>>3861 Little too wide, features like eyes and ears a little too small. Watch your angles

>>3866 I feel like he's accepting a proposal for some reason.

How do I keep doing this? Am I drawing somebody while I'm observing the subject in front of me? Also how do I make the eyes look downwards?

>>3871 You're looking back and forth, observing your subject as it relates to your drawing using the comparative measurement drawing strategies you should be familiar with. Keep doing the Bargue plates in particular, I do not think you're getting much from trying portrait drawing at this time but I don't want to discourage you from trying necessarily, either. >how do I make the eyes look downwards This is an anatomical question, the external and internal appearance of the eyes change depending on certain factors. Nothing I can tell you on this will help you at your current level, you just need to learn how to ascertain spatial relationships which you will learn intuitively through doing the Bargue plates and then apply them to your portrait drawings. You need to learn to see the "real" shapes and not symbolic ones. You are getting better at that, for the record, but at this rate it's going to be a long slog.

>>3871 For this subject specifically, I can say you can help her look downwards by lowering her eyelids even more. Second her irises should be partially obscured by her lower eyelid. In your drawing they are barely touching, but she partially has them actually beneath the lower eyelid.

>>3866 Looking at it again now from afar everything you said is clear as day, idk how I didn't see it

Is shading easier with a pencil over digital? or is there no difference / once-you're-used-to-it type deal? I haven't had any instruction on shading from the book i'm going through (Drawing on the Right Side of the Brain), so I tried just doing it in >>3861 but it just made her face look dirty, I did the same in a pencil drawing and it did register as shadows instead of dirt.

>>3875 Different mediums require different methods. You wouldn't shade with paint the same way you shade with a pencil. Treat digital as if it were completely different from traditional pencil or paint because it basically is until you start getting into it more.

>>3873 >>3872 It's slowly starting to resemble her but looking at different things. How would you draw them anatomically?

>>3878 >How would you draw them anatomically? My man, the study of anatomy takes years. I can recommend you to anatomy books. Loomis is a good choice, Burne Hogarth is popular, I like Jeno Barcsay, but at the end of the day I can't explain the anatomy of the human face in one post. If you have a very specific questions I can give very specific answers.

>>3878 >>3879 Anatomy is one of the last things you will ever tackle when learning how to draw. To clarify what I mean by anatomy, I mean musculature, the skeleton, etc, the physical parts of the body and how they move and relate to one another, stretch or contract. You can be a great artist and get by knowing very little actual anatomy, so long as you understand three dimensional shapes.

>>3878 You should first learn the shapes that compose a head and face. You can worry about the details later, now you first have to understand how to properly build a head. You can also print that girl's photo and with a red pencil, try to break it down into simple shapes. I also recommend doing quick traces instead of slowly drawing a line. Don't spend too much time on it either. When practicing is better to spend 10 minutes drawing 10 faces, 1 minute each than spending 10 minutes on a single face.

>>3871 turn off your left brain, and flip the canvas 180. it tells your brain to stop thinking "oooh a human face! that's a nose, ooo that's the mouth" (which makes you draw the features based on what it tells you) and instead go "THIS IS DARK SHADE, THERE IS LIGHT SHADE". shade it based on the thing you see

Old

>>3880 >>3879 >>3882 >>3961 I know you are all spending your time to help me by telling me where and how I should improve but I'm having a hard time trying to apply it as you say it. I'll just keep doing it daily and do small improvements.

>>4002 Try to measure the proportions of the head and understand its structure. It's boring but if you apply it well you will have half the battle won.

>>4002 It is all practice for now my dude. As long as you're drawing on a piece of paper and trying to do better, you'll get marginally less shit eventually.

I honestly don't think these construction abstractions are going to help him when he's still struggling to draw from observation alone, he's mostly gotta focus on that imho, form can come later when his Bargue plates start looking better.

Right, time to move from her, since I see that I'm just stuck currently, I'll come back to all of this eventually. But, for now time to continue further in KtD. >>4003 These will help me a lot more when I fully learn observation. Thank you.

>>4012 I forget if Right Side of the Brain mentions this technique, but I'm going to venture it will help. If you're fine giving it exactly one more try anon, put a grid on the picture you're drawing from and on the paper you're drawing on. Pic related, instead of drawing the face, replicate as closely as possible each square of the grid as best you can and see what that gets you.

