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/loomis/ - Art Gains

Art education, discussion and creation
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We're All Gonna Make It Bruh

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Where Does the Time Go? edition

Old Thread: >>4083


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Just sketching away as usual.

I'm going down to part-time at work (about 30 hours vs 45) so working 10 hours a day for three days I'll have 4 days straight of drawing to look forward to each week (for as long as my savings holds out). I hope to make good use of that time because I feel like I should be better by now. I've certainly improved over when I first started but I'm still lacking in many, many key areas.


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>/loomis/ is finally in the top 50

Been here since the start lads, feels good.


Currently making some old piece I done digital.


anyone got anything for proportions, i'm working on something and kind of stuck on the arms. i got us to the elbows but im not sure if its too short. no image because im on a phone



Careful with Midna's helmet; looks like it's creating a little line tangent with the front of her face.


Also, I think proportionally her head should be slightly bigger. I don't think it's too far off from her canon proportions but it might be something to look closely at. Keep it up



When the arms are at rest, the wrists end and the hands begin at just below the "gooch", the base of the pelvis, if that helps

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Here you go duder.


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Here is a painting I'm working on. Still have a lot to do and to fix on this one but thought I'd share it for now.

If you guys want to see how it looked when I started, you can see the video. https://vid.me/bUNMd


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Looks fantastic as usual Atelier-anon; I'm looking forward to you becoming the next Ruan Jia.

Part of me feels that, if nothing else, the maxilla might be just a little tall.

I think the armor design is really fantastic. Do you make any thumbnail sketches or turnarounds for a character-oriented painting like this while you're coming up with designs or do you just find some reference/inspiration somewhere and run with it, going right into the sketch and painting itself?



Looking good dude, actually had to do a double take when I saw the thumbnail because I thought you were this guy.





Yeah for a while I've thought the mouth was the major problem with the image. Even though it's a very idealised face, there's just something wrong with it that I need to fix.

I don't really do a lot of preliminary work. For most of my paintings I start them as thumbnails and just keep working on them. Then whenever I run into a problem I can find some reference (haven't yet used any reference on this one but I will a bit later when I correct the eyes and stuff).

I have this thing I do with my friends and that is to finish our paintings by never making the picture any larger than the size of our hand when we hold it up to the monitor. Then when it looks like a solid painting we can zoom in and do that last bit of work on it. I didn't really do that with this one (although I did it a bit if you look at the video) because most of this image is about form subtle stuff but otherwise I do it.

The armor design on this one has changed a lot. I'll keep changing it because I'm not too happy with the armor around the breasts. I way I work is all about correcting the image so it's not really a linear process from drawing to painting. Because I work so much in a simplified stage, I can just keep making changes until I find the thing I like. If I was working in oil I would do a lot of preliminary work because in that medium, size matters and I can't make quick changes on a large canvas. In digital, I can treat a huge image (this one is like 10k tall) as if it was a small thumbnail sketch.


Lol thanks. Wei Feng is an artists I've followed for several years. He does cool stuff. There are 3 major Chinese artists that I normally pay attention to and that is Ruan Jia, Wei Feng and Yang Qi.



Thanks for the vid, it's always interesting to see how other artists do it.

I don't know if it's the foreshortening or if my eyes aren't aligned with the holes but her left arm looks a bit small to me.



Oh yeah it's all kinds of weird. The plan is to change it's position, it's sort of awkwardly shooting out of her shoulder. It's mostly just something from an earlier stage that I haven't changed yet. The plan is to re-paint it and make it go into the background. I have a habit of just leaving stuff around and I fix it later than I should. Like her torso is also kinda weird that I need to fix. So you're right, it looks weird ^^


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>my pic made it to the OP


right now I'm trying to memorize bridgeman by drawing the same parts 18 times and then do those out of memory once in a while/inbetween.

trying to replicate forms in general too



Sounds like a handy exercise

hon hon hon


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I'm trying to paint this pencil sketch but the skin color looks just flat and weird.



I find painting and color and all that shit incredibly difficult and esoteric so sorry man I won't be much help here. IMHO you should find a piece by an artist you like and color pick the shit out of it as a point of reference for your own work.


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Agreed. I'll have to do some reaserch then.

Here's another try. I just wanted to keep it simple and effective (I'm a bit lazy that is).



Pretty good gesture in either case. Keep it up famula.



Don't wanna give false advice, so someone who's actually good tell me if those ribcages aren't a bit too long?


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Thanks fam.


