/ic/ - Artwork/Critique

>>6644972
define the light and shadow first and then further divide it and then smooth out the transition areas based on how hard or soft the edges are. for colors dont just change the brightness for shadows, you have to change the hue too. i would start with going very yellow for the light part and very blue for the shadow to simulate sun and skylight lighting. its always better to use too much color, it makes it look 'stylized' but too little color just looks bad and muddy.

>>5208975
Unless you give useful advice instead of vague shit like that, keep it to yourself.

>>5208965
I can't tell where the light is coming from and, if you're working on rendering it should be crystal clear.
Choose an image with good light/shadow contrast and try pic related.
For hair, have this in mind: https://www.youtube.com/watch?v=ioUJb8nuMPc

It took thousands of years to develop the modern concepts of drawing. This stuff doesn't come instinctively at all, which is why for thousands of years all art lacked them. So why do so many people get good without studying anything? Why didn't people get good naturally in the past? Am I missing something?

What are the best exercises that can teach me manage values? I can't seem to balance them out and I am not that good at blending them properly. Will sculpture studies help?

>>3936302

>>3927306
This isn't terrible, I can see some promise. You seem to have a good handle on reproducing values, and your sighting and measuring is believable. I think the thing that may have trupped you up is going into midtones and blending too early. Its a hard thing to get over, after all no one wants to have an ugly painting staring back at them for too long, but knowing when to keep massing values and when to start blending edges is an important step. Keep it up!

>>3625534
As I understand it, the "lay in" is the first stage of a drawing (usually used in the context of a drawing from reference/model) where the artist is using simple and minimal lines to get the general form and proportions of the model down on paper before proceeding to the block in (second pic in pic related). Pic related first image would be called the lay in.

>>3202586
>Shouldn't your front side be a bit more lighter than the side?
Yeah you're right, oops. Oh well, I was more focused on the rendering technique, I guess.
>Is it portraying a chrome cylinder?
Thanks, and yeah it's supposed to be that material.

>>3202609
I think you mainly still need to focus on actually drawing good, confident, clean lines that follow a perspective (fairly) accurately.
As for the marker use: If I squint my eyes, I can see four areas of tone that have well-defined borders. You don't want that as it'll make your stuff look streaky/make the form read wrong. Again, block in a side with ONE tone...then go in with a black or white pencil depending on the gradient you want. Don't try to blend with markers since you're still a beginner. Focus on getting solid, well-defined shapes that read with only a few solid tones. Then add gradients as needed.

Solid drawing. Block out shadow shapes. Add half-tones. Add highlights. Add reflected lights in shadow. Blend for soft edges.
Pic not mine tho

>>3160637
>>3160640
It takes as long as you need to. Academic drawing is glorified tracing, doing everything you can to trace without literally tracing. Use grids, plumblines, and measuring tools as a beginner. Eventually you'll be able to quickly do measurements in your head, almost subconsciously.

>>2969197
This one kinda shows what I mean, looking through my infographics for a better one though (Someone on /ic/ dumped a link to their collection once and it's massive, but i don't have the link anymore just the files)

>>2948511
There are no lines in nature. You have to start weening away from symbol drawing and start seeing things in blocks of value.

Can anyone link me Peter Hans videos?

Also
>general torrent thread
Post what videos you want, I'm sure there's some anon out there who will help us make it.

>>2547136
That's it.

Here's the unblurred.

>>2502154
Overthinking it man. Just find a point on the reference, for example the nose (since these are portraits) and measure everything else relative to that. Slow down, take your time, really eyeball it. Spend the majority of your time on steps A and B, and use straight, long lines for as much as is possible. Capture the important parts and ignore details. You'll know what's important if you squint and focus on the divisions between the darkest darks and the brightest brights. The "draw upside down" thing is to get your bias out of the way and force you to draw with pure observation, but it looks to me like your issue isn't observing but rather your rush into details.

>>2497432

Another one on doing rendering/light studies

>>2424225

>>2317842
Start with a lighter halftone. Just up the levels until your halftone is like a mid-high gray. The nose is wonky and poorly rendered. Just reference an image of a nose it's like 2million times easier. The lips are too pursed, and the bow of the upper lip seems too fat. Also the lips should blend carefully into the skin, no harsh edge there. the crease beneath the bottom lip is too dark and too short, making her chin look bigger than it is.The brow bone is too flat. The sides of the nose rise are too sharp and too far apart. The eye shape is alright, but the areas around the eye don't look right. The create feels completely flat, there isn't much of an indication of a tear duct. And the 'bag' under the eye is placed/shaped wrong. The headdress is wonky, tilted too far right. The jaw is uneven.
Apart from this, you're approaching shading in a very muddy way. It doesn't look like you're confident in establishing the values or your understanding of form. Establish your large area's of shadow in a single shade first (a grey slightly darker than the halftone), then blend them out. Pic related shows a good way to approach shading.

>>2305555
Oh god what did you do to it?
Paint like this. Establish your large shadow shaped with a midtone. Then blend and render details.

>>2295260