View Full Version : Sketchbook Thread of YMS

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04 April 2006, 03:10 AM
I'm taking the plunge and going public with my beginner status ...

I've been reading the anatomy forums since I joined CG in early April and have been inspired to get sketching and painting, so have managed to build up quite a few "works in progress".

Nothing original as yet, just taking in the advice of working greyscale and copying the masters.

04 April 2006, 07:55 AM
Posting an image to see if it works :)

04 April 2006, 08:09 AM
I thought this copy was going okay until I did a check with the original - quite different in alignment (of eyes especially-too high up her face)! I also managed to give her a completely new expression.

I had sketched the face with paper and pencil to start with, but painted this version directly in Photoshop. I don't use a scanner - just transfer digital photos of the sketches into PS.

04 April 2006, 08:25 AM
I'm not finishing anything at the moment, which could get to be a bad habit - just making starts and trying to learn how to draw and paint.

I've spent the last 18 months using PS as a hobby (photo manipulation) and now have more of an urge to create with the painting tools.

It was a revelation to me to learn here that working from references is encouraged, and is beneficial, and that some degree of competence with art is possible with a good amount of practice (and it doesn't have to be solely for the gifted).

04 April 2006, 08:29 AM
Previous image worked on a bit further, but a long way from finished (all good practice, though, and a chance to improve):

These images are coming out too big?

04 April 2006, 08:37 AM
I've been dipping into the different threads this month so have tried out various photos to copy. April has been a month for getting through a lot of starts, anyway :)

The only way I know how to work at the moment is to put the image in one corner of my screen then to freehand paint, roughly, about four times as large and zoom in and out, all the while referring to the smaller, original image.

04 April 2006, 08:39 AM
The latest version of the photo above:

04 April 2006, 08:54 AM
I came late to one of the recent Caravaggio workshops (reading only) and made some sketches - done with the reference picture on the screen in front of me, while I attempted to use paper and pencil. This was tricky for me as I have been used to the tablet pen and looking up while I worked, not looking down at something "flat" or propped up. Too used to technology :)

For this face, I had to rotate the reference to make it easier to sketch. Imagine if I tried that with a live model!

He has two right ears and two shoulders as I couldn't rub out...

04 April 2006, 09:01 AM
Still with Caravaggio's entombment.

04 April 2006, 09:04 AM
While this version of Caravaggio's imploring woman is full of emotion, she doesn't resemble the original that much :)

04 April 2006, 09:16 AM
These next three versions are my latest painting practice (again, yet to finish, and not too much left to do, so I should make the effort - he needs an eye at the very least).

No sketch, just straight painting in PS, and using a photo reference from one of the threads here.

The pose isn't exactly as the reference; just done by eye. I was committed too early to where I had placed his shoe and hand, etc. so carried on as set.

04 April 2006, 09:18 AM
The fellow gets some legs:

04 April 2006, 09:21 AM
His head is looking a bit big, now, but his face looks better, despite needing that eye :)

04 April 2006, 01:37 PM

Welcome aboard! :) It's really great to see your Anatomy Thread up, and you've got quite a lot of really solid work here!

Originally posted by YMS: It was a revelation to me to learn here that working from references is encouraged, and is beneficial, and that some degree of competence with art is possible with a good amount of practice (and it doesn't have to be solely for the gifted).
That's very cool to hear. :) Drawing and painting from life is also encouraged ~ it's one of the best ways to learn, but I also really stand by the benefits of working from reference. And yes, I most definitely believe that nearly anyone with enough determination and practice can become quite proficient with art. I think people particularly improve rapidly with digital tools, and there is evidence of that everywhere on this forum.

It seems like you have really solid starts to a lot of things here ~ I particularly like this one:
Where your proportions, values, and such are really start to work together ~ and I feel as though I am starting to look less at a painting and more at a person. That of course is always the goal! :)

With respect to using reference, unless you have two monitors (I don't) it's usually easiest
to do as you are doing, or to just have the reference photo up in the background as a separate document. Once you have the sort of big picture laid in and are working on details, if I have both the reference and the painting documents I am working on open simultaneously, I sometimes go to Window > Arrange > Tile which arranges the documents vertically. This really only works for detailing as you won't be able to see your image at 100%.

I'd really encourage you to finish a few of your pieces ~ particularly the latest master copy and the 15 Minute Sketchathon reference piece. When finished, these will look really amazing!

Looking forward to seeing more of your work!

Cheers, :)


04 April 2006, 07:59 PM
Thanks for the welcome and the advice, Rebecca!

I'd really encourage you to finish a few of your pieces

Yes, I can see that I should and will get on to it. :)

04 April 2006, 09:30 PM
I've been searching my not-so-well organised computer files for some earlier digital artwork I've attempted.

Found one that I was quite pleased with, as it is something I developed from my own sketch and concept, and attempted to colour. It was for a PS site competition ( ( to illustrate "Halloween", 2005. It didn't do that well. I think the white background killed it, as the other entries had mood and darkness, etc, over the whole page. But it was a huge step for me, so I was pleased. :)

Someone thought my witch had a "cherry bomb" in her pocket. No, it was my attempt at a "rat"!

04 April 2006, 10:41 PM
This is the one I was looking for when I found the Halloween image – a face I painted in PS without reference (foolhardy!) in July 05. (I kept finding that the face was “melting” as I worked on it, probably from the brushes being too soft.)

I thought it would be interesting for me to put it here then make a similar attempt sometime soon with more experience. A lot of time passes between attempts to learn to sketch and paint for me…I tend to stop and start in bursts, thereby not practicing enough or producing much. I’ve never had lessons; it’s just a hobby for me, but I learn an incredible amount from forums like these - a great resource. :)

04 April 2006, 11:09 PM
I'm working on this in the Beginners' Lounge (from OFDW 16).

My latest progress:

04 April 2006, 01:08 AM

I think your Master Copy is just a huge leap over your previous work, and I really encourage you to keep after this! I think it's great that you are enjoying this as a hobby ~ who's to say that a hobbyist can't also be an artist? I just posted something about audit's piece that I also think applies here ~ here ( I talk about the monumental 'A' of the figure in the composition that I think you might also try to emphasize more in your copy. :)

Also, double~check the angles of the pages of the book ~ I think in the original, they are more skewed and dramatic.

Keep pushing the value contrasts in your piece, and subtly bringing out form. Really looking forward to your progress! :)



04 April 2006, 02:12 AM
Wow! I agree with Rebeccak, this last one is really stunning :thumbsup: I do the same thing with my "references" I just have a small window open with it to the side of my main window. Some folks get all fancy with grids etc., but I find that doing so one gets too dependent on those lines. Anyway, I look forward to seeing more of your progress :)

04 April 2006, 02:18 AM
Rebecca, many thanks for taking the time to help me improve this copy - I'll work with the "A-line" and refine the book pages. By then I will have worked on this enough to post an update in the Lounge.

