yeah, there are things you need to know before you can tackle bridgman.finch is the guy who originated the Bridgman routine in the first place. Here's his full roadmap to drawing:https://davidfinchart.com/where-to-start-and-where-to-go-from-there-a-roadmap-to-professional-quality-art/
>>7168999But that chick painting is a soft round. Hard rounds have constant 100% opacity.
>>7169203chink painting*
>>7169203false. the difference between a hard brush and a soft brush is the brush stamps edge and not the opacity.
>>7169051>>7168023Hi anon, please do this: https://youtu.be/RXb-Y_kz2aUDo nothing but this for 3 hours a day, for the next month. This is the fastest way to "speedrun" art. Keep drawing and redrawing the same reference image, over and over again, until you can nail it perfectly. (You have have to draw the same thing 100 times. No matter.) Only then, move on from that ref. You want to get to the point where your drawings line up perfectly on top of the reference image you're studying. I recommend studying anime still frames or manga panels you like.In a month, you will get so so good, but only if you stick to this.Stop painting, just work on drawing for now. I promise you this will upgrade your painting skills enormously>>7167864previous advice applies to you too, if you want to take it>>7168067>>7168981your work is really nice, don't worry so much!>>7168904masterful>>7168999>>7168210holy hell you're good>>7165550>>7165837thanks frens. Good work from you guys as well>>7163746im glad i could help you. The David Finch way of doing gestures is indeed better
>>7169217I can't get the hang of drawing anything with a variable opacity/hard round brush. Shit sucks.
>>7168764This is mine too>>7169341I suppose you wouldn't believe me if I told you that's what I've been trying to do this entire time.I’ll let you know how it goes. It took me 4 years however, to produce one animation which was anywhere near the quality of say, Yeero’s first animation he had ever uploaded to the internet (on his old Tumblr account), so I feel like 1.5 years isn’t enough time for me to learn art fully either (or even to any decent or acceptable extent); if there’s a bell curve of people with talent / learning speed, I’m no doubt on the far, far, left side of that bell curve. I’ll try my best though and let you know how that shit goes. Odds are you’ll be disappointed though. (Hell it was about seven years before I even grokked wrestling, though that’s another story altogether)My mind is literally resistant to learning. I’m certain most people who have already made it have the drop on me (started before me) by 10+ years, but I try my best nevertheless, for however puny of a time that 1.5 years of drawing mileage might be. I just like drawing.
>>7169485https://streamable.com/xtrdmfhttps://streamable.com/t7uxwshttps://streamable.com/pa8owlAre you doing it like this? I see you only drawing things once and moving on. For me personally, I draw every ref several times. (for my real study) It's either this, or it's Cognitive Drawing. The figure drawings I post are just easy warmups, you shouldn't take that as my real study. You shouldn't move on from a reference until you've nailed it perfectly. I mean perfectly. I will study one image for 2-3 days sometimes. The point is not necessarily to memorize the one image, but to learn what the proportions are for the head. When I do this process on a ref, whenever I draw heads from imagination, from other angles, my proportions are way sharper and more nuanced.Just start with the head shape like I did in my examples. Then, when you've got that nailed, add in the eyes. Then the nose. Or, you can do it like Ethan Becker and do all of it at once. But I cannot stress it more that you need to get it "perfect". Nailing one reference image perfectly will raise your ability to copy everything else.I'm not giving you bs advice that I don't take myself. pic related are my studies from today. As rough as those sketches look, they line up with the ref 95%. I will continue studying this ref tomorrow, until I get to 99%. This study will dramatically raise my ability to draw front facing heads forever. And an artist needs only to learn the front, 3/4, and side view, and they can draw heads forever. That's all you need.
>>7169509dont bother with this retard he won't bother doing it, he'd much rather shit out 50 garbage drawings along with mass replying in two different generals now
>>7169668I wish that cunt would stop shitting up this general and stick to /beg/.
