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Encouragement and Critique Thread! Go! Go! Drawoli Anonymous 05/15/2020 (Fri) 20:06:34 No.115
Post your art related woes here. REMEMBER! NEVER GIVE UP! WE BELIEVE IN YOU!
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This time it was three quarter view, exercise 3-E. The book tells you how you should draw a center line to align the nose and eyes properly, but I wasn't able to do that. I didn't know how since most of the time the center line seemed to be off the place where it What I did do instead is follow something I stumbled upon a search for models instead https://archive.vn/AOWGt I don't know if it's cheating or something else since it was not given in the book, but it certainly did help a lot more. I also got some 3b and 5b pencils because in other places someone told me that the drawings lacked tone.
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>>542 >https://archive.vn/AOWGt Before saying anything I just want to point out, clicking through 9 fucking links to get the full lesson is bullshit. Moving on. >I don't know if it's cheating or something else since it was not given in the book, but it certainly did help a lot more. Whatever works works dude, there is no cheating. Loomis encourages you to find your own way of doing things, he's mostly giving advice to beginners. I will say though, the technique you listed is just an expansion on what Loomis described, the link you've posted still uses the same base idea of a sphere and dividing lines, it just adds additional steps. As far as your drawing goes: I agree that it really lacks tone. You seem very afraid to use full blacks anywhere other than the pupils. Even the deep shadow on the left side is just a dark gray, and fizzles out above her shoulder. While it's always up to personal choice but as far as I can see in the actual photo her shoulder is as dark as her pupils. That being said you did a fantastic job with the toning of hair going down the sides, it's the best part of the drawing and I find it very impressive how well you generated your masses. What's reducing the impact of those tones though, is that outline you made surrounding the hair and never erased. While it's good to block out exactly where the hair is, you shouldn't leave those lines there after you're done shading. It completely flattens the image and ruins the very nice texturing you had going on. Those lines are not in your photo, there the same as the lines you set the eyes and other facial features on: guides meant to help but don't belong in the final product. You fucked up the top of the head when you did the shading there. It even says in the tutorial you linked not to draw every strand of hair, but focus on masses. While I understand what you were attempting to do, it doesn't look flattering and is probably the worst part of your hair toning, which is pretty impressive otherwise. Your lips are poor for the same reason you fucked up the hair, you left those outlines in when the don't exist in the subject. Take very close look at her lower lip, you'll notice that there is a slight light band right before the shadow cast on her chin appears in the subject. In your drawing however, you've done the opposite, there's a harsh dark line where a highlight should be and no gap between the shadow cast on the chin and the lip. This really flattens the image and makes her lips not look properly attached to her face. Upper lip isn't nearly as bad, and you managed to do a relatively nice job with the philtrum. For the last part, I have no idea what I'm looking at above her left eye. You've emphasized the right eyebrow more than the right one, which makes it lopsided, this, paired with the shading you did beneath her bangs, makes me confused as an observer who has never seen the subject where her eyebrow is. At first, I thought it was what I highlighted in blue before looking at the subject photograph, but after looking at the subject, I assume it's supposed to be the flatly shaded rhombus beneath it I highlighted in green? I don't understand what exactly that flat rhombus is even supposed to be. The more I look it the more lost I get. Altogether you did a good job and did very well in certain areas, but you've got definite improvements to make.
