rezzealaux's sketchings

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rezzealaux's sketchings

Postby rezzealaux » Sun Feb 15, 2015 12:14 am

ohio, thank you for stopping by

i wanna git gud at drawing people and environments
i've only ever drawn spaceships from imagination in bad isometric
more intermediate goals are "do better this time than last time", and "take less time off between this time and next time"
it'd be nice if i could get paid to draw in the future, but to me it's basically a replacement for videogames, which are all bad these days.

came here seeing praise of it from /ic/, read something i don't entirely understand about CA's sketchbook/community not being so good? i see it mentioned here and there in some sketchbook openings too. in any case i'm here for a sketchbook-based community sort of thing.

some random things since starting up more seriously. i'm nowhere near as dedicated as some other beginners (no 6/hrs day, no specific schedule), so there's not actually too much missing from here. 6 attachments here out of 19 i have in my folder.

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(Jan 21-24)
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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Wed Mar 11, 2015 6:58 pm

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby Palladium » Wed Mar 11, 2015 7:31 pm

Welcome to Permanoobs rezzealaux:D Keep posting:D
Draw draw draw

Draw draw draw

Eric needs to DRAW DRAW DRAW

-DO NOT CLICK THIS

- DA
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Re: rezzealaux's sketchings

Postby rezzealaux » Tue Apr 28, 2015 10:03 pm

03_15-x_15.jpg
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04_05-10_15.jpg
The first one was studied from a reference that had sphere/cross already drawn on top, second one was I believe only a sphere. The rest were from normal, naked reference.
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04_11-x_15.jpg
First one was study, rest were attempts at creation.
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not shown: several files that were a bunch of reference images with traced and modified bits in attempt to figure out how various parts of the anime head works - or specifically, how it differs from [my understanding of] normal 3D perspective of anatomy and the Loomis method.
[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby caseylarae » Tue Apr 28, 2015 10:33 pm

Welcome to the forum, buddy! Do you take those notes for your own reference on later pieces?
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Re: rezzealaux's sketchings

Postby rezzealaux » Tue Apr 28, 2015 11:02 pm

@Palladium - Thanks!

@caseylarae - That's the idea, though I haven't really had to read them yet. So far they're there mainly to clarify to myself what I was thinking at the time.

Like construction lines, only they come after and not before.
[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Sun May 31, 2015 5:17 pm

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After 04_28 I thought I'd try something bigger again, but getting to the point shown on 04_30 took something on the order of 10 hours, which after I woke up the next morning dawned on me that unless I started doing something different there was no way I was going to ever shrink it down to the order of 10 minutes, which I imagine is approximately how long it'd take better artists to set up that much. So I started trying out gestures again. I'm not entire sure I have the right idea since 90s gestures I'm sometimes unsure of what I'm doing near the end and with 120s it's almost certain that the final 15s is sitting around waiting for the next image to show up, but I definitely learned while doing the 30s and 60s's.

Didn't finish filling up the 05_10 file. Did it for like 3 days until I ran into a big mental block with feet and couldn't bring myself to just try something else to switch gears; came back to it after figuring something out a couple days later, and for the rest of the month I didn't practice for burnout-unrelated reasons.
[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Sun Sep 13, 2015 5:24 pm

been a lazy bum

cutting up images now because working in the same humongous canvas feels really comfortable for some reason, and resizing the whole thing just makes everything on it too tiny. i can't go larger anymore though; SAI has an upper limit of 5808x5808 pixels for some reason.

stuff is starting to take form and make sense just by doing it now. measuring things out seems to give a decent initial idea of what should exist, but i find it's helpful to think of them as proportions that "happen" to be true, as they make everything feel clunky, slow, and ultimately look wrong in a few places if you "forced" them as a starting point.

basic anatomy is something i need to force to begin with though. i'd do more gesture, but i can't think much at the 60-90 second speed and everything turns out to be frantic cylinders and noodles rather than anything that i can feel helps me practice efficiency or capturing essence.

