The Irregulars -- A Livestream Study Group

[Scribz]

Those last two look really cool Scribz.

On another note I did a drawing of a random object that stood on my table.

I actually learned a lot about where the light touched. Especially that tiny spark of light that hit the inside of the cup xD Without it just didn't look good.

Very nice.

It seems to work on the white background. See if you can add a middle tone value in the background next time, it'll really allow it to come to light.

But still.


Fuck me. That's actually really good!

Anyway!

Figured i'd give a previous of mine, it demonstrates light on a simple shape as well, I always see it as a reminder of how to really work on subtle values and how light hits in certain directions.

[Sherlock Holmes]

Just posting to show i'm still in the game. Did a 30 minute figure drawing trainer, was more intense than I thought! Dimensions were hard though considering I had to fit both the reference picture and my very feature cluttered art programme (sai) into one laptop monitor, meant a lot of sliding was done, and so some limbs ended up longer or shorter than expected. Space was also an issue in general and so poses were cropped so to speak.

All done in 30 seconds, this was a "no mistake corrected" scenario in which you were basically trying to get as much of the broad shape in view on the paper in time (and failing at that), and making sure to keep your hand from cramping up xD. As you can see a lot of poses are either unfinished or wrong, but it also gives you perspective in how minimal line use can achieve the shape you want!

Top three and bottom right are 30 seconds, as you can see it's still the same story with the last image, simple shapes, simple form, and errors galore. You can see how my hand started to cave at this point, which demonstrates the endurance I still need to build in my left hand. The bottom left and centre are 1 minute however, this gave me a lot more room to work on redefining strokes, as you can see it's a lot more choppy as a result, but more detailed and defined, it highlights how much a difference a good initial foundation is crucial for an immersive portrait.

By this point, my hand had died and I was carrying it's corpse through the deadly trial, not sure if I would emerge alive, or be left behind.
But for realz, top two are the 1 minutes, and they are just horrible. This really demonstrates how and why quality can fall and how maybe a little break (and how hand exercises) can be the 'touch and go' factor to the execution of your work.

Bottom two are 5 minute, as you can see the right hand one is much more choppy and bold, however detail and shape are far easily executed as I was given some time to actually use reference points in the process. Size was getting a problem though, as things started to overlap, as was the size of the brush. By left hand side, I had given myself a much finer brush to use, and so I was able to add in detail in a much more orderly manner.

Now these two, these two are clicking points for me.

Both of these show how bad my anatomy is, and how much I need to get referencing done. I can look at these and see a horizon of difference between my previous work from literally yesterday. The detail is better, even if choppy. The shaping rocks. For both of them I was just happy to get cleaner, more accurate and real sketches down. Obviously I have work to go, but progress is progress and nothing to sniff at.

The final peice, the 10 minute one, had even gotten me to the point where I felt "i could either go back and redefine shape, or I can see how adding value to correct plains may work out. And it worked like magic, this just highlighted how much the magic in the painting comes from getting the simple strokes down, not some neat little trick during the value process.

So, things i've learnt?

If it's not right, you did it wrong a stage beforehand.

My hand is a little bitch.

Shape is key.

Practise makes perfect.

This trial has stuck with me, so i'm going to do my all to make sure I get a 30 minute trial done at least once a day. I may or may not post them here.

Anyway, doubt I need any pointers on this one guys, I think it's a matter of internalizing through repetition. Ciao x

No pointers, necessarily. (Aside from still working on your flesh tones -- that last one with the 5 minute poses is very gray/drab looking. Try to pick flesh tones that have a bit more life to them.) Gesture drawings are very tricky.. Keep at them! ^_^

Those last two look really cool Scribz.

On another note I did a drawing of a random object that stood on my table.

I actually learned a lot about where the light touched. Especially that tiny spark of light that hit the inside of the cup xD Without it just didn't look good.

Not too shabby. Try to avoid painting on a white bg, though -- it makes it very hard to truly gauge your values (because you're constantly comparing everything to the brightest bright, which makes everything a bit off by comparison. Always tone your canvas before you start with a mid-tone value.) Avoid working from references that have all white backgrounds, too -- it won't help your color work. (Because a lot of times the background on pictures like that has been simply 'shopped out, so you can't tell where any reflections/colors are coming from in the environment the object was initially placed in.)

I get a good sense of shape from your cup/saucer -- well done! Use a larger brush when painting so that you don't wind up with so many erroneous brush strokes. (Start with a large brush for blocking in your shape, only go smaller for details as you refine.)

Don't paint highlights with white -- it will dull your colors. (White and black don't actually exist in the real world, they either absorb colors around them or reflect them, so when you paint with white on top of colors, it looks very lifeless.) Try to think about what color your light source is and then mix that color (in a lighter value) with the local color of the object you're painting to get your highlight and/or shadow colors.

