Done as part of a 3 hour class.
I am not happy with this. The faces are off too much and the colours dont fit. If anyone can tell me a good portrait class I can find online for free I'd be happy. :)
It may be crazy to say, but pause the program and step away even if you are doing a class. Then come back when your dander no longer gets up. Frustration is the death of many drawings and artists.
Remember that studies are Not final works, and we should not treat one as the same as the other. Studies are what we do to get warmed up. Formal pieces are for after we are Done warming up. Stepping back and breaks are still important even when we do these gallery presentation worthy works too.
Gestures are not supposed to be perfect; they are a place to learn. Not everything will be archival or excellent, and that is perfectly fine.
But as to the works themselves, if you had a bit of touch up here and there, you could make the 50-minute digital artwork sing more. For example, your eyeballs on the figure look flat and not round. Or, for instance, you forgot the structure around the skull of, from the viewer's point of view-the right, bone of the forehead brow area. It's wholly caved in there.
Yeah, they are boring. But it is usually the boring that makes the foundation stones for the interesting more understandable. Simple shapes like these can help so many artists who want to skip crawling and learn to fly like some genius who got their powers from some nasty faerie godmother. "Eat the veggies of art", and you won't need some book promising instant success.
What I am asking you to consider is revisiting the simple shapes, and how light, colour, or form react with one another on a flat surface, then come back to the complexity of faces, figures, and landscapes.
I hope I have helped. I understand and feel that frustration too. It happens. But luckily, there is always another blank page and a will to conquer its surface to your command.
Thank you so much for that long and detailed critique and reply. When I started out in artschool we had to draw only boxes and shapes for 3 months straight. Maybe I should go back to that, or force myself to just paint some super boring shapes I find in nature.
Once again I am super gratefull for the time you just spent in me.
Thank you so much for that long and detailed critique and reply. When I started out in artschool we had to draw only boxes and shapes for 3 months straight. Maybe I should go back to that, or force myself to just paint some super boring shapes I find in nature.
Once again I am super gratefull for the time you just spent in me.
It may be crazy to say, but pause the program and step away even if you are doing a class. Then come back when your dander no longer gets up. Frustration is the death of many drawings and artists.
Remember that studies are Not final works, and we should not treat one as the same as the other. Studies are what we do to get warmed up. Formal pieces are for after we are Done warming up. Stepping back and breaks are still important even when we do these gallery presentation worthy works too.
Gestures are not supposed to be perfect; they are a place to learn. Not everything will be archival or excellent, and that is perfectly fine.
But as to the works themselves, if you had a bit of touch up here and there, you could make the 50-minute digital artwork sing more. For example, your eyeballs on the figure look flat and not round. Or, for instance, you forgot the structure around the skull of, from the viewer's point of view-the right, bone of the forehead brow area. It's wholly caved in there.
The best thing you could do for yourself is to set up a still life of children stone blocks.
Yeah, they are boring. But it is usually the boring that makes the foundation stones for the interesting more understandable. Simple shapes like these can help so many artists who want to skip crawling and learn to fly like some genius who got their powers from some nasty faerie godmother. "Eat the veggies of art", and you won't need some book promising instant success.
What I am asking you to consider is revisiting the simple shapes, and how light, colour, or form react with one another on a flat surface, then come back to the complexity of faces, figures, and landscapes.
However, if you would like to learn more about anatomy, I would recommend Human Anatomy for Artists by Eliot Goldfinger.
I hope I have helped. I understand and feel that frustration too. It happens. But luckily, there is always another blank page and a will to conquer its surface to your command.
All the best,
JCML Fine Art
Once again I am super gratefull for the time you just spent in me.
Silja :)
Once again I am super gratefull for the time you just spent in me.
Silja :)