BTW, my work is improving because of what I have learned this month alone! I had no knowledge of working grayscale before, and thought that art sprang fully formed, practically. I didn't appreciate that reference was essential (at least while learning) and that a "blob" could be refined into detailed features. Guess I'm on my way...

And regards hobby art - it's a wonderful distraction and a creative antidote to my non-creative job. :)

04 April 2006, 02:26 AM
Thanks for dropping by!

Not sure, myself, how this will go, but I'm trying to stay with it. Here's to that progress... :)

05 May 2006, 10:55 AM
Took a break from the Master Copy tonight and sketched from various magazines.

With this one, I was just doodling to begin with so started anywhere on the page - by the time I decided to do the whole lower torso, I didn't have much room left. Hence, the body is a bit squashed-looking (and footless).

05 May 2006, 04:42 PM

Not bad! :) It's great to see you doing these kinds of drawings traditionally. They can do nothing but help. :)

Here is a great resource for Anatomy Reference which I would encourage you or anyone to copy from:

Anatomy Atlas (

Leg Muscles (

Leg Muscles 2 (

The large image is an image map, so click on individual images to be linked to a larger image.

Looking forward to seeing more sketches like these. :)



05 May 2006, 06:12 PM
Many thanks for the links, Rebecca - I'll look into them :)

05 May 2006, 06:22 PM

You're welcome! :)

For future reference I've posted a Sticky at the top of the forum here:

Master Copy Resources (

I find myself referring many of the same threads, and this will make it easier for others to refer these useful threads also. :)



05 May 2006, 07:00 PM
I read about Maladie's nudes disappearing from her Photobucket pages and decided to check on mine. They are gone, as are a lot of clothed figures, also.

I can still view all of the images in these two pages (perhaps they're cached) - is anyone seeing just broken links? Thanks.

05 May 2006, 07:43 AM
These represent sketch mileage and practice and perhaps the smallest of improvements ... :)

I managed to find some artistic anatomy books in our city library including some Hogarth, and the Great Masters book, and also made use of magazines, and some site images.

05 May 2006, 07:45 AM
More sketches

05 May 2006, 07:48 AM
Yet more sketches

05 May 2006, 07:50 AM
Mileage sketches

05 May 2006, 07:54 AM
Practice sketches

05 May 2006, 07:56 AM
Still more

05 May 2006, 07:58 AM
Putting in the mileage

05 May 2006, 08:18 AM
Painter practice

I gave painting straight in to colour a go using Painter - didn't bother with a sketch, just made a pinkish blob and went from there. (The reference is one I found on Wet Canvas.)

05 May 2006, 08:38 AM
Tried to practise getting a likeness and a straight use of colour in photoshop this time (just a rough trial).

Reference is from somewhere on CG.

05 May 2006, 09:22 AM
Did this while having a long break from the grayscale one I am working on.
Used painter and experimented with a colour start again - just went far enough to see a slight similarity, though my version looks very goofy and muddy, but I can only improve ... :)

05 May 2006, 02:29 PM

It's fantastic to see your progress so far ~ the Master Studies and the Painter pieces are really coming along ~ you seem to gravitate more toward Painting than Drawing, which is funny in that people usually gravitate toward one or the other more strongly. :) I very much encourage you to continue with the Master Copies, as I think doing them is one of the most efficient ways to learn the figure. Your color sense is quite nice, I like the emotion of the color in your Painter pieces ~ good to see. Definitely the further you push your Rembrandt study, the better off you will be.

Looking forward to more great updates. :)



05 May 2006, 08:30 PM
Thanks for stopping by my thread. I enjoyed returning the favor. You have some great work started here. Hope to see some finished work in the future.:thumbsup:


05 May 2006, 05:54 AM
Thanks, Rebecca. :)

It is funny about the painting preference - it's the gestures and sketches that give me trouble, so they're what I'm trying to practise, but I get distracted.

And, Mark, thanks for visiting. Yes, I've started a few things, now; really have to finish some! :)
(Just saw your next sketched version and it's looking very good.)

Some hands: "Anatomy Lessons from the Great Masters"

05 May 2006, 06:29 AM
This one is taking a while to get right. This is my latest try and I'll be tackling it yet again. I can see that I have not managed to get the angle of her head right - my version is too upright (she needs to be pulling away more).

I didn't know it was so hard to actually "see" and put down what I see - I think I'm angling something in a sketch then when I check, it is so off, and can be practically vertical. Practice ...practice... :)

05 May 2006, 10:26 AM
Some great stuff here! Its good that you are learning to draw aswell as that commercial painting stuff, dont run before you can walk ;)


- Sketch the whole form in rapidly, always checking the original and make it real rough; but not too rough, make sure they are identifiable as lines. Then choose the largest mass and then clean up the lines and keep tweaking until you think its perfect to you. Go get a drink and come back and take another look, tweak it again. Then start on the smallest limbs, the ones with less detail, this way you wont get frustrated early on. Leave the bigger details out till last; like the facial features and hair. Now compare the body of teh photo to your drawn body and then the chosen limb. line this limb up to something identifiable on the body and then draw and scale it on your page.

Last one was hard to explain so if it didnt come out clear, no worries.

- Keep a fresh eye ever so often, like every 15 or 30 minutes. Do this by taking a break, like before, go get a drink.

- If you are doing it by hand, which is recommended (none of that undo crap) then use a 2B pencil and a vinyl eraser and a putty eraser. Putty eraser for the highlights and the more delicate sections and the vinyl for the large mistakes. 2B because its not too strong so as not being able to erase and its not too light so you cannot see the forms. If you do it by hand you are being more careful due to only having erasers as backup.

- Some may disagree, but try to keep your studies to a 4 sketches maximum per page. This keeps clutter down and the other sketches do not smudge or distract you while you work.

Anyother tips I will post them.

05 May 2006, 10:42 AM
Andrew, thanks for taking the trouble to add those tips!

My last two postings are totally by hand (ballpoint pen). I was quite pleased with them as I drew straight from the reference with no means of erasing, so had to take care with the sketching. (And managed to avoid that "undo crap"... :) )

05 May 2006, 04:43 AM

I hope you don't mind, I did a review of your Master Copy ~ hope it helps! :)

The main thing is to locate the central line of the figure, in this case, the spine, and to watch the widths on either side.

Cheers, :)


05 May 2006, 04:59 AM
I certainly don't mind, Rebecca - thanks a lot for taking the time!

My torso looks very squashed now that you point it out, in addition to the wonky neck angle. I'll try again. (and again, no doubt... :) )

05 May 2006, 01:42 AM
Hey, only 2 pages in 10 days, gotta hussle.LOL sorry just kiddin'. I'll go all out for some time then won't pick up a pencil for months, and end up loosing half of what I gained.
some nice studies I like the hand with the palm up the best, dont think I ever tried a hand in that pose. keep it up. hehe you could try what I did and do 30 sketches of the same thing, some with wacom some with pencil. move to different lighting around the house, was very helpful for me.


