'Thanks for making the next thread';

'>>7062670';

'Got lazy with studies recently and now I'm paying for it.
I'll try to move at a more consistent pace from now on. As well as not to drop study sketches entirely just because I'm rushing to finish some project.
Good luck, everyone!';

'loomis reference and memory drawing';

'>>7062670
Little Value/Form/Back Study';

'>>7065168
can you give me some insight on how to approach figure drawing that way? For example,
- What books/vids on that construction
- How you approach these figures start to finish
etc. etc
I feel like learning to see the body in that way is specifically what i need to get better';

'>>7066110
nta but that's bridgman (guide to drawing from life is the book you want)';

'>>7066133
thansk anon! I'll check it out right now';

'>>7062670
>Read the fucking sticky: http://www.alexhays.com/loomis/

ermmm the link does not work';

'>>7066140
that book is magical';

'memory copies of bridgman is all fun and games until you get to the hand chapter. what the actual fuck';

'was gonna paint it but i realised i just like hatching more so i just did that';

'brutal page to do memory copies of';

'>>7067137
They're all lines.';

'undefined';

'great work everyone

>>7067137
yeah.... ganbare';

'>>7067937
you placed the pp like a woman does, too high.';

'>>7067941
...but that's where me own pp is';

'okay, last one for today';

'>>7062670
The sticky doesn't work.';

'>>7068998
just like the board's sticky lol';

'undefined';

'Started going through morpho and went back to Hampton to assist with improving my understanding the relation ship between The ribcage and the Pelvis, and then went onto to apply what I learnt through references.';

'>rhythm chapter
Tried to emulate flowy lines by working from the shoulder. Turns out I have no idea how to incorporate both gesture and structure in the same study. It's either stiff construction or cool but unpredictable lines and fucked up proportions.
Probably skill issue.

>>7066110
Anon who answered you was right. And yeah, so far it's good.';

'>>7066249
I noticed this as well. Very unfortunate considering how much content that link had, hopefully it gets fixed soon. Praying the same thing doesn’t happen to the Bridgman link';

'>>7066249
>>7071024
the furry that hosted these took them down because Loomis' family put the books into print again and restored copyright or something. same thing happened to http://saveloomis.org/:
> Due to a cease-and-desist letter from the current copyright holders of the Loomis books I have been forced to take down all copies of his work from my site.
anyway the archive link is still functional https://web.archive.org/web/20180204112735/http://www.alexhays.com/loomis/';

'>>7061417
still looking for advice. is it fine for me to start with the Finch roadmap?';

'>>7071256
sure, it should probably be fine after the 8wk brent, have fun';

'>>7071256
the redliner guy in the hackmd page linked a brent eviston video on measuring, so in my view, because brent has the redliner's approval, he also has my approval

also, simon follows brent on twitter, and there aren't a lot of people who draw better than simon';

'this hand chapter is really killing me. 3-4 attempts per hand to get it right takes about an hour.

don't really feel like i can abuse construction like i could when doing the memory pass for arms and legs.';

'>>7072890
i talked to myself while looking at the drawing this time like an insane person and it seemed to go better.';

'>>7072896
>>7072890
I’m on my Bridgman run, first, so I haven’t gotten to the memory pass yet, but I do think that

1. 3-4 times a drawing seems excessive, especially if this is taking you an hour. There are a ton of drawings in the book and taking so much time to get one right isn’t even worth it imo. 1-2 is enough, after that just keep drawing.

2. How long are you looking at these drawings for. Part of me thinks you’re not looking long enough before going into the memory copy. Look at them for 10 or hell even 15 minutes if you think that it’ll help with accuracy. If you were to look at a drawing for 15, take 10 to draw it and it’s pretty accurate that’s 25 minutes and ones done as opposed to spending an hour on 3-4 copies of the same one. This run requires a lot of stamina and I wouldn't want you running out developing habits like that';

'>>7072890
>>7072896
It's great you're attempting each hand multiple times. This will only make you an even greater artist, at the end of the day. half-assing and rushing helps no one';

'>>7072951
I don't really look because it's boring maybe a few minutes for each picture, I instead try to visualize the 3d forms quickly. I prefer to make an initial bad attempt, correct my mistakes and then try again.

For arms and legs this was sufficient, but for hands i usually need a third pass which is just mentally draining and really slows me down.';

'landscape studies of some elden ring scenery. still have trouble with small details and clouds';

'>>7071288
simon who';

'>>7070697
nice

>>7071018
really great figures. do you even need to be studying bridgman? i feel like you're past that level ;)

>>7069114
really ambitious painting. wish i had tips for you, but i can't paint myself

>>7075254
beautiful. is simplifying everything into rectangles and simple shapes a way to learn to paint better? Or is it a style?

>>7075289
https://twitter.com/simon_7617118/media';

'>>7077116
>is simplifying everything into rectangles and simple shapes a way to learn to paint better? Or is it a style?
Using simpler makes it much easier for me to block in big and complex objects, but I can't deny that I sometimes stick them in just because I can lol.';

'color studies. i feel like i get everything except shadows.';

'Hello there. first time posting in this general.
I imagine lots of people study Sargent but I've been working on 30min-1hr studies of some of his portraits. I'm gonna gradually focus less on just the faces and try to copy whole paintings.';

'bump';

'>>7077457
>>7079658
>paint chads
i kneel

>>7077140
you're right, those shapes are cool af';

'undefined';

'Following robopencil's speedpaints';

'undefined';

'>>7077457
Great understanding of color';

'undefined';

'handsy';

'>Please wait a while before making a post
Don't have the attention span for this rn, typing this out to focus instead of posting';

'Posting in the only thread that matters.
Also, I'm so slow and this single shitty page took forever.
Hopefully I get faster at this or I'm never getting to the memory stage.';

'>>7062670
So how do I "study"? Do I just copy other drawings focusing on specific parts?';

'>>7088796
What was the last skill you felt was lacking in your art or process? Studying isn't necessarily copying.';

'>>7087627
more aliens';

'>>7089460';

'it is finally fucking done';

'this is the best drawing exercise I've ever done

>>7085294
>>7085295
amazing paintings, really good horror feel

>>7085479
i like it. figure feels like it is leaning back a bit too much though, like he's gonna fall over

>>7087627
>>7089460
>>7090707
really good copies. have you tried doing some from memory?

>>7085853
nice. did you go in right without pencil? That takes skill

>>7090801
now do it 10 more times!';

'>>7091095
What's this exercising your doing? Looks interesting. Also nice studies! I'm struggling with faces, I'm curious on how you're practicing them';

'Zorn copy';

'>>7090707
introduction chapter done. now onto the individual body parts

>>7091095
thanks boss. I haven't done any from memory yet. I'll go through the whole book once and then do the memory pass.
this way I get the dopamine of progressing through the book without getting stuck on a page for days.';

'>>7091852
>this whole post and those videos
grim';

'>>7091243
okay, maybe at this point I'm just showing off, but before I started doing this exercise, I literally couldn't do something like pic related, just sketching something in one go, with no construction lines. I was still stuck in the academic, vilppu, construction type mindset, where everything had to be build from balls and wedges, and i feel like this exercise set me free, artistically.

