/dpd/ - Drawing, Painting, and Design

>>325

Well first the colors are really garish. What I mean by that is they are way too saturated and non-naturalistic, it kind of hurts your eyes looking at it.

Secondly, for the table the line thickness is way too thick. And for the rest the drawing is not really accurate or appealing. Drawing a lot is really important at your stage, as well as not trying to become popular or get likes, as it's not going to happen for a while.

https://www.mediafire.com/?i44dwzkf9j9n8

here's a link for resources. Do the exercises in keys to drawing especially for now.

Work on developing aesthetic taste. For that you should look at art a lot. Painters, comic artists, illustrators, etc. Decent stuff on tumblr. Develop an eye for good art. Your eye for good art will improve as you improve, as well.

For now don't try to combine traditional and digital. Stick with traditional and have the drawings themselves be the extent of your art. You currently have no eye for harmony, or cannot see the lack of harmony in your own work, so powerful digital tools are only going to overwhelm you.

So to summarize, stick with pencil and paper, don't fool around with digital manipulation, don't expect/seek popularity or likes for at least one year. Read Keys to Drawing and follow the exercises, and really come to understand what is being said, as these basic concepts(and basic concepts not talked about in the book) are the most important skills in drawing.

>>326

Man, I had no clue my art was that horrid.

I'll work with paper and pencil, then.

You guys are so great. Thank you for telling me straight like this. I'll follow your instructions, then. Yeah I'm fucking blind (or more in denial) when it comes to my shitty work. I'm so glad I came here, because I can see my crappiness now.

This is good for me. I can't thank you enough for actually bothering to teach me. Thank you for caring so much, anon. I'll practice and study then I'll come back with the results!

I know I have a lot of work to do now. Thanks for telling me. Now I know where to start. I hope you have a great day, anon, and I wish you luck in your individual art journey as well.

I just might make it someday thanks to you.

>>326

fucking shit dude I've lost so much fucking time god damn it

This will definitely be a big help. Thanks.

>>485

looking alright. Bridgman is a good person to study especially for construction and structure.

It seems like you aren't copying, but are trying to re-construct the forms from your reference, which is good. Anatomically(first study you did), you can start off with learning and paying more attention(and indicating more surely) the forms in the arm and legs such as the deltoid and calves, respectively..

In the bridgman study, try to understand the forms he drew. Try to rebuild the drawing with logic of form. The forms that are wrong in your drawing are the: neck(too thin in relation to head). You're missing the block nature of the arm, particularly in the deltoids.

Blocks in general are a good thing to use when studying planes of the body. Bridgman uses them alot, try to indicate the planes as well as you can in your own drawing as well. There is a lot of 'calligraphy' in bridgman's drawings as well. They are basically cross-contours(indicates form), which makes the forms more apparent.

>>485

who's the artist who did the male drawing you were copying?

>>496

George Bridgman, you can find some of his books here; http://gen.lib.rus.ec/search.php?req=george+bridgman&open=0&view=simple&phrase=1&column=def

>>580

Don't just power through it, you won't learn as well and frankly finishing the book doesn't magically impart you with perspective knowledge.

If you need to spend a week on chapter one, so be it.

>>581

>>581

Okay then, I'll go back and try to get it better. Thanks for the tip.

>>580

have you tried buying a pad of plain lineless paper?

>>583

Not really. I'm using the lines as a guide while trying to git gud at doing it quickly so that might work, thanks.

>>585

Try doing a lot of still lifes of objects with basic or simple forms. Dorian Iten's gumroad(https://gumroad.com/dorianiten; look into the free download at the bottom) is also something I would recommend looking into now. It introduces all methods of measuring and 2d observation. All methods, I believe, fall into one of them. When doing your still lifes, think about these methods.

But, still focus a lot on form when doing your drawings. You probably want to be able to draw from imagination, so it's necessary to always be considered with the 3d form of your drawings. For the next step, glenn vilppu's drawing manual can be good.

>>590

Thanks, just quickly looked at the PDF but it looks really useful and better than just going "this should probably go around here-ish" like I've been doing.

>>616

The drawings are flat, for sure. Keep drawing on paper(more often than digitally), and use books like Glenn Vilppu's Drawing Manual in order to learn to draw with form. Here's a dl https://mega.co.nz/#!rMAWBBCI!B9YdQAmJCBAI3ddNaAIHvTPELgRis3iYSeb-I2dSUEQ

>>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 them). Always try to stay calm when drawing, and do whatever possible to get that.

So to sum up, watch that Glenn Vilppu video, watch the Dorian Iten 'Accuracy' video, read some of Glen Vilppu's book, and post your thoughts, or anything you learned from the videos.

For proportion, I recommend Dorian Iten's guide to accuracy. It's very solid and worth your effort to follow. https://gumroad.com/dorianiten#