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Hana,

Well, if you think of a funny story, don't hesitate to place it here later. Part of that goal is, so we all feel a bit more connected to each other. Humer has a way of doing that other mediums can't seem to achieve. Or, if you like, draw it out. I always love a good comic. The newspaper funnies page is on my list of things I miss most about the US.

Why not create a detective character who gets into mischief at your school?

If you would like a friendly learner's resource for your phone, why not add the Posit app? It is like this website but fits nicely on your phone, and you can take it on the go.

Suppose you want to get better work both with brushes-mass drawing and with pens-line drawing one right after the other and then work with both. It will help you see the weight in a 2d space faster.

All the best,

JCML Fine Art

Intente leer el libro "Arte" de Clive Bell o "Principios del arte" de Collingwood. Creo que puede disfrutar de sus inclinaciones filosóficas y puede inspirar su trabajo para intentar la pose nuevamente. Algunas cosas simplemente son mejores después del tercer, cuarto o quinto intento.

JCML Fine Art

Senshi,

No pude averiguar si este libro está traducido al español, pero si puede encontrarlo, intente leer "La ciencia y la práctica del dibujo" de Harold Speed.

En su libro, dice que uno debe hacer más de una cosa a la vez. Espasivamente dibujo y pintura, a lo que llama dibujo en masa. Dice que te ayuda a comprender la calidad de las líneas y el volumen de las formas. He encontrado este principio muy útil. Así que ahora, todos los días dibujo líneas durante dos o tres horas y dibujo en masa durante aproximadamente una hora a 30 minutos todos los días.

He visto una gran mejora en mi trabajo.
Además, la mayoría de las veces tengo de 3 a 5 proyectos al mismo tiempo en diferentes medios. Encuentro que aprendo mejor y mi arte es más rico porque tomo lecciones de cada área y las aplico a otro proyecto que no está relacionado. Es realmente encantador ver los vínculos entre las artes.
Pero realmente, no hagas lo que otros te dicen que hagas, haz el tipo de cosas que te inspiren a seguir adelante.

Espero que esto te ayude. Oye, si quieres. Toma los ejercicios y tradúcelos del inglés al español. Dales una oportunidad. Pueden ser justo lo que necesitas para verte en tu camino hacia nuevos viajes de pigmentos.

Todo lo Mejor,

JCML Fine Art

Senshi,

El estudio de las manos es una aventura maravillosa. son algunas de las partes más complejas del cuerpo.

En mis estudios me he preocupado por la figura completa, y con frecuencia descuido las manos. Pero en mis dibujos finales, me he centrado en los retratos. Estoy aprendiendo mucho sobre cómo los huesos alrededor del ojo realmente hacen que la cara funcione de la misma manera que lo hace en cualquier figura. Encuentro retratos a veces los más intensos y más interesantes que todos mis otros actuales
aventuras de dibujo en masa.

¿Cuál es tu historia divertida para el grupo?

¡Espero oír de usted pronto!

Todo lo Mejor,

JCML Fine Art

Loverlordorva,

That is cool. I think if you want to understand colour better the best advice I can give you is to study how colour has value. Once you get that the rest is colour matching and learning how the layers underneath each other will affect the overall image.

An easy way to do this is to draw using two complementary colours. You know, like, green and red. Draw a few studies with the two colours. Then every so often take a picture of them with your phone and look at it under a black and white filter on your phone. This will teach you how to see the value, in the same way, a graphite pencil does.

I hope this helps!

All the best,

JCML Fine Art

Sammers,

I have not seen the first, but I am on my second time going through Hales book. I always learn something I miss with not just his but other instructional books too. Probably because I have done more practice, and so, therefore, understand more what it is they are talking about.

I will totally look at Bert Dodson's Keys to Drawing for my collection.

Thanks for sharing!

All the best,

JCML Fine Art

Julian_00

Do you got an art buddy or someone who likes giving orders? If so, Try this: Play Darker Ligher

Have an open sketch book and start with your lightest pencil. Then escalate up the pencil scale.

Or

If you want a challenge, pick an artist B-H pencil at random and play the game. This random is sometimes part of the game, depending on your friends.