Keep up the studies!

Very nice.

It seems to work on the white background. See if you can add a middle tone value in the background next time, it'll really allow it to come to light.

But still.


Fuck me. That's actually really good!

Anyway!

Figured i'd give a previous of mine, it demonstrates light on a simple shape as well, I always see it as a reminder of how to really work on subtle values and how light hits in certain directions.

I've already given my two cents on this one, but I'll do it again for people who didn't see it when I initially did it.

Don't forget to reflect environment colors back up into the object you're painting -- that green background should be affecting the blorb, especially around the bottom areas.

Here's a fun thing to play with. It's about 3/4 of the way down the page.. (The interactive circle and sliders to adjust color/light.) Play with the sliders and watch how the sphere is effected. Notice the bounce light on the bottom of the sphere and how it adjusts as the environment changes. Knowing how stuff like this works will make your object integrate much more comfortably into the environment you're trying to place it.

[Brand]

Just curious, is this like a general art critique thread, to critique subjects ranging from painting, to sculpture, to etc? I'm currently working on something that is eating my time, so frequent updates till i finish that is going to be impossible, but i'd like to join this once i finish.

[Sherlock Holmes]

Just curious, is this like a general art critique thread, to critique subjects ranging from painting, to sculpture, to etc? I'm currently working on something that is eating my time, so frequent updates till i finish that is going to be impossible, but i'd like to join this once i finish.

It's centered around drawing and painting. Basically this is a group of people who are looking to improve their skills and are working/doing studies to achieve that. You're welcome to join whenever. ^_^

[Scribz]

Just curious, is this like a general art critique thread, to critique subjects ranging from painting, to sculpture, to etc? I'm currently working on something that is eating my time, so frequent updates till i finish that is going to be impossible, but i'd like to join this once i finish.

Fundamentally yes. Though we're far more centred around lineart and painting as it stands, I doubt anyone here could actually qualify to critique on sculpture, though you're more than welcome to pioneer that territory!

[Whetfeather]

On second thought, I realized two things.
1) I was using a different, darker pencil (which I somehow managed to neglect to see) which limited my shading to either "dark" or "really dark"
and 2) I am in a rather off mood today, so I think I just couldn't focus on the study. Feedback's still welcome, but the above isn't exactly the best of my work. >_<

Perhaps invest in a kit that has many different types of pencils. They have variations of soft and hard leads and it would help that heavy hand of yours. I know EXACTLY what you're going through here. :P

[Grif of Hearts]

Attempt two.

Spoiler

[Sherlock Holmes]

Attempt two.

Spoiler

Huge picture is huge, Grif. XD Shrink it down a bit next time.

Now, business:

Looking much more solid this time around. Nice job! Two small adjustments, though:

1.) The center spike on his breastplate/chainmail thing that's pointing down looks like it's stabbing into his bellybutton. Either make it shorter or a bit longer to extend beyond it.. Unless that's a piece of fabric and not his skin it's jabbing into? If that's the case, make sure you shade that in so it's obvious that it's different from the rest of his torso. XD)

2.) You've got tangent issues with the pole on his back -- it's lining up almost perfectly with the lower head protrusion (horn?) thing and then again with the lower edge of the mask. Adjust that and the rest isn't too shabby. ^_^

Keep up the good work!

[Grif of Hearts]

1) He's not wearing a breast plate. He's wearing a metal guard going around his waist and lower torso, and only goes up as far as the main part of his rib-cage. Everything up from there is bare, unless you count the bandoleer and netting. It's not a spike, but just an thin strip of metal on that stomach guard added for decoration more than anything else. That goes for the other bits of metal that are in a similar shape. They're all part of the stomach guard, so no belly button jabbing for today. I can, however, see where the confusion comes from. I'll try and make it a little clearer in the future.

2) And I noticed that when drawing it. I had hoped to get the end a little more to the left, but it didn't turn out that way when I tried to angle it up properly. I would have had to change the shape of the hand, and I wasn't in the mood. :P

And shading. I need to do that as well. Shadows are important.

[Sherlock Holmes]

2) And I noticed that when drawing it. I had hoped to get the end a little more to the left, but it didn't turn out that way when I tried to angle it up properly. I would have had to change the shape of the hand, and I wasn't in the mood. :P

You don't have to change the angle of the hand, just the pole up by the face. If you take the edge of something straight, you'll see that it lines up wrong anyhow. (The top of the pole on the bottom, lines up with the bottom of the pole on top. It should really be coming out more over his shoulder.)

- - - Updated - - -

Also, getting ready to stream. Working on a Holmes piece and listening to classical music. (Trying to apply what I've learned from my Sidney Paget studies. Good times. XD)