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby Aestechnics » Thu Sep 24, 2015 11:36 pm

Agh, sorry I got to your SB late after you posted in mine. Anyways, that level of analysis you bring to your studies is seriously impressive - are you doing all of that in a single session or day? In my personal experience it can be very difficult to memorize anatomical details long-term if you swamp your mind with too much at once. I'm not sure how you review your notes or test yourself but that can help counter the natural loss of memory that occurs.

As for the studies themselves, I have no idea how you were able to systematically break down anime style like that but it's damn interesting to read. The natural flaws of study like that is that anime (and all forms of stylization) is essentially visual shorthand for reality. You could compare it to the translation of English writing to text speak and abbreviations. Now by copying and taking your own stylistic influences from mostly anime, you are getting all of your information from a second hand source on reality, and you might not understand some of the reasoning behind the visual decisions these anime artists make as a result. It would be like attempting to learn English just by studying people's phone text logs. I'm assuming that based on some of the notes in these studies I'm reading, specifically in the pages on noses / eyebrows and dynamic head angles.

This is pretty much why people advocate that even if your end goal is super stylized illustration, that you begin by studying from life and taking that information and stylizing it yourself. Look, I am definitely not an academic realist purist (I'm more like a closet weeb TBH) but at some point to take any sort of stylized art further, you gotta go back to life and figure out how the real human body and face works, and use that information for your own needs.

I will say, if you want a super easy and quick way to reference anime faces from different angles, check out http://myfigurecollection.net/, pick a figure that looks cool to you, look through its picture gallery, and go nuts. Obviously figurines don't perfectly correspond to illustrated faces but it might help.
Hope that this post didn't sound patronizing and that I could help a bit! Looking forward to seeing more art soon.
"I have been impressed with the urgency of doing. Knowing is not enough; we must apply.
Being willing is not enough; we must do."
- Leonardo da Vinci

Sketchbook here! Would love to get any criticism or feedback you have!
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Re: rezzealaux's sketchings

Postby rezzealaux » Thu Oct 01, 2015 10:34 pm

@aestechnics - Thanks for coming! Don't worry about "patronizing" me. I love your sketchbook and your own written thoughts; the feeling is mutual.

I regret to inform you I am nowhere near as studious as you. The files/images here are named based on their start and end date; if they don't have a second day then I did it in one or two days, if they have an X then I didn't work regularly on it and took too long to fill up the file. There's a lot of gaps in there if you look hard enough - or just at my posting intervals.

It was indeed difficult learning just the main visible muscle groups, I've gone through the whole body what feels like three or four times now and I still only have a general understanding of the big ones - I have no idea about the Teres-es or the Erectors, or anything going on in the forearm. I'm not sure how else to learn anatomy though. From how art classes and books seem to structure it they teach you everything about one part of the body at the time, which certainly is ideal for the format of a class (sessions) or a book (chapters), but a fully real torso or a fully real leg with no knowledge of anything else feels useless to me. So I'm just running around and building what seems like the next most essential piece every time.

I have heard the thing about studying real stuff over anime, and I agree with the idea. I've heard exactly the text message analogy before, but I forget from where. The original reason why there was a bunch of anime face studies was because after 02_06 I got extremely confident about my ability to draw realistic faces and thought I understood all the basics I'd "need to know" about it. Obviously I didn't (and I figured this out the moment I tried to draw a non-thumbnail sized "realistic head"), and it seems like there's always another thing I thought I knew to some given degree, but it always turns out it was really wrong in at least something - but then again that's true of everything. I tried again doing it in the images I'm uploading this time, but found it basically impossible to really study or make a realistic face without going into rendering - which I have neglected so far, though that's now up next.

As for anime figures I have a few that I've used, though beyond perspective and pose I haven't found them to be much help. Anime faces really don't work in real life well, where every last dependency is laid bare in 3D rather than left in an ambiguous "skin colored face area". They have logic behind them for sure, but figures are for whatever reason unable to fully capture it.

=== === ===

I think I figured out gesture this time. Maybe. I've been told it's just block-ins, but so far it's the only thing that I've done that captures a sufficient amount of essence within the ~<5 minute range.