Maybe you could get the same benefit just by drawing with a pen, though. Try doing studies with no construction. I'm not sure how much the "dragging" my drawing over the reference is what's important, or if it's simply drawing thousands of drawings, with no construction, diving right into the final lines, like KJG.';

'>>7091862
struggle is ugly, but the results are beautiful';

'>>7091862
yeah, okay, i let my ego carry me too far.';

'>>7091862
still, I've never been so drunk on my own art before. A year ago, I hated everything I did, but it's like I suddenly leapt a mile forward, at least compared to where I was before

more sketches just to show off';

'this nigga is beyond cringe
and don't reply to me';

'>>7091882
ok we get it. you can leave now.';

'>>7091882
tongue my anus';

'>>7062670
anyone else do studies in their head? I don't even draw anymore, I just visualize the concepts I'm reading and its the same fucking thing, but you're not wasting hours drawing shitty things over and over.';

'>>7091998
based schizo';

'>>7091864
I'm the anon that originally asked this, but I checked the archive and the vids were deleted.
So what you're basically saying is to just draw the final lines right away pretty much without any construction? Keep on repeating it till you get it right?

Also if you don't mind, I'd like to see a video on your process, I didn't get the chance to see it. I'm pretty much in the same boat as you whether or not I should be using construction or jumping straight into the lines.

Did you make up this practice yourself or did you find something that helped you with it?';

'>>7092175
https://streamable.com/xtrdmf
https://streamable.com/t7uxws
https://streamable.com/pa8owl

I reuploaded them just for you <3. There's almost 30 minutes of footage here, of me making poor attempts at capturing a reference image, so it's pretty boring. You can just watch the first couple minutes, and skip around. I feel like if you do this exercise enough, and you memorize all the angles of all the parts of the body, and you can just draw them all the first time, perfectly, then it makes drawing really easy.

Easy sketching: https://streamable.com/etp5n4

Again... I like this exercise, and I feel like it's helped me, but has it? I don't think anybody can know exactly what exercises they did benefited them in exactly what way. Maybe it was the hundreds and thousands of regular master copies I did beforehand that mainly benefited me. Maybe it was the memory drawings. Maybe it was the life drawings. Or maybe it was the hundreds of hours I spent drawing manga and other finished illustrations.

Even if you spam this exercise, I don't think you can ever escape construction. I think it just makes construction easier, if you can just lay in an accurate silhouette right away, then fiddle and adjust your sketch until it looks right. It's very rare that I can just draw something perfectly like Kim Jung Gi.

And while I am really obsessed with this kind of study at this moment, who's to say there aren't other exericses that will reap you the same benefit? Maybe just doing really accurate bargue drawings will get you the same benefit. I've been rewatching the Krenz Cushart lectures, and I feel like he's aiming at the same thing: accurate basic shape memorization. Muroi Yasuo also talks about all the same things, but without drilling the same thing over and over again. He just recommends doing straight master copies.

I wish I knew how to study. I've been fumbling around and groping for a good method, but it seems like I can never get good enough, quite fast enough.';

'>>7092201
>I reuploaded them just for you <3.
Thanks a bunch for doing that anon! I really appreciate it, it definitely helps me better at understanding thought processes.

Which one of Krenz' lectures do you recommend watching? Also I agree with you, I think regardless you need to have a good balance of construction and symbol drawing, I'm just gonna do it almost the same way you do and just keep on drawing different exercises.

Once again I really appreciate your response, thank you anon <3';

'>>7092240
No problem! And if you ever get too burned out on this exercise, don't push yourself too much. I don't think this exercise is a necessary part of learning to draw at all. The bulk of my journey so far has just been regular figure drawing and master copies (no memory drawings even). You'll continue improving as long as you're observing and drawing what you see. I'm just minmaxxing lol

Krenz Cushart: (turn on subtitles)
https://youtu.be/kbKqIJcIUCw
https://youtu.be/dgjx6y6B_G8';

'>>7092201
are you using the wacom art pen?';

'>>7092503
yup. I had a Huion Kamvas for like a year before this, and it was horrible. It just kept breaking and breaking and breaking. Every month, it seemed like there was a new bug or something, and I'd have to contact Huion support and wait for their messages and go back and forth troubleshooting shit.

On the other hand, I've had this cintiq for a year and a half now, and I've never had a problem with it. It's never broken once.

Maybe it was just a luck of the draw though. Maybe I just got a faulty Huion tablet...';

'>>7091095
Yeah, the centre of gravity seems a bit off';

'>>7093093
booba';

'>>7091690
looked at the morpho ngubu alien heads and decided to do a for fun copy instead.
will take the african pill most likely tomorrow.

>>7093033
I figured you have an art pen since I also have one and I can tell it from your lines.
and it isn't because you changed the rotation of the brush.';

'>>7093145
What brush do you use? It looks like has some sort of blur to it. Also nice work anon.';

'>>7091864
>>7092201
I'm super excited to see someone hit this milestone.
For me, it was when I learned that I could draw a box with just the contour and make it still feel like a 3D object, and then realizing that I could apply that to literally anything. I tried drawing a face without le loomis ballwedge and the cross on the face and by jove it worked.
You're definitely better than I am both now and then, though. The work that you put in studying really shows.';

'My line sketches of faces look horrendous and it saddens me a lot';

'>>7093648';

'>>7093630
>>7092201
>>7091864
Maybe I'm stupid, but I still don't really get what the exercise actually is. And can I gain anything from it as a prebeg or do I actually need strong fundamentals first?';

'>>7093648
looks fine stop being a whiny fag';

'>>7093648
It often be that way
Line sketches of things usually look like a pile of shit without any values or styilization. But then you render that and suddenly you have a great portrait like what you made here
Just accept that line sketches are always gonna look like just a pile of lines because that's what they are.
If you want them to look better, then you should consider stylizing them somewhat by throwing in rudimentary values (... sort of) and altering line weight and subduing irrelevant visual information like in picrel
Artist is magajaga';

'>>7093648
Probably because you're more focused on painting than you are drawing and the drawing is just the means to the end of painting, so your sketch is serviceable but not "aesthetic". Still very clean, accurate, and skillful though.
If you're really that concerned about having a e s t h e t i c drawings then you could try immersing yourself in ink autism for a while ig.
More drawing skill certainly never hurt anyone.';

'>>7093707
NTA but I just want to present Gloss's sketches, which are absolutely MAD clean. I'm envious of this guy's lineart skills.';

'>>7093843
Thank you';

'>>7093808
>try immersing yourself in ink autism for a while

Elaborate please';

'>>7094000';

'>>7094005';

'>>7067214
Well done Anon.';

'>>7072890
>>7072896
Serious question here : do you feel any joy in this process or while drawing?';

'>>7094128
does he always have to feel joy?';

'>>7094796
He must.';

'>>7094796
Always? I don't know... But I think that's an important part of the process. If you like to draw you will draw more and effortlessly therefore becoming better.';

'>>7095020
I just think that improving more often than not requires you to do some boring grindy stuff, and you just have to suck it up';

'>>7094128
The only thing I don't feel joy from is posting in this thread.';

'>>7094796
He probably should, look up state-dependent learning unless you want to learn while being miserable or bored out of your mind, don't recommend.';

'>>7093206
ayyy lmao';

'>>7095765';

'>>7093206
>>7095765
>>7096953
again, really nice work. I saw some japanese artists studying from morpho, and they'd just put a chibi face on the bodies instead of actually drawing the face, so I get what you mean lol

>>7093653
It's just about memorizin shapes, is all

>>7093648
your art is amazing what are you talking about?