>>4016 Another example.

Comfort zone, comfort zone. la la la, la la lala

>>4019 https://yewtu.be/watch?v=kUsFWO08CO0

>>4012 I'm still a beginner, but one thing I notice is that a lot of "reference points" don't seem to line up. Fore xample >the left of her nose should be more rightward than her left part of her lips. On your drawing it's the opposite. >From left to right it should be (1. her right chin, 2. her right mouth, 3. her left chin, 4. her rihgt mouth). 1 and 2, as well as 3 and 4, are swapped on this drawing. > the tip of her nose should be more rightwards (from your perspective) than her left part of the nose. >the left part of her right eye lines up vertically with the left part of her chin. I'm not sure if artists explicitly pay attention to things like this when they draw or not, since I'm not sure it's not really forming a mental construction/perspective as much as it is double checking if your drawing lines up.

Scrapped poses

>>4016 Here's my result, I keep having trouble with the eyes..............

>>4028 Holy shit what an improvement. Yeah her eyes are a little off but that looks waaaaaaaaaaaay better anon. Like just compare that to this >>3864 Just black in her pupils and point them just a little lower and I think you'll be fine.

>>4029 Yup, I stand corrected. That clearly helped him along. It kinds of reminds me how the sight-size method using an actual physical plumb line improved my "figurative" plumb lines from my imagination. I always kind of looked down on gridding and stuff but if it can help someone learn then it's more valid than I gave it credit for. Just because I never needed something like that doesn't mean it might not help somebody else.

Never done live figure drawing before, made some huge mistakes but the rush of having to nail a drawing down in less than 2 minutes is mind opening. Made some huge glaring mistakes as far as body width on some of the later ones, and I super fucked up the leg proportions on the one where she was leaning over. This shit is hard, but fucking worth it. Can't wait to actually be good at this garbage. Also sorry for weird lighting, was in a rush.

Two more to go, light mapping... >>4029 >>4031 I'll just grind continously without stopping.

>>4048 Also, I forgot to say thanks. Thanks for the continuous help to this ultra beginner.

>>4080 Based and Strugglerpilled

>>4080 I'll rest in the grave.

I've been working with a fountain pen recently and aiming to improve my stroke confidence. >>4080 Oh fug, I just wanted a MgFlurry not a fight for survival DDD:

>>4104 I like the utility pole, you did a great job with the piles of leaves on the ground, I like the contrast between the pole and the rest of the image. One problem would be that while the consistency of your angles is decent and communicates well, I'm still seeing a lot of variance that brings down the quality. Mostly in the upper third. Very good all around though, I like it. Second does nothing for me. I'd say it's distorted, but I think that's intentional. Squiggles really distract from the quality of the lamp. Bricks have shit consistency. Branch is boring, lines aren't looking that high quality, though the leaves communicate well.

Sorry for filling this thread so much with my shitty drawings...

>>4108 It's the practice thread, nibba. Kinda the point.

>>4108 Don't worry bro, we would tell you if you're shitting up "the masterpieces only thread". You're dumping in the right place.

>>4108 those maps are great for animation and pretty cheap just keep on drawing from live and you'll improve

Did some practice in grafx2.

>model no shows the class >get put in groups to draw each other >get le ogro de las Americas as subject >at the end of the session get gently instructed by the professor that you don't always need to pursue 100% realism What did he mean by this?

>>4220 Drawings itself is decent, good line weight variation in quite a few areas but a little sloppy-looking in others. I feel like you have the same problem with hands that I do: carrot fingers.

>>4221 Curious to know what you mean by carrot fingers since looking it up doesn't really yield results. I honestly thought the hand was one of the better parts of the studies so I'm eager to know how to fix that.

>>4217 It means you're scaring off his shekels, goyim. Can't have her lose heart and stop coming.

>>4223 > Curious to know what you mean by carrot fingers since looking it up doesn't really yield results. Just look at your own hand and the image. Notice any differences? Many people tend to do carrot fingers. I still sometimes do it, when I'm lazy. It's that the fingers are drawn kind of pointy and thin towards the end. The fingers get's slightly thinner from top to bottom, but the width stays almost the same for the entire length of the finger. Only the very tip is rounded off with a gentle curve.

