BOOTCAMP 2: Perspective applied to the figure

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BOOTCAMP 2: Perspective applied to the figure

Postby chazillah » Tue Feb 03, 2015 12:04 am

WEEK 2: FIGURE DRAWING APPLIED

▬ ASSIGNMENT: 296 drawings! (+296 points) (+15 bonus if on time)

    1. 20 drawings: Find ten full-body photos and find the horizon line. Tracing over the photo, locate the structure (especially ribcage and hips, direction of the limbs too with cylinders or boxes). Then draw the photo.
    2. 100 gestures: Draw 100 gestures as ‘stick figures’ (see below) from videos or photography. Locate the horizon in each one and approximate the ground plane. (No floating figures!) Keep your stick figures simple. [Example]
    3. 100 gestures, imagination: Draw 100 gestures as ‘stick figures’ from imagination, creating your own horizon and ground plane in each one.
    4. 25 anatomical drawings, wrapping over form, full body: These should be slower, referenced studies from nudes where you study how the anatomy connects to the underlying structure and perspective (which you practiced in #3 and #4). Look for overlaps and simplify the shapes. [Example]
    5. 25 anatomical drawings, wrapping over form, imagination: Same as above, from imagination.
    6. 10 figure drawings, rotated: Draw 10 frames from a 360 degree rotation video, paying attention to how the major anatomical shapes change and overlap from each rotation.
    7. 10 figure drawings, rotated, imagination: From imagination, draw 10 frames rotating the same pose with the same eye level.
    8. 5 self-photographed drawings: Take photos or video reference of yourself, family members, or friends, from different perspectives, and draw them. Keep note of where your eye level is when you do.
    9. 1 final application: From imagination, draw a full figure in perspective (clothed or unclothed) with a background, applying the concepts from last week and keeping in mind the difference between wide angle lenses and telephoto.
    BONUS: If you draw this final image for the Dragon King challenge, you’ll receive +50 points.
BONUS 2: 50 anatomical studies, studying the major muscle groupings, from reference and imagination!

Assignment Due Date: Tuesday, February 10th

LEARNING MATERIAL
▬ 1: COMMON PROBLEMS
While learning anatomy and proportions are important in learning to construct the human body from imagination, it is useful to first understand how the body is placed in three dimensional space, how form works, and how it can be simplified.

Building on last week’s previous knowledge, we can see now that absolutely everything we draw, including the human body, is affected by perspective.
A common problem for artist is that their figures feel as if they’re floating, wonky, and stiff. Rather than having ‘anatomy problems’, the issues are more likely due to:

    - Perspective: The figure not being drawn in perspective
    - Structure: Not understanding the underlying structure
    - Proportion: Lack of attention to basic proportions and the center of the figure (measure!)
    - Weight: No sense of weight/balance
    - Direction: Limbs have no sense of direction, they’re flat
    - Form: Lack of form and not knowing how it overlaps
    - Movement: Misunderstanding how the body moves or bends
    - Shape: Not communicating the major shapes effectively (anatomy)

Image
When we study the human body with anatomy applied to perspective and structure, we can open the doors to drawing any pose from our imaginations.

▬ 2: LOCATING THE HORIZON LINE AND PLACING THE FIGURE
PERSPECTIVE affects the way we see and draw entire human body. It allows artists to start developing a 360 degree vision of the human body so that we can draw from imagination. Additionally, it will also help artists understand foreshortening and how form and volume overlap.

It helps if there are parallel lines heading towards a vanishing point in your photo reference to study from, but acquiring a skill to approximate the horizon without that help is useful (again, imagine you’re the cameraman).

Notice how different lenses affect how dramatic the foreshortening and pose appear. (red lines are the horizon lines)
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It’s useful to take your camera and go photograph or film family members or friends at different perspectives. This way you can be certain of the horizon line and study how it affects the figure. Even better, try to get them to hold the same pose while you photograph different perspectives. Note the lens on your camera when you do.

I ended up filming a friend’s basketball game, which was very useful for me for gesture drawing as well as understanding how the figure is placed in perspective. Below are the three different perspectives I filmed from and some observations.

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▬ 3: CREATING STRUCTURE IN PERSPECTIVE

Structure will help you determine your overall pose and gesture. It allows us to see the twist of the shoulder, the tilt of the hip, how much of the top of the head or bottom of the chin we see!