>>7093242
thanks, just a regular airbrush that's shrunk down to pencil size

>>7093630
thanks anon, but I think anyone can eventually draw without construction, with enough practice. It's all about being more than 100% familiar with your subject, being able to draw it with total ease';

'>>7093648
>>7093650
You talking about linework prompted me to take a whack at turning your painting into ink lines.
It's pretty shit, I can't control my hatched values to save my life and I'll never get around to finishing it but I have to say it's probably the best observational/copy drawing I've ever done. Very good painting with very pretty color/value shapes, I enjoyed studying it.';

'>>7096953
more dried ugly bastard aliens

>>7097715
thank you king. this thread is the main driving for me currently.
even though I might not agree with the depiction of the faces I cannot deny the draftsmanship he posses. so I just do my best in trying to capture some of it.

your stuff looks good as always.

>>7097964
>>7093648
both of these are insane btw.';

'still slowly going through steve huston's book';

'>>7098089
thanks bro. your copies really do amaze me, it feels like your sketches just came straight out of the morpho book. I don't think I could copy anything that accurately yet

>>7098622
glad you're still around. would love to see what your other studies look like too, say, figure drawings. Curious to see how Huston has influenced your studies from life';

'>>7098089
pain

>>7098622
looking good

>>7098887
nah man any resemblance of "greatness" comes at a great cost of time. even if I try to do some sort of construction I still feel like I have to fallback just almost pure copying (contours) most of the time.
which is so tiring that I rarely get more than a page a day done. at one point I get so tired I get sloppy (see bottom row of pic rel).
also I have a hard time following morpho's cryptic clues about the rare tidbits of proportions he gives out.
he has yet to mention the browline yet it obviously is marked on most sketches. if I hadn't read about the 1/3rds before I'd feel like I would never figure this out myself.

and I would bet my life on you being to able to copy better than I can. it is all about patience and I'm running low on it.

tl;dr skill issue I suck dick why are faces so hard god help me';

'Some boys';

'>>7066016
Me again, this time it’s a little 35 min. Geoffrey study';

'more notes from huston
the A-J spheres are examples of common shading mistakes

>>7098887
thanks.
>would love to see what your other studies look like too, say, figure drawings
Some recent quicker ones here >>7098616
A longer one of mine was used for the OP pic too >>7082485

>>7099298
you too';

'>>7099786
What brushes are you using for your figure drawings? Nice work btw';

'>>7099918
Thanks. I use the charcoal brushes from Lane's Photoshop Master Pack.';

'>>7099298';

'Does it make sense to copy pics of artworks with pencil?';

'>>7100241
Yeah, that's basically a value study, good idea.';

'>>7092201
I agree with you, anon. I don‘t claim that this will magically make anyone better, but it makes drawing (from memory) a lot more fun. It‘s nice to just start sketching without having to lengthy construction and multiple layers and shit. Just go for it and have fun.';

'>>7100225
this thread ain't dying on my watch';

'I've tried a few brushes now, and in the end, I think I like the basic, round brush the best.

>>7099298
>>7101701
seeing you be this consistent is making me wanna draw. I was tired and was gonna skip out today, but felt guilty leaving you hanging

>>7099620
lewd

>>7099639
this is really nice, great job anon

>>7099786
you're amazing... kinda wanna drop everything and study Huston too now. Was there anyone you studied before Huston, which you found really helpful?

>>7100393
your quick sketch mogs everything I do lol.';

'>>7102024
Ty my friend, trying to improve my digital painting/rendering so I appreciate the kind words. Also I can also attest to the appeal of a basic round brush. It’s simple yet effective';

'>>7101701
yep still at it

>>7102024
only reason I started this copy journey was because of your sticky / redline thread.

I want to get to the point where my gestures resemble yours';

'>>7103287
hearing you say this makes me really happy. I sometimes feel like sometimes I'm just embarrassing myself when I do redlines, and that my advice has no effect on anyone's progress, but I kept doing them because it was a good way for me to improve and also learn what was important in drawing. my advice changed a lot over time as I did those, going from being really obsessed with Vilppu's construction type thinking about drawing, towards feeling like observation and memory as the real, most fundamental part of drawing. it seems like trying to teach people how to draw is a great way to learn drawing yourself

good work again today, btw. Drawing the face from a below angle is tough

>>7102935
you captured that rainy mood really well, makes me jealous. Sometimes, when I walk around and and see a beautiful landscape, I wish I had put more time into practicing painting';

'>>7103510
Ty! And hey it’s never too late to start, despite what any sort of contrarian /ic/ user will tell you. Paint if you want to Paint!';

'>>7103287
one of those pages that should never have seen the light of day but we live in a godless world and I have to bump this thread';

'>>7104622
it looks good to me! But if you're not happy with it, draw it again!

>>7103911
don't tempt me.... I just got Richard Schmid's book in the mail and reading it is super comfy. I think just spending a year or two doing observational paintings every day would do wonders for my observational abilities and my ability to depict mood, atmosphere, lighting, in my comics';

'>>7104848
Not the other guy, but I adore that book. The chapter on values made me fall in love with value studies. I did only that for like a month.
I‘m trying to work on edges now, but it‘s such an ephemeral quality to paint. Creating a hierarchy of edges and really committing to it seems to be the way forward.
Lastly, I love his breakdown of the drawing stage through multiple approaches. I am often too hasty in the drawing, because I wanna get to the good shit, but his method of measuring from a small part outward breaks my brain. He is some kind of genius, I swear.';

'>>7104848
>.. I just got Richard Schmid's book in the mail
I'm very jealous!
I wanted to get it, even spending 125 dollars on the hardcover was something I could get over but if I want it shipped to Europe it's gonna cost me 400 bucks.
I've only seen the book once in an academy in Sweden but other than that, never.';

'>>7104622
Kind of itching to ditch morpho in favor of just starting the bridgeman copy/memory grind but I'll power through this shit.

>>7104848
Didn't have the time to rework the same thing for hours yesterday. Hopefully I can get to the point where I just get more accurate and can nail down the proportions on the first attempt.

>>7105019
Back in 2019 I got the book from lavederhillcolours dot com. Brexit hadn't happened yet so I didn't have to pay customs duties / import tax to ship it to the EU, but even then it still would be less than the $400 you propose.

