This is my entry for the Skill Building Challenge 25 at the Watts Atelier of the Arts, and the last month of the yearly Master Skill Building Challenge.
The subject was supposed to be something we are really looking forward to be doing in our career, and that would have been fantasy illustration for me. However, I felt like I did not have the necessary skills to compete yet, so I chose to portray my parents. Here follows the reference I used
After six long months, I feel like I did improve my skills a little bit, hopefully sign of an ascending path from now on.
Time to get back to the program, phew!
P.S. As a side note, I won the honorable mention 😀 http://www.wattsatelier.com/cycle-24-and-25-skill-building-challenge-winners-announced/
After being on vacation for a week (aka no drawing with charcoal) I feel a bit rusty. I sketched this cast I have to get the ball rolling again.
I had previously painted it in oils as mass tone exercise, here: Mass Drawing + Oil Painting Chapter 6 Tone Exercises.
I won’t look at grapefruits the same way anymore…
For those of you who know latin 😛
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)
Good luck everyone!
I have been wanting to make something similar to James Gurney’s Taboret since when I first saw it. Last summer I finally got a small drawer from my carpenters, and last months I started renovating and modifying it. This is the end result, I am pretty satisfied with it.
Here is how it looked like before, and while working on it
It’s obviously not as fancy as Gurney’s, but I am planning to make it better as soon as I get more materials
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!