If you have an art buddy- You will take turns, But the game goes the one who can keep up with the commands best wins. Can't keep up? Your turn, and you receive a tally mark.

If you have a bossy buddy, if you keep up with their commands they get a tally mark, and if you can't keep up, you get a tally mark

First-person to get Five tallies loses.

The game is simple someone will start at a shading level and once you both agree to start, the caller will say Lighter, Darker, or Switch. A switch is to exchange for the next pencil. Lighter and darker is self-explanatory.

This game is full of fun, kinda tiring, but it will help you a lot with pressure control.

If you give it a go. Let us know how it went. I would love to see your results.

All the best,

JCML Fine Art

Oh! PS... IF you can, convert your laptop to work like your phone. You know, using the back end with the HTTML and use the apps this way. Why? you will have a bigger screen and it will be easier to look at these images. Or if you have it use a HDMI converter on your phone that translates the image onto a large screen. I do both, but the second is really cool cause I can get it onto the big tv and that helps a lot when I don't have a model to ask weird questions, and who allow me to poke at them a bit so that I understand how mussels work.

I mean, If someone will sit in front of you and watch tv and follow your instructions like lift your arm, or twist to the right. Then I think this sometimes is even better.

Got a book recommendation that has helped you become a better artist? Share with us. We all love learning to be better. So let's share and step up to the next level in our art journeys.

Julian,

My main critique is you go too dark too quickly. When that happens, you try to correct your mistakes. But it can be hard to find the line that communicates what you are learning. Both for the viewer and you, the artist-Thus, critiquing mussels is slightly more difficult because you are tackling two skills at once—one draftsmanship, and two, how mussels convert into shapes a flat surface.

Suggestions

Try the pencil method instead of the pressure method.

Redraw. Redraw. Redraw. Redraw the same pose often. Not sure you have a correct line? Redraw. Biffed the outer edge of a muscle? Redraw. The beauty of a new surface is that it can help you see better what you are trying to communicate. It is hard to learn any skill like shape translates flesh unless you are redrawing the same form too many times.

Why? You won't go so dark so quickly, and it will increase your drafting skills and communicate how you feel shapes should translate flesh on the page.

I also recommend that you look at anatomy books or use the apps Pose it or action anatomy. Take time to only stare at them. Don't draw. Just started and stair. I know that sounds counterintuitive, but it helps because you will be able to look at a model and intuitively understand what mussels are under the skin and how they move. After starting for, say, 30 minutes, try drawing what you saw from memory for 5 minutes. You will be surprised by how much you will forget.

I hope this helps you start to begin your backbone to excellent images!

All the best

JCML Fine Art

• Jcmlfineart edited this post on January 19, 2022 7:32pm.

Zaamah,

If we have a question about what you mean, we will do our best to ask accurately. I have lived in countries that did not speak my native language before. It's a bit of a cultural head shock. I feel your shyness. But as long as you do your best, we will too.

If you like, try a few of the assignments, use all of the flashcards and post your work often. We have a great community here willing to help you along in your art journey.

I recommend you keep your first drawing and then pull it out a year after working on your craft. I think you will be surprised by your improvement if you diligently try to draw every day for five to ten minutes.

All the best,

JCML Fine Art

Scooter,

Me too! I have ADHD. I know it is stupid, but I had to purchase one of those digital timers. You know, so you only have, say, 30 minutes to do (Fill in the task here). I have been rebelling about timing things for ages. Something about it reminded me of school and teachers shaming me for not being prepared because my hyperfocus was not where they wanted it to be. Well, anyway. I gave in, and I have gotten so much done, and I can't believe how indisputable is the fact I have NO sense of time. None. I did not think this part of Adhd was genuine. But for me, it totally is. So this has been a life changer. I think it works because I can allow my Adhd to flow from task to task for a small amount of time. Maybe that school bell thing was not such a bad idea after all, well, as long as I get to control what happens next. Perhaps you will find it helpful too.

My timer looks like a supersized frog, and I know you can use your phone. But I am going to be authentic. That was never going to be a good idea—that damn Blue light.

I am a teterad artist. So you could say that colour is like, my jam. If you would like to get better at colour theory, I suggest doing two things.