The understanding of structure will also help you understand how to apply anatomical form. Rather than just memorizing where and what a bicep is, you will be able to place the bicep in the correct manner because you understand how the underlying structure works.
When observing anatomy in photos or real life, notice the following:

    - The direction of shoulders and hips and how it relates to the rest of the pose (locating the ribcage is helpful as well)
    - The spine and its general curve (Tilting back? Leaning forward?)
    - The direction of limbs; towards the viewer or away?
    - The placement of the feet: Where is the ground plane? How far apart are the feet? How much of the top of the feet do we see? Why? (these questions can apply to any anatomical point)

Creating a mannequin: It’s best to come up with a simple mannequin that you can easily place into perspective. Simple lines can give a sense of placement and space, but boxes and cylinders are especially useful in showing direction.
Below are some (poorly drawn) examples of different mannequins:

Image

It doesn’t matter much what kind of mannequin you create, as long as you can get a sense of how the body is placed in three dimensional space!


▬ 4: WRAPPING ANATOMY/FORM AROUND YOUR STRUCTURE
After you get a sense of placing the mannequin in perspective, any anatomy you study/have studied can be wrapped around the structure. Kevin Chen has excellent demos of this, and Michael Hampton’s Figure Drawing for All It’s Worth goes into specific detail.

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Kevin Chen demo, wrapping the leg muscles around cylindrical form.

(However, it may be better to draw the full body rather than separating the limbs all the time. This way, you can learn how everything is interconnected.)

OVERLAP is very important in communicating which shapes or muscle groups are in front of others. This will change depending on how the limbs are placed and what perspective we are seeing the human body from!

Image

Overlap is key to foreshortening, as can be observed above. When observing foreshortening, think about how the shape of the major muscle group is being affected. It’s usually being ‘squished’, and the overlaps will become more pronounced. Double-checking measurements when studying foreshortening is important, since it will be tempting to create the ‘flat’ version of the muscle groups that you’re used to.

▬5: MOVEMENT AND BALANCE
Understanding movement will give your figures life and expand your knowledge on how the human body can move. Contrapposto can help you understand balance, but I believe balance can be observed decently enough in movement itself.

To achieve this, drawing frame by frame from film is very effective. Here is a list of youtube channels for video reference; there are extensions for chrome to help you scroll through frame by frame.

Scott Eaton has wonderful sample galleries that you can draw from to study how movement!

▬6:RHYTHM, LINE QUALITY, AND INTUITION
With so much emphasis on technique, it’s possible to lose rhythm and intuition in your drawings. Studying from animation and learning about rhythm can help with this.
Force by Mike Mattesi
It’s also useful to ‘let loose’ once in a while and simply doodle and experiment. Keep a ‘shitbook’ where you aren’t afraid to make mistakes (I simply staple copy paper together) and let yourself experiment with the figure. Experiment with what you know, but try to take off the ‘training wheels’ once in a while (i.e, placing the horizon and ground plane) and draw with freedom.

▬7:FURTHER QUESTIONS, DISCUSSION, AND READINGS
- How do lenses affect foreshortening and perspective in the human figure?
- How can you measure multiple figures in a drawing?
- How does proportion “change” depending on the horizon line?
- How can you measure figures at different ground planes?

Recommended readings:
Figure Drawing for All Its Worth Andrew Loomis
Figure Drawing and Invention Michal Hampton
Constructive Anatomy George Bridgman
Dynamic Anatomy Burne Hogarth
Force Mike Mattesi
A list of deviantart stock accounts

Please feel free to discuss or critique the content above, share your own knowledge and resources, and ask questions!
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby normiyagi » Tue Feb 03, 2015 1:32 am

cool stuff Tia. one thing I noticed is that the 2nd basketball pic isn't 3pt but instead an example of 2pt vertical perspective. I'll try and go over this in hangout later today so you can see what I mean. and if I can't make it then I'll post a diagram here. thanks for the effort and try not to get burnt out =)
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby foxfire » Tue Feb 03, 2015 2:19 am

Man, i can see all the effort that has been put upon this.
its very informative to say the least, along with the references and links provided theres so much materials to study.
i dont know if im the only one whos noticing this but the challenges are overkill! im here to say thats a good thing.
because liked you said youre going to make our butts work hardcore. thanks for this and its exciting to see what others are going to come up with.