>>7169509Then there must be some misunderstanding here - I try to do memory copies more than a week later after I originally copied it, I have not previously “shown my work” before this, but I can show you the exact plates that I’m trying to reproduce from memory, and wherever I can’t (which is often), I am trying my damndest to substitute in some type of remotely close set of shapes that I can muster up that will still represent that I had learned something from copying said plate in the first place.Top left is a pair of legs I tried to style after doing a Norakura copy, Top right is a Loomis head with part of Mustang's outfit from FMA, Bottom left was me trying to roughly capture the shape of a Taco head + adding hair to it which I've also copied from Paryi (though hair has not come very naturally to me so I don't remember much from the copies I did of him weeks ago, as I've also gone back to grinding just pure anatomy again)All memory copies / best memory reproductions I've done here were done more than 24 hours after the original plates were copied.
The Pawell of /stud/.
>>7168981sword edition>>7168999I feel like I'm getting carried by the model in these ones. I still fall for the trap of trying to draw outlines too closely. I think it's quite hard to let go and only draw S and C curves. The worms in my brain do not permit this.>>7169341You flatter me. I still aspire to the simplicity your gestures elicit. I have to spend hours to make something look like it was perhaps a quick sketch. Maybe I have to look into timed poses.>>7169485>>7169761>>7169153I guess my 2 cents to add onto the other anon would be to forgo the memory drawing part and only focus getting an exact copy at first.Learning anatomy (Bridgeman, Hampton, etc.) will do you no good because you still would have to recall the exact proportions of a muscle or simplified shape you would want to implement. Currently the fundamental that would benefit you the most is proportion or accuracy.I believe that the best way to practice this would be to find lineart artwork (not a real life picture) and try to copy that. Like the Igor Stravinsky exercise except you don't have to turn the image upside down and you can find something that appeals to you.Through out the copying process just overlay you own image to the reference and check if you are on the right course.Most of this advice is exactly what japanese filename bridgeman anon said.>>7169668>>7169685>>7169893Damn all these posts just to moan and pollute the thread without any studies of your own.At least he draws.
>>7170017I have to insist that I simply must be given more time to improve
>>7170120see ? they told you to stick to one drawing until you could do it perfectly but you don't respect anyone trying to give you advice and shit out a bunch of trash again. this is why ppl call you a cunt because anons make effortposts and they don't realize it's wasted on stubborn garbage like you
>>7170887He's right tho
Spent an hour on this guy, posting the ref next.
>>7171011
Gestures from memory. The left two, I copied out the ref 4 times, and then drew the fifth from memory. These are the memory ones. The dude on the right, I only copied out once, then I drew him again from memory.I drew them out so many times because i was trying out the Redblob anon's advice to copy something out quickly 5 times. It's good advice, but I think I still like memory drawing better lol. There are many ways to study though, of course>>7171011very soulful painting. I love medieval stuff so much>>7170017thank you for your kind words anon. You clearly have the knowledge, now I guess it's time for mileage. The more you draw, the quicker and easier the lines go down.also, another interesting observation I noted recently, was that the more I've totally and thoroughly "memorized" something, the less construction and fiddling around with lines I need. I can start from any part of the form, say the toes, and just complete the rest in any direction. I feel like I'm beginning to understand how Kim Jung Gi got to where he did, with 0 construction lines whatsoever. It was due to his overwhelmingly complete knowledge of the form he was drawing.>>7169761it seems like you didn't watch the videos I sent. But here >>7170120 your copies are looking a little better. You don't have to take my advice, but whatever you do, PLEASE learn your proportions. Learn to observe and copy something accurately. Don't bother with memory drawings yet, until you can copy decently.
