Here is my final piece for the Watts Atelier Skill Building Challenge 20. Yes, it’s Murray!
He’s very proud of having been chosen as subject for this challenge, hopefully I will get at least a mention.
Below is the whole wip, starting from the very first lay in to the last partial of week 4 (it’s a monthly challenge)
This naughty fellow is known as block-form mannequin, and it’s probably the one that can piss you off the most. Why? Because of the straight edges. If you get one angle just slightly wrong, the pose will simply be completely off. Thus, the frustration! I first copied the handouts of the Watts Atelier, then tried to figure out some from photos, directly. This is the second mannequin I studied, right after the Skeleton Mannequin
The next ones are made out of photos
The next ones are “ovoid” mannequins. Feeling a lot more like real people, and they are less frustrating, and more forgiving than the block form one!
The last page is a study from the handouts, while others are from real people.
Ah, Merry Christmas! 😀
I have been working on the asaro head recently, this time with an added complexity. This is actually the “Classic” model, while the previous one was simplified, and supposed to be memorized. I am actually trying to memorize this as well, although I admit the facets are a lot, and hard to remember.
P.S. I am not drunk, the head actually does have two different sides, one easier, the other more resembling a real face.
I started working on figures alongside the head. The skeleton mannequin is the first one examined at the Watts Atelier, and I admit it’s really interesting to use! It has enough flexibility to convey dynamism and movement, though I admit finding the landmarks is not so easy, nor it is to get the proportions right.
The above are all copied from photos, meaning I had to see “through” the figures, identify the meaningful areas, place and abstract the simplified versions of the bones.
Females are a lot harder to draw, since landmarks are harder to find, while men with a stronger musculature seem a lot easier.
The bottom right female mannequin was an attempt in finding the proportions out of Loomis’ book, Figure Drawing For All it’s Worth, though I admit it looks a bit funky! 😛
Working on heads at the Watts Atelier! I have done at least 2-3 dozens of these heads, and by now I believe I memorized them enough to draw them without having the reference.
I found it quite challenging actually, because of the lack of enough landmarks in the first place, but also because the head is not exactly following the rule of thirds (the muzzle part is a little taller than it should).
Overall I am pretty satisfied with it. I will spare you the first embarassing ones 😀 These are the last. Moving onto the Reilly Head Abstraction now!
Continuing on my skull studies, I am trying to grasp the structure so I made a few studies focusing on that, as well as trying to recall from memory:
And later continued with copies from the watts atelier
The key in these last ones was to get more of the shadow mapping, rather than real structure as in the first image. Pose number 3 (bottom left) was by far the hardest one to get, for some reason, together with number 2 (top, center)
Going through Head phase I at the Watts Atelier. I am dealing with nasty skulls, and so far I admit I am quite enjoying the lessons. I don’t really like having to copy Jeff’s shadow mapped versions of them, but rather prefer copying from photos or my own skull. Right, I do have a skull, apart from the one that makes up my head 😛
And no, I did not steal it from a grave, it’s a plastic cast! Readers, meet Murray:
Here are some copies from the photos given in the handouts:
In the front view, I later noticed the skull was too large, so I tried to shrink it while drawing Murray:
I skipped posting the wrong version of Murray, the two above are the same at two different stages of completion. After the three quarters view I will do next, I will move to the simple Asaro Head.
I have been thinking of making a painting out of this scene for the last… 9 years? I guess so.
I didn’t pay much attention to fine details, since everything will be covered with opaque oil painting soon, but still, I tried to be as precise as possible on the main shapes of both summons, as well as the town. I did modify a couple of things compared to the original, as I felt it was a bit too bulky on the rooftops and chimneys.
Once more following Artur Guptill’s “Sketching and Rendering in Pencil”, I somehow tried to applied the sketchy way of rendering shading he describes in Chapter IV, Part I.
I used a single pencil, 2b Mars Lumograph, although it’s recommended to use different grades for finished pieces. I guess this is fine since mine was more of an experiment. I setup a pretty simple still life with old, rusty metal objects: (notice the camera angle was slightly different from mine when I was drawing).
As you can see from my notes on the side, it took me roughly 3 hours. More to get the drawing accurate, to be honest, since the shading was pretty quick and probably not careful enough.
I’ve been using Artur Guptill’s Sketching and Rendering in Pencil recently. Quite an informative book, especially if you don’t have an academical art background, like me.
The first part deals with the importance of painstaking accuracy in line drawing. I feel I sometimes lack the speed I need to quickly measure and report big shapes of what I draw. Therefore, following his example, I took an old shoe of mine (though it’s not so worn out) and drew it. The full drawing took a lot, like 4 hours, to be completed.
I first blocked in the big masses, constantly taking my drawing near the subject to compare it. It’s useful to strive for precision just by eyeballing, as I noticed measuring too much with the thumb on the pencil is not only time consuming, but not precise enough to base the drawing on it.
Then I worked (really) slowly to getting more and more details in, till getting to this final result: The point of the final drawing would be to exploit the true “character” and “mood” of the object.