Currently they have the hardcover for 130£. Back then it was 120£.';

'>>7105468
lavenderhillcolours';

'undefined';

'Okay so I think value and edge are literally the same thing in painting. Not like „edges are the transition between value forms“. I mean that an edge that is soft is simply one where the difference in value is low. So if you put more steps in between two values, you get increasingly soft edges.
A hard edge will have a higher value contrast than a soft one.
a high value contrast will have a sharper edge than a low one.

Does this make sense? Or am I just repeating something that is well known?
It feels like thinking about it like this makes controlling value and edge easier, since I know that I am always working with both at the same time.';

'>>7105003
post your studies here! I think it would be awesome to work through the book together. I'm pretty sure I'm going to try doing painting studies too, soon

>>7105019
damn, hope you are able to get it some way somehow

>>7105468
nothing wrong with switching to Bridgman desu. Study what you like!

>>7105530
I can see you becoming some kind of great expressionistic artist like Schiele. It's a great skill, to be able to exaggerate and change the figure how you want

>>7105571
I think you're right. I see lots of artists go so far as to say you should only do 4-5 values when painting, then leave the "blending" for after you've gotten that right';

'>>7105791
>>7105530
lol wtf are you talking about he sucks hard stop being such a fucking liar

>>7105571
No, edges really are a transition in values.

>A hard edge will have a higher value contrast than a soft one.

You can have a low contrast hard edge. No, the edge does not make a difference to the values.

>a high value contrast will have a sharper edge than a low one.

No, the edge will be the exact same sharpness but the contrast will be higher. It's really simple.';

'>>7105791
>great expressionistic artist like Schiele
My ego is hyperinflating now, thanks for the praise.
Your figures are pretty good tho, nice how you can convey the forms with both hatching and crosshatching';

'undefined';

'>>7105844
In Picrel I show an edge that you would call hard (and I wouldn‘t disagree of course!) with a close value and a blended edge with a higher contrast.
Yes, the blended one is soft, but I would argue that it is important to realize that the blend contains the value from above plus many other intermediate values. A blend is simply a lot of low-contrast value changes chained together.

(again, I am not claiming this is fact, must trying to toy witht the concepts to understand them)';

'>>7106052
(replying to myself) For the practical application: You can soften an edge by placing in as little as one intermediate value. Choosing the actual value is a matter of either thinking about how the form is turning or a design descision.
The more intermediate values, the softer the edge will appear.
If in your composition there is an edge that is too hard and goes against what you are trying to accomplish, you can ‚soften‘ it while keeping a sharper quality by bringing the values closer (without an intermediate step).

>>7105844
So yeah, I‘ll take back these axioms. But I guess this makes sense to me: the transition of values is made up of values. I know this is not ground breaking, yet it makes sense for me to not split the topics edges and values into separate aspects.';

'Small study of my bottle on the train. Trying to think about value and edge at the same time to design the composition.';

'>>7105471
>>7105468
I checked it out, they still have one in stock, it'll be a little over 200 pounds, almost 250 euros. It's a lot better, still though I find it a bit too much.

Let's just say I cannot justify spending that kind of money on a book right now. But thanks for the suggestion, I'll keep this shop in mind, maybe also for other books.';

'>>7106052
>it is important to realize that the blend contains the value from above plus many other intermediate values.

Yes, because that's literally what a transition in value is, like we've already established.

>it makes sense for me to not split the topics edges and values into separate aspects.

Omg, if we've already established that an _edge_ is a transition in _value_ then obviously they are not separate aspects are they???? Lmao bro spend less time trying to hypothesise and overcomplicate something that I already told you is actually really simple.

Well to be fair, I think I understand what you're getting at now, I can imagine you're reading some beginner books or videos where they point to one color and another saying that "this is a value" and then pointing to the blended area as the edge. Maybe they're not doing a good job of explaining it and it can sound more complicated than it is.

So yes, everything every single shade of darkness from black to white is a value, therefore it's ALL values, and an edge is like a subcategorical description of the distance in which two clear values merge.';

'>>7105468
nose

>>7105791
I think I'll just from now on selectively choose which drawings on each page I want to copy so that it goes faster.
Wouldn't want to bitch out of morpho.

>>7106575
Yeah I feel you. I keep eyeing a Frazetta sketchbook but even used they go 200+. Since they are out of print and only available in the US it feels really painful to try to get one.

Might get it as a birthday gift to myself at some point.

Seeing all of these
>>7105976
>>7106203
nice value studies is making my brain itch.

My end goal is obviously painting but I feel like I lack so much on the drawing side that it is not "worth" it for me to spend my limited daily time on dabbling with paint.
I kind of want to get to the point where I can "paint" with drawing. Do more mass type drawings with shadow shapes instead of line centric drawings. Lines are easier to copy for now.
Also I really hate how graphite has that metallic sheen. Maybe I need to get some charcoal pencils but then again you can't really erase those and I'm too reliant on erasing still.

Thank you for reading my blog.';

'>>7106704
Hey sorry if I offended you or something, just trying to figure things out.
And I am not reading a beginner book, but I was referencing Schmid. If you have other resources that have a clearer grasp on edges, please point me to them, I would really love to read more.';

'>>7106725
I get the feeling of not feeling worthy, but I would say: if you wanna paint, then paint. You don‘t have to fully commit, just dabble in it.
Also, may I advocate for my most used medium? I love ballpoint pen. You can take that shit anywhere, draw on any paper quality and they cost next to nothing. You get the hard, dark lines of ink mixed with the subtle gradients of pencil. So you can combine hatching with gradients to achieve some really amazing effects.
So if you want to paint with drawing, try this. It also makes small value studies possible on the go.';

'>>7106725
lips with the patented smudge™ all over the page again.

>>7106728
I've been thinking about taking the pen pill just because it could finally teach me the discipline needed not to scribble so much.';

'This one is driving me insane. I feel like I have very little control over the values here. I’ll try again tomorrow. Apart from that, I really need to be more patient in the drawing stage, I always tell myself I just wanna think about value, but then I‘m also displeased with the product. oh well.

