/ic/ - Artwork/Critique

[Anonymous No.6485826]

What are you reading / enrolled (course) currently?

[Anonymous No.6485993]

>>6485826
Still grindan bridgman memory copies

[Anonymous No.6485994]

>>6485993
Even if you quit now, you’re already at a point where you have the tools to navigate the rest of your art journey, all the way to pro. Gmi!

[Anonymous No.6486121]

I am on full "beg course". I saved bargue for last because i have a feeling people in the past were way more hardcore at drawing than nowadays.

ETA for the art and science of drawing is 2 weeks. It should be a breeze.

>>6485826
that list is very weirdly ordered, beg books in higher ranking than some of the int books. Nonetheless saved, never heard about some of these books before. So thanks OP for posting it.

[Anonymous No.6486262]

>>6486121
>Keys to Drawing
Apparently I've had that book for years, maybe I'll go through it.

[Anonymous No.6486266]

>>6486262
it should've been the first one to go through kek

[Anonymous No.6486276]

>>6485826
I just draw

[Anonymous No.6486280]

>>6486276
How? Impossible

[Anonymous No.6486288]

>>6486121
looking forward to your progress

[Anonymous No.6486430]

>>6485826
I've been listening to the audio book of this while drawing. Since I want to do comics with my own characters I figured it was time to tackle storytelling.

[Anonymous No.6486594]

>>6486430
Name a single useful thing you learned from that Jewish cashgrab

[Anonymous No.6486619]

>>6485826
I'm halfway through Keys to Drawing and Huston's Figure Drawing for Artists. Unsure what I'll move on to after, maybe Bridgman but feels a bit daunting so perhaps Vilppu.

[Anonymous No.6486622]

>>6485993
What's your approach to the memory copies? Do you set yourself a time limit to study each image before closing the book, or stare at it as long as you want?

[Anonymous No.6486635]

>>6485826
>Tfw you know Spanish
Pintura here we go

[Anonymous No.6486654]

>>6486594
Enjoy never making it, chud

[Anonymous No.6486672]

>>6485994
Thanks!
>>6486622
Just stare at it, close my eyes, try to draw it in my head (sorry aphantasiasisters...) then realize what I don't know about it, check, repeat process. I end up forgetting all of it though, I have a really awful visual memory. They're fucking hard.

[Anonymous No.6486681]

this needs linrans guide, sijun notes and the dimensions of color

http://www.linranworkshop.com/?page_id=16544
http://www.linranworkshop.com/?page_id=16520
http://www.huevaluechroma.com
https://archive.org/details/CraigMullinsSijunPosts

>What are you reading
anatomy of facial expressions & bargue

[Anonymous No.6486751]

>>6485826
I am currently focused on Will Weston's Drawing for Composition course.

On the side, I am slowly reading Humphrey's Complete Perspective Course (https://archive.org/details/completeperspect00spanuoft)) and the chapters on rythm from Speed's The Practice and Science of Drawing (https://www.gutenberg.org/ebooks/14264))

[Anonymous No.6486768]

>>6486654
Thing is, I've already read that along side Save The Cat, Writing For Story, and many others
lol
You've read less than a chud, hows that make you feel?

[Anonymous No.6486785]

>>6486751
Did you pay for the Weston course? Wondering if it's worth it or if there's a good way to access it for $0.
>>6486768
Qrd?

[Anonymous No.6486853]

>>6486785
>>6486751

No. I pirated it.

[Anonymous No.6486855]

>>6486594
a number of things.
>A character's hidden nature is revealed when put under pressure (like real people, character's nature can be contradictory, but in a story something should motivate that behavior)
>Dialogue doesn't have to be like real life, in fact it's better if it isn't. Dialogue should advance the plot or reveal characters. (this is a mistake I often made)
>Keep dialogue in short sentences whenever possible.
>Contradictory behavior adds multiple dimensions to characters, otherwise characters are dull.
>A story only moves ahead through conflict
>If narration is used, use it to convey ironies and insights of a character, not to describe something that can be easily described visually.
>Find your character's deepest desires and fears (often they're not fully aware of them).
>Better if we know a character better than he knows himself.
>Think of the story climax, and work backwards.
>McKee describes structure of the story, how to make an outline. Traditional structures can be broken, but only if writer has a good reason to do so.
That's just 10. The book is packed full of substance. McKee is not dogmatic, 'rules' can be broken if the story calls for it.

[Anonymous No.6486856]

>>6486635
Gracias, no lo hubiera notado, ya lo voy a buscar necesito aprender más de fuentes hispanas.

[Anonymous No.6489431]

>>6486681
Didn't know linran has a site, thanks for sharing. His recommended books seem pretty good.

[Anonymous No.6489599]

>>6489431
Pseud

[Anonymous No.6489604]

>>6489599
damn... wish i was a pseud

[Anonymous No.6489606]

>>6486785
No, I got them off cgpeers. I am the same chud btw. desu, the lesson are good but.. at the same time I feel you are kinda better off studying off Michael Hampton and Goldfingers anatomy book.

I haven't fully made my mind on it. Will Weston seems great to remind you of Composition rules, since its a mix of Peter Han/Krenz in the sense that perspective is approched in a more artistic way, but I also felt that after 2 weeks of studying Will Weston's figure drawing, I didn't really understand muscles and how they connect to the bones, which is something I literally learned in just 2 days of Michael Hampton due to the way he properly goes in depth into the topic.

I guess... Will Weston is good for getting a general vibe for the figure, simplified forms, concpts of simple/complex, overlap, 1/2/3 reads for cubes..
But Michael Hampton also touches on that too, and seems more indepth..

Maybe try both and make your own mind, I can't really decide rn

[Anonymous No.6489607]

>>6489604
wtf is that really your art?

[Anonymous No.6489609]

>>6489607
It's clearly labeled, are you ok anon?

[Anonymous No.6489627]

>>6489609
Of course I am Ok, I asking to try to find out if you read those books earlier and if they helped you get to that level

[Anonymous No.6489672]

>>6485826
>What are you reading
Hogarth's Dynamic Figure Drawing

[Anonymous No.6489675]

>>6489672

Was there ever any backlash over this book? How did he get away with it?

[Anonymous No.6489740]

>>6489672
How can someone be so fucked based?
My god, I can't stop laughing

[Anonymous No.6489811]

>>6489627
You're dumb as fuck

[Anonymous No.6489815]

>>6485993
Can we see some work? Doesnt have to be anything much, a sketch of a nude figure will do.

[Anonymous No.6489816]

>>6489675
normies are incapable of noticing patterns and subtlety unless u point it out.

[Anonymous No.6489980]

>>6485826
>no bridgman
>no struttura uomo

[Anonymous No.6492676]

>>6489672
nazis will get the rope!

[Anonymous No.6492682]

>>6492676
he did nazi it coming