Nah, you're right. I think the lowest rib should be more close to the pelvis in the squashed side.


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Sonic's Toei model is pretty great.


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I've been experimenting with style. Which should i go for?



Should probably give yourself more room with those faces. It can't help you all that much to have them so small, limiting your ability to capture their likeness. Also if you're not you should definitely consider using wood pencils as well, it lets you change your stroke up a bit more.


That is way past cool my man.


Girl on the right looks less uh…pugnacious? Than the one on the right. I guess it depends on what you're going for.



Fix your noses dude


Every time I think about practicing drawing I experience some kind of panic reaction and completely wig out like I've got spiders crawling on me. I know it's failure-based anxiety over something I know I do badly at and will fail, but I just can't overcome it. Does anyone have any suggestions for dealing with this? I'm seriously considering just drinking as part of preparation for sketching.



>I'm seriously considering just drinking as part of preparation for sketching.

Getting a good buzz going might unironically keep you from feeling morose about your shit results. However, it would also make it harder to concentrate. It couldn't hurt to try!


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Hope someone can help,pics related, I have a good grasp (at least i think) of drawing boxes in perspective, but after this I get stuck, for example when i draw a box in perspective, im not sure how to visualize a head within it if that makes sense, i'm not sure where to go from here or what the process should be. any help would be appreciated, many thanks.



I'm a fan of the Loomis method because there's no boxes involved-though you can fit it in a box after the fact. The "draw a sphere and add a line for the center of the face" works very well.


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File: 6ff68a7d3da0027⋯.jpg (552.2 KB, 900x1924, 225:481, anatomy example.jpg)


Okay duder. This is a post to everyone on this board, not just you but I want to address how people view anatomy. I've told a lot of people to learn the names of the muscles and their origins and insertions. One of the reasons for this is to know where the muscle actually goes and what happens beneath the skin. If your view is just that these are forms on the body, you only get a shallow idea of the anatomy.

Your pectoralis major for example, is represented as a form on the upper torso. If we were to understand the pectoralis major more deeply, we will note that it has 3 origins, one on the clavicle, one on the sternum (both the manubrium and the gladiolus, although with a common striation between the two) and on the aponeurosis of the external oblique. It inserts on the humerus in a very specific way where it fold over itself. By knowing this, we can take a more critical look at our drawings and model and design a drawing to feature the anatomy of the future.

In art, we have to make design choices, when making line drawings, we choose to exclude a lot of information about value and form, even in painting we have to exclude a lot of information because it's just not possible to capture everything, so knowing relevant information can make it so you can make designs that serve your intent better. if you want to show anatomy, knowing what bumps, depressions and overlaps are important will help a lot.

So This is why I suggest actually studying this stuff in-depth.

Also, I suggest working further on your anatomy studies. Often, an anatomical drawing looks bad because we're focusing on showing something technical, not visual. Just like how proper construction drawings look bad because we're focusing on something that isn't visual. So something I suggest is first, find ways to draw the anatomy (and constructive stuff) in a more visual way, but also, test yourself and push the image further. If you have drawn all of the anatomy properly. Add a light/shadow shape and see if it holds up. When doing this, you also get a chance to explore more of the volume of the anatomy and how it holds up when it becomes a visual drawing and not just a technical one. It takes much less time and effort than to do the technical drawing you just did, so there's not much of a reason not to.

I made this quick example to show what I meant based on your drawing. If you guys search Paul Richer Artistic Anatomy you'll find a great book on the subject and there is a PDF out there with the anatomical drawings in it (although it lacks like 3/4 of the actual book, it only has the anatomical pictures, not the later drawings showing how muscles move and streach, all text has been removed so that is why I suggest getting the physical book).


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Idea sketches



Thanks. It is impressive how you can draw what can't necessarily be seen-or seen easily-and still have it look wholly appropriate. The major striations of the pectoralis, how its twisting 'fan' shape inserts onto the humerus and creates the interclavicular fossa between the deltoids, the serratus and external obliques etc. Admittedly I don't know the muscular anatomy from the hips down to the knees pretty much at all except the vastuseses (vasti) and (e)rectus femoris which is frankly pathetic at this point.

I can see I'm going to have to step my shit up with you around, thanks for calling my lazy ass out. I'll look into Richer for sure but I guess until I do you'll have to forgive me; if I were to blame the resources I'm using alone I know I'd just be passing the buck. The biggest problem, I feel, is that I've just generally been lazy about applying things I've read or seen in general. At the same time a recommendation from whomst is easily the best current artist on the board couldn't hurt of course.