This is the practice thread. I won't give you pats on the back. I'm trying to tear everything you draw apart. hehehe

>>4225 NTA, I would state that using this definition only the pinkie is a "carrot finger". His ring finger appears to be quite well structured by comparison. If anything is wrong with the hands though it isn't the taper but rather the size of the knuckle relative to the fingers. Especially with the pinkie, the knuckle is just a touch too large compared to the width.

>get a grizzled old man in the studio today Incredibly satisfying to draw

Need to get out of comfort-zone

one more

>>4373 You're getting quite good at painting E. Well done fella

>>4397 Glad to see you're putting in work, judging by your foot with the guides and your foot without the guides you are getting a bit better at eyeballing proportions but you still have some work to do. I really want you to be doing those Dynamic Sketching exercises a lot, your lines and curves would be so much stronger by now if you'd put some more effort into that. Full discloser I was doing it for several hours a day, every single day, for like a month but it was worth it because everything I did from then on was super clean and far less labored. >it was probably easier for me because I'm autistic as balls tho too

Finally managed to draw something after a long while. A couple sketches from a photo and I finished a plate of Bargue I started way back when. After many false starts with attempts at simplifying, plumb lines, thumbnails and such I settled on a viewfinder-cross which got me aligned on the paper. On the first sketch the proportions are bit messed up, on the second everything else. On the Bargue plate I realized how rusty I am, resulting a near rage-quit.

>>4404 Ah I thought you were our other friend at first; I was going to call his improvement remarkable, however knowing who this is now I can understand your frustration but don't give up, you're just a little rusty. This is (unfortunately) normal.

>>4404 You're already far better than me, idk why you think you're giving up. >>4411 It's pretty easy to tell me apart from everybody in here.

Drawing a beard is surprisingly difficult since there are no long flowing lines with a clear direction. >>4412 I mean rage-quit as in "snap the pencil in half and storm out for a smoke"

Could be worse, I suppose...

Tried fucking with colors, came out surprisingly not shit thanks to a failed study that helped me learn heads better. I really need to learn how hair works though.

>>3859 Been fucking around with wooden blocks and a lamp for more than a week now. Sorry for shit lighting btw, everytime I set it the way I wanted to I got pic 5.

>>4457 Pretty colors

>>4477 I've been meaning to get some wooden blocks/ cones and spheres myself, they seem like a real useful tool especially for beginners.

I somehow drew everything but the tits right. This is even more baffling when you consider that I drew the tits before the shirt yet the shirt fits almost perfectly. This is a whole level of fuck up I've never experienced before.

>>4490 Aw shit, I just noticed while tracing that I fell for an optical illusion, it looks like the right tiddy is small because of that piece of the shirt going outward.

>>4490 It's pretty obvious you just shifted the right edge from the right armpit a full fucking inch. There isn't even an optical illusion going on you just fundamentally failed to notice how small the gap between armpit and boob is. Pro tip: The boob is teardrop that rolls off the top of the armpit, not a floating orb glued to the chest.

>>4490 >>4495 Wait now I'm even more confused, were you not intentionally trying to shrink her bust? Because you kept her boobs symmetrical, there is no optical illusion, and you just ignored the giant amount of boob sticking out of her shirt. Perhaps try drawing what you are seeing before drawing ''what you know" next time.

>>4483 >>4456 >>4412 >>4397 >>4355 >>4252 >>4229 You're making steady progress, don't get discouraged. Keep practicing patiently and diligently, and you're gonna make it. When you're working through the Bargue plates, remember to take full advantage of those plumb lines. You can use additional plumb lines if you're confused about where a particular line should go. Also, you will probably find it much easier to simplify curves into straight lines.

Turned out surprisingly decent considering how sloppy I was. It's never occurred to me before that you can draw the outer corner of an open mouth like that in 3/4. Which is weird because I've definitely seen it done.