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Practice of a profile view. Still struggling with tones, I also got told that I should learn the proportions of the face and suggested me Drawing the Head and Figure by Jack Hamm, though I'm mostly practising observation drawing. I did correct the issue with the outlines on the lips and other parts of the face, just not the hair since the background image was already black
>>551 I'd also like to know if it's a good idea to be studying both Loomis and Observational drawing at the same time? I haven't read the former yet but it seems more tranquil than grinding faces and could be done in the side. Talking from ignorance of course
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>>551 Another profile, this time I was more bold with the Tones, but my underbite is too big, and the nose bridge went too deep, which ended up making the eye's distance larger than it should and thus the lips being bigger than they should
Ok, maybe I can revive this board, by actually helping people. (I should create some kind of art course.) >>569 You seem to be practicing quite a bit. That's good. What's you're goal in art? Depending on your answer I'll be able to give you better tips and hints. >>551 >[...] I also got told that I should learn the proportions of the face [...] Learning the proportions of the face is alright, if you have no fucking clue how the human face looks, because you've never actually consciously paid attention to the proportions. But that only gets you so far, because it's restricted to the front, back, top and both side views. It doesn't teach you the three dimensional forms of the head and face. (You would be suprised how much the skull shows through, when it comes to drawing a face.) I would recommend you to study the skull. After that take a look at the muscles of the face and neck. So, you make a hyper realistic value copy of a skull from a few different angles. (Don't add color. It's just distracting.) Just copy a reference image. (This one is a really good excercise. You might not believe it, but through working on a single skull for a long time, you really start to pay attention to the forms. The image of the skull will be burned into your brain. And you'll be able to remember little details you would've never noticed in the first place.)[1] After that you should be able to construct skulls from any angle. (Or at least from the most important angles.) Now I would more or less learn a bit about the facial musculuture. Just enough to get an idea about how it might affect the face. Then take a few pictures of really beautiful people. Or the kind of faces you would like to draw. Maybe you want to draw ugly jew noses or so. Dunno what the kids nowadays are into. Study the proportions of those faces. What I mean is, try to find patterns and rythms in the face. Take a look at the picture and develop your own method of constructing that face. Make sure you can create something similar and appealing using your newly developed method. Don't look at the picture. If you can't construct it with your current method, find new rythms and relation lines. I would post some of my studies, but my laptop doesn't recognize my SD card... D:< Ok, now to the value thing. My development was as follows: Drawing very high contrast paintings, which look totally off. Me: "Ok, I need to learn to be more subtle about values." Draws very low contrast paiting, with very subtle value shifts. (Learned how to control value and be very subtle in the way I blend them.) Me: "Ok, it still doesn't look realistic, it's somehow missing that realismTM. Then I realized that the realism comes from the contrast. It makes images pop and feel like they're jumping out of the canvas. That's why TVs always brag with their value range and how much contrast they have and how that contrast makes everything look 10x more real. Now I draw painting, which look decent. Me: "Ok, that's pretty good, but other artists stuff looks even better. How do they do it?" This is when I read a forum entry from a chinese artist, who explained how peoples images are overall too bright, which makes the images look less impactfull. His technique was to make everything a bit darker, because the white of the canvas or the white of the screen will never be as bright as the sun or a real light source. So by making everything else a bit darker, that makes the light appear even more real. Me: "Ok, sweet I can paint. TOP KEK" [1] I would like to show you the studies I did a few years ago, but I basically lost all of my work, when I changed from Window to GNU+Linux and from Photoshop to Krita. Also I alwaysdeleted all of my drawing once they were done, because I was all about that grind. If I cherished a painting or drawing that would mean, that I couldn't replicate it. "FUCK THAT! I know how to draw that shit. I'll redraw that thing ten times again, and make it look even better." That was stupid. Saving these drawings is great for tracking progress and making you feel good.
>>258 Did Discord really become that bad? I left Discord three years ago I think. Some kind of chat room would be nice, where one could see when someone is online. Otherwise we have this board. We could create a little /loomis/ lounge here, where people can just talk about random shit. All visible to every schmock, who happens to stroll by.
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>>581 >What's you're goal in art? I just want to draw exacty like this guy, I was an asshole to him back in April and since he is pretty much dead now I use the guilt to get better each day >I would recommend you to study the skull. Point taken. Here's a foreshortened head, fucked up the forehead a bit but the rest seems good enough
>>569 See the volume of what you draw. It allows you to get the correct proportions.
>>583 Lookin' good, anon, keep it up
I bought a 3D printer so I could make cool dioramas. I have to tidy up my work space first to make room for it and having it sitting there unopened is killing me.
>>600 Now I really wanna see this
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I've been practicing some rougher sketches but never got round to posting them since they weren't as careful. It's been in preparation for drawing heads without a reference. Anyway this head is almost at the side profile but turned just enough that the further away eye is still visible. Didn't quite get a read on the lower lip for some reason and it threw the chin off. I could have been more careful with the ear but my concentration ran out.
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This time it's chapter 4 of Keys to Drawing, I did the exercises where it asks you to draw shapes without inserting the details and only mapping the shadows, and the one asking you the same but with basic models (Cilinder, box, grapefruit), but those were pretty amateur and not really worthy of posting here. This one though it was different, it's a foreshortened head with a strong light in the right side. The face seems to be OK, but I'm finding myself struggling with the hair much more than I used to for some reason. At least from the thumbnail and from afar looks pretty good, despite taking 4 hours. These kinds of heads, where it's a three quarter view but slightly tilted seem to give me difficulties, just doing the body of the head took 100 to 60 minutes I believe >>612 Looks pretty good, I particularly like how every coloured part is a bunch of lines, wish I could pull it off but I'm not for it patient. Perhaps the lips are a bit pronounced.