05 May 2006, 05:21 AM
do 30 sketches of the same thing

Mark, yes, I will try something like that with the last woman/master copy I managed to distort :)

Let's see how I go with 10 pages in 2 days - or not... LOL

05 May 2006, 05:26 PM
I am always asking myself why people paint digital like they paint with a pencil and than they shade the image like they would do it with a pencil? Hey guys you can color and/or shade an image digital in 5-10 minutes BETTER than you could ever do with a pencil. The pencil way is to get a better feeling of the form but you can't get this feeling digital. Also shading with a pencil is a lot harder but doing it the pencil way only digital will not really push your limits. So well, this is my opinion ;)

I would assume you to try to color your images rough when you do digital sketches also you should do more traditional pencil work :) Try it out ;)

05 May 2006, 11:58 AM
Thanks, Trunks. I guess you are recommending what Rebecca does - a mastery of traditional, first, when it comes to anatomy and drawing.


Posting a sample of recent drawing practice by hand - ballpoint pen - (and done by a learning eye, hence various distortions :) )

Some gesture-like sketches:

Master copy practice of a foot by Durer:

Another attempt at a master copy - this time of an old man's profile by Da Vinci. Not a total resemblance, but each version matches in one part at least, and it is remarkable how a line started in slightly the wrong place can change a whole face. And the typical beginner mistake of a too-large eye. (I've even managed to depict this old man as Hugh Hefner, a criminal, someone toothless, etc.)
Keep on, keeping on... :)

05 May 2006, 02:32 PM
Hello YMS, just love your master copies on ink, the last one, the Leonardos' head is pretty cool, I just suggest, keep watching the negative space, I think that take care the negative and positive space at the same time, is the key for masterig the draw and paint, great thread, keep posting

05 May 2006, 06:40 PM
take care the negative and positive space at the same time, is the key for masterig the draw and paint

Thanks so much for the comments and that tip, Enrique.

I'm going to try hard to remember and apply that advice. :)

05 May 2006, 07:41 PM
You did a nice job with the master copies ;) and great you understand what I worte (so I did not ;) ) Why are you not sketching with a penicl? ;)

Kepp it up :)

05 May 2006, 09:07 PM

It's great to see your Master Copies, in the medium of your choice. :) I personally like ballpoint pen sketches, they afford a lot of detailing that sometimes becomes tedious when having to constantly sharpen a pencil. Alternately you might try a mechanical pencil to avoid having to sharpen.

Looking forward to seeing more of your work! :)



06 June 2006, 11:23 AM
Thanks, Rebecca - I didn't know using a blue ballpoint was really feasible for me until I tried it!

Why are you not sketching with a pencil?

Hey, Trunks - just because I haven't really tried to, but I did tonight, using my only pencil, a 2B. I plan on getting the 6B's this weekend and trying Rebecca's workshop tasks.

Original - Michaelangelo's "Profile with Fantastic Head-dress"

I didn't get the angle of the head right as I was just doodling to start with then decided to try and shade with the pencil, and until I saw the earring, I thought I was sketching a male. Unfortunately, my version has a hardness and haughtiness that it shouldn't have - the original expression has a softness to it.

I had a great mail delivery today - my four ordered Master Draughtsman Series books arrived from Amazon, USA. The postage came to the same cost as the books themselves, but they certainly look worth it - Michaelangelo, Rembrandt, Leonardo da Vinci and Raphael.

06 June 2006, 12:00 PM
This looks not bad, but also not good ;) You simply have to make more pencil sketches to get a better feeling. I think after 10 sketches you will know how to paint with a pencil and from this point your images will look better from image to image ;)

Kepp at it!

06 June 2006, 01:48 PM

Hmm, I don't think it's appropriate to say that something is not 'good', particularly when we are all learning ;) but I think the better thing to do is to judge a large number of Master Copies, which can only be accomplished one at a time. :) I have come back to doing a copy of the same Master Drawing repeatedly, and each time I learn something new and see the flaws I made in the previous versions.


One thing I like to recommend for head / portrait studies in particular when the head is obscurred as it usually is by hair and / or hat as here, is to draw the outline of the skull first before drawing anything which covers it. I think the main suggestion for modification to the current copy is that the back of the skull is small in comparison to the face. :)

It can be really useful to trace Master Drawings with tracing paper, just as an exercise to get the feeling for how they drew. I did numerous such tracings as a student and it just helps you to see how the masters did it.

Looking forward to seeing more of these Drawings! :)

Originally posted by YMS: I had a great mail delivery today - my four ordered Master Draughtsman Series books arrived from Amazon, USA. The postage came to the same cost as the books themselves, but they certainly look worth it - Michaelangelo, Rembrandt, Leonardo da Vinci and Raphael.
That's awesome! Congratulations, these books will stand you in great stead. I have used my copies for years, and they never become boring or stale. It's great to hear you've ordered them! :)



06 June 2006, 04:31 PM
Hello YMS, I like the last master copy, there is something that looks a bit strange in the face proportion, it looks like a problem that I have sometimes, maybe there are two situations, you are drawing too close from your paper, or you are rendering based on small areas, I mean, when I draw, I try to do it from big areas to small, but sometimes i forget it and I start to draw and detail areas before have all the generall form, when this happends, you start to break the proportions, I don't know if I was clear enough, but that is my case, I hope that helps you, you are doing a great job on the master copies, hope to see more of you.

06 June 2006, 08:56 PM
Come on, Trunks, it was my very first job of shading with a pencil ... I'll have to try the same Master at least nine more times then just post that one! :)

Yes, Rebecca, the books are easy to carry around as you have said. They look and feel great and will be used a lot. (I got ridiculously excited when I got them, even though they represent a lot of work ahead!)
For The Profile, I was squashing it on the page - not good in an anatomy forum... :)

I don't know if I was clear enough
Hey, Enrique, yes, very clear, and helpful! There's a lot wrong with that pencil sketch, especially the proportions. I'll definitely be doing it again and try for a much better result. (Still finishing up Mona for OFDW17, as well. :)

06 June 2006, 10:50 PM

Great progress - as Rebecca said it's not really fair to say good or bad because these aren't on showcase or in an art gallery. They are the parts that make the stairway you are builing as your are climbing it, and you cannot build anything without parts! Sometimes a failed drawing has me more excited than a successful one when I realise I just learned something invaluable.

That said, that's a great part you have there. I often find that when copying sketches from old masters accuracy doesn't help me as much as feeling. Don't necessarily look for this curve and that curve and this line and that one - like Rebecca said try to get a feel not for what they did, but how they did it and why. But that's just my approach and seems to suite my (non-existent) style.

Keep grinding the lead man,

- d.

06 June 2006, 11:40 PM
I think you went over! Slowed down myself heat and humidity here is killing me. Hands start cramping up after work if I do to much , so about an hour a night. pick back up next week.

You did some good studies, started any from your new books yet:)


06 June 2006, 12:37 AM
Keep grinding the lead man,

- d.

Thanks for the encouragement, demented!