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Strong thumbnails. Though I do wonder with the image on the left, if the background is intended to be the focal point (not sure if intended, just based on these preliminary values) perhaps making it more open by pushing those pillars further to the right wouldn't be a bad idea.


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Got a scanner, can finally start putting my stuff out there. Lemme have it.



Not really my sort of thing but it's kind of a cool aesthetic I guess.

The body just kinda looks like it's pasted on there, though. Also mind that line tangent where the foot on the right meets the edge of the stone tile.



Thank you for the feedback, boss. He's supposed to be floating over the cube things, rather than actually touching them, but what do you mean by the line tangent?


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There are many kinds of tangents but generally it's when two lines kind of intersect with one another or even just come uncomfortably close. While this tangent is mostly innocuous you should generally strive to avoid them.




Oh shit, I didn't even notice that, thanks man.


Do you guys prefer to draw on paper or digital?



I like digital, I'd only paint on canvas if I really wanted an original, which would be pretty cool in all honesty.


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looking good, keep studyin' fam


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im reading a micheal hampton book

what's all this shite about c and s curves? I get it when gesture drawing the torso but on muscles and stuff i dunno why he'd be going on about them so much like this.


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Halp, I tried to draw the figure to the left, but styled in a way to suit "Putsch-Chan" (middle), a character found on the Kraut/pol/ currently on 4chan/pol/.

The right picture is the result I got, it's not terrible (I hope at least), but I want to have a nice contribution for the meme war going on in Germany.


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Also, is there any easy way to digitize stuff without having a draw-pad (maybe just a scanner?)



Photography. Be wary of lens distortion.



Do you have any literature I should consult to help myself systematically. I mean, it wasn't a complete failure, but randomly drawing things doesn't probably progress me very quickly…


Do the bargue drawing course. It's somewhere on the /loomis/ mega. If you stick with it long enough you'll be able to copy every drawing. Learning to see is the basis for analysis that you need for drawing from imagination.



Thanks, based drawfag :^), will look at it, am an absolute newfag, so any advice is much-appreciated.



Does it actually teach anything?

From a quick read it seemed to be just history and history followed by "draw these pics".

Not complaining btw, since the pics are good enough and have a simplified model at the side so you can see if you fucked up much.



I don't think it teaches anything itself iirc as I believe it was more of a handout kind of thing that a teacher would use in person alongside a student. I think it does a pretty good job of being self-explanatory, however you would probably need an instructor to help you use whatever media you're using effectively enough to copy the images accurately.



I've heard the value of Bargue is that it gives something objective and concrete for an Instructor to compare your drawing with to offer correction. Does it still have any value to the self studier?


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Oh shit there's a loomis board? And it had GOOD artists on it? I really gotta dig around 8ch more. Also

>That fucking water mark

You niggas are making me want to start drawing again.







Okay so I did the Bargue Course at one of the few places left that still takes them seriously. I spent months and months doing them and I'm fairly familiar with their history as well as other similar courses made during the same time. Not jerking myself off, just thought I'd provide a little background.

Basically they're really good drawings with a lot of very solid qualities to be teased out from them. That being said, it's difficult to actually do that yourself. They can be very deceptive and some things like their straight lines or their very delicate use of flat 2D shapes in the rendering is often missed by people if not told to them (often repeatedly). There are other things to be learned through them like keying a drawing in steps, blocking in, light shape and so on that you don't really get without an instructor.

Also, not to put anyone down but getting to that point where you really hammer in the level of accuracy they're supposed to have is really difficult to do. Bargue Fatigue is something A LOT of students experience where you can tell that it really drains them because they're at that point where their eyes can barely see what to correct so a lot of the time people get depressed not being able to see the flaw. That is something not easy to force yourself to do, at least at first and having someone that can every day point to the flaws in the drawing really helps push you beyond your own perception where your ability to see accurately needs to catch up.

I love the Bargue Course. Having finished it I can really appreciate it and every now and then I'm tempted to try it again just to test how accurate I actually think I am (maybe I'll do it and post it here). That being said, it's difficult to recommend for someone self teaching. I'm sure you can get some value out of it but I haven't yet seen anyone do them outside of an academy or atelier that is actually touching on the qualities they were made to illustrate. What I tend to see online is just people treating them like any other photo study.



>go ninja go ninja go!

Draw nig-ga draw nig-ga draw!