>>639 >how every coloured part is a bunch of lines I'm not sure what you mean? The colour in the comparison image maybe? You're right about the lips, her's are pretty small. You seem to have to the shadows in the right places anyway. Could the difficulty with the hair be happening because you aren't allowed to add details in the exercise? That would give me some problems.
>>640 >I'm not sure what you mean? The colour in the comparison image maybe? The term I was searching for was Crosshatching, I like how most coloured parts are crosshatched.
>>601 What do you want to see friend? I still haven't got it set up. I got distracted playing Monster train and didn't clear enough space...
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Very first time I decided to try and free hand an image from eyeball. Also the first time I tried something other than a geometric shape. Two hours later and I realized I turned him into a conehead, or padre from Nanquest. Oh god Chuck please forgive me. I figure the least I could do is let one of you guys laugh and any starters to realize that you are and always will be better than me.
>>649 It's not what you were aiming for but I kinda like it as a caricature of the original. Cone shape aside though, why isn't the head tilted? You've drawn his face features pretty much vertical.
>>649 >and any starters to realize that you are and always will be better than me. It's only a matter of sitting down and drawing as the books tell you, there's no black magic in it, thankfully enough
>>649 Doesn't look too bad for a first timer, you have a good idea of where parts should go to. Study proportions a little bit more for the next one.
Hmm. It seems this thread can no longer support any more images, guess I'll use the one before the board was set up
Nevermind I'm still getting >The site has reached it's total file capacity on other threads, what is going on?
>>663 >>664 The whole site is maxed out
>>664 >>665 We set a file count limit as a safety checkpoint. It's been raised; please continue as normal.
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>>666 Good to know, I was getting worried So this is exercise 4-E, it asks to draw interesting cast shadows. For some reason it feels like I'm going backwards but it's mostly due to the fact that the figures in the photo are kinda small. Though I could be worsening too.
>>667 It doesn't look like you had a lot of room to work with on the paper for the size of the image, so I'd say it's the size and viewing angle of the figures that's making it tricky.
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Another cast shadow exercise, and despite the fact this looks like ass, I've learned the reason as to why. When measuring by plumbing or some other method, you have to take into account the position from where you're working on, if that changes, your whole perspective changes. And if you do that very frequently, your whole drawing will look disproportionate. The reason as to why the previous one doesn't have that is because I was placing the pencil on the monitor to measure, this one on the other hand was following the steps of the book (Sit still, extend your arm, measure). So what do we learn here? That having a consistent measuring is critical to what you're doing. If laying stuff on the monitor gives that, let's do that.
>>702 You're growing a lot, anon, keep it up!
>Any time I'm doing something else I think I should be trying to learn to draw right now >When i actually sit down with a pen and paper all inspiration and will saps from me. What?
>>704 Nigger, you don't always need inspiration. Learning how to draw is work. Just like learning math is work. Just grab some anatomy book and do the exercises.
>>705 This. To ride with the horse you need to learn the horse
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Now this is exercise 4 - F , it's about merging shadows, where it asks for possibilities where dark clothing or colours can be merged with cast shadows. There are some opportunities in it but the biggest chance was to use colours that merge with each other. It was also useful for learning what value sketching is, I searched a video on youtube about it and it was limited to foreground, middle and background, so I did something else in this hoping it was done right.
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Another drawing to practise merging shadows, despite not finding many of those. I'm still mad at the results and the shadowing of the bedsheets doesn't feel good, despite taking the same time as this one >>503 . The face of the woman is disproportionate, and that with the arm are darker than it should be. I should be happy that I was able to do much more stuff in five hours, but then again I'm mad that something like this took me so much time, up to three days.
>>723 Came out pretty good, but watch the hands!
>>538 Just pick up one and experiment while you read, art is not set in stone as far as learning goes. I know some guys who paint their sprites without a baseline.
>>723 You don't have to stop your progress now especially since you haven't filled the whole canvas. Back when I was formally schooled in 2D art my primary instructor gave us the "3 S's", which were Shape, Symmetry and Shade. Firstly to identify simple and complex shapes of the subject matter, then to map them out and from those shapes you can use light linework to map out cross sections of those more complex asymmetrical shapes like hands, shapes, hair, etc. Afterwards over the light linework, I can't stress enough how important in the beginning being sensitive to pressure on paper is, shading from darkest to lightest shapes on your subjects in layers is a great way of having a high contrast image without making one gray blended blob. Makes everything look a lot more photorealistic too and less like it has those outlines like a cartoon. Your drawing needs to have the dark shapes darkened more, for example, the female's arm almost blends in with the man's starch white t-shirt even though her arm is much darker and casts it's own shadow deliniating it from the whiteness of the shirt. Keep the light shapes as light as they are currently. Blend in those solid line marks too.