Had to cut this file up into a bunch of pieces because of dimensions soft limit and size hard limit. Maybe I should save at a lower quality? It's unclear what makes a file size larger, some of the smaller res images were actually a lot larger in file size for some reason. Images are still in order of execution though.

Gonna have to start setting out times to practice certain things, since that list of things has grown much greater than just "big circles and long lines", and especially since taking on rendering next means I could otherwise be neglecting figures for a while as a "main" focus.

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Tue Oct 20, 2015 8:45 pm

I got a job recently for the first time and I do not like the idea of working 9-5 at all. Technically a part time intern, actually regularly doing 8-6, and all I can think about is how my job literally only exists because it is only barely financially a better decision than having someone sit down and program the CAD program to spit out the drawings automatically instead, and how the final price the customer pays for the things I'm making CADDs of is almost always at least more than 100% more the price we sell them to the distributor for - at ridiculous dollar values I didn't even know was possible to be spending on this kind of thing.

Any number of dollars can be gotten per hour, but there are only ever 24 hours in a day.

I don't want to do 9-5/8-6 for the rest of my life at anything. Waking up that early and doing work about that much per day is probably unavoidable, but solid blocks of time to one thing, under HR, under someone else's payroll, at someone else's place, getting paid at scrap rate for something I really don't care too much for? That's probably somewhat avoidable. I understand why a lot of people do it, but I don't need that. Even for safety margins, I don't see much of a point. What's the point in having enough money to buy health insurance for when you get sick, if all you're really doing with it is making sure you can still go to work? If I must die, then I guess I'll die. If all I do with my life is make someone else (who?) money, what is so important about living? Traditionally the answer is family but politics and culture discussion aside I don't really have my own and it doesn't look like I will have one so it doesn't really matter, and being stuck in front of a computer for 8-10 hours a day 5 days a week cranking out CADDs ain't about to help change that either.

I spent the week before and the first week of work too anxious/tired to really draw, but from this week forward I'm going to make sure I draw every hour I'm at home. I don't live alone so I already have the conveniences of not making my own food, doing own laundry etc. so there really is no excuse. If Akiko Higashimura could do it while working at a call center, I should be able to eke something out. (If you haven't read "Kakukaku Shikajika", go do it.)

It was basically a joke to me before, but freelancing porn commissions doesn't sound too bad now. If it means I can do something more related to what I like and have some control how many hours on which days I work, it's better than anything that doesn't have those qualities.

I am going to be trying to get known to some non-nonexistent level during my time at this internship/job, and the best option available to me as far as I can tell at the moment is animu stuff. Have to move the schedules up on learning composition and some other things up, and the schedules for realistic rendering etc. down. Obviously still studying and learning stuff (I still really don't know what it means to create a full original piece), but now the need is greater and the time/energy is lower so I must be more efficient with it.

Below is something I did earlier, but am probably not going to be filling up or continuing for a long time, so I thought I'd post it before I forgot about it. Left is referenced, the others are imagination.

10_03.jpg
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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Sun Nov 08, 2015 7:02 pm

Was copying/studying some faces and I noticed that some of them shared approximately the same proportions, the same camera angle, and lighting scheme, so I put them all together.

Still drawing in the October 3rd file, mostly because I'm a lazy bum. Will post that whenever that's complete.

Initial Four.jpg
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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Sat Nov 14, 2015 10:34 pm

It appears I can't actually avoid "realistic rendering", so I'll have to fiddle a bit to see what's wrong with how I've been thinking about it. I forgot to turn them back on, but the eye at the top right of the second file here had like some stupid number of layers and masks to achieve a worse overall result than the rest of the rendered eyes which were done in three or less plain layers in a small fraction of the time.

But that seems to be an ongoing trend. I can't really trust my judgement on how long something will eventually take me because the gains are just so large. The five heads on 04_30 took me, for whatever reason, about two hours average to do each ones' lines, to a wholly incomplete state, whereas now it takes me five to ten minutes to lay out all the major parts of a head, maybe another five to ten to place the pupils if it's difficult, and then the rest of the hour to select parts for simple rendering and make some lines heavier. Just on the time it takes to do the same amount as in 04_30, that's an efficiency increase of like 4000%. How does one plan for or forsee the effects of something like that?

