Construction

[Anonymous No.6199318]

I'm going to post my construction process and I'd like if yous could give me any pointers on if I'm doing a good job and where I could improve, whether that be my method or just my art in general,

recently I've been trying to get into art again properly and instead of drawing static poses go with something more dynamic, nevertheless, rate my shit

[Anonymous No.6199321]

[Anonymous No.6199322]

[Anonymous No.6199324]

[Anonymous No.6199326]

[Anonymous No.6199496]

>>6199318
you're not gonna convince permabegs to use construction no matter how hard you try

[Anonymous No.6201691]

>>6199496
It's a shame you're right.

I've been focusing a lot on construction. Im on one of two different people teaching dynamic sketching. Has helped a lot.

>>6199326
Wish homeboy had the black forces.

Sorry I can't really critique you, You know more than me, and I wouldn't be able to help. I do like the style though :D

[Anonymous No.6201707]

>>6199496
pyw

[Anonymous No.6201726]

now draw sexy anime girls with this construction.

[Anonymous No.6201845]

>>6199318
your construction of the profile view is shit

[Anonymous No.6202805]

>>6201707
learning construction is whats universally agreed upon
the only people who are anti-construction are permabegs

[Anonymous No.6202822]

>>6202805
I don't see your work, construction obsessed begshit.

[Anonymous No.6202826]

>>6202822
everyone has already tried to convince you

[Anonymous No.6202856]

>>6202805
Alright, I'll bite.

Construction is taught/approached incorrectly and it horribly steers people down the wrong path. It is the principal intermediate trap that, together with planar approaches/reilly method/etc, causes a person to stop seeing things in front of them and relies on symbols and shortcuts. It causes very bad stagnation. This almost always results in hideously robotic figure drawings and paintings that have no resemblance to their real life counterparts whatsoever. You can see this easily in not only drawings, but also paintings, because the hue, value and temperature shifts are either obviously exaggerated without an optical basis, or they are nonexistent because the student cannot actually see what is happening right in front of them.

Michael Hampton is one example of this. He doesn't have a single painting or drawing that he's done that is not a turgid blob overly geometric forms that have no basis in reality of what the human body looks like. This isn't about Picasso's expressive mood drawings, this is about teaching a student to see human figure.

Watts Atelier is another. Nobody there can capture the lighting of the figure to save their life. Their core shadows are blown the fuck out. and everything else is flattened out. For a student to be exposed to that is just awful. Your sensitivities are blunted.

Instead, construction should be approached as an extension of observational drawing/painting, in a limited way. There are no rules for you to follow other than to capture what you see, exactly as you see it. Don't bother "drawing through." You should be able to draw just about anything in front of you without the use of elaborate construction - just a basic block in followed by very tight rendering where the relations of contours, forms, temperatures and colors are tightly intertwined. As you do this, you should be extracting underlying elements of construction based off of what you see in front of you, building a vocabulary.

[Anonymous No.6202874]

>>6202856
What the hell are you talking about?

How else are you supposed to learn how to fucking draw anything?

Also if you got time to type all that out then post your construction free work.

[Anonymous No.6203085]

>>6199318
the problem with the mannikin (whether is Loomis or any other similar method) is that the shoulders always look weird or stiff because clavicle and scapula move together every time you move your arm it makes it hard to draw

[Anonymous No.6203139]

>>6202856
> Relies on 3d symbols and shortcuts when constructing.

Isn't that what they called simplyfing the human figure. And then further refening the form which allows you to draw any pose in any angle from imagination.
Doing this with good understanding of anatomy, proportions, perspective and gesture will allow you to get decent results. And doesn't give you that robotic figure or flat contour drawing.

If people would follow your advice, they would only be able to copy references. And never be able to draw from imagination, and be another Proko drawing kangaroo arist.

[Anonymous No.6203153]

>>6202856
Your right, but, how do I reference things in my head?