>>744 >hands, shapes, hair, etc. >*sheets
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This one is based on Christchurch and, while anything above the sight and the right is disproportionate (weird since I started from there), the shading ended up turning out better Is this where we start practising depth?
>>757 Looking good t. /fascist/
So, like... HOW do you draw? How do you get the idea, how do you know what programs to use with what brushes or what pens and pencils tonreach for? What to practice, how do you do studies and stuff? There's so much I don't know I have no clue how to even get my foot on this insane merry go round.
>>814 >So, like... HOW do you draw? How do you get the idea, how do you know what programs to use with what brushes or what pens and pencils tonreach for? What to practice, how do you do studies and stuff? There's so much I don't know I have no clue how to even get my foot on this insane merry go round. First question you need to ask yourself is: "Why do I want to learn how to draw?" If you know why, then you have a goal and that will make you learn better. For me it's that I want to communicate emotions to my viewers. I want to hone the skill of manifesting a vision in the physical world. Also I want to create comics. Then start to draw whatever you want to draw and during that process you will figure out what you're lacking. (At least if you have a basic understanding of art already.) If you see that your art is not at the point where you want it to be then, just grab a few books about art and read them. This board is named /loomis/, because Andrew Loomis' books are pretty good for that. You can go from there. Some learning resources I can recommend (Copied from a Nanochan thread.): Anatomy: - Prokos YouTube Channel - (Uldis Zarins) Anatomy for Sculptors - Understanding the Human Figure - (George Bridgman) - The Human Machine - (George B. Bridgman) - Constructive Atnatomy - (Gottfried Bammes) - The Artist's Guide to Human Anatomy - Atlas of Human Anatomy, Sixth Edition- Frank H. Netter, M.D Drawing: - (Scott Robertson) - How to Draw - Drawing & Sketching Objects & Environment from Your Imagination - (Scott Robertson) - How to Render - The Fundamentals of Light, Shadow and Reflectivity Painting: - (James Gurney) Color & Light - A Guide for the Realist Painter - (Richard Schmid) Alla Prima - Everything I Know About Painting Figure Drawing: - (Andrew Loomis) Figure Drawing - For All it's Worth - Michael Hampton) Figure Drawing - Design and Invention u
Im literally begining, and I already have a few drawings which I think are good enough Problem is I have literally no foundation for this, and I seem to have hit a wall when it comes to drawing humans, I really should have listened to art school
>>849 Go ahead and post them, we're all friendly here. The most important thing to do at your stage is get a firm foundation with the basics. I would highly suggest starting with Drawing on the Right Side of the Brain, it's a miracle worker and you'll see you're skillz coming through in no time. Starting out is always boring and/or frustrating, but what new skill isn't?
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Im the long term I want to draw anime But I know Im a long way from that
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I also practiced lines from the Draw from the Right side of your Brain workbook
>>849 >>856 >>857 For beginners it's essential to learn the so called "fundamentals". Many people mean slightly different things when talking about "fundamentals" though. I'd say the knowledge based fundamentals are: - Drawing in proportion (hand eye coordination; Being able to copy what you see.) - Shading (Understanding how light makes things appear three dimensional.) - Composition (How to lead the viewers eye through clever use of 'value contrast', 'color contrast', 'shape contrast', etc., the arrangement of different elements in your scene, besides other things.) - Color theory - And everything I've just forgot. Watch the stuff from proko once your hand eye coordination and arm muscles have developed a bit. https://invidious.snopyta.org/search?q=proko You can also listen to the podcast of Stan and Marshall. https://invidious.snopyta.org/search?q=proko+podcast I'm just trying to give you some pointers. And don't expect anything. Understand that things like that take effort and time. Practice deliberately. Enjoy the grind. Happy drawing and painting my friend.
>>849 Oh, and if you're specifically worried about your faces and heads looking like shit, then watch the following: https://invidious.snopyta.org/playlist?list=PLtG4P3lq8RHHFhiyjXP4UT-yUo7pC13GQ I just recommend Proko, because that's where I've started and it helped me a lot. If you have major troubles applying what you've learned from those videos, then start copying things you like until your hand and mind get used to drawing.
>>856 >>857 keep going Right Side of the Brain and follow each chapter and the exercises. I'm just starting chapter 9 and it's worked wonders.

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