>>7107829
I do think it‘s just more convenient than pencil.';

'undefined';

'undefined';

'anyone have tips for studying color/painting? i watched marco whatever already';

'>>7108308
I'm not great by any means, but I've had some success by trying to continuously "embed" lighter and darker values into the painting, and I always start off with relatively desaturated colors before adding more in as the painting progresses

Always start off with the largest possible shadow and light shapes

That, and I always try to make each brushstroke "sculpt" the form';

'>>7108140';

'>>7108487
That’s hella cute anon, do you have a blog or something?';

'Lately have been feeling nostalgic for Vilppu. So comfy, drawing in this way

>>7108487
saved. really beautiful, anon';

'>>7108332
not him, but how "sculpting" in painting works?';

'>>7111649
You have to try it yourself for it to make any sense - and it only works if you have some understanding first of the form / the thing that you're trying to paint, otherwise it'll never look right

I look at the reference and simplify it into the largest blocks / largest planes possible';

'>>7111649
https://www.youtube.com/watch?v=zC3OxonJcXQ&t=16s&ab_channel=SinixDesign';

'>>7111858
>>7111649
This requires a shit ton of skill and observation btw. Don't be mad if you try it and fail miserably, it's normal';

'Painting in digital just feels weird.';

'>>7111843';

'>>7112140
>I look at the reference and simplify it into the largest blocks / largest planes possible
>One million brushstrokes
Try again.';

'>>7112177
You did not just waste 5 minutes of your life by going into Photoshop and putting a Levels layer onto my work just to troll me. You shouldn't have! I'm flattered.
Verification not required.';

'>>7112181';

'>>7112181
>You did not just waste 5 minutes
I enjoyed every second of it.';

'>>7112186
All humans seek to assert their agency by any means necessary - I don't know what your particular predicament is in life, but I'm sure you can apply effort to something else that will also bring that same sense of gratification, but perhaps with something that is also more wholesome and productive (i.e. art).

They all crabbed me from November to January (my last regular posting period here) but it's all just water under the bridge - my will is inevitable and I will not be stopped. It's never too late to redeem yourself.';

'>>7112192
Based, keep it up. Don't be afraid to dip into those darker tones.';

'>>7112192
Do you think I'm trying to crab you? Spare me the essays. You'll get it some day.';

'>>7112198
I'll just fall over and die then.
Verification not required.';

'undefined';

'>>7112198
Ah, but I never addressed the original problem you brought up - you can put duplicate brushstrokes down and it's alright, as long as it's on the SAME plane which had already been established from before - these base planes you don't see in the painting because I'm only showing you the painting at a later stage. It doesn't change the fact that I had already previously blocked the larger planes in already.

Verification not required.';

'Plenty of examples of this by the way - you can sacrifice brushwork and still get a likeness, it'll be sloppy, but it's a looser, faster, and more fun way to get more mileage in, rather than trying to be super anal about your brushwork - you can just focus more on the form.

Not my work by the way, but there's plenty of visible spammy brushstrokes';

'>>7112203
Thanks for clarifying. When you say "simplify it into the largest blocks / largest planes possible" picrel is what I'd expect.';

'>>7112208
A bargue plate that's hatched in with pencil is also blocked in the same way, but you end up with millions of little "brushstrokes" - if I paint in a similar way right now, it's because I'm not pro yet.

Regardless, there are stages that you have to pass through in drawing / painting / sculpture, and I believe shittier brushwork is one of them; it's what I'm going through right now - but if you can still tell what I'm trying to paint from the thumbnail image, then I'm still capturing the 3D form, and the learning process is still happening - but I would have an aneurysm if I worried about brushstroke economy right now because I literally cannot paint with that level of finesse yet - it's like when people critiqued me in the past - it's a matter of mileage over the course of many years, but they always casually bring up the problem like I can advance my painting / drawing skills by decades overnight

Verification not required';

'>>7112208
I can clarify further - you literally NEED a certain minimum number of brushstrokes to get very defined and clean 3D forms - the example you linked is an extremely simplified form of painting (but very important of course to learn) - a pro still needs a minimum number of brushstrokes to render more detail, but they just simply have better brushwork which doesn't show up as much as an amateur's - but what I'm saying is that I'm still putting the strokes roughly where they belong, but there is an esoteric part of painting that can only be unlocked through 10,000+ hours of mileage that I've not reached yet, that allows for that clean brushwork despite the added number of strokes (which is required for more advanced and detailed forms beyond simple still life)

Example in pic related - doesn't my painting currently look like stage 2 or stage 3 of the tutorial? I'm on my way there.

Verification not required.';

'>>7112214
>>7112218
Yeah, I understand, I was being pedantic. Technically, when you're overlapping many transparent directional brushstrokes across a plane you're approaching infinite plane changes and leaving simplification. Obviously, this doesn't matter when you get a read on the whole image, only zoomed in. I agree, brush economy requires a lot of experience.';

'>>7112140
>>7112192
>>7112199
>>7112203
Darker! A limited value range is fine, if you just want to practice painting forms, but the form actually gets lost in some places, because you are staying too light. Have you tried squinting to compare?

>>7112218
May I ask what you mean by „pro“? Not trying to argue, just curious.

While I do agree that economy of brushstrokes is a very advanced topic, which requires a lot of practice, I wouldn‘t discount it entirely, even at the stage you describe yourself to be at. Because in my experience, I tend to lose control of value, when I am too sloppy and loose with the strokes. Because not only do you need to correct, when it comes to a shape made up of 10+ strokes, you also need to nail a value with that many strokes. It‘s almost easier sometimes to simplify ten strokes into one or two and later come back to ‚render‘ it.
Bargue plates actually are a weird example to choose. The whole point is to try as hard as you can to only place perfect marks with the pencil. That‘s why they can take weeks to complete. It‘s a million deliberate and correct marks.

That being said, you seem to have a clear idea of where you wanna go and how, so more power to you. Just don‘t dismiss this stuff too soon, it can be great fun and helpful to try to use less strokes';

'>>7109371
Aren’t you supposed to be running that redline general? I’m sure you can “fix” more artworks.';

'>>7104848
Those are some goofy ass torso and leg proportions. Girl on the far right's far leg is bending like rubber and girl on far left's far leg doesnt connect to the other side at all. You also draw these large yaoi hands. You seem like a beginner, so perhaps re studying Loomis again would be beneficial for you.';

'undefined';

'>>7112707
Very nice! You could push the shadow values a bit more to convex the form a bit better and darken + sharpen the twigs to make the bird pop more in the composition.';

'>>7112707
You should try and add more warmth and accuracy to the shapes and colors in the ref, not sure why you're pushing the cold colors instead.';

'Do I actually learn anything from still lifes?
How do I learn how to render, not theory behind it, but mechanical skill, like I read a little Scott Robertson book on rendering, but mechanically I feel like I just move my brush around here and there, even when I watch pros doing simple renderings I can't understand their idea of why a stroke goes here and not there.';

'>>7113196
What subjects do you learn from?
The idea of the mechanical skill is to put the marks down that communicate the value of any given part of the painting. Subordinate to that is texture, shape, color. How you decide to abstract what you see in the reference is how you want to paint and your style, so get experimenting. This could mean rendering marks across the form, rendering marks along the form, or a mix of the two; 'sculpting' using one big stroke for a shape and then subdividing, sculpting using many small strokes, opaque or not, sculpting like Sinix in that youtube video anon linked, hard vs. soft brushes.

Experiment, explore, discover.';

'>>7108487
mmm whats the reference girl's number';

'>>7112869
>>7112942
Thank you guys';

'undefined';

'undefined';

'undefined';

'>>7116460
nice, it got an airy dark feel to it';

'undefined';

'>>7116260
>massive pale milkers
yeah senpai, i need the sauce';

'Genuinely stupid question. I apologize in advance. I have a learning disability. In short, fucking retarded.