I think it's better to have a goal than not; I feel more motivated to continue regardless of the result because I have a more concrete idea of what I want out of drawing besides just "git gud". But what I "should" do seems more unknown now as a result. It used to be a given that as long as I was drawing, I wasn't wasting time. Now that it's much closer to a given that I am drawing, and because most of my day/week is taken up by work, I have a much greater need to know what exactly it is I should work on next, and to what level of competency before I go onto the thing after that.

Might just be that accurately knowing what I "should" do next is actually just a luxury based on chance. Even if others tell me their opinions, it's by definition impossible to understand what's unknown; I can only go on my gut feeling of what is the next biggest move to make inside my interpretation of their words.

10_03-11_14_15 A.jpg
backs are hard. still don't get it.
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10_03-11_14_15 B.jpg
gave me the idea to render with sharp-edged regions of three~four tones
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stopped rendering faces/heads because it felt like just a fun thing rather than pushing any new boundaries
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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby chazillah » Mon Nov 16, 2015 12:15 am

Hmm

I'm going to suggest that you take a step back, draw more (no rushing), and take less notes.
Note-taking whatever your'e reading is good, but drawing is also a muscle memory thing and if you take more notes than you draw, you could stagnate

so, if you're working through an art book or loomis, I'd read the text and then put huge effort into copying/studying the examples. maybe write down the occasional piece of info that stands out to you?

not sure what your goals are, but I just feel like you need to be doing something different to push your drawing skills
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Re: rezzealaux's sketchings

Postby rezzealaux » Mon Nov 16, 2015 8:27 pm

The muscle memory thing for sure I need to do more, it's clearly one thing to understand it in my head and another to understand it in my arm. And I don't need as many if any notes for that now (at least for figure drawing); just a differently colored line here or there will be enough.

I feel like I should be doing something different too. I think the biggest one is that I basically haven't attempted anything original.
[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby Aestechnics » Fri Nov 20, 2015 10:56 pm

I've faced this same issue before, so I'll pay it forward and give you the advice that helped me: do not be afraid to do original work.
Okay, to elaborate on that pithy statement, it's really easy to get frozen in the cycle of repeatedly studying, taking notes, essentially being a great art student - but what's the point of continuing and continuing to be a student if you won't ever graduate?

Often, we think that we should be learning fundamentals so we can finally execute the paintings and drawings we want to create, but in fact, it's the OPPOSITE way around. By forcing out those original paintings and drawings, you're learning and testing your knowledge of fundamentals in a way that helps you memorize and target what's important.
This is using the "testing effect" to your advantage, where testing your knowledge actually assists in long-term retrieval and memory more than just plain studying. The efficacy of active recall in learning has been well tested and studied in the scientific literature, so don't just take my word for it either.

However, just doing studies often looks (and feels) more effective in improving your skills in comparison to struggling to conjure something out of imagination, so how can this be? In actuality the benefits of repetitive plain studying are most apparent in the short term, but they fall off very quickly in the long term. Active recall requires more effort and fails a lot more in the short term, but maintains memory in the long term. Of course, you shouldn't just stop studying and copying from masters, that's still totally necessary in your artistic development. But you have to mix in original work as well.

I'm still a bit anxious about my original work, since it looks way worse than any studies I do (for obvious reasons). But once you get over the initial fear and do it, you'll be surprised by how anti-climactic it is. Honestly, the worst thing that could happen if you try to do something from imagination is just that, well, something crappy pops out. It's not the end of the world to make bad art, and it certainly doesn't make you a bad person for doing so, so why not try it out?
I hope that this post will be useful to you, keep up the good work!
"I have been impressed with the urgency of doing. Knowing is not enough; we must apply.
Being willing is not enough; we must do."
- Leonardo da Vinci

Sketchbook here! Would love to get any criticism or feedback you have!
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Re: rezzealaux's sketchings

Postby rezzealaux » Mon Nov 23, 2015 12:09 am

@Aes: So I discovered when I did go and attempt figures from imagination. After forcing several figures out and going back to studying I felt like I could suddenly see a lot more to capture, probably because when I attempted to do things from memory/imagination I found myself caught with my pants down and unconsciously I didn't like that one bit. Maybe "see" is the wrong word, "Notice" is probably closer; in any case I was willing to try out many more relationships between lines, curves, and shapes to build things than before.