One try the Mass drawing concepts on this group page. You will find it under assignments/events. There is even a due date. But I leave these up so that you can try them even if the date has passed because you were not yet part of the group. I suggest you comment with a due date you are going to finish it, and we can email and check in on you. If you would like such a thing.

Second, Draw your image for a while, then take a picture of what you have drawn on your phone. Then place the photo into a black and white filter. This is great because it teaches you that colour has value. Continue to do this with all your colour drawings. Every time you are unsure, check it with the B&W filter. Eventually, you will use theB&W less and less until you won't anymore one day.

I miss the sound of those bugs. To me, that, plus a mower in the background is the exact sound of summer. You should see the house spiders here. They are big and black, and fast. They look like a minny tarantula about one and one-half inches across. They give me the hebies because I am never suspecting them to pop out as they do.

Do you have any recommendations to repot bamboo? I got one as a gift and he looks like it is time. But I am afraid of killing it.

I can't wait to see you grow your colour skills.

All the best,

Michellerose Cusack

JCML Fine Art

Carlos and Lynxes,

Thanks for being brave and sharing.

If you want to draw faces, I suggest studying skulls, especially the eyeball sockets. This formation tells us much, like how physical racial differences display themselves in the mussels.

Since you both are starting, I would like to suggest that you go to your local library and see if there are any textbooks with drawing exercises in them. This is a great way to invest in your art education without paying too much dosh.

If you would like a good book(s) to try, I recommend "The Natural Way to Draw" by Nicolaides or Robert Hales "Drawing from the Masters". These are excellent books, and they have lots of exercises, examples and timetables to keep you honest.

I can't wait to see what you come up with in our group.

Welcome!

All the best,

Michellerose Cusack

JCML Fine Art

Rpk,

Presentation makes art. Make sure that you rotate your work so that when someone looks at your illustration, we see from the viewpoint you draw. This can be a put off for some not to critique or even look at your work. How much you care is the height of how much someone else will care for your drawings.

A few of these gestures feel pleasant, fluid, and dynamic for just a few lines. As to the drawings themselves, my main suggestion would be only to draw one gesture on a page. Or, if you are digitally drawing, you can not see any other form- giving you the appearance of a blank surface. You may want to do this because once you have more than one figure on the page, you are now in the realm of composition, meaning that you have to fit one image around the former image. It can hamper your flow, and slow down your progress.

All the best,

JCML Fine Art

Bislie,

You may not know, but when you are doing gestures it is never about the details, but rather being more correct about the overall proportions of the form. But even before that, we concentrate on what makes the figure most expressive.

I suggest you watch the flashcards fly by. Don't draw. Instead, tell yourself what makes that figure so compelling. After you feel you can do this well, (It can take up to half an hour for those who are not used to this exercise. And for some, this is enough to tire them out. If that is you, that is completely normal and a job well done. Even if you have not picked up a pencil.) Start your drawing sessions. If at any time you feel lost in the drawing, stop drawing. Wait until you have a good understanding again then pick up your pencil again.

I know this sounds like a strange tactic, not drawing, but it will increase your observation skills and your storytelling skills.

Enjoy using the website. If you wish feel free to join our Fellow artist-Creative Family group.

All the best,

JCML Fine Art

Gelatinggem,

I think if you are struggling more with stiffness, the best thing I find is to draw one figure per page.

It is not a waste of paper. See, when you draw more than one figure on the page, you are now in the realm of composition. When we compose, we have to consider all of the other figures around it, which can hamper our feeling of dynamic movement.

If you would like to help your anatomy, I would like you to consider the movement of your lines. The line can say so much. Your fast drawing is better, I think, than your longer poses because you are not thinking about how the line forms across the body consciously. You may be better at the fast stuff because you don't have the time to think about it. -Don't sweat this; I have been there myself.

I feel you would do well to read the Practice Line chapter in The Science and Practice of Drawing.

Above is a link to the audiobook on youtube if you can not get it in your library or are disinclined to purchase the book. Yeah, it is a bit wordy, but it is also chock full of golden drawing nuggets.

All the best,

JCML Fine Art