I have been using references and studying for a while now, I think. But I don't know what these terms actually mean.

>Reference
>Have something that displays part of what you need. (pose, cloth folds, head direction, etc.)
>Eyeball it. Do not trace.

>Study
>Like reference, except you use the whole thing
>Do your best to reproduce what you are looking at
>It is not about drawing it, it is about understanding it
>Try to be as faithful as possible. Break things down as you go so you understand them.

Are these correct?';

'>>7119317
Pyw';

'why can't I get better at observation and proportions? I have good control of my line drawing, because I draw every day, but it's frustrating for me to draw observations and never get the ellipses and proportions right. What am I doing wrong? I practice drawing ellipses individually every day';

'>>7119379
Pyw';

'>>7119379
gonna treat this post like it's not bait, because other people might have the same concerns

Observation and proportions take a long time, years and decades later, you can still be improving at proportions. However, to be good at drawing, you need some baseline level of observational ability. The fastest way to get there is to do academic drawing. Bargue plates, plaster cast drawings, still lives, long figure poses, anything where you're forced to observe a single subject for 1+ hours is the best. Force yourself to paint it too. Painting comes down to observing abstract shadow shapes and putting it together, one by one, into a coherent pattern. Spend 7-10 hours on a single study, if you can. This is how you learn to observe.

The worst thing you can do for observational abilities is gesture drawing. Never do gesture drawing as a beginner.';

'Ran out of time for a few things';

'>>7119544
crazy how they all the effort always stops once the tits and pussy are drawn. You have a sludge brain';

'>>7119549
My focus was on the ribcage and stomach, but I'm also a straight man so yeah shocker.

>>7119544
Ref';

'>>7118358
I quite like your drawing, but is it really a study at this point?
You're just tackling the same subject, rather than doing a study. But maybe other anons will disagree with my opinions on what a study is?

Still like your drawing though.';

'>>7119317
>Study
A study is prep work, you're gathering information and sorting out problems before you go and do it in the final piece. Traditional artists do them all the time, instead of possibly ruining their canvas they go and paint complicated parts of their picture on a separate sheet and just transfer it over. They can be broader too, maybe you have a consistent issue with values so you go and do a bunch of value studies to train yourself to see light. Maybe you want to spice up your pieces with some extra color, so you go out and do some studies solely focusing on interesting colors or study your favorite artists' colors. If you want to draw a cute girl wearing a sweater maybe look up some pictures of sweaters and draw them first so you have some idea of how the sweater in your picture is going to look. They're meant to help you figure out how you're going to do something before you work on the final thing, so you don't get stuck.';

'>>7119544
>>7119551
your painting looks better than the ref. good job';

'drunk painting is always so fun';

'undefined';

'>want to get into Bargue plates but don't know how to properly start a drawing
>find a step by step video
>"First, you draw a box..."
>NOOOOOOOOO!!!';

'>>7118358
why did you horribly distort the drawing up and to the right? I get that its a caricature, but still';

'>>7122276
Coom slop painter chronically distorts reality.';

'>>7122557
If you're talking about me, no I dont paint ooom. I don't know anon's other works so they dont look like they paint porn to me.';

'>>7122690
I do';

'>>7122690
I do
>>7122276
Fucked up the gesture, felt there was a slight lean forward but I overplayed it too much.';

'undefined';

'Trying to recreate one of Amano's pieces in my own take
Ignore the fucked up shoulder ball, gonna adjust it';

'>>7123431
Those are some wonky ass ellipses and perspective';

'>>7066454
>>7085479
>>7093093
>>7105530
>>7108140
>>7109073
>>7116260
>>7118358
>>7120562
>>7122276
eww';

'>>7066454
Holy based';

'Anuda study';

'JSS study';

'>>7125593
Nice but you could push those reds on the cheeks and ear a bit more, you went with a more subtle shift but it makes everything a bit greyish.
Overall it’s a pretty good attempt, you also stylized the neck to make it more appealing';

'>>7124861
Why do you call those 'studies'?
You clearly aren't trying to learn anything from original photos. You're just drawing the same thing with a strange small face and bigger ass and tits.
Not trying to shame you for it, it's common and a fun thing to do. But works like that are usually called 'redraws', because they have fuckall to do with studying.';

'>>7125642
>You clearly aren't trying to learn anything from original photos.
>You're just drawing the same thing
That’s how we learn anon, even AI gotta feed itself with refs on its database.
You should try doing it too, no matter how you call it, studying references is always helpful';

'>>7125648
nta but you've been told 1000 times what's wrong with your shit and you show no intention of fixing it or improving. Just go to /i/ if you want to share your scribbles';

'>>7125656
>you show no intention of fixing it or improving
What is your problem?';

'>>7125648
>studying references is always helpful
What did you learn recently?';

'>>7125668
This attitude will bring you nowhere, you just gotta trust the process and have faith you are eventually gonna improve.
What is certainly never gonna help you is no drawing or just drawing from imagination the same subject, limited margins of growth there.
You should look over several months or even years, if you wanna try to look for instantaneous gains you won’t go very far. Nor will you go anywhere with any skill for that matter.
I usually stuck to portrait painting for it’s more simple and has less variables to consider, doing work of this >>7114111 kind wasn’t an option nor full figure paintings like this one >>7085479
It’s not really about what you learn tho but the challenges you tackle, make them increasingly harder will give you more opportunities to learn.
Like it’s much easier to keep your colors harmonious in a portrait rather than while studying a book cover.
Besides you gotta deal with more stuff like what kind of light sources are influencing the picture, is it the rising sun, a lantern or even just the moonlight highlighting the character’s edges with rim light?
Then you gotta think about background, midground and foreground and where the characters and the scenery sit across them, are the figures receding back or coming forward at the viewer? Depending on the answer you might wanna increase the details or leave things more vague.
All stuff you don’t even think about when doing a simple portrait, which is by no means a reason to give up on portraits.
Raw color, proportions and likeness, just trying to get things down without any over complication is a valuable skill tho.';

'>>7125668
Btw here is a written down analysis I did before doing the study, it’s helpful to note down your observation before getting to the actual drawing and painting.

Illustration, light sources, characters, subject.
Place.
Time.

The moment is before crossing the lake to reach hogwarts, there are three characters in the foreground, the MC, hermione, Ron.
Then it’s the towering mass that is Hagrid, in the middle ground.
Then we have hogwarts itself as a black shape against the bright yellow orange dusk on the farthest horizon.

Start thinking more in these terms, foreground, midground, background.
Light sources, is it a lamp, the starlight/moonlight.
Even darkness has its flavours, the darkness from a closed room is different from a new moon’s night.
You get what I mean?

Ok, there is a subtle gradient going from a deep desaturated purple to a more saturated violet, then it switches to desaturated oranges then brighter oranges and finally a very intense yellow glow';

'>>7125683
>>7125685
I want to know what the slop painter learned recently. He posted 10 pieces here, surely he learned something.