They are the parts that make the stairway you are builing as your are climbing it, and you cannot build anything without parts!
Fantastic way to put it... :)

Mark, too bad about your humidity, cramping, and being limited with your time. Still looking forward to your coloured version/painted sketch, when you can get it worked on.
Yes, the books have been used (same day!) - one woman's pose that I didn't post (too many things wrong with it, but still working on it) and the Profile above is also from the books.

06 June 2006, 09:59 AM
I think you missunderstood me. I wanted to say it's a good start which you can improve ;) I know it's your first attempt and hey we all started some day!

I learned working with a pencil by painting cups. Well this sounds crazy I know :) I also did master copies (well at least a few I think) and I did many hand pose sketches.

Why hands?
The first real "art" you can find on earth might be a hand on a stoneage lair's wall. Also the great masters did great hand poses in their works, the hand is really important in art because the hand can tell you nearly everything. So the hand is great to stduy :)

Yeah cups are great to "find the line". A cup is a simple form so you can learn really quick and easily. Which means you paint and paint and paint and paint on the same place without any reference. Then you will find the line which looks best and go on painting the cup. This looks really strange but you will get a really good feeling for the pencil!

I uploaded 2 images I did this time to show you what I mean, don't know if you understand it ;)
cup1 (
cup2 (

Try this out if you want to, this gives you a better feeling really easily ;) You don't have to paint complex master studies ;)

I think master copies are a great help later when you know better how to work with the pencil.

Decide for yourself - just my opinion ;)

Anyway, keep at it!!! Paint everyday, when you wake up ask yourself "Have I sketched something today?" if not than go and paint! :)

06 June 2006, 01:32 AM
Trunks, so much good advice there - thanks for going to so much trouble! :)

Keeping all that you wrote in mind, plus Rebecca's current traditional media (pencil) workshop, I practiced the sketching task she set (though still have to finish the top two thumbs):

06 June 2006, 01:02 PM

Good to see you do these. Draw everything - don't think about it just draw it. One or two tips if I may: Avoid turning the pencil to it side, else it results in grainyness; work with a sharp pencil and keep it sharp; work some on accuracy - using perspective ill be helpful. The last drawing the form looks off because the perspective isn't 100. the elipse that forms the base of the form will be fuller/wider open than the elipse forming the upper rim. Also remember that these won't form angles with the sides when you draw them, but will flow into the sides. I'm sorry these are so unclear - if you want I'll gladly post some visual examples of what I mean.

I suggest you do some these studies with charcoal too - personally I have found that graphite and charcoal especially complement each other. Good to see shadows there - not only do they help to explain the forms, but they are often able to activate some of the negative space and bring the drawing to life.

Regardless, at the end of the day I found that putting some life into these studies are what makes them. Accurate depiction isn't something that always works and it's up to the artist to interpret what he sees and put it to down on paper.

Hope this helps some - shout and I'll post some visual examples of what I mean.

- d.

06 June 2006, 05:44 PM
Hey YMS,
As soon as I saw your last post I looked down at my desk and said, I have one too! I use mine to keep the extra tips in instead of the pen. Demented is right, its a litte tall and the base should be more rounded. I only know because I'm comparing it to the one on my desk.:) I have the opposite problem. I draw things too wide. I hope to see more. I love your shading.


06 June 2006, 06:00 PM
- NICE work- now could you draw the pen showing how it comes apart so I can try the other tips it came with. LOL


06 June 2006, 06:51 AM
Finally getting some time to update here (as opposed to just reading the posts :) )

demented, if you want I'll gladly post some visual examples of what I mean. I would be very glad to see some, thanks.

Christian/xiannc - I have one too! Glad to see it was recognisable despite its faults :thumbsup:

Hey Mark! draw the pen showing how it comes apart so I can try the other tips it came with

Can't be totally sure, but don't some people just pull out the tip with tweezers and poke another one in? Haven't tried it myself... :D

06 June 2006, 07:00 AM
I think I have about one week to go for OFDW17. It's a struggle, but I'm determined to finish, despite having to end with some proportion problems.

This is what I've done so far with Zorn's "Mona":

06 June 2006, 07:01 AM
Latest update:

06 June 2006, 02:23 PM
Hey YMS, the copy looks excellent :thumbsup:, no crits

06 June 2006, 11:28 PM
just pull out the tip with tweezers and poke another one in
doh :wise: that's it thanks.

WOW, you did a great job on the master copy :applause:


Edit: What's next?

06 June 2006, 04:40 AM
Re Mona, you have a very forgiving eye, Enrique, thanks :) (Hope you and Mu meet up at the soccer, okay!)

Final version - finally -

Hey, Mark, next up is this painted skull, which is still a WIP:

06 June 2006, 05:50 AM
Recent drawing practice. Still fiinding it tough to get the proportions right, and put across weightbearing, body/limb angles, etc.:

The figure below is my most recent master sketch and the most successful so far with proportions. I was trying to shade it completely, but was in danger of spoiling it so stopped:

06 June 2006, 03:57 PM

Fantastic job with the OFDW piece, don't forget to post a hi~res version as a link if you haven't already! :)

Also nice to see you jumping right into the skull piece, I'd like to see this pushed much further. Your last master copy is going really well, and I would love to see you do more drawings in this vein. You are definitely improving, keep up the good work! :thumbsup:

Cheers, :)


06 June 2006, 06:14 PM
Thanks, Rebecca :)

I agree, the skull is still a WIP - I need at least another evening or two to work on it.

(And continuing to work on the sketched master copies...)

I've added a hi-res link to Mona in the ODFW17 thread and here it is here:

hi-res Mona (

06 June 2006, 11:31 PM

really great job on the ODFW17 :thumbsup:
nice skull, I used the same ref. for mine, like yours better
I like the last two sketches, if you could give the left knee in the last sketch a little tweek it would be perfect.:)

"in danger of spoiling it" i really hate that about traditional work, but I ussually realized it too late than have to live with it. for me fixing it would most times make it worse.


06 June 2006, 08:56 AM
Thanks, Mark :)

Now, if you had come across a harp as well in that room you were working on - the one with the loom...amazing.

Couldn't resist starting one head of the 50 - it will certainly be something to look back on if we all manage such a big output.

Did this in PS, no sketch or grid, just plopping down of paint. Started in colour then just carried on in greyscale.

Work in progress on head 89 (still more to do on it):

06 June 2006, 12:10 PM
Hey YMS,

sorry for dropping dead, lost my internet for three weeks. Here's the example I promised - this is a very old drawing, please excuse the total lack of skill! (

Basicly it just involves that from a perspective view, the sides of a cylinder will flow smoothly into its baseline when you draw it. There is no definite angle or corner that separates the the base from the sides unless one's eye is level with the base of the cylinder. Same counts for the top.

Back to contemporary stuff:

The Re Mona looks wonderful - well done on that one.

This last one looks great too - would start using a softer brush if I were you. even out the values some, get rid of the rigid texture. hope to see the final soon!


- d.