While doing that I found a mental block I didn't know I had until I got past it just now: when figuring from imagination I consistently tried to come up with what I thought was an "original pose", rather than "what could someone be doing". After I stopped restraining myself from "referencing from imagination" and started simply jamming random simple personality traits and actions together, it felt a lot easier to do.

It also made me start seeing what comes out of my pencil/stylus as potential structures to final pieces (instead of just random who cares practice scribbles), and I'm now mentally comparing myself to better artists. Hopefully this will sustain my goals needs for a little while.

11_15-22_15 A.jpg
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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Sun Dec 06, 2015 8:40 pm

Been drawing a bit in a physical sketchbook at work too, but too lazy to hook up a scanner to upload those. It's helped visualize some problems when I'm forcing myself to conjure from memory when my mind was on a complete different track, but at least initially it's also made me lazy when I get home, since I can easily skip by convincing myself "I've already drawn today".

Also figured out why I was having filesize issues; I had been forgetting to change the resolution to something less than absurdly large before uploading.

Forgot to turn a layer back on before saving as image; was basically highlighting a change I made after/on the first one in the D file to visualize the initial shoulder width setup as "collarbone width" rather than "deltoid-to-deltoid width"

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meiya comparison.jpg
can color really hide a bad drawing?
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Meiya Ref 2.png
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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Fri Jan 01, 2016 12:07 am

Turns out I really don't have an easily accessible camera, so I just used a tablet camera instead.

A decent amount of the physicals precede the digitals; should be obvious enough where there's overlap. All physicals are either from imagination or memory, except the second page, where everything below the line was referenced. Omitted are pages with majority motor practice.

Also not shown are a bunch of traced/semi-traced images of real/CG faces to figure out planes of face; the results are here a bit but I couldn't figure out how eyeballs worked with real/CG faces (I did finally figure out how eyebrows work though, and the logic transfers cleanly to animu faces) and all in all it looked like a pain to proceed any further in that direction without rendering, and I am a lazy bum so I am marching in the other direction for the time being.

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Fri Jan 01, 2016 12:10 am

There's a 10 attachment limit per post, who knew.

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Sun Jan 17, 2016 8:17 pm

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TA = "Trace All", appears to bottom right; TD = "Trace Detail", appears to top right.
The TI I originally tried on my own and then decided to just trace the contour and figure out the anatomy afterward.
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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Sun Jan 31, 2016 9:13 pm

Felt like I did more than last time, but the volume disagrees, so I guess I'm wrong.
Probably because I watched 2.5 2 cour animes and spent quite some time modding a game, but also basically drew all of this batch's stuff in a few days.

Found my old big unnecessarily all-in-one doohickey from college; I think I'll get a desk scanner.

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby Aestechnics » Sun Jan 31, 2016 10:40 pm

Phew, the amount of drilling and deliberate practice you're doing is nuts. I don't have the concentration to maintain that, at least, so hats off to you.
You can probably guess what I'm going to say next, but really, just try drawing a full figure from imagination with all that knowledge! You mentioned attempting figures from imagination earlier, so just continue to do that regularly. Maybe once per every sheet of studies, to apply what you've learned quickly. Doesn't have to be in an extremely difficult pose or have a fully drawn background or any of that stuff, just keep it simple.
"I have been impressed with the urgency of doing. Knowing is not enough; we must apply.
Being willing is not enough; we must do."
- Leonardo da Vinci

Sketchbook here! Would love to get any criticism or feedback you have!
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Re: rezzealaux's sketchings

Postby rezzealaux » Sun Feb 21, 2016 11:20 pm

@Aes: I don't remember particularly, but I think the two torsos I attempted from imagination in the Jan 01~17 bunch and some attempted copies I did with full-figures from some super-perspective shots in Prison School (not yet uploaded) pointed me to some major things I really had no idea how to do yet. I do think that full figures from imagination is still the big thing I need to do, but forcing it seemed pointless. I stopped trying to do "gestures" for the same reason; one time while watching a Villpu or some other New Masters Academy gesture video and the guy said something along the lines of 'if you know perspective and anatomy, learning gesture is easy, if you don't know perspective or anatomy, you should probably go do that first'. It's written in the notes here... somewhere.