I don't know about you but all the lighting/focus things you mentioned are pretty obvious to me with a few glances at a reference. I learn something with every piece I do because I target my references at questions I have or problems I want to solve. There's little to be said about aimlessly 'studying' references you think would be fun to throw your style at.';

'>>7125702
>are pretty obvious to me with a few glances at a reference
Good for ya';

'>>7125705
Okay, I actually looked at the Potter study, I didn't think it was you responding. Can you post the reference? It looks like a good start but things are still left too flat and not indicative of being lit by the lamp. I suggest you finish works before posting them or you'll continue needing 'several months or even years' to make progress.';

'>>7125708';

'>>7125721
Nevermind, I've given you too much credit. When you describe lighting phenomena I expected a screencap from one of the movies not something an illustrator cooked up. I'm sorry we've wasted both our time here.';

'undefined';

'undefined';

'>>7125921
Holy based';

'>>7125921
Do one of Finkelstein.
https://www.youtube.com/watch?v=_bA-rU9UsQo';

'>>7125940
Alright! Thats my study for tomorrow. Thanks anon';

'>>7123742
wip, gonna use this one for ink practice as well';

'>>7126314
Damn this thread is dead, no replies since my last post
Anyways, been slowly chipping away on this one, soon ready for the inking';

'I've started doing, or at least trying, Sam Nielson or whatever his name was course from schoolism, can anyone tell me how bad my 1st week homework is?
I know shadow is meh, I'm planning to read SR HTR book later to learn how to calculate or fake believable shadows, but for now it's my best.';

'>>7125825';

'>>7127560
That’s some pretty neat rendering anon you seem to have a good grasp of form and it is carrying over to how you portray lighting';

'>>7127540
i'm interested in seeing the inked version';

'>>7127540
Sketch done, now on to inking (monkaS)
Gonna use a dip pen, tried a small test run between it and a fineliner, and I like the result of the dip pen better (darker and more varied lines compared the fineliner)
>>7128181
Me too';

'Here's a Doug Sneyd study I did. This is my first time trying to copy another artist like this.
Do you all have any tips or pointers when trying to study from other's style?';

'>>7128387
feel free to just copy pieces at a time, like just the face, or just the hands, or one figure at a time. Copying the whole piece is a good exercise, but you're also spending a lot of time on stuff that isn't his style, like the perspective or the background props.

The second thing is that copying only fragments of artwork will let you be more accurate, and copying accurate shapes + memorizing those accurate shapes is the key to improving your drawing abilities quicker. I think there's really a possibility of punching too far above your level and not learning as much as you could. Try to just get the face, and copy the face 5-6 times, back and forth, like how Jason Brubaker recommends. Just one session of doing that would improve how you draw faces in all your other artwork, from any angle, for the rest of your art career.';

'For whatever reason I like doing still lifes, I hope to learn something from them.
But the teeth of the skull gave me a headache, I tried to imagine them as simple boxes, but they are far too hard for me, at least for now.
I also see that I have done a sloppy job on the edge of the dog's skull, oh well.
>>7128387
I really like your lines, did you have other underdrawings or you just eyeballed the whole thing?';

'undefined';

'>>7062670
Just finished this sketch. The grid wasn't captured by Krita's recording docker, but I did use one.';

'>>7128522
That process makes more sense. And will save me lots of time. Thank you. Specially since there are specific things that I like about this artist art style. I'm really interested in the way that he draws dudes more than in the way the he draws women. So I think I'll do some heads later.
>>7128870
Thanks, I free handed a lot but I'm not gonna lie there are some underdrawings that I erased before posting it.';

'Doing some study to improve as a beginner. I just finished few weeks ago FWAP.

I decided to watch Finch's video on how to study Frazetta. I heard doing those master copies are good to improve fast and efficiently.

Pic related is my first study. I'm kind of proud of this one. I really try to find shapes and not focusing too much on details, trying to kind of make "block" of those details and puting a value on it.

In my second picture, it's my today's study. I don't really like this one. I have the impression that I copied too much the details ont didn't really use the forms.

Should I try to not bother with details, and only trapped them into a shape and putting a value ? Should I take other references with shapes more prounounced ?';

'>>7129783';

'got a little burned out on the memory drawings but I'm back on them.';

'>>7062670
>>7062670
There was a torrent here called "IC-study" years ago with 400 GB of references, books, etc, wondering if anyone has the link, can't find it.';

'>>7128387
flick your eyes back and forth between your woman's face and his woman's face';

'Hey I'm back again this year. Is 26 too old to start learning to draw???';

'>>7131635
No, pick up a pencil and draw whatever you like and work on whatever weaknesses your have';

'>>7131635
If you don't suffer from Alzheimer's yet, it's not too late.';

'clumsy frazetta ink study';

'>>7131855
I need way more practice with dip pen and brush but the medium is a lot of fun';

'Have been trying to get back into the grove of drawing by doing some copies and attempting to do some of Hide's figures.
Feels really rough, felt it especially when trying to do the bigger two eye copy, since I couldn't plant the iris' down in a way that doesn't make the eyes look cross eyed. I also felt it while trying to draw both the copies and then attempting to apply what I learnt to reference images since I seemed when I draw my copy I really mess up the proportions and also just lose some of the energy of the reference image's poses, for example the middle figure at the bottom looks like he's about to fall over and rather than plunging a short sword into someone's back and how I really fucked up his legs too (although that's partly because he's wearing baggy shorts.)
Need to work better at setting the foundations of the drawing (sketching and then doing line art) rather than just half assing halfway through, both for copying and doing figure stuff, although mainly for when I'm doing figures. Been meaning to actually go through Steve huston's figure drawing thing so I'll probably go do that and also start doing cognitive drawing again.';

'>>7131855
Yo this is nice, how long did this take you?
I recon it would take me like 5 hours or more lol
>I need way more practice with dip pen and brush but the medium is a lot of fun
Me too, anon. Me too..';

'I probably tried swinging a bit too high when I attempted to do some cognitive drawings of the figures in the morpho books, couldn't wrangle in the size at all and couldn't nail down anything.
Thought I would be able to bring it back by doing extremely simple studies of the head but it felt like I wasn't really with it in terms of telling myself what to work on and then actually applying it, was just going on auto pilot.
Won't blame myself too much, but I do need to get with the program a lot more next time around and to be purposeful in not only what I should be doing but also what I should stop doing.';

'>>7124861
this is cool, why are there so many haters?';

'>>7132069
Yea four to five hours';

'>>7131936
wrong tag, the croc rendering with a nib took an hour alone >>7132093';

'>>7128387
I didnt who Doug was till you posted this. I actually really like his face so I went and studied also. Cheers!';

'>>7132440
>>7129259
Oh yeah and Dougs little thumbnail sketches were the most useful thing to me surprisingly. This one here for example is what I mean. Just a free flowing and quick idea on the page before the real thing. Try giving it a go if your ever stuck.';

'>>7132093
>>7132255
Nice. I'm personally not so big fan of using the brush but that's probably because I'm lacking the skills needed to use it properly
Both Frazetta's and Amano's brush art is splendid';

'Back in the swing of things, more copies from Huston's book.

