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FUNKYMONKEY1945 In reply to tileoo [2015-09-11 18:29:07 +0000 UTC]

Thank you for the kind words.  I'm very aware of that.  For
illustrations that need to pop ( done in Saturday Evening Post fashion )
I do do that.

There's reasons for sharp edges.  Leyendecker's illustrations for Saturday
Evening Post have that quality.  If you look at his more story based illustrations, he has a
wider range of edges.  It depends on what he's going for.   Simply having
hard edges does not make a Leyendecker.
In this image; part of my edge design and value design was
around her eye.  We pay attention to the minorites in shape design.
While Leyendecker is a big influence; I have other
influences as well.  Such as Gabriel Von Max, Steve Huston, Ivan Kramskoy...
list goes on.  ( This gives me a lot of ideas to play with )

I don't want to be a carbon copy; I don't think I can be a Leyendecker.
I try and fuse my influences with the things I want to say.  That's how I
hope to stand out.  Just like my teaching style; I'm a hybrid of many instructors.

Thanks for the eye

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tileoo In reply to FUNKYMONKEY1945 [2015-09-12 00:23:59 +0000 UTC]

Yeah, I know that it's more of emulating a style but I think that this specific painting would've profited from harder edges, and less blending
 Nice to see such a long reply, usually it's just a short and kind fuck off from other pros. 

Just a little question maybe, if you don't mind answering

When I do studies from photo reference I usually take the contours and think of anatomy after that, using it to further enhance things in did not get in the lines. Do you think it is better to try to break the stuff down into basic shapes, so that you are able to work with them at any given size? I feel like it's bad practice to go with the contour instead of rather understanding what's below it, in a more 3d manner.

I just ask because you seem to maybe have been at that point, judging by your skill now, you must've encountered that I during your study years

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FUNKYMONKEY1945 In reply to tileoo [2015-09-12 03:10:28 +0000 UTC]

Thanks.  Like I said, there are ideas I wan to convey and edge choices communicate different things.

You need to have a balance of both.  Relating painting, drawing, and sculpting.  We always see shapes first.
I don't just mean contour lines.  More general than that; we see and recognize silhouettes.

In painting we look at overall shapes and masses before continuing to the next step.  Same thing with drawing.
In sculpting, I block in big shapes first before going in and start sculpting out the medium and smaller shapes.

This is gonna sound strange especially since I teach anatomical drawing.  Anatomy is not the most important aspect
of drawing.  It comes down to gesture, shape, proportion, form, value, blah, blah, blah and then anatomy.
If anatomy was the most important aspect of drawing; doctors would be the best artists.

The idea is to work simple to complex.  Each discipline of art ideas need to be worked.  Keep in mind that
a drawing with good shape and weak form can still work.  It doesn't work the other way around.

Hope this helps

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