06 June 2006, 02:46 PM
Hello Yvone, great work your thread I really like it, just love the skull, pretty cool.
The draws are very good but there are some problms with the proportions, maybe I say this each time I post but, something that helped me too improve my draws was attemp to draw the positive and negative space at same time, I mean draw trying to keep both sides of the line, the portrait is looking great so far, congratulations for your good work. :applause:

PS, I really like your Mona's paint, I envy you, I just can't paint that way, my vision is only monochromatic (like a dog lol), when I try to paint directly with colors is just a chaos, BTW your OFDW18 is looking great - I couldn't meet Mu at Germany, I lost :p -

06 June 2006, 03:22 PM

Great to see your work on the portrait piece! Definitely looking forward to seeing many more of these. :)



06 June 2006, 04:20 PM
Hey great proggress on 089


07 July 2006, 08:49 AM
Heads, heads, heads... :)

Here's the latest finished head, # 96 (number 1/50 in terms of not a WIP).
No grid or sketch, just PS painting, so the face is slightly off in places.

I have a few more to complete shortly - working on more than one at a time.

07 July 2006, 09:07 AM
Catching up: :)

please excuse the total lack of skill!
You're kidding, Demented, right! :) Thanks for the examples of such skill(!) and for the info. When I'm headless, I'll try my best to put it into practice. (Plus, "even out values and softer brush" - noted, thanks.)

And congratulations - Rebecca is right about your creative way of writing your posts here - you practically come alive and burst from the computer with what you say. Your lead-in lines are way creative and entertaining.

Enrique, thanks. Mona was a fluke, I think, with working straight off in colour. Yep, proportions are still my problem. (I'll have to finish that skull one of these days - it's still a WIP.)

Hey, Mark, #89 is one of the group that I am still working on, so I'll get it finished and posted soon.

Thanks, Rebecca, not sure about getting the whole 50 heads done, but whatever I get through will be great learning. I am getting painfully aware of the mistakes I make with portaits - they become so obvious and repetitive when you're working in quantity, so that's been very helpful. Skewing/distortion seems to be the worst fault, or a face getting overly long and having to be rescued with a PS "squash". :)

07 July 2006, 09:55 AM
Calling this the 2/50 finished head #10 - it could do with a lot more blending, but for the sake of speed and getting through the tally, this is it for now. Tried the "envelope" this time round - roughly confined the painting to the same dimensions as the original (with them side by side) then blew mine up to paint, with an eye on the smaller original.

I found this painting slightly macabre as I didn't notice the other head in the bottom right at first. I was copying the whitish blobs and keeping them abstact then suddenly saw it. And proceeded to paint the second head... :)

(This was an attempt to paint straight into colours judged by eye; no greyscale this time round.)

07 July 2006, 11:49 AM
wow great heads, especially like that last one :thumbsup:

lol, that was a face. Just did that one last night and never noticed thought it was the other arm or something :) good eye :thumbsup:


07 July 2006, 12:33 PM
Another from the production line, 3/50 (#20)

07 July 2006, 12:57 PM

Muchthanx! As I've said, I likely have an even greater passion for writing than for visual art, so it's very heartwarming to hear that.

Really liking these last studies - getting stronger and stronger. would be great to see a more minimalistic approach - break down the forms and colours, and work with as litttle strokes as possible. this forces you to think more about what you are doing rather than just duplicating the work. Don't think the word "mastercopy" is appropriate for what we are doing at all - "masterstudy" suits it better.

Think about what you are copying, why you are copying it and most importantly how you are going to copy it. there more involved one is, the more one learns. Doctor Bones' prescription is to flip the head the other way, for instance, forcing him to think more about what he is doing. In the end, he manages to make the copy his own, so to speak.

Making unbelievable progress here - forms are flowing better, lines and strokes are becoming more confient - keep at it!

- d.

07 July 2006, 03:19 PM

#96 / number 1/50 is terrific, and all of your pieces so far are really solid. :) I agree with demented that you are making great progress here, and I'm glad that you're not 'finishing' / wholly rendering these as they have a more interesting quality at this stage and I think teach more, in the long run, about getting the most important information established first.

Keep up the good work! :)



07 July 2006, 06:52 AM
#96 / number 1/50 is terrific
Thanks so much, Rebecca.
I feel this one represents my best progress yet - actually finished, :) a reasonable likeness, great practice with greyscale and cloth, etc.

more minimalistic approach - break down the forms and colours, and work with as litttle strokes as possible.
Okay, demented, I have to admit that I'm getting confused here :)
A lot of the work in the 50 heads thread look like "master copies" to me ... :shrug:
But don't worry about it, I'll think about it some more, and in the meantime, I will have to do more "master copying" as opposed to "master studies" (are these more abstract,? or more original?). I don't think I have the skills to deviate like that?


On to another head, a freehand copy, sketched and painted in PS, # 52 (4/50):

07 July 2006, 07:29 AM

I've made this sound a lot more complicated than it really is. Basically, try to render as little as possible whilst still capturing the essentials. Take a look a zhuzhu's work - especially his copy of "Sorrow" (I think) - all his things still look pretty much like the originals, but if you look closer you can actually spot all the individual strokes he made, and there aren't all that many of them.

So when I say "minimalistic" it means that one purely tries to render as little possible whilst still capturing all of the essential details. As Rebecca said, you are already doing this (..."not 'finishing'/wholly rendering these..."), I just think you might want to try and take it a step further.

hope that made sense, and it's just my way of looking at things - there are many ways to skin a cat. Go with what works best for you, and what feels more enlightening to you.

Awesome work on this last one - good likeness, and much better form - like where you are heading with these studies!


- d.

07 July 2006, 08:33 AM

Cool to see that you are interpreting (what I think was) a drawing. :) I would really recommend adding a dark layer on top of your existing layers, and playing with the opacity. I have a particular fondness for painting darker skin as it allows a full range of rich values. Definitely exploit this and see how far that you can push form through value. :)



07 July 2006, 12:30 AM
recommend adding a dark layer
Hi, Rebecca, thanks for that tip. I'll give that a go and post the results. :)
Yes, #52 is a drawing.

Hey, demented, thanks for giving more details re. minimalise/render less. Much appreciated. :)

I gave it a go and deliberately worked a lot looser with # 14 5/50

(Though his expression is a little off and I managed to make the poor guy look at bit anxious...)

07 July 2006, 04:28 AM
I'll have to get back to OFDW18 soon - it's ending a week earlier than I realised :)

Just finished up a head started last week, #91 6/50:

07 July 2006, 07:12 PM

Lovely progress here! Keep pushing those values, and you're really getting some nice structure in the faces. :)



07 July 2006, 12:20 AM
Wow 4 heads done allready, guess I've been slacking. Great job on the values especially on the last can really feel the contours and depth in them.:) Keep it up.:thumbsup:
oh man ODFW18, how much time is left, really getting behind.


07 July 2006, 12:43 AM
oh man ODFW18, how much time is left, really getting behind.
Scary, isn't it? July 9th is coming up fast!