Poompkin

>>4574 Whoops

>>4575 That's a nice Poompkin

Test

>>4687 I can already see the improvement in your work. I think it's a good time for you to start drawing more geometrically complex things and practicing shading on those geometric shapes. I mean compound shapes consisting of the primitive forms (Quboids, cylinders, pyramids, cones, spheres). Try simplifying an image into these simple shapes, while not caring about proportions too much and not caring about details at all. Then try to shade it with a very clear separation between the light and the shadow. Make sure to include core shadows and show a difference between form shadows and cast shadows. Be very subtle with value changes in the light, then fucking go balls deept in to the shadow, then be subtle within the shadow. That would be really good practice for you right now, which will probably make your head hurt a lot. If I see you putting effort into it, you'll get a free illustration of your choice. ^^

>>4730 To clarify what I mean: For example take an animal and try construct a more or less similar thing out of primitive shapes. This means arranging the primitives within 1-,2- or 3 point perspective and then applying the images shading more or less to those forms, as best as you can. They don't need to be too accurate. But it's important to try and keep the separation between light and shadow as clean as possible and to make it very clear which shadows are form shadows and which are cast from one for on the other. It might help to imitate the lighting set from the photo with a lamp or so. That's what atudying is about. You get what you put in. It's as simple as that. Study smart and hard and you'll look back at your work and will be even more disgusted than you are now. ;D

I feel like dumping stuff. I've been sketching arms recently.

>>4751 Props for realizing that the Coraciobrachialis exists. ;D I'm not sure weather you've realized it, but the brachioradialis has it's origin behind the lateral part of the brachialis. It originates from around the lower third of the humerous and attaches on the inside of the base of the thumb. It seems you could make that a bit clearer with the way the contours look. I'm currently working on a manga and started illustrating the "Why you shouldn't date fat girls" comic. ^^

>>4752 >started illustrating Nice. I had actually misunderstood where the Brachioradialis attaches, thanks. Although I haven't paid that much attention to that yet. And I just cut the tip of my fucking thumb off. AGAIN.

>>4730 When I finish both KtD and Bargue, and I don't really know what you mean too.

>>4765 > and I don't really know what you mean too. Lucky me. Then I don't have to paint you an illustration. That was close. I just made that offer on a whim. I have so much fucking work to do. lmao Copying from reference always valuable. But it's only one part of a wholistic skill set. Practicing to draw 3D things from your imagination is the core of drawing believable images without reference or with less reference.

>>4899 A

Hrmm...

>>4986 I'm done with KtD.

>>5032 >>5037 Keep up the Bargue, breh. You're still having some control issues though-have you been doing the Dynamic Sketching stuff or not really? It does look like you're improving bit-by-bit in this regard in either case. Your visual measurement skills are certainly getting a bit better I think.

yeah, I need to figure out how to use my construction shapes to make a human form

>>5045 Cute doge tho

>>5047 Well done, a lot of those look as good or better than the ones in the book lmoa

A

>>4730 Upon re-reading some of these posts, I think I should take this advice as well.

I feel like I'm making progress but I'm also paranoid that I'm practicing in a "wrong" way. Should I keep going with stuff like this, and study different body types, muscular, skinny, bony, etc.? Should I break things down into basic shapes, or is just finding the contour enough?

>>5112 You're on the right track, the more figures you draw like this the more little nuanced details of the "figure" you'll commit to memory/your "mental library" and with that the more you'll be able to add/subtract to or from any reference material you may use in the future to suit your taste. As you're drawing these figures try consciously thinking about different abstractions like their form, construction, the negative/positive space they're creating with how their limbs and extremities might be positioned, what any vertical, horizontal or diagonal plumb lines might show etc., not only to increase your accuracy in these individual drawings but to improve your own conception of these ideas and reinforce your ability to apply them.

I guess doodles kind of count as practice.

>>5112 Want to hear a secret tip? Try to first understand why you find the image appealing. Then try to capture that essence you've extracted. I can see that you are careful with your drawings, which is good. Speed is build on top of a solid foundation. Practice slowly to eventually become confident and fast without you even realizing it. Not only try to use plumb lines or a grids to exactly copy the image, because then your brain will think in terms of plumb lines and grids, which will make your drawings look stiff or even make you incapable of using the things you've learned in drawing from imagination. After "studying" a lot, I understood how I actually wanted to study. Then I started to always focus on seeing flows, paying attention to negative space and trying to capture the energy of the image. The end result might not be an exact copy, but it usually ends up capturing the essence of the reference. It tends to also have continuous and clean lines. Not scratchy bullshit, which is the result of being to overly pedantic over the perfect line, which leads to the opposite result. Don't worry about copying exactly what you see and focus on capturing movement and flow, while adding structure (accute angles and straights) where you feel like it's necessary. Obviously only if that's what you want. Realize that the way you practice informs the way you will think in the future. If you use the explained mindset of figuring out the essence, you will be able to draw things that have this essence from imagination without scribbly lines.

