Critique: Gesture and Clarifying 2

Working on Clairfying/Story Telling. I added expressions to see if the gesture captures performance. Also, I want to improve my rendering. Any tips and sugesstions? Resources? 10 minutes drawings really helped, should I study longer?

https://twitter.com/JO_NI12/status/1787247202295042479

Your link is broken. Can you use imgur, please?

Alriht, let me relinked. If that dosen't work, I'll used imgur. It did worked twice before, not sure what happend.

https://twitter.com/JO_NI12/status/1787247202295042479

https://twitter.com/JO_NI12

• JO NI edited this post on May 6, 2024 5:04pm.
• JO NI edited this post on May 6, 2024 5:05pm.

1st link basically shows 404 - page not found, second link asks me to register a twitter account.

I see, I'll fix it as soon as possible.

• JO NI edited this post on May 7, 2024 2:47am.
• JO NI edited this post on May 7, 2024 2:53am.
• JO NI edited this post on May 7, 2024 2:54am.
• JO NI edited this post on May 7, 2024 3:24am.

See if this works, this is my first time using Imgur. Sorry of the inconvience. I really appricated the technical help.

https://imgur.com/a/GrAyrAX

A suggestion, also it is a bit hard to put in words: First, your rendering already looks very good.

You defined two values of darkness. On the legs you used the darker value as an actual shape, while on the upper torso you have been a bit shy, and only used it as a line. I think if you used a dark shape along the frontal terminus of the entire figure, to emphasize the edge of the figure, it would have looked even cooler. I would try to get about a third of the shaded area in that darker shade, and try to make it consistent over the whole figure.

About sketching longer then 10 minutes: The end goal of drawing is a complete rendering, so every now and then it makes sense to push it as far as you can go, to see when and what problems come up.

Edit: One trick that helps me to plan out where to put the dark values: I look at the reference and almost completely close my eyes, until the edges lose all sharpness, then I focus on where the darkest areas are. That way I can see the values on the whole figure, and get less distracted by local contrast. Putting about one third of the figure in darkness (or two thirds if it is in counterlight) is usually a good ratio. Then, once I decided where the dark areas are, and I open my eyes again, I try to design the outlines and shapes of those dark areas, as to define volume and some additional detail.

• Aunt Herbert edited this post on May 7, 2024 11:38am.
• Aunt Herbert edited this post on May 7, 2024 11:41am.
• Aunt Herbert edited this post on May 7, 2024 11:43am.

You know, JO NI, if I have a critique or nitpick I'd like to give you, it's these.

I love the sense of flow, and I love the fluidity, but I also love the negative shapes, relationships and limited tones of the figures. Therefore, I'm not getting enough of your caricatured volumes, masses, and anatomies yet. Would you like to please loosen up your arms and shoulders with 10 minute studies of figures and anatomy parts in any human artistic anatomy book, as featured in our recommended books list?

The reason is because your figure poses, bones, and muscles can, shall, must, and will become the least rigidest and least stilted and the most graceful, elegant, and fluidest. For most information, please look into some of the anatomy books on our list, such as the Sarah Simblet book, Anatomy for the Artist.

Thank you, and let's hope you've found these things the most encouraging.