Thanks, Rebecca and Mark - the values are slowly improving :)

07 July 2006, 12:52 AM
Good work on the heads / faces. Some advice might be: try to do longer strokes... the most of your strokes seem to stop abrupt. Maybe it helps maybe not ;)

Also try to paint always in one direction. For exampel, take your last piece, the hair. There you painted in two directions. Does not look best or? :)

Keep it up, I hope I could help, if not, maybe next time :)

07 July 2006, 02:38 AM
Trunks, thanks for the painting advice - every bit helps. :)

I'm not going to make the deadline for submitting a finished OFDW18 piece - the colouring of the grayscale is proving tricky. All of the different colours need balancing/evening out - they clash at the moment. :)

This is what I have so far - still messy and needing work in places and the dress is lacking something, and looking very flat, but I'm working on it. I'm also redoing her face to get a better likeness, size, and with less distortion.

07 July 2006, 08:46 AM
Slight improvement on her face (the 50 heads exercise is helping :) )

07 July 2006, 12:34 PM
Next head #98 7/50 - worked straight with colour for this one (not quite managing to match the colours or depict the face 100%):

07 July 2006, 02:16 PM
Head #64

07 July 2006, 05:14 PM
Your last piece looks fine to me!

#98: The hair ... well you should try to use small hard brushes with high opacity, around 80%. Than do long strokes and don't stop them. For the crazy stuff in her hair just paint over the finished hair. I hope it helps!

07 July 2006, 09:54 AM
Thanks for your comments, Trunks :)

Regarding the hair in #98, I was just trying to suggest it and was working more on the face. These 50 heads can be as detailed or as rendered as we want to make them, and for the sake of the time needed, it can be easier to show just the essence of the original head.

Head #22

07 July 2006, 12:13 AM
Head #44
COSTA, Lorenzo
Portrait of Giovanni Bentivoglio
c. 1492


07 July 2006, 01:20 AM
Hi....YMS...:) :thumbsup:

I was just checking out your thread again....Very nice progress happening...GREAT JOB ON THAT WOMAN WITH THE SOWING LOOM...really like the redo or refinement of her face...nice job..:thumbsup:
I think that if you add just a COUPLE MORE VALUES to your works,..darker darks..lighter lights,
it will really give then that extra depth, volume, and punch.... those extra values will really helps to carve the forms into and out of the shadows and lighted areas that make up the space you are creating.
Also a lot of the old masters didn't use black,...they used a deep deep purple in it's place..That almost black purple tends to harmonize better with the other colors when blended ect... will keep you from getting a muddied effect, and will add to the richness of your color pallet and painting.
Been enjoying your thread, and am looking forward to seeing more great progress..:thumbsup:


07 July 2006, 05:21 AM

It's great to see your initiative and progress here! :) I agree with Glenn that using a greater value range will do wonders. Keep up the good work!

Cheers, :)


07 July 2006, 07:03 AM
Head # 31
Madonna Palafrenieri (detail)


07 July 2006, 07:11 AM
Hey, SpiritDreamer (evocative name :) )

Thanks for your comments re. the Loom Woman - she's getting there, but represents a process in learning to colour the gray, so it's slow going, especially with all those heads wanting attention. Deep, deep, purple rather then the black - okay, thanks.

Rebecca, I'm sure you're enjoying your Beach Break :)

Many thanks for the good advice from you both about putting down those values and a greater range of them - I'll keep making the effort and trying to "see". (I'm much better than I was back in April...:) )

07 July 2006, 12:13 PM
Head # 90
AMERLING, Friedrich von
Countess Nákó


07 July 2006, 12:47 PM
Hi.... YMS.....Last one posted.....BEAUTIFUL....VIBRANT RICH COLORS.......:applause: :thumbsup:


07 July 2006, 09:13 PM
wow impressive work you been doing :thumbsup::thumbsup: I like the madusa head the best

your painting (ODFW18) is really coming along too looking great keep it up:)


07 July 2006, 12:32 AM
Head # 79
Bust of Empress Josephine

13/35 (modified target :) )

07 July 2006, 12:40 AM
SpiritDreamer - thanks re. # 90. I tried really hard to give her some life and colour, and to define those planes. :)

Mark - That snake head image # 31 was also good practice in using colours, despite the severed head and snakes...ugh :)

Yeah, OFDW18 is a challenge, and not looking too bad - I was a bit ambitious to have taken it on, I think :)
And I definitely plan on finishing it... :)

07 July 2006, 02:51 AM
WOW that last one looks 3d, wish I could get mine to pop out like that :)

yea the snakes not really clear enough for me, thats why I haven't tried it yet and it would take a lot of time to draw them all.


07 July 2006, 05:04 AM
Head # 83
HOUDON, Jean-Antoine
Bust of the Artist's Wife
c. 1770


07 July 2006, 11:43 AM
You are improving very well! This heads are looking better and better :) I am ignoring the hair now and I have nothing to crit :D

07 July 2006, 05:26 AM
Head # 6
BELLINI, Giovanni
Head of the Baptist


Thanks for ignoring the hair, Trunks! :)

07 July 2006, 10:23 AM
just keeps getting better and better :bounce: way to go
nice color chioces in that last one

looks like i"m not working today so I get an early start woot!

07 July 2006, 05:52 PM

Thank you, I had a great vacation, and am even slightly tan! Though, sadly, I don't tan as easily as I used to! :)

It's been great to see your progress here, you just get better and better! :) With 14/35 I start to forget that this is a painting and feel that I am looking more at a person. As you get even more skilled, you will find this happening more and more often. A really cool phenomenon to see in peoples' work! :)



07 July 2006, 06:41 PM
Thanks, Mark and Rebecca :)

Head # 60


07 July 2006, 10:36 AM
Heads # 3
ALLORI, Cristofano
Judith with the Head of Holofernes




07 July 2006, 05:51 PM
burning them up, and some reversed ones too, nice.
I bet thats confusing at times.
Great work :thumbsup:


07 July 2006, 10:36 PM
Thanks, Mark :)
You must have quite a few done yourself, by now. And more kudos to you - they're traditional! :)

The reversed ones are just posted that way - not clever enough to work in opposite direction from original!

(Especially for me, a lot of errors show up when you work with the image (and original :) ) flipped as you go.)

