Final result
© 2023 Aunt Herbert
The finished result, used inkbrush to modify the line weight of the fineliner mesh. Added dark shadows, half tones, regular light and highlights.
I personally dislike the left cheek, the hatching pattern is far too obvious there and distracts from the image, I am not very satisfied with the nose, as I did not succeed in preserving those interesting shadow shapes, and when I see the thumbnails of the reference and my drawings, the likeness isn't very high either. Chin is way too big, and that moustache thingy should be placed differently and be way more subtle.
Aunt Herbert
Thank you, spotted well. I didn't pay attention at all to the connection neck/shoulder, but I should have.
Julie B.
This is an interesting image. Good job on the mouth and teeth. Teeth are particularly hard to do well. I see what you're saying about the left cheek. If your cheekbone lines on that side were oriented the same way as the right cheekbone, it would follow the face topology. I think most of this is really successful!
Polyvios Animations
Hello again.
Really breathtaking work on your facial forces, spaces, forms, relationships, and of course, your brush inked hatching and cross hatching. I also enjoyed the anatomy of the facial bones and muscles. Yet, I'm still not getting too much of the solidity, fluidity, and vitality on your facial skull and muscles yet. I totally wanna see most of them. Would you care to go for a 2 hour drawing course of faces and expressions, all done from your underhanded position, with a recommendation of a drawing table available to you, if you haven't already?
The simplest premise is because, your understanding of facial expressions and facial bones and muscles can and will become the least awkward, and the most solidest, flowing, vital, and energetic. For most information, please look into Anatomy For The Artist, by Sarah Simblet.
My hat's off to you.
Really breathtaking work on your facial forces, spaces, forms, relationships, and of course, your brush inked hatching and cross hatching. I also enjoyed the anatomy of the facial bones and muscles. Yet, I'm still not getting too much of the solidity, fluidity, and vitality on your facial skull and muscles yet. I totally wanna see most of them. Would you care to go for a 2 hour drawing course of faces and expressions, all done from your underhanded position, with a recommendation of a drawing table available to you, if you haven't already?
The simplest premise is because, your understanding of facial expressions and facial bones and muscles can and will become the least awkward, and the most solidest, flowing, vital, and energetic. For most information, please look into Anatomy For The Artist, by Sarah Simblet.
My hat's off to you.
I see what you see as well in terms of critique. I don't quite understand the comment on the left cheek though, but as the artist, you know what you intended more than me. :)
In addition, the head's connection to the neck and the shoulders looks a tad unnatural, probably related to the face being too long. I can't put my finger on exactly how that can be improved here, but maybe taking closer attention to the neck and shoulders in future pieces would be well.