>>7102024
>Was there anyone you studied before Huston, which you found really helpful?
Thanks. Sorry about the late reply. Before this I went through most of Proko's free anatomy course, Michael Hampton's first CGMA course and daily figure drawing practice. The courses helped but the 100s of hours of figure drawing helped the most. I like Steve Huston's instruction a lot more.';

'>>7132069
Glad you like it anon, really appreciate your kind words.';

'>>7132069
Also don’t mind them, no one has ever done anything worthwhile without having nasty bugs bothering them. Just gotta persevere';

'Just few more simple still lifes.
I'm not very happy with the results but it's still better than doing nothing';

'Was able to do some hide copies, doing pretty alright with them and also was able to watch the steve huston course and attempt to learn how to do figures, tried to do some morpho studies too but I just ran out of gas.
The only good results that came from today were the copies but when it came to drawing from reference (both applying hide's method on one set of refs and then doing SH's method on another) I just completely bombed quality wise. Felt like I didn't learn anything at all and was pretty demotivating.
Will probably have to go over the Steve Huston course again but outside of that I'm clueless on how to overcome this outside of 'just keep doing it', feels like I'm not really understanding where I'm going wrong and how to course correct.';

'polite bump';

'>>7128372
Meh, wasn't really feeling this one
Got sidetracked by other drawings, but I've finally finished this one';

'Hello frens, I spent a month reading the Richard Schmid book, and I feel like I learned so much. learning to squint was a game changer for me

>>7133305
yeah, drawing from life can be rough. A lot of the time, it can feel like I'm just regurgitating what I learned from master copies, but that's a bad habit. Try going even slower, and blocking things in with straight lines. Anything less than 20 min is too fast, I think, if you want to draw from life properly.

>>7132514
These are amazing

>>7135608
Nice. Shirahama's drawings are so tough to study, but she might be the best mangaka working right now. Incredible skill

>>7129875
>memory drawings
nice. I can tell that you can feel the form really well';

'>>7136975
Oh nice';

'Thank you anons';

'Another still life, this time in Technicolor™!
I hope I have learnt something from this, but the colours were difficult to work with and I got most of the values and shapes wrong, not to mention the dotted texture.
But oh well.
Btw, what's bumplimit here?';

'>>7136975
Welcome back anon! As always, love to look at your work.
Which Richard Schmid book you read?';

'>>7136975
>learning to squint was a game changer for me
Try as I might, I can't get that trick to work for me, I get it, it's supposed to make everything simple and all about values, but it just doesn't work for me.
Stepping away from the canvas, however, does.';

'wip study, 1 hr. deleted and reposted this to fix her right eye.

This is my first time trying to paint in color, so I got too scared to do real flesh tones. Copped out with this, but it was fun.

Portraits are hard

>>7138648
this is a great study, anon. you clearly don't need the squinting technique lol

I'd try to explain it, but I don't think I'm a good enough painter to be giving advice on it. All I'll say is, is that when I first heard about squinting from Noah Bradley and other resources, I never got it either, because it was poorly explained. Schmid explained it in a way that worked for me

>>7137948
Alla Prima 2!

>>7137789
I like it, anon! Bump limit is 300

>>7137235
thanks';

'>>7107829
Back from the dead. Got too busy with phd stuff.
Surely I make a comeback and finally make it.';

'undefined';

'Realized way too late that proportions were beyond fucked';

'>>7067214
Nice, kinda reminds me of R. Crumb';

'>>7139234
amazing, love it';

'did this mostly with a brush and was humbled. Also erasing really smudges ink.';

'>>7140072
probably gonna give this one another shot once my sable brush comes in.';

'landscape studies. the hardest part of these always is getting the subtle shifts in color and value correct without just color picking';

'>>7140452
>5475x3861
fuck. forgot to resize.';

'People who preach about using less strokes normally have gotten that from Med’s Map, and they use heavily textured brushes that disguise a lack of painting skill - what I’m saying is that as a beginner, it is pointless to even try to emulate that effect - pause any pro’s speedpaint 5 minutes in - can you even copy that shit competently and have it look right? It’s literally impossible. Because if I *could* somehow do that shit (i.e. even just copying perfectly a pro’s 5-minute block-in), I would already be a pro.

But because I can’t, all I’m saying is that I can gain much more mileage and experience by *just painting* and getting in as many brushstrokes as possible.';

'I don't really like it, because I couldn't or wouldn't plot the shadows properly, and I have no experience working with color and no knowledge, other than this Sam Nielson lesson, of how it works.
So I feel like I cheated the whole thing.
On the other hand, the first try was fun.
By the way, "creating" a texture when you don't have a visual library is a chore, so I just took one and tweaked it as much as I could. I kind of understand that a texture is nothing more than a series of value changes, and yet, especially when it comes to color, I get intimidated by them.

>>7140072
Is the ink really that pale or does it just look that way after compression?

>>7140452
What this chess pattern here and there is about?';

'>>7141244
By the way, how do I fix my magma sphere?
As much as I tried, I couldn't make it look bright and hot, even though it has a high value and saturation.
Nielson talked about the burning retina effect to make things super bright, like fire or sun for example, but I don't think that's the case with lava.';

'I am trying to get back into paint studies, i think I spent 2 hours on this.';

'Quick study';

'1 hour booty study. Nowhere respectable to post this degen painting so I’ve come to /ic/ for the first time in years. Enjoy';

'>>7140552';

'>>7142570
Thank you king';

'>>7142570
> smells like poop and sweat';

'Well it's not a still life, but it was quick and fun thing to do and study.';

'>>7143444
For whatever reason it won't let me delete my post and I see some terrible mistakes I don't want to see, so sorry, here's a slightly fixed one.';

'following along with meds map';

'>>7143349';

'It's still not a still life, but it was an interesting piece to make, hands, feet and face are meh, but I'm still glad I managed to "finish" it, a month ago I wouldn't have even dared to try.';

'>>7144634';

'about 10-15 min each (though i set the timer for 5)';

'>>7144764
No textured brush, no blending, no smudging, minimal color picking

You have to train your eye to become extremely sensitive to shifts in “is this more (added) white?” “is this more (added) black?” “is this more saturated?” “is this more desaturated?”
And not only that, you have to distinguish the value-changes between these comparisons

Is the apparent value of the color brighter because it is desaturated, or
Is the apparent value of the color brighter because there’s more white or
Is the apparent value of the color brighter because it was getting closer to yellow (or darker because of red)

THEN TRY COMBINING ALL THESE TOGETHER. Because color shifts are never that linear.

Then you get fatigued eyes / just fatigued in general and try to make shit brighter by just adding white, when it was actually getting less saturated, or vice versa, or some combination in between where you don't get exactly shift the saturation + value correctly and the final color-value is still off by like 2 or 3 points.

*By Color-Value I mean when you look at the final value in grayscale, which Naranbaatar recommends doing frequently.';

'>>7146222
new thread';