Head # 82
HOUDON, Jean-Antoine
Bust of Napoleon

20 / however many :)

07 July 2006, 01:22 AM
Head #89 (previously a WIP)

ANTONELLO da Messina
Portrait of a Man

21 / possibly 50 :)

07 July 2006, 03:19 AM
Head # 97
BERNINI, Gian Lorenzo
Saint Andrew and Saint Thomas
c. 1627

22 & 23

07 July 2006, 05:56 AM
Head # 66
EYCK, Jan van
Man in a Turban


07 July 2006, 07:22 AM
Head #45
CRAYER, Gaspard de
Head Study of a Young Moor


07 July 2006, 08:26 AM
Head #99
BOUTS, Dieric the Elder
Portrait of a Man


07 July 2006, 07:18 PM
really liking 22/23 & 25 :thumbsup:
great work


07 July 2006, 07:32 PM
These are realy nice YMS. The colors are working good.

07 July 2006, 09:24 PM
Thanks, Christian :)
The colours are easier for me to see in some pieces than others.

Mark, thanks. :)
Pleased you like 25 - I was a bit bolder with the colours and strokes, and didn't neaten it up much at all at the end. (Actually running out of time now, to be too polished :) )

Head # 93
BASSETTI, Marcantonio
Portrait of an Old Man with Book


07 July 2006, 09:32 PM
Excellent work here. I can see improvement just in the last 5 images. rock on : )

07 July 2006, 12:56 AM
Yes, improvement has been the word, se7en-z3r0 :)
Intensive challenge, but I'm sure we're all gaining a lot from the experience (I know I have never painted so much or studied so many portaits in my life! ). :)

Head #75
BERNINI, Gian Lorenzo
Bust of Costanza Bonarelli
c. 1635


07 July 2006, 01:39 AM
wow they look amazing. in the whole time you been working on this..what part of the face do you think you learned the most about

07 July 2006, 03:27 AM
hEAD #57
DÜRER, Albrecht
Head of the Twelve Year Old Christ
c. 1506


Hey, Lute, good question :)

Regarding which feature learned most about, would say feature placement overall - how a nudge to the side of a face (push it in or pad it out) or move an eye or nose, can make a big difference to final likeness and expression. (And amazing how little faces have changed in 500 or so years :) )
Also got a lot out of observing and trying to duplicate colours.

07 July 2006, 05:20 AM
Head #27
Judith Beheading Holofernes (detail)
c. 1598


07 July 2006, 07:32 AM
Head #42
The Fortune Teller (detail)


07 July 2006, 09:17 AM

just wanted to say that after going through your thread I am simply blown away by the progress you make in this rather short period of time (when was it, april, when you first started this thread?). It works extremely encouraging to us, viewers, because it's clear that hard work leads to wonderful results.

I was wondering, in matters of time needed to make a study, how big is your improvement there compared to the beginning?

I really like your pen work. Would love to see another here every now and then :)

07 July 2006, 04:03 PM

I have to agree with NR43, your progress is just stunning! :) If there were a list of 'most improved', you would definitely be on that list! :thumbsup: Fantastic stuff, keep pushing yourself to higher and higher levels! :)



07 July 2006, 09:04 AM
Head #46
DAVID d'Angers


Thanks, NR43! :)
Though my work is not all that impressive - don't forget, I'm just copying what I see, which is about my level at the moment. Nothing original -the hard work has been done by the artist.
Demented said to "make it your own", in regards to producing these heads, but I haven't managed to.

I was wondering, in matters of time needed to make a study, how big is your improvement there compared to the beginning?

If you mean the recent head studies, I haven't speeded up, I don't think. (I take hours for each one - too long.) I produced a lot over the recent weekend as I had about 20 half-done from earlier weeks, and finished a few of them off.
Each study is still a challenge and I have to work hard to finish. :)

your pen work. Would love to see another
Yes, I have to get back into the pen and pencil work. I was just getting in to it when I distracted myself with all of this painting for the OFDW and the Heads series. :)

Thanks, Rebecca :)

Of course you know that if it were not for being involved and encouraged in the OFDWs and the 50 heads, I would be nowhere near as improved. :)
And reading the advice to everyone else around here, is very useful.
So thanks for the opportunity and your hard work and input into your Anatomy forum. :thumbsup:

07 July 2006, 10:27 AM
Head #47
DAVID d'Angers


07 July 2006, 10:36 AM
HEY....YMS....:applause: :thumbsup:

WOW.....:) .....Looks like you have really gotten the hang of it.....those last few heads are really solid pieces....they look GREAT....A real pleasure seeing that much progess happen so fast.....a lot of work, but looks like it paid off ....BIG TIME :bounce: ......FANTASTIC JOB....:thumbsup:


07 July 2006, 11:48 AM
Goodness, SpiritDreamer - time to blush! :)
Thank you for your kind words...


Head #59
DÜRER, Albrecht
Self-Portrait in a Fur-Collared Robe


07 July 2006, 03:07 AM
What he said.--SpiritDreamer

28-33 are really exceptional :thumbsup::thumbsup:, 34 is great but missing something that you put in the other 6.
lot of work I know but try and keep it up :D
I'm starting to see face on the back of my eye lids how about you?


07 July 2006, 03:31 AM
OPB YMS: Thanks, Rebecca :)

Of course you know that if it were not for being involved and encouraged in the OFDWs and the 50 heads, I would be nowhere near as improved. :)
And reading the advice to everyone else around here, is very useful.
So thanks for the opportunity and your hard work and input into your Anatomy forum. :thumbsup:
Thanks YMS! :) Well, of course things on this forum are reciprocal ;) ~ the forum can't exist without the dedication of it's participants, so my appreciation to you for that as well. :)

Taking a look at these last few pieces, I have a feeling that a more extended, finished piece from you would be amazing. :) I greatly look forward to seeing your taking one or more of these to a more finished state at a later date. :)



07 July 2006, 03:51 AM
seeing your taking one or more of these to a more finished state at a later date. :)
Rebecca, will do; I especially have to stop skimping on "hair" - I also thought of trying to sketch them by hand after this challenge, also. Really need to start back with learning to draw.

Mark, I wish I knew what I unwittingly put into those previous six, but not "34"!! :)
Faces behind the eyelids, definitely... LOL
I've come home from work and am about to finish up a few more heads (it would have to be 8 tonight and another 8 tomorrow night- perhaps not...:) )

07 July 2006, 08:45 AM
Head #58
DÜRER, Albrecht
Portrait of Jakob Muffel


07 July 2006, 09:40 AM
don't forget, I'm just copying what I see, which is about my level at the moment. Nothing original -the hard work has been done by the artist.

I encourage you to go a step higher and think of it as "recreating an existing piece of art"
Since you put a lot of efforts in these recreations (thinking about proportions, angles, light,... ) your results truly are impressive, meaning these are more than just copies ;)

Keep going!

07 July 2006, 10:35 AM
NR43 :)

Okay, I'll rephrase what I'm doing, thanks :)

Head #51
DÜRER, Albrecht
Emperor Maximilian I


07 July 2006, 06:40 PM
Head #73
BARRE, Jean-August
Bust of Mrs. Bouchet


07 July 2006, 03:30 AM

I also thought of trying to sketch them by hand after this challenge
LOL another 50 maybe? LOL WOW go for it if you got it in you

3 more.....getting closer....Great work!