Eventually, my caricatures will be recognizable...

>>5135 I would recommend taking more time for a single piece. It's not about the volume, but the effort you put in. During the creation of these images, you thought in terms of lines. Try creating images out of clean value shapes. Obviously the related pic my lazy attempt at illustrating what I mean. It's useful to try to change up the way you think from piece to piece. Maybe you set as a constraint that you can't take of the pencil and have to finish the whole picture within a single stroke. (Good to learn and feel flow.)

>>5136 As in adding more depth to the lines? Something like in this one here?

>>5137 > As in adding more depth to the lines? Something like in this one here? As in "not using any lines to define plane changes. In my example the lines that outline the shapes are not supposed to really be visible. Just make sure to fill in the shapes with the same flat tones everywhere. Try your best to create clean lines and try to stay within the lines while shading.

I mean the lines you use to define the shapes, if you want to use any at all. You probably want to use at least a few lines for defining the light patches and shadow shapes.

As of right now it's 6:10 AM. I opened the window and observed the outside. There is a barn here with a metal roof. I noticed many interesting things. When observing something under weak lighting conditions many of our color receptors don't function properly (or maybe don't activate at all. I'm no expert on this.) The cells which are responsible for distinguishing light from dark are always active though. (Again, don't quote me on that.) They are scattered all over out retinas. I noticed a dotted pattern in the shadows. (That's nothing new in an on itself, but I became more aware of that fact and that I could integrate it in my art. The dots are noticeable. I mean, it's noise, but not the kind of noise you could emulate with a noise layer in Krita. The dots and patches are slightly bigger. Also the roof that I know has a hard edge in bright sunlight, had a fuzzy edge. Not a blurred effect that you could achieve with a gaussian blur, no. It was broken up. It kind of had something of a fata morgana. Maybe, because the air in my room was relatively warm in comparison to the cold outside night air? I think I could replicate that effect digitally with a smudge brush that is not round, but has some notice angles and uses a bit of texture. (I recently played around with such a smudge brush, so I got the idea of using that while looking out of my window and trying to figure out a way of replicating what I see.) Then I went into the other room, where a mouse trap lies on the floor. I knew where it was lying, but coming from a room where I turned on bright lights and stepping into a room without, it took a noticable amount of time for my eyes to adjust and to be able to observe the mouse trap on the dark carpet. First I didn't see anything except gray noise, then the trap started to slowly fade into vision, still just a fuzzy shadow shape of more or less a single value (besides the dotted shadow pattern). After around what felt like two second, I was able to discern a light and a shadow side of the flat quboid shape. The relatec pic is trying to emulate what I saw. The picture uses two noise layers as visual enhancements. One simple noise layer like tumbler artists use it. (I've slightly blurred the noise, reduced it's saturation and lowered the opacity.) The second noise layer has bigger specs and is rougher. I created it the following way: - create new layer filled with blank color and apply random noise - apply a gaussian blur (10px in both axis) - add oil paint filter with a stroke width of 6 (Krita, very GPU straining, result will look almost like a flat tone) - then apply an auto contrast filter - set the layer to multiply - play around with the opacity and a layer mask (I used a white transparency mask with a 10% gray in areas where the light hit. That makes the pattern very faint in those areas. I didn't want to completely get rid of it. It should still be very, but very subte. Not noticable, if you are not deliberately looking for it.) You might say it looks good, but only because you don't know what I was aiming for. If you are pushing yourself with a certain piece, you will usually never end up with a result that is as good,real,believable, whatever as how you've invisioned it. But you can still appreciate what you've created, know that the next time you will get closer and that you've improved with this piece, because you pushed yourself.

>>5143 tl;dr

>>5144 dubs

>>5135 Those faces are far better than previous ones you've done. Keep working

>>5138 Mind you, I don't have any talent for drawing and I might've started from negative instead of 0. So I have hard time replicating what you're telling me to do.

