Aunt Herbert的論壇貼

A general tip, not so much for drawing, but for scanning pencil drawings, especially on darker paper. Check your scanning software, most scanning softwares have some basic editing tools. If yours doesn't, switch to another one. I use HP Smart, that came with my scanner/printer combo. Find the button that regulates contrast and dial it up until the entire page turns white. Then crank down the brightness until your drawing reappears.

You will find that your lines will become much more visible, and will look like they were drawn in char coal or ink on lily white paper. You will also see a few smudges or dirty spots on the paper or the scanner surface, but if you fiddle around with just the contrast and brightness settings a bit, you can get a very crisp result that shows your drawing as close to your original idea as you like.

About the sketches themselves: I would recommend using a single page for each drawing and trying to fill the entire page. That way you train final composition as well, and get used to drawing with longer bolder lines. Drawback is, scanning and uploading all those pages gets a bit more of a struggle, but some suffering is worth it for the art.

About the pure art style, I haven't checked out Michael Hampton, yet, and don't know his exact teaching method, but I am personally a great friend of trying to reduce the number of lines/strokes used per image to a practical minimum. That way you can spend more time and attention on exactly controlling each individual mark for placement, length, curvature, line width, saturation, etc... and avoid developing a messy hasty style, that you will then have to unlearn when aiming for clearer images.

OK, as I promised to Polyvios Animations 2 days ago, here is a full set of 28 1 min poses (I did 30, but somewhere along the line lost 2)

Some things that I thought important for this series:

#1 30 drawings means 30 pages!

I saw in the critique section a lot of people uploading whole sessions on a single page. I don't think that's a good way to learn drawing. There is this somewhat unclear buzz word of "bold lines" thrown around a lot. Bold lines are first and foremost long lines, that dominate the entire page. Practicing to scribble itsy bitsy tiny scribblings, that would fit on a post stamp can't possibly help to ever develop bold lines. Learning to draw from elbow or even shoulder can't work if the entire final piece is less than an inch in diameter.

The clear drawback of using a page for each drawing is, that especially for quick drawings, scanning and uploading the result takes longer than actually producing it, and gets quite annoying quite fast. I will probably refrain from publishing a whole 30 images series at once in future, and instead only pick 2 or 3 of the results, that I am especially proud of, or especially curious how other people react. I also find the exact set-up of the line-of-action page a bit unwieldy for uploading a large number of files, that is why I provided a link to my artstation account instead. Everyone feel free to browse my "old" stuff since fall 2020, too, my name is Stefan Bast (AuntHerbert is a bit of an inside joke, that ends with me shouting: "My name is not Herbert, and I am not your aunt!).

Naturally using more pages also uses up more material, but I think for quick sketches common writing paper is good enough. No need to waste handmade drawing paper for warmups, so cheap material doesn't break the bank account.

#2 Quick sketches means fewer lines!

I saw a lot of sketches asking for critique, from people that apparently used the short time provided by the lesson, to scribble a lot of barely controlled lines, until an impression of the image they aimed for emerges. If they enjoy doing that, more power to them, joy in drawing IS visible in the end result, and if they do it often enough, they will get better, too. But, lots of lines with little control is pretty much the definition of a messy image, and practicing to draw hastily and messy isn't a good way towards developing a clear and narrative style.

The idea of quick sketches as I have been taught is to learn to indicate the pose, face, animal, object,.... with as few lines as possible. Learning to avoid getting lost in unnecessary details, reducing the image to essential expressions and simple forms.

I added a number next to every drawing, that number indicates the number of brush strokes that I counted out loud while doing the drawing. In theory, every curve, slanted line or straight line should be counted as 1 stroke. I must admit, that counting while drawing is a bit distracting, and I sometimes lost count, or counted lines that are actually too complex as a single stroke, so the number isn't always super exact.

Ideally, using fewer lines also allow more time to plan and execute each individual line! I am by far not a master yet, and I am still drawn towards using too many lines with too little control to indicate the image. I averaged around 15 strokes per minute, probably 10 or 5 strokes per minute would be better practice, which allows for up to 10 seconds or more to plan, prepare and execute each individual mark on the paper.

OK, enough with the arrogant explanations, here is the link to the session, if it doesn't work, shout and holler and I will try to fix it:

https://www.artstation.com/artwork/3dYAem

It's not a big issue, more a minor irritant, but the week days under my "Your studio" header, where it tracks my practice time all seem off by a day. I checked my time settings, Berlin, Germany should be right, but when I draw on Sunday your page marks my practice time for Saturday, etc...

I assume there is a very minor programming bug somewhere on your page, that should be fixable fairly easily..

thanks for your attention,

AuntHerbert

The drawings look quite nice to me, fluent lines, proportions on point, and you got a good eye for picking out distinctive shapes and placing masses...

... but with some of the drawings it took me a moment to figure out which line goes where. Worst offender is the baboon, where the line indicating his back is almost vanishing. Maybe spend the last few seconds checking the line weight, to make sure that the important lines, like overall outline or shape of a limb, are more distinct than pure rhythm lines, that rather indicate volume.

