/dpd/ - Drawing, Painting, and Design

welcome to level 1

>>238

>>314

I'm only getting back into drawing recently myself, so there's not much I could say other than I like the proportions you give the women you make. *thumbs up*

>>636

Looks pretty great!

>>597

watch the drawing, arms/hands seem undersized. Try to simplify the hair into planes of value, it's looking like spaghetti.

>>179

hello. I'm new here, suggested by a friend. Ive been interested in getting better in art but I'm having a hard time wrapping my head around some concepts

gestures are something I cannot seem to comprehend and doing studies are kinda hard, even though the concept is simple.

what should I be thinking of when I do a study? Should I try to construct from the inside out when i do it?

Proportions are hard too..

I dont have much to show you that I've done recently, so if you give me a day, i'll try and make something up for you guys and give you an idea where I am and what I dont seem to get!

is that okay? I'm just alittle confused with some concepts that seem to be holding me back badly

>>625

For drawing gestures, you, for one, ignore details and likeness of the figure itself. You are concerned with the movement/rhythm and action of the major parts of the body. ;head, neck, ribcage, spine, pelvis, legs, arms. These parts are what essentially create the 'gesture', after all. I recommend Glenn Vilppu for this. https://www.youtube.com/watch?v=aOtVUHgJqQk and then his manual: https://mega.nz/#!rMAWBBCI!B9YdQAmJCBAI3ddNaAIHvTPELgRis3iYSeb-I2dSUEQ

I recommend this book a lot, and it's for a reason. From my exposure to other beginning art students drawing the figure at my university, what I see firsthand is a lack of familiarity with form. And probably as well, the lack of exposure to figuredrawing instruction and art. Glen Vilppu is high-up there when it comes to famous figure-drawing instructors, so he's a good mention. It is not a mistake that he spent 2-3 chapters in his book on drawing basic forms in a book largely to do with figuredrawing. If you cannot draw and manipulate basic forms through space(the imaginary, 3-dimension of the page), comfortably, you are at a handicap when it comes to translating what's going on 3-dimensionally in a figure.

To use a metaphor, it's like seeing a red object in real life, but not knowing the word for it. What will come from that will be poor communication. The same thing applies with drawing. You might be able to tell someone, "Yeah, that figure is going back in space." But drawing is a different language, and if you don't know the language of form, your drawing will show that lack of knowledge.

The gesture lines are sort of like an imaginary wireframe that runs through the figure. So yes, you should be thinking from the inside first. The inside is, after all, where the action, and orientation of forms can be found.

For one, if you feel you are rushed, take more time for your gesture drawings(and if you aren't doing them, do thPost too long. Click here to view the full text.

>>327

Thanks for the kind words! Those gradations are easy with newsprint and conte :P

Your stuff is nice, I really like the simple line ones, like that's what I try to get with my quick things. Just capture the main forms and rhythms clearly with only a few marks. So good. The charcoal things are a bit…clunkier? I dunno, they are stiffer and feel kinda heavy or dirty with the values. White chalk is a dangerous thing imo. I think it works best when used very sparingly and isn't mixed with things much. And then I think you are doing lots of work in the midtones, with lots of smudging. Maybe doing a simpler more planar approach might help? they're certainly not bad, but they don't appeal to me as much as your quick line sketches.

>>333

Thanks! And nice stuff! I like the brushpen, especially the drawing with the leg raised (on a treasure chest?). Lucky you get costumes and stuff like that, they don't have it in my city at all.

As you say, sometimes the drapery isn't shown that well. I think simplifying it and thinking a lot of the weight and where it drapes off or pulls to would help. Also I realize they are quick and the focus in on the costume, but a couple of the faces are a bit of symbol drawing type things and rather flat.

>>622

Not sure if it's better but an alternative site is artists.pixelovely.com and there are some pose accounts on Deviantart if you're willing to time yourself.

>>378

Thanks man. I think there is no right or wrong way necessarily. Different people have different approaches.

http://www.mediafire.com/download/4trzu3an6hcbc8v/ArmourStudy.psd

I uploaded my psd file for you to see sorta how I did this image. The process was a line layer I did in about 2 or 3 minutes, then I laid in base tones underneath for hte background and local values. I then sorta of paitn in all the big shapes and maybe some shadows within those shapes. You can see what I mean by hiding all the layers and then unhiding them one by one from the bottom. Even though it's not organized well it should be fairly clear what I was doing.

But yeah, you can see with the face, I did a big blob of value for the entire head, then sort of indicated general shadows and stuff and it took a little while before I even painted the features in like hte eyes. I like to paint in the whole eye socket first. That kind of thing. Big forms first, details later. Obviously you can do other ways, but this is a simple and common approach because it is logical, fast, and ensures you solve the big issues before doing any details.

Btw, I always forget to squint. I didn't do it once on this image haha! But it is a good thing to do (although more important when working from life). I do flip the image a lot and really think in terms of the simplest way to show something.

oh and where the hell are her armpits

>577

do you work for ArenaNet's art department? cuz you should m8

Sure, although it will probably be better if you post it at /art. There's a lot of things that are acceptable here but aren't here yet. If you want something, make it.