P.S i see a little typo on no. 4 on wrapping anatomy about michael hampton's figure drawing for design and invention.
i thought you might mean one over the other. or you might mean both books of loomis or hampton's. wich makes sense.
haha sorry i have probs with errors its like some kind of disorder or something.
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby jeremygordonart » Tue Feb 03, 2015 4:19 am

Lots of information, and very nicely organized, thanks so much for all of this! : D
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby chazillah » Tue Feb 03, 2015 9:52 am

normiyagi wrote:cool stuff Tia. one thing I noticed is that the 2nd basketball pic isn't 3pt but instead an example of 2pt vertical perspective. I'll try and go over this in hangout later today so you can see what I mean. and if I can't make it then I'll post a diagram here. thanks for the effort and try not to get burnt out =)


oh dang yeah, come explain *A*! thanks Normi.

foxfire wrote:Man, i can see all the effort that has been put upon this.
its very informative to say the least, along with the references and links provided theres so much materials to study.
i dont know if im the only one whos noticing this but the challenges are overkill! im here to say thats a good thing.
because liked you said youre going to make our butts work hardcore. thanks for this and its exciting to see what others are going to come up with.

P.S i see a little typo on no. 4 on wrapping anatomy about michael hampton's figure drawing for design and invention.
i thought you might mean one over the other. or you might mean both books of loomis or hampton's. wich makes sense.
haha sorry i have probs with errors its like some kind of disorder or something.


Oh thanks for pointing that out, I super appreciate it! and I'm glad it's useful :)
yeah they're overkill, i intend on doing them myself too but i am having the worst time fitting it into my schedule LOL
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Sophie_Draws » Tue Feb 03, 2015 10:02 am

Bear with my stupid but with an image like this the horizon line would be above her as that is where the actual eye level is? Not below?
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby chazillah » Tue Feb 03, 2015 10:53 am

Sophie_Draws wrote:Bear with my stupid but with an image like this the horizon line would be above her as that is where the actual eye level is? Not below?


Imagine you're the person taking the photo.
Do you think your height (eye level) is at her waist, or above her head? :)

That should help you out!

Remember, just because we're looking down at something, it doesn't mean that the height from the ground plane to our eye level changes!
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby normiyagi » Tue Feb 03, 2015 11:07 am

glad you brought this up Sophie,

in this case there are actually 2 horizon lines.
1. true HL
2. false HL aka Vanishing Line

The true one refers to our height above her and looking straight forward (the one above her where the bottom edge of the right wall is going to). This hl is actually outside of the picture plane so don't feel you need to cram it in at the top just because.

The false one refers to the horizon line we see as we look down the inclined plane (in this example, the staircase). The diagonals of the stair hand rail and sides of the staircase all meet at a vp on this false hl/vanishing line in the left picture you provided. the vanishing line you marked in the right side picture should be a bit higher, like touching the underside of her ribcage.

you can have an unlimited amount of vanishing lines in an image as long as the vanishing points they use are parallel to the original vanishing point and horizon line.

if you go to the city and look down city streets that go down and then up, you will find that the street will converge at a hl towards the bottom of the hill but then also converge at a true hl going up the hill (the same hl that the tops of the buildings would converge to).

i hope that makes sense, otherwise I'll have to add that to the list of demos lol
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Thewalkingbar » Tue Feb 03, 2015 5:26 pm

Really cool! I'm not feeling the ground plane just yet, but it definitely feels more comfortable with each gesture.
Btw the gestures aren't simplified enough, but in the future I'll try to make ém simpler. It's just when you start drawing people you can never stop at the skeleton, body is just so fun to draw.
Following what H Sung said in the previous BC thread, I'll try to explain what I learned from this/what challenged me.
- - - - Sooo what I tried to learn from this exercise is how to draw people standing on the ground, instead of levitating/standing on different planes. I went out sat on a bench and observed the people that were walking around. What I noticed right off the bat is the difference between the people closer to me and those farther away and how their feet appear (which should have been obvious without having to observe it) There was a bit more I realized but I don't want to spam, so I'll continue later. This whole section of my comment is pretty useless but whatever. If anyone can explain it in an understandable (for a simpleton such as myself) way please do so.

OOH and btw looking at the picture of the female with the purple dress, I think the horizon line should be a bit higher and also in the picture with the knight perhaps a bit higher.
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby foxfire » Tue Feb 03, 2015 11:02 pm

hey guys . so i need help.
on pictures like this , how do you find the horizon line?
its pretty difficult to see where it is especially if there are no clues to use.
ive been doing the exercises for this week and im having trouble finding the horizon line really. even though i have been doing many of them i still am not quite sure if i have done it right. is there a way to check them?
Image
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby ubem » Tue Feb 03, 2015 11:02 pm

agree with the above posts, mad propppps on putting this togeth!