>>5150 These drawing look decent. > Mind you, I don't have any talent for drawing and I might've started from negative instead of 0. So I have hard time replicating what you're telling me to do. Yeah, it is probably hard for you to understand what I meant, without the necessary experience. Ok, so honestly I would recommend to leave out the shading from your drawings and focus on proportions and clean lines. (It really doesn't serve you to shade your images at your current skill level.) If you can somehow emulate shading using clean lines, then that would serve you, because you're exploring using lines for as much as possible. The point is to focus on a single technique. I thought you were comfortable enough using lines, so I proposed using patches of value instead as a completely different way of thinking used to broaden your horizon. I was always decent at drawing, so I unfortunately can't really relate to your current situation. I really want to assist you somehow, but expecting too much from a student will hinder his progress, because of the resulting frustration. Let me give you this priceless piece of advice instead: Just practice. ;)

Two loomis heads

>>5181 Pretty nice, you did very well on the tilted head

>>5182 Thank you for the compliment not gonna lie it was my second version at drawing the tilted baby head and I did a different one just before I am reconsidering redrawing it tbh the bottom of the lower face isn't full and wide enough its lacking balance and size its too small esp the lower left cheek. I'll repost the the 2nd redraw later

>>5183 In this one I can kind of see you fighting with the part of you that has ready-made symbols for what you're seeing versus the part of you that is recording your observations dutifully. Drawing on the Right Side of the Brain talks about this phenomenon, but to spare you the details I think it's interesting that in this piece you demonstrate the ability to capture the surrounding contours of the subject, the internal proportions and spatial relationships quite well, but you have a few issues with the nose, eyes and lips here. Contrary to the reference: >you've drawn the ridge of the nose too long whereas you can see it is a "broken line" in the reference >you've drawn the nostrils as two large holes in a sort of "symbolic" manner; in fact with regards to the nostril we view as being on the left, the reference is depicting primarily the side of the tip of the nose, a contour obscuring the nostril owing to the tilt of the head >You've drawn the lips in a sort of "symbolic" manner here again, much like a lips emoji or a pair of wax lips facing fully forward towards the viewer. If you observe the reference more closely you'll note how the form of the lips changes when seen from an angle alternative to straight on Don't be disheartened though, I feel like you're so close to "getting it" when it comes to observational drawing and I'm happy for you.

>>5184 Yeah good pointers I redraw it all I can say is I draw the ear too small. It reminds me a bit of a fish.

>>5192 You've attempted it twice now so good work, they're not perfect but there are many more where that came from so consider moving on assuming you haven't already and try a new one.

>>5204 Holy your drawing looks awesome i dig the distinctive look you gave it especially in the eyes. I moved on too new faces today I seem to be getting the tilt of the ball of the circle of the head its off, it's never aligned to the similar angle as the ref. What have you been up to art wise recently if u don't mind me asking?

More loomis heads

>>5220 Looking good! You have a bit more of an angular style than the references but it's good!

>>5205 >>5220 I hope you draw some Christmas cherubs soon anon.

>>5224 >>5223 Meh, slow progress, good enuff.

Will redrawing lewd art help me draw femazoids better?

>>5228 I guess

>>5228 yeah, I remember seeing this in /ic/ long ago, pretty helpful with building a visual library and what not

I started figure drawing again. >>5222 Maybe I will after I am done with drawing baby faces I am going to move on to drawing brats >>5221 thx. I think I draw too straight lines or something freehand drawing is tough I think loomis is using a campus to draw his circles wouldn't be surprised >>5224 Nice tea cup isn't that from the drawing video course by Brent Eviston?

Doomp >>5238 Your figures show improvement. Keep it up

>>5245 >>5244 >>5243 >>5242 >>5241 >>5240 >>5239 Excellent, it's good to see you've been hard at work.

>>5239 >>5240 >>5241 >>5242 >>5243 >>5244 >>5244 >>5245 Over what period of time did you do these? Asking so I can do a rough personal reference.

>>5205 I don't do much of anything unfortunately lately, I've got major productivity issues. >>5238 I think, though you are still struggling, you are seeing the most success with the Bargue and Loomis reproductions so keep at it. You are certainly allowed to try doing whole figure drawings but there is much more visual information to compartmentalize and express. Make sure you are taking what you might be learning doing the Bargue and Loomis drawings and translate them to the figure drawings.