>>7170017>>7170120>>7170887>>7171060Self-agency is what we all seek in life, which we only get one of, so we shouldn’t waste it. My good man, you should have more respect for yourself. We are all destined to a lot more in life than we think.They say God doesn’t give people anything they can’t handle, so I accept my wasted years of not drawing, and dedicate most of my waking hours to art. I don’t know how bad anybody else has it, I can only document my own personal struggles through art.I respect everybody on /ic/ very much and have kept up with their work for at least several months now. Whatever people say on here, I take it very seriously and do not discount it.Also I believe Japanese-Filename anon (also sometimes referred to as “redline anon” because he would draw a lot of redlines for people some time ago) had also gone through Bridgman himself at some point, without having done the memory copies, if I’m not mistaken, but in any case I do indeed do my memory reps, I just don’t normally show the original plate from which I’m doing the memory rep from.Japanese-Filename anon also prefers Vilppu-sama and gesture drawing the most (if I’m not mistaken)His trip was also “Master of Symbol Drawing” for a short whileAlso, nobody is ever garbage, for we all came from God
>>7171060>>7170887Here’s Japanese-Filename-Anon’s post from March earlier this year I had saved when I was intrigued by what he had to say about the silhouette “if you can just lay in an accurate silhouette right away, then fiddle and adjust your sketch until it looks right”, which goes back to shape, which I still have a lot of troubles with (hence his recommendation to do memory reps until I can overlay it and get an exact copy of the reference)
>>7171060>>7170887>>7170017Well this is a 3v1, I don’t think most people on /ic/ have this many people on their ass at one time like this, so I appreciate the attention.No, that’s not what I meant when I sent that page of the studies, it was more so “If I copied this many studies, regardless of having done memory copies of them, you would expect that even in the absence of the memory copies, that by the sheer number of copies alone, some significant improvement would take place, by virtue of the sheer number of copies alone.” Because I’ve done A LOT more than just that page alone. Would you not surely expect anybody to improve by sheer brute force alone even without the addition of memory reps? (which I do anyways but I’m just trying to make a point here)I was not trying to disregard anybody’s instruction, much less disrespect anybody. And not only that, I had primarily and originally sent that page of the studies in response to the second anon who was adding on to what Japanese-Filename anon had to say (about getting accurate copies first) - and all I’m trying to say is that if I can do this many copies (*and* memory copies as my work will show) and still encounter a lot of resistance to progress, I tell you that the individual things such as proportion will not immediately fix anything, only more mileage overall.
>>7170017I have no clue what I am doing
>>7171060girl on the center came out great!
>>7171093>>7171095>>7171098frick, I need to change my filenaming system somehow. someone can just impersonate me and do something horriblethe point here is to not gang up on you or bully you. I was much the same, when I started drawing. I wanted to master it in 2 years and get into calarts and break into the animation industry, all in one shot, like some kind of prodigy. Things don't work out like that most of the time. For me, it's been years and years of struggling and copying and trying to learn to draw. You think you've drawn a ton? Really? Have you drawn for 10 years? Often it takes 10 years to become a professional artist. You can do it in 3 years if you can summon the stamina to do studies for 8 hours a day (a true 8 hours a day, not a distracted 8 hour session.) Either way, it's a lot, and it's not good to assume that you are working hard enough. You can always work harder and learn more.My art actually looked exactly the same as yours for about 4 years, because I was just copying with no strategy. Tons of "gesture drawing" and "force drawing". Your work looks the same. Are you using an under-drawing? I suggest an underdrawing and strict construction. My advice was bad. Don't do the shape stuff. Use very strict construction, and keep your proportions very careful, while also observing accurately. Each drawing should take MINIMUM 20 minutes. Maybe 30 minutes. 2 years ago, when this general was /msg/, I spent 45 minutes copying a single anime face from Witch Hat Atelier. This is just the kind of effort it takes. When you've done a study, and you think you've done your best, drag your drawing OVER THE REF and check where you are off. Since you're kinda still at a beginner level, you may as well start over correctly and do the David Finch roadmap, combined with the Krenz Cushart Lecture. You're a neet, right? Do 3 hours in Krenz, and 3 hours in the Finch roadmap. >>7171112very nice anon
>>7171181thanks anon <3
I have serious reason to believe that I'm suffering from some form of profound mental retardation. Otherwise I can't explain why I've spent so many hours today planting these shadows. On the one hand, I think I'd be better off spending that time drawing, but on the other hand, it feels like a good exercise that makes me think about light and 3D space. Also, I think I need to do more of these with simpler shapes, just to get used to them and then move on to the next chapters, also it would be nice to do a big scene with nothing but boxes and overlapping shadows.I think it's a good thing that I want to do more of them to understand them, but it's a bad thing that it's taking me so long and I'm not adding complex figures yet.>>7169203Nah, it's just a regular hard round, as anon mentioned, opacity has nothing to do with a brush being hard or soft. I just added a little colour variation and lowered the hardness to 85.>>7169341Thank you.