Thewalk: lulll I can't get groundbeefplanes either, im so lost. Agree wit the purp dress one, horizon should be high. 2poses.jpg lookn boss
Keep it upp!
Fox: iunno i'd like2 know as well. for now just st8 up eyeballin'
Asign. num. 1.
wow much challenge such learn wow
my drawings are (#!*@_!)(#?123
learned: i gotta work on finding le torsos, gotta not use a big 50% opacity brush to draw, art is hard, gotta learn how to draw ground aeroplanes, tight drawings look nice, careful where putting values, focal length is king
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby takemoto » Wed Feb 04, 2015 8:43 am

ok !! so first sorry for the bad english and the ugly images
man !! it is much harder than i thought .. i'm struggling with proportion ,horizon line and even using my tablet ! T_T .... > kill yourself

Thewalkingbar .. i don't feel the ground plane too ..but thank u for sharing your observation really helped
foxfire : me too man!! .. it's really tricky .. even if i imagined myself the camera man i couldn't see the horizon line ..i think by looking to the feet , the head , neck and the chin you can sense the position of the camera . still confusing though T_T
ubem good work keep it up :)


looking through books to learn the proportion
.. did some stick figures

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there is something wrong

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gotta back to work
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Sophie_Draws » Wed Feb 04, 2015 10:01 am

normiyagi wrote:glad you brought this up Sophie,

in this case there are actually 2 horizon lines.
1. true HL
2. false HL aka Vanishing Line

The true one refers to our height above her and looking straight forward (the one above her where the bottom edge of the right wall is going to). This hl is actually outside of the picture plane so don't feel you need to cram it in at the top just because.

The false one refers to the horizon line we see as we look down the inclined plane (in this example, the staircase). The diagonals of the stair hand rail and sides of the staircase all meet at a vp on this false hl/vanishing line in the left picture you provided. the vanishing line you marked in the right side picture should be a bit higher, like touching the underside of her ribcage.

you can have an unlimited amount of vanishing lines in an image as long as the vanishing points they use are parallel to the original vanishing point and horizon line.

if you go to the city and look down city streets that go down and then up, you will find that the street will converge at a hl towards the bottom of the hill but then also converge at a true hl going up the hill (the same hl that the tops of the buildings would converge to).

i hope that makes sense, otherwise I'll have to add that to the list of demos lol

I think I understand what you mean, my perspective knowledge isn’t great yet but that is a help. Thank you :) The hangout was full when I tried to watch so I watched it on the livestream but as Tia’s voice was left out I think I missed a lot of important info when everyone was discussing it.
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby chazillah » Wed Feb 04, 2015 1:02 pm

foxfire wrote:hey guys . so i need help.
on pictures like this , how do you find the horizon line?
its pretty difficult to see where it is especially if there are no clues to use.
ive been doing the exercises for this week and im having trouble finding the horizon line really. even though i have been doing many of them i still am not quite sure if i have done it right. is there a way to check them?
Image


The original picture had some parallel lines on the floor going back towards a vanishing point. You could also use the tiny diagonals in the window to find it :)

Image

If no parallel lines are present in the image, however, it makes it a little harder for us. You have to visualize where the camera is pointing from and pick up from other info in the image. I find it also helps to create a ground plane that feels right.

Image
(Second-guessing myself, I think the HL might be a little lower).

Would definitely practice finding it with parallel lines first to help you get used to it! it takes time :)
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby chazillah » Wed Feb 04, 2015 1:13 pm

Takemoto - It feels 'wrong' for a few reasons:

- You aren't considering what happens above the eye level (we see under the structure...of course this depends on the tilt/turn of the anatomy though)
- Missing the turn of the shoulder and hip. try to think of both as a cylinder or box to help you. (Vilppu really helps with this, or michael hampton). Getting the torso right is very important
- Lacking attention to the center of the body

Compare how you drew it to what's actually going on, the perspective and structure is really out of place!

You can do it! I belieeeve *_* Here's a drawover. I should've drawn in the hip for you but i'm sure you can figure it out.

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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby chazillah » Wed Feb 04, 2015 1:14 pm

I think I understand what you mean, my perspective knowledge isn’t great yet but that is a help. Thank you :) The hangout was full when I tried to watch so I watched it on the livestream but as Tia’s voice was left out I think I missed a lot of important info when everyone was discussing it.