This past month I've been redoing everything from top to bottom from imagination/memory. I was previously studying things almost exclusively just by measuring and not really thinking, and even then really only 2D shapes. If it's possible to copy/measure something into 3 dimensions I don't currently know how to do that, so this is what I did instead.

There was some referencing/studying here and there, mostly with the forms of the "hip" region. Not really sure what to call it? It definitely wasn't copying. Took good looks at several pictures that showed what I wanted to understand and then tried to recreate it. The rest was fudging things until they looked nice.

There's some things I can't seem to figure out unless I trace and wireframe them or otherwise overlay my attempt on the original, so I'll have digitals next time. After spending the past month exclusively on paper, it feels really different. I don't really like it. Since the tablet area is so small, but it's mapped to a larger visual area on the monitor, I'm basically forced to draw larger so I can actually detail things without zooming in a bunch. Probably amazing for painting or more complicated stuff, but for figuring out basic shapes and forms with lines I think I'll stick with paper from now on. Doing things small and having the thing actually be small feels good for that sort of thing.

Oh yeah I just found out that my scanner only scans 8.5"x11" and my sketchbook is 9"x12", and all the desk scanners out there are either single-sheet feeds or are otherwise limited to Letter or A4, so I dunno what I'm going to do about that. 9"x12" doesn't seem to be an uncommon sketchbook paper size.

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby nicboone » Mon Feb 22, 2016 7:12 pm

Hey Rezzealaux!

So, its pretty apparent you are going for that stylized look, and I really like seeing some of the perspective and anatomy studies like the top down angles in this one: http://permanoobs.org/download/file.php?id=60143&sid=fe7b62f19b25145160ffdbc41faf44fa

I have two excersizes that may benefit you greatly if you want to pursue that;

The first is to pick up some pens, and start doing these in ink. Its great to know the shapes to "construct" the image, and may people use colored pencils for that very reason of exploring and construction first- but working in pen will train you where you are making things wrong, and to get it right the FIRST time, forcing you to do a lot more, carefully and quickly. People who work in pen for studies like this tend to see pretty dramatic improvement quickly, even if for a while it is an incredible struggle and frustrating as hell.

The second is something I am currently doing that is called "base 5" A friend of mine Brian taught me this one. Basically, you take 5 images, [5 heads, bodies, or whatever you want to be able to draw], and you grid the image as a square or rectangle. Ideally, you want to place the top and bottom of the figure or head directly at the end of the said box. Then, you set a timer for 2 minutes, and you try to draw the "anchors" or masses of the image. So instead of drawing the eyes, nose, or what have you, you simply place a marker for the general shape and space that area takes up. You do this hundreds of times, and eventually you draw your own grid, then you remove the grid, then the box. Then you start to work faster, setting a timer for as low as 15 seconds. Its ok to go back to the grid to check yourself as well. This will eventually train you to be a bit more confident, and by extension "lazy" and be able to see the finished drawing simple by placing those things quickly and exactly, without having to finish the drawing to know if its going to be good. But, here is the most important part- after you do them and get feedback, you must throw them away so that you can develop the attitude that these mean nothing, and you can always bust it out again. If you see something wrong in them, correct them!

Ive been doing this for around 3 weeks now and have seen amazing improvment on my portrait drawing skills and ability to work faster. If you apply that study to whatever style you want, you will be able to default to making an image in that style with great ease, and have something to fall back on if you get lost in a drawing.

Keep up the vigilant work man!
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Re: rezzealaux's sketchings

Postby rezzealaux » Tue Feb 23, 2016 7:20 am

Hi Nic, thanks for stopping by.