Here are some poses from me. These are 5 min resp 10 min poses drawn at the end of 30 min classes. I am atm not 100% sure where I want to go with my drawings, I know I want to do more, but,... atm I am very much in love with black ink and pentel brushes. Extremely versatile, allow a lot of control... which in turn means that they also make any lack of control painfully visible.

In the end I would love to

#1 be able to draw quick and precise, without botching proportions... a few thousand more drawings should help..:)

#2 find a good way to indicate volume and mass with a brush... maybe a combination of line weight and some form of hatching?

#3 develop the discipline and courage to tackle bigger projects.

https://line-of-action.com/art/view/5619

https://line-of-action.com/art/view/5618

https://line-of-action.com/art/view/5617

https://line-of-action.com/art/view/5616

My first idea would be: Use bigger paper. And more. Crunching all of a 30 minute class on one single page doesn't really help a lot in developing line quality and makes critiquing individual drawings a bit awkward.

In some of your drawings I had the impression, that you are not 100% clear about position and function of the hips, others look more competently. The five-minute sitting female's front leg for example doesn't really connect to the hip.

The gap between 1 minute and 5 minute drawings is a bit of a problem for me, too. I try to tackle it partially by taking a deep breath and concentrating more on placing the initial lines accurately.

Maybe trying to mentally separate the construction of the face from the shading process will help. "Cartoons" usually try to capture an object with few and clear lines, and sacrifice subtle midtones to achieve this, to the extreme of accepting a very flat 2-D impression like in a typical child cartoon, while shading to achieve depths aims to capture exactly these midtones.

You work almost exclusively with lines, so your technique for depicting midtones has to be hatching or cross-hatching. The challenge is to make a visible distinction between hatching lines, that mark the tone of an area, and contour lines, that mark the outline of a shape. Your lines seem to oscillate a bit between these two functions, which reduces the clarity of expression. Is that part of the face in shadow, or do these lines represent wrinkles?

Warm-ups that concentrate purely on practicing a more regular hatching pattern might be a good idea, as will rendering geometric shapes like spheres under simple lighting conditions, so your hatching patterns don't inadvertently become more expressive than you want them to be.

On the other hand you could try to focus on drawing from extremely dramatically lit images, with high contrast and few midtones, so you get used to capturing the shapes of a face with clear stylized lines, replacing all hatching with flat dark planes contrasting with flat white planes at first, as lights and shadows, without using any midtones at all. Then only start to separate midtones once you are comfortable to draw without them.

I find that movies or series often use that kind of expressive lighting, hitting the pause button often produces great motives.

And last but not least, be aware that "cartoonish" i.e. stylized drawing, and realistically rendering voluminous depth via shading, are somewhat separate goals. You will likely end up finding your own compromise somewhere between, but if you try to excel in both of these polar opposites at once you WILL accumulate quite a bit of frustration. There are few artists, who excel in both at once, and the result of a heavily stylized motive with 100% natural rendering will produce a distinct "canny valley" effect. Only artist that comes to mind for me is Gottfried Helmwein in some of his political caricatures.

P.S: You are asking specifically for the placement of features. Normally I would point to the Loomis method to help with that, but from your results you don't seem to lack theoretical foundation for that task. I would guess, that at the point you are at, it's just a question of more practice, although revisiting more basic lessons again is never a bad idea. If you figured all that out purely on a trial and error basis and don't know Mr. Loomis, you might want to search his introductory works and try them out, but I got the feeling you are really beyond that by now. Refreshment is always good, but don't expect completely new insights.

• Aunt Herbert edited this post on May 14, 2021 12:20pm.
• Aunt Herbert edited this post on May 14, 2021 12:33pm.

I have been training on quickposes.com until its recent demise, and I really learned to appreciate same length sessions. Say 10, 20 or 30 minutes of quick sketches.

I don't like the time schedule you have on predefined lessons, so I started a "same length" sessions, and somehow naively assumed it would end after 20 or 30 minutes. I started drawing, then it turned into grinding and I kept thinking "This got to end sometimes, right?". I finally broke off, and counted 73 sketches I done. That's more than one hour of sketching, without any break, it get's really tiring after a while and at the end the quality started to visibly decline. And it seems for all that I don't even get the cheap endorphine kick of counting this time for practice time on my profile, as I had to break off the session manually.

I would really appreciate that one extra button for the Same Length sessions, that lets me chose after how long a time it automatically ends and counts the time spent towards practice time.

My idea for a next step would be to advance that sphere shape you use to represent the chest area towards a flattened egg shape, that is closer to the actual anatomy of the chest. You will have to reduce the distance between hip and chest quite a bit, to make that work.

In the short exercise you always use quite a lot of lines to represent a single sphere. If you manage to draw fewer lines with more control the result will be clearer. Maybe spend some warm-up time just on practicing circles free-hand.