Wtf am I doing, lmao.

I butchered one of the baby faces. >>5249 It's alright. My figure drawing are all from observation I don't really have a technique for it yet I really am only at the start of loomis books with faces atm. Never heard of Bargue or of his methods I did get through like half of the book of keys to drawing before It became boring. I can really only apply what I know to faces. >>5239 Thx. Your stuff looks great very good anatomical structure, what book or source are you using to draw them from my guess would be something semi realistic type figures guessing from some of the cartoon like figures. >>5250 Nice elf lady and the legs are looking good. Does the elf lady come from a reference?

>>5248 About two or so months, I think >>5259 A lotta hampton + some bridgman + a little reference (should improve on this) I really shouldn't have skimped out on faces and values and it shows

>>5259 You are doing a better job picking up on individual details, but some of those "details' details" such as their relative size, angle and so on are evading you as of yet. WHERE THAT BABY'S FOREHEAD IS, NIGGA!? I think you're beginning to understand some of the important concepts of observation drawing but you're just making some rookie mistakes which is throwing things awry a bit.

>>5260 Hampton's stuff is good ur faces aren't bad. Ur producing good work keep it up. >>5263 Ikr the baby's forehead is nonexistent draw the hair to low and overall draw it too small. Yeah getting the angles right is hard what rookie mistakes am I making would be great to know I am just going too continue practicing the one of the figure drawings were drawn in 5 minutes and the other 10 minutes the one that is more complete is the 10 minute one. Thx for the pointers anon they help a lot.

>>5260 You're doing well, and it's good to be conscious of your comfort zone-you also have to be willing to confront the things that might be outside of it. I struggle with that quite a bit, myself. It seems I'd rather be on the cusp of giving up than actually do what I know for a fact I have to do to improve and I don't want that that bad mentality for anybody, especially someone like you that shows a lot of promise; keep up the good work. >>4220 I kind of feel like the criticism of this was a little disproportionately harsh and the explanation for what was done well was a little flippant (I was the "carrot fingers" guy, for context). What I should have said and what even then I believed was that your linework really came a long way by this point I think, and this piece and the McFroggy that preceded it exemplify that when compared to some of your earlier work. Whatever missteps one might point out are relatively minor, for example I don't like the shading lines you have on the back of the calf in the kneeling figure because, unlike most of the lines you use elsewhere, you have those in a sort of very short "radial" pattern rather than following the same trajectory (as is the case in the very appealing lines you have going from the character's back towards his front in the arm-supported figure). I don't think I've seen you post in a while but I hope you're still at it, you'd clearly been working hard behind the scenes and regret not giving you a substantive response with your last posts.

>>5264 Here is a visualization of some comparative measurement strategies as it relates to some of your more recently submitted works. Most of them have multiple things that would fit but I tried to keep it simple. Top Left: the use of existing features to extrapolate spatial relationships between significant points in the drawing, in this case the distance from the eyes to the hairline Top Right: Watch out for both the angles of significant features like the ear and also their size, you can see a pretty significant disparity there. You've done a solid job with this one overall I'd say, just note how much bigger the ear is on yours relative to the reference as well as the angles being quite different. Bottom Left: Ignoring the comparative measurement problem of the short skull I focused on angles again, see how the point of the brow relates to the point of the chin in the reference? Cutting through all of the excess contours and focusing on simplified relationships like straight lines can help keep you from getting lost in the details. There was also a pretty big discrepancy between the ears in your piece and the reference Bottom Right: This one you noticed you made a mistake with, however what's most noteworthy about this is that you followed your own improvised browline properly, so well done with that.

House looks meh.

>>5270 Don't overdo it on the details-or even bother with them at all, really. You just want to get the concept down and that's just eating up time unnecessarily. Just look for the geometric shapes (the "outlines" you could call them) and try and understand the concept of vanishing points etc.

One of my Drawpile "reversal" studies (me on the right, original artwork on the left). It's not perfect but I'll refine it a bit next time I'm on to get it a little closer.