I've heard of the pen-instead-of-pencil thing; I might start doing it for things where I am already somewhat confident with what's going on. Do you have any pen recommendations? Preferably one that's a replacement for a 0.5mm pencil?

I can't say I fully understand what you explained for "base 5". I got the general shapes over specific finalities, but I don't see where "5 images" comes into it? Is it 5x2D projected faces of the same 3D box, like different numbers on a die? Or is it just do five at a time before throwing it away?
[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby nicboone » Tue Feb 23, 2016 10:59 am

Honestly, any pen works, including the large packs of ballpoint pens you can get for a buck. For quick things I tend to just burn through those. Alternitively, microns and other felt tips are good because they lay down the same tone no matter how hard you press, so you lose the "building" you get and want to avoid. I think my fave is the "Zebra Air Fit 2 + S" In black. Thing is suprisingly awesome, and gets some amazing lines that work for both tiny precise stuff and thick bold lines.

So to answer your question about base 5; it is 5 2d images that you grid out in their own separate images, 5 of the same person from different angles. so its studying 5 different images. each image of the 5 angles you chose of that character should be repeated hundreds or thousdands of times, until you can draw it in 15 seconds, from memory, and get a feel for what the drawing will look like before you even finish it.

you get the same person's [or character in style] head/body at 5 different angles- straight on portrait, profile, a 3/4 veiw, and 2 extreme views. you want to make sure the top of their head and bottom on their chin touches the outside of the box. when you grid it, you will notice something about how the features are laid out on the head too- in the non extreme views, the eyes fall on or very close to the center horizontal line, every time. But on extremes, the placement changes.
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Re: rezzealaux's sketchings

Postby rezzealaux » Thu Mar 17, 2016 7:12 pm

forgot to mark, but basically everything on C is ref/copy.

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Sun Apr 10, 2016 2:27 pm

Didn't upload last week because I was in the middle of a cycle and I thought that based on my output I'd have finished another cycle by today. Turned out it wasn't the case, I basically didn't draw this week at all, and I thought if I didn't upload something I'd end up forgetting about this place. So I'm uploading the majority of what I had by last week and dating it for last week.

This week I spent a lot of time at home working on stuff for work that'd improve everyone's' working conditions if implemented, and impress my boss's new boss, who has seemed significantly more competent than the last one. Unfortunately when I presented the goods it was pretty apparent he lacked the ability to recognize initiative, and told me to go and make all the structural changes he wanted, with no change in workload, time, or resources. Also unfortunately I'd never heard of the concept of BATNA before, so I've spent the rest of this time sulking.

But I should be back to drawing normally this week. I'd discovered this previous cycle that I basically produce the bulk of my volume on weekends, and also realized that if I work even at a quarter efficency during the week, if I just make myself do that quarter efficent drawing every day of the week, that still increases my overall output by 50% - and it reduces the amount of backtracking I need to do, which has been going up because there's so many things I need to know that I haven't gotten enough grounding in to have fully memorized. That idea is enticing enough to me to overcome my laziness. It isn't enticing enough to overcome my desire to not work at such a shitty place, so I'll probably still spend some of my own time making improvements for work.

But I need to be sane to do that.

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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Re: rezzealaux's sketchings

Postby rezzealaux » Mon Apr 25, 2016 10:21 pm

I wonder how I can get more out of a day? Doing no overtime is one thing, but I'm still tired. I really only have time for like two things outside of work, and if drawing is one of them (which it has to be) then I can't both look for work and learn programming or whatever on top of it. I don't really want to start using caffeine. And I shouldn't think of myself as lazy if laziness isn't why my output has been lacking.

I've been doing some stuff digitally again, but I've kept the canvas huge, and still doing most of the work on paper because it's easier to produce a lot of attempts with small adjustments there than it is on a tablet. Basically only using it for larger or more detailed stuff. So it'll take a while to fill. Maybe I should just change canvas size to fit whatever I've got every two weeks instead?

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[Yukio] Mishima had been asked, “What is the passion that drives you?”
He replied, “Being brought up during the war and being told at the age of 20 that everything until then had been a mistake — that’s all.”


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