Comments: 5
chambs [2012-03-31 20:44:33 +0000 UTC]
nice illustration
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ChemNo9 [2011-12-19 03:21:16 +0000 UTC]
Hey boss,
It's a good start but still a ways away. You need to hunker down and study anatomy. Draw from life and photos as often as you can. One main thing that stands out is the line from the space girl's underarm into the breast. The muscles don't actually connect there. The balance on her looks off as well. Her head is also twisting of her neck in a very unnatural way.
Our large pink friend's torso is very long and while her hips of just my kind of wide! They start too low on her, hips begin going outwards at the belly button. Also her neck, notice the lines running out from her chin into her clavicles (collar bones), those lines should actually be making a "V" shape and connecting at the top center of her ribcage between the clavicles.
Take a focus to drawing from life and photos of people too. Try to match them as best you can, research anatomy and some great anatomy reference books, almost any book will do. If you want to draw people you really do need to have a solid grasp on this stuff.
Cheers!
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MacPool In reply to ChemNo9 [2011-12-19 20:54:21 +0000 UTC]
Hey your Grace,
thanks for dropping by, investing your time and (firstmost) your honesty.
Yes, you cant (probably you can) imagine how bugged I was - the fauxpas with the arm happened, while tracing with the ink. The initial sketch had an somewhat more acceptable... arm. Well... not everybody can be Bob Ross with his happy little mistakes. (He would probably just added a squirrel that lives there.) On the other hand, the head went by unnoticed... and you are absolutely right. Less tilted, more turned towards "Pinky", would have been way better. Indeed, something is wrong with me and I will look into that, promise. I kind of always draw things out of balance...
Pinky was an experiment on how much to supersize elemts (arms, torso, jaw - in my sketch her shoulders where even more bigger) and ignoring the clavicles, for example - but if the eye of the watcher recognises this only as "awkward" I am glad that you point it out.
Two final things (then I should be done). In the cause of the next days a volume of "Figure drawing for all itΒ΄s worth" should arrive (dont tell me I dont respect advises).
Gosh, this comment is long.
You commented about a day ago and I really gave your words a good thought and I found one thing while reflecting you advises. I dont like using references. I gave it a shot and it only makes me feel like a very bad copy maschine. I dont seem to find the reference to satisfy the things I want to have...
Stil I accept this as an necessary task, you cant build stairs to an mountain, only by using your forehead and the "built-in-stubbornnes"...
Just as you said in you first sentence: still a ways away. [link]
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ChemNo9 In reply to MacPool [2011-12-19 22:08:27 +0000 UTC]
Everyone goes through an artistic phase where you don't like using reference. You feel like it's cheating. But the reality everyone must face is if you never draw from reference you will never be able to draw from memory. Drawing form reallife is reference but it's also not cheating.
I went through the same thing until a teacher of mine told me. "Always, always gather reference for clothing, posing, body types and more"
I also began to see that many of my favorite artists would take reference photos of models before doing a drawing or painting.
Figure Drawing for All it's Worth is one of the best drawing books ever. I learned more from that book than I did my collage education lol.
Lastly,
Drawing from memory is a powerful skill that takes years to develop. You must first be able to draw from reference, almost COPY the reference exactly. It almost makes you draw more poses and learn more anatomy. And soon enough you will be able to recall poses and shapes and combine them from memory and make new poses. However there will never be a time when you should stop drawing from reference and only draw from memory. An artist can always get better!
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