On too brats now. fuck me I need too get my own references for figure drawing most of them from websites timed in class mode are utter garbage >>5266 Yeah you have a really got point I need to go back to using more of the pencil measurement techniques such as plummet lines and I really need to start drawing axis lines of the angle before I put the whole structure down and I need to compare lines more for placement of the face all of this I have too do before I start to darker in the lines my structure and prep needs work hard especially before I put down more detail and compare points to other points on the face so my proportions are more to size and align more to the reference thanks for the critique was great.

added the references to the figure drawings.

>>5281 You did quite well on the baby heads this time around, you're recording the details quite accurately with a few flaws here and there; the size/silhouette of the first baby is taller than it is wide in the reference whereas yours is more rounded, and then for the other baby the ear is just slightly off. Well done! I encourage you to continue practicing complete figure drawings as well, just consider everything you now know about plumb lines, negative/positive shapes, and other comparative measurement techniques we'd discussed thus far.

>>5281 (For the record you should export your figure drawings at much higher resolutions so we can actually see them, the current resolution works fine for the Loomis heads but not so much for photographs and drawings of a complete figure)

>>5282 I think how I might be able to fix the size/silhouette of the face shapes is to draw each shape of the face into parts instead of drawing on big single shape as a base because clearly they are all of different width and of different heights and are split into shapes I haven't tried doing this yet but I will try to next time. Problem I am having with plumb lines is how do I establish a middle point and balance my measurement whilst measuring because I am always start from my thumb to the end of the pencil tip how do u find a center balance point while measuring a symmetrical shape. >>5283 It's starts to get dark by the time I take photos of the figure drawings I will try to take photos next time with better lighting should help improve the visual quality of being able to see the details.

>>5287 >I will try to take photos next time with better lighting should help improve the visual quality of being able to see the details. The lighting isn't really much of a problem it's the 403x202 resolution. I guess I never presumed that maybe that was a limitation of your camera though so I apologize if that's the case. It's okay, but it's going to be hard for people to offer any kind of advice when the picture is that inscrutable. If your camera isn't capable of taking higher resolution figures then consider taking a single picture of your drawing vertically and submit the reference photo as a second image entirely, that would probably help a lot.

A continuation

>>5294 The wiggly coffee cup has a sort of appeal to it. You really need to work on that manual dexterity and control though, man. The Peter Han exercises are essential, to get the kind of control you need "organically" through just drawing randomly it will take a lot more time. At this point in time you should be doing this as much or more than you're actually drawing. https://www.youtube.com/watch?v=wgDNDOKnArk https://www.youtube.com/watch?v=o1lleIBzn3A >>5301 Looks like it's coming along well. Keep it up!

Basically finished, need to clean up various things however. Second is a filtered version that i was experimenting with

Tried more of the heads with the pencil measuring method. >>5290 Good idea I am going to separate the two, Is it more visible now as stand alone?

>>5324 I'm not a very competent painter so I feel like I'm in no position to offer advice, but perhaps something is better than nothing. Maybe that kind of thinking is why there's so rarely any discourse here. So let's focus on the face since I think you've done mostly a good job with the body. Your values seem a little inconsistent to me. Maybe it's just the lighting in your reference or her makeup, but the direction of light seems to differ from that on the body and the values of your shadows look too light to me. Even if the light in the reference was very diffuse, I think your main concern when painting has to be making the form read. I assume the root problem is that you need to observe the planes more carefully; reference multiple images of the subject from different angles, as well as the asaro head as a sort of simplified instruction for what to look for. I'd recommend blocking in the planes and shadow shapes roughly first and then blending between them, and once you have that framework established you can make minor adjustments with an opacity brush. With the mouth I think the color is throwing off your perception of the values. If you desaturate her lips you'll see they're almost completely undefined. Also the stage-left iris was rather far to the outer corner giving her kind of a derpy look. Watch out for that, I usually measure that compared to the corners of the mouth. ... And apparently I'd gone into some kind of low contrast mode when I recorded this. Whoops.

>>5336 Shit, I forgot. Maybe you're aware but every plane facing the same angle compared to the light source will have basically the same value, except for differences created by light falloff, occlusion, and ambient light filling in your shadows. If you break it down like that it becomes much more manageable. As long as you know what value one plane has, you effectively know the value of all the other ones with a similar angle as well.