When I tried it I could recreate the contours fairly accurately but when it came to values and rendering I simply didn't know what to do to progress-it probably would have been nice to have a teacher to bully me at the time. Now that I've spent some time in an atelier I feel like maybe I could push myself to complete a few plates but idk.


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Looking good. Face looks a little narrow-note the sloping angle of the cheek on the right side.


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Anybody want to have a go at drawing /nothingness/'s board-tan?

It's a new board and they've come up with a unique tan. It's a sentient black mist.



fugg meant to post this in the 8chan art thread



No; that thread was a mistake.

I'll help you if you want to try, though



>I'll help you if you want to try,

I can't draw. I picked it up literally two days ago. I'm still learning how to draw basic geometric shapes.


YouTube embed. Click thumbnail to play.


You can do it fam!



>it's already been sexualized

I fucking love anons.


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Thanks for the in-depth assessment of the course's practicality for self-teaching!

Would pic related be a good method of tackling the issue.

Or should I just copy things and then slowly start to try and draw from imagination.

I guess the "systematic" way is the more efficient one if you want to get the fundamentals down without having to slowly explore them yourself…

I guess if one had natural talent drawing "without a plan" would be faster, but I'm not going to count on that in me.



It really depends on what kind of an artists you want to be.

To tackle the issue I brought up with the Bagrue course and self teaching, no that doesn't really solve the problem. The problem with the barge course is that you can't read your way to the solution, you need help with it and there's no

easy way to get it outside of spending a lot of money to attend a good academy or atelier. It sucks, maybe there are ways to compensate for that but I don't have an answer for it :C

I'm very skeptical of a lot of online "mentors" and people producing demos and online courses. The only online course I've actually found to be good is Scott Eaton's introduction to anatomy course, all others felt like they were appealing to a broader audience, showing off flashy gimmicks rather than really teaching something solid, so I wouldn't advice that as a substitute to hands-on teaching from someone trained in a classical/academic tradition.

My general rule when it comes to books is that if it's not 100 years old, there's probably a better book out there on the same subject. I don't mean to say those books are bad. I think I own all except for 2 of them. It's just I found them to be light compared to other books like a Harold Speed so I thought of them more as complimentary to my education rather than a primary source.

I don't think "copying" works very well. Just an example out of many. There was a student at the "academy" where I studied that could make some very good charcoal drawings when given enough time however when she picked up a paintbrush and started on the cast painting program, it all went to hell, and it was all because she copied her subjects and didn't work on them from the principals we were taught earlier. So she didn't really understand how all these principals worked and switching from a needle sharp piece of charcoal that allows you to fiddle and "build up" your image to a brush with sticky wet stuff on it that was difficult to control, it all went to hell.

I took a few years break from drawing out of my imagination to really just focus on observational drawing/painting and when I came back I was actually a lot better at it. I think you can develop your abilities very far from just observational drawing and then these things that someone like Bammes teaches become much easier to absorb and do.

I don't really know how to go about advising people how to learn and self teach because it's a very difficult thing and all "answers" I see people provide tend to be lacking. I've thought a lot about this and I really don't have good answers. I can maybe point people in the right direction but I wish I knew of a better way.

Now to end on a positive note. There is still hope for self teaching. One of my favourite artists Adolf Menzel was mostly self-taught. Use your head, no one person has all the answers and there's really no "one true way". Should also mention that I can be wrong about everything so sprinkle in a few grains of salt and think for yourself.



No, that pic reads like a bad joke as told by a 15 year old imho. That image makes me wince whenever I see it. That's not to say that you won't get better by studying through books, that's a given, but the image itself is just silly, especially when it starts with two perspective books and no observational drawing ones.



>especially when it starts with two perspective books and no observational drawing ones

Cannot agree more.


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Thanks! I bit off more today, mostly fixing proportions and such but I think I learned a decent bit. Probably moving on to the next one because id probably hurt myself if i did this any longer.



I'd be interested in seeing this drawn

Too many board-tans are generic cutesy girls



I thought that was the point. Are you telling me tans should actually be original?



A lot of early board-tans weren't women, like /m/-tan and /v/-tan. Cute girls became the default some time ago.

Nothing wrong with a little originality, y'know?


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/v/, /tg/, /m/, /vg/, /vp/ had a male and female from the start because Pokemon intro, Anonymous itself was represented by a featureless green male in a suit, and if you wanna go all the way back 2ch's equivalent of Anonymous was a Sin Sack, literally some random naked guy with a bag over his head.

I think Half/a/'s tan was at one point implied to be a male crossdressing.

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