Yes, I'm sorry Sophie...not sure why it got so messed up. I'll try to find the time to compile what we discussed on the livestream and post it as a thread in this forum :) Will PM you when I do!
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Sophie_Draws » Wed Feb 04, 2015 1:36 pm

chazillah wrote:Yes, I'm sorry Sophie...not sure why it got so messed up. I'll try to find the time to compile what we discussed on the livestream and post it as a thread in this forum :) Will PM you when I do!


No worries! If you manage to get the time at some point I’d be so grateful. :)

Here are some figures, there are some mistakes here but I think I’m learning a lot about finding the eye level etc.
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby jeremygordonart » Wed Feb 04, 2015 8:42 pm

Various stuff so far
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby takemoto » Thu Feb 05, 2015 4:41 am

dear chazillah , i can't thank you enough for your comment and explanation .. you are right about every thing , i have a problem to see the figure in simple form ( geometric forms ) . i think my eyes still need a lot of practicing and perception , so i can see and feel the mistakes that i'm making now . i need to practice more , :)
again thanks a lot for your time and effort and every thing you are doing for us ** and thanks for the "drawover " really helped :)


so i did 50 stick figures for now .. and i'll do the rest

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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Sophie_Draws » Thu Feb 05, 2015 3:26 pm

takemoto, I may be wrong but I think the horizon line on the first image should be a lot lower as that is where the camera would be? I can't draw up what I mean because I'm not on the computer, unfortunately. Please correct me if I'm wrong :)
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby jeremygordonart » Thu Feb 05, 2015 10:28 pm

I have two questions:

Will there be a Hangout session on Tuesday ?

Also, is there a plan to have a second bootcamp that focuses on other things? Just curious, because this is an awesome experience so far : D
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby takemoto » Thu Feb 05, 2015 11:47 pm

Sophie_Draws

i think you are right ! .. after reviewing the examples above you can see when the pose looks dramatic i mean looks like " worm eye perspective " thats mean the camera man should be on the ground . i think i got confused :) <i will fix it thank you for correcting me


jeremygordonart

i wish that too .. i think the bootcamp kicked my ass . and i feel like i can learn better and search and work harder .. and people here are very awesome ! everyone correct you , help you , give you an advice and show you how stuff done .. let's hope for it .but for now let's work hard :)


so i did the second batch ! .. i tried to do more action , sport , dramatic poses .. really had fun with it ...yet not all of them are correct ! but i feel i grasped the idea of the gesture :0
still had to do another 100 from imagination

ooooggghhhh scanning is boring !!!! Y_Y
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Lambs » Fri Feb 06, 2015 12:44 am

Hi everyone!

I'm not sure if I have any hope of getting through all these assignments at my turtlelike pace. I guess all I can do is try to learn as much as I can from the stuff I have time to complete.

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I don't think I really got into the groove of this assignment until about halfway through. It was a serious challenge to keep myself from slipping into mindless copying. The gesture assignment is going to be a good opportunity to pay special attention to how the figure's basic volumes relate to the eye level... something I definitely need to practice.

The notes on figure #10 are my noob self remembering to consciously apply super obvious theory. (More importantly, I remembered how to spell "cylinder." o_o)
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby ubem » Fri Feb 06, 2015 11:19 am

Sophie_draws 'Em Drawings look fab, the horizon lines seeeem tiny bit off though in the last three img.(s) iin figure.jpgeg and some of them in figures 2.jpg, some of them have hardwood floors where you can inter-insect them to find horizon. I agree with the duuude with le sword in Takemoto's drawing, looks like it's a little under the right thigh.
Jeremygordonart Awesum drawings, doe I think it would help to find the groundplane on the first set, some of the figures look floaty. Also adding a horizon line to the IMG_00xx's would help with the consistency of limb sizes. nice capturing the volume in the latter sketches.
Takemoto Nice drawings, very loomis, much express, wow. some of the ground air planes don't quite match up with the horizon line.
Lambs Lookn really good, keep it up! in some of them it seems the hands are a little neglected.
awesome twerk everyone!
took me a couple days just to do 30 lawl I'm super slow
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby takemoto » Sat Feb 07, 2015 5:04 am

ubem : thanks man , you are right some of them are off !! and don't match with the ground plane, i will try to fix them ... you are doing very good too but you need to do more ! more! ..


so i did 60 gesture drawing from imagination = what i was doing all the morning ,.
man !! that was hard and fun at the same time ...
some of them out of proportion and they look like animation ! = drunk stick figures ... any way i tried to avoid stiffness and think of poses look more fun and a live .. the only problem was the proportion !

aaaggggh i'm tired T_T

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Last edited by takemoto on Sat Feb 07, 2015 8:21 am, edited 1 time in total.
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby foxfire » Sat Feb 07, 2015 7:45 am

i have noticed that i am not posting any WIPs
and thats kinda stupid cos i joined here in order to have feedback on my works.
heres some.
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i find it difficult to wrap around some of the most intricate forms like the elbow and the muscles.
i have only done anatomy studies like this a few times. and iam starting to realized how i suck at it.
i think thats a good thing. im just gonna keep doing it until it looks good.

@takemoto
those are awesome imagination gestures ! compared to mine , mine is sloppy . my mind draws blank whenever i go to imagination. and i dont know why.
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Lambs » Sat Feb 07, 2015 12:21 pm

foxfire - Poses from imagination are tough. Sometimes what helps me is to think about what kind of action I want to show. Is the figure trying to kick a ball? Swing a sword? Reach a box on a high shelf? Every action has a purpose, and every pose should show intent.

Another thing to think about is what the figure was doing a second before the pose, and what's going to happen a second after. Did she shift her weight to a different foot? Stretch out and reach for something? Twist her body to face what she's looking at?

Now watch me ignore all of my own advice when I post my gestures. ;_;
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby H.Sung » Sun Feb 08, 2015 1:27 am

4,
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5.
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3.Image

A bit unorthodox advice but I think drawing water bottles from life will help you draw better figures. A bit of carry over from bootcamp week 1, but you can bend and twist the water bottle and study foreshortening and overlap to apply to the human torso. + it has the contours clearly marked out as the wrapper and indentations.

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-------------------------------------------------
I agree with lambs, before drawing figures from imagination find a purpose or concept and also try to determine the perspective (eye level, and 3/4 view? front view? back view?) before you start drawing. The stronger the concept the more confidence you will have drawing the pose from imagination. I also recommend studying sports videos, and exercise videos that Ubem seems to be doing. Those are some of the best, because they go through a lot of the basics of human motions like steps, squats, pushups, jumps, as well as stretches.
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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Peninsula » Sun Feb 08, 2015 1:19 pm

Thewalkingbar: Great focus on the ground planes. It rises your sketches instantly when you get it right.
Ubem: You had some serious problems locating the perspective of the lower leg in your first images. Remember that one would se the upside of the box when the horizon line is higher. Although it seems like you got better and better at this. Well done
takemoto solid handling of the weight in you stick figures :)
Sophie wow great linework. You seem to master the outline approuch when studying from pictures
jeremy: Sweet construction method man. I used your cylinder based method myself in some of the sketches. It really gives another look than if one starts with boxes. Interesting.
Lambs: great to see you're taking notes alongside your drawings :)
sung: Charming animation. That must have helped you a lot seeing the body from unorthodox angles to understand its anatomy.



The one hundred gestures from imagination. Sooner or later I'm going to do a review of these myself, uncovering recurring mistakes, and try to find solution to those. But I'd love to hear opinions from you guys too. :)

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Re: BOOTCAMP WEEK 2: Perspective applied to the figure

Postby Lambs » Sun Feb 08, 2015 5:22 pm

Image

I want to take a second to highlight The Collective Podcast, which I found thanks to chazillah's Tumblr post. I can't exaggerate how great it is to listen to insanely skilled artists and industry legends share their insights in epic wide-ranging conversations about art and media and life. I put an episode on every day at work and it's wonderful. I have to say, it's lit a hell of a fire in me to improve.

Thank you so much for posting about this podcast, Tia! :D


ubem - True, true. I tried to be a little more consistent with my mass concept of the hand in the gestures I'm posting below. I've never actually taken the time to grind out a bunch of hand studies like I should. I'll definitely get to that at some point.

H.Sung - Wow, putting me to shame here. I'm going to study the way you simplify your figures. It's really effective!

Peninsula - Yeah! A few months back I saw how many notes Alex Negrea takes for his studies. I did a little of that before, but ever since then I've made it a regular habit. I think he's on to something there. The notes really help things stick.


So I finally finished the 100 gestures. Ugh, so slow.

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