Edit: to fix quote, they go around the the words...duh LOL
Edit2: to fix quote again,ROFL, I'll get it sooner or later

07 July 2006, 03:41 AM
Edit: to fix quote, they go around the the words...duh LOL
Edit2: to fix quote again,ROFL, I'll get it sooner or later
Admit it, Mark, you're just a fan of editing LOL :)

LOL another 50 maybe? LOL WOW go for it if you got it in you
I meant that while you are strong in sketching by hand, it's my weak point, so I should get in the practice. :)

07 July 2006, 03:53 AM
HeHe, don't tell but I make a LOT of mistakes.


07 July 2006, 06:38 AM
Hey man ,cheers for the kudos in my thread. Thought id pop by and have a nosey at yours.
I think ur suffereing from what i was... look at my thread. on page one theres a head without the contrast levels - then rebecca told me to push the contrast. I definately think it helps. FOr example i think this is one of your most successful heads:
Head # 82
HOUDON, Jean-Antoine
Bust of Napoleon

I find i work better for these if i start from black...
But great work, respect for getting through 30! (i think ive done about 12...)
and great progress - your productivity inspires me to do more tonight! hehe.

dammit text changed... hehe. ah well.

07 July 2006, 09:29 AM
Thanks, Cavematty, re contrast levels - I thought I was improving/watching them, but it takes fresh eyes to see what's lacking, so thanks for that. (I'm using PS so give a contrast boost at the end, but maybe it's not enough...)
Hope you got something productive done tonight. :)

Head # 48
DAVID, Jacques-Louis
Head of the Dead Marat


07 July 2006, 10:06 AM
Head #36
Supper at Emmaus (detail)


07 July 2006, 11:14 AM
Head #88
Bust of Marie von Reygersberg


07 July 2006, 11:57 AM
I've miscounted...possibly, but can't see where :)

40 heads in this thread, but I could only find 39 to put in my summary:
(edit, now 40, but 41 in the 50 heads thread?!! aargh... :) )

07 July 2006, 12:08 PM
wow love these last ones.
they remind me of my detail obsession. I must let go... argh... very hard for me to do.

You seem to have no problem with it at all :thumbsup:

Are you going to stop with these heads now that the workshop is finished or do you plan to do a few more maybe? That would be great :)

07 July 2006, 08:50 AM
Hey Yvonne!

This collage is a good idea, so impressive all together and good to get an overview of your pieces...and there are some really pretty ones, I especially like your busts, great work:thumbsup: !
I took some time to go through your thread and I guess you're tired to hear this, but the most impressive is to see the improvement you've made in such a short time, incredible:scream: ! So I really hope to see more postings from you:) !

Have a nice day,


07 July 2006, 03:12 PM
I can't believe you did 40 (!!! F-O-U-R-T-Y !!!) of these head studies and I only managed to do 2 ... well beginings ;) Congrats ;)

Good work ! Keep up :)

08 August 2006, 12:59 AM
It's been a while since I updated in here :)

I have a lot of WIPs at the moment; just haven't been posting them - working on too many at once and not getting anything finished... :shrug:

Johan, Are you going to stop with these heads now
A further 4 heads are part of my curent WIPs - started during the workshop, but not finished in time. (I came across an old posting of yours in the WIP threads - the child portrait. Do you remember working on it?)

Sabrina, thanks. :) So I really hope to see more postings from you !
Hey, I'm finally getting around to posting some more work. I think I wore myself out and suffered some eye strain with that last workshop! LOL.

Trunks, you did 40 (!!! F-O-U-R-T-Y !!!) of these head studies
I may have done the 40 heads, but you've obviously been working on other stuff, which is looking great. Your apple looks good enough to reach out and eat. :)

Editing to add the 4 heads worked on after the workshop deadline:


08 August 2006, 01:04 AM

Recent WIPs - still working on them :)

Gian Bernini’s “Bust of Pope Gregory XV” - a freehand pencil sketch, done with the original on the computer screen in front of me. Had to leave in the mistakes - no eraser. His face is a bit too broad and perhaps not long enough, compared to the original. Underestimated how much paper I would need, so ended up with a messy construction of added paper.


08 August 2006, 01:14 AM
Another WIP...

This one, the more I worked on her nose, the less resemblance to the original! Ended up painting a rather different person; perhaps her older sister? :) (I'll see how much I can get it back on track with further work on it...) Pleased, though, with how the ear came out.

Felt inspired to start from seeing Hiri's lovely version - intended to try just the eyes, but carried on with the whole image.
(In my typical, unplanned fashion, just started with blobs and no sketch..)

Bougereau's "Portrait of Gabrielle Cot"

08 August 2006, 05:49 AM
Hey Yvonne!

Great to see more heads here, I especially like your version of # 5, the guy looks more pleasant to me than the original:thumbsup: .
I know the problem with running out of paper, I was so annoyed of it that I finally changed my way to sketch the proportions...And this last portrait is coming along very nice, without a sketch???, wow:eek: !



08 August 2006, 06:14 AM
Hi Yvonne,

wow you have been busy indeed :)
I'm amazed by your color usage. You have a good eye for it.

I have a lot of WIPs at the moment; just haven't been posting them - working on too many at once and not getting anything finished... :shrug:

I know exactly what you mean :/

(I came across an old posting of yours in the WIP threads - the child portrait. Do you remember working on it?)

Yes I do, I think I'll restart it from scratch when I feel more confident using painter. I just need a lot more practice before I have the skills to bring this piece to the level I want it.
But it's not canceled. I have a bit the same problem like you with having too many things going on to finish.

Anywayz, this thread isn't about me, it's about you!
Your hard work is paying off that's for sure. I especially like the colors in the last one

08 August 2006, 10:36 AM

still hard at it i see. :) is that pencil work ,hehe, it is coming along great.
that last painting may be your best one yet. You definitly have a nack for matching colors
and eyes and lips are perfect. accually think your eyes are better than org. :thumbsup:
great work, keep it up.


08 August 2006, 12:01 PM
Hi, i never saw this thread before. It's nice to see you evolve. You have made some beatiful heads for the 50 heads challenge. The last painitng looks very good: wonderful eyes and great skin shading. Keep 'em coming!

08 August 2006, 01:59 PM

Really nice to see your progress and great to see that your pace has not abated at all following the Workshop! Keep up the good work!



09 September 2006, 11:41 AM
It's been a while since I posted here. :)

I have been busy, though; still reading the site, plus amassing a lot of half-finished digital paintings. Didn't seem worthwhile to post just lots of WIPs though I've gained lots of practice from attempting, if not completing them.

First torso of latest anatomy workshop:

Christ at the Column
c. 1607

09 September 2006, 01:05 PM
It's been a while since I posted here. :)

I have been busy, though; still reading the site, plus amassing a lot of half-finished digital paintings. Didn't seem worthwhile to post just lots of WIPs though I've gained lots of practice from attempting, if not completing them.

Hehe. I know exactly what you mean here ;).

Really great job on this thread. So prolific! I wish I could produce art like you- it looks like you can bust out several high-quality paintings in a day.... wow. Great progress and improvement too. You've found the secret to making magnificent art........ hard work.

09 September 2006, 04:20 AM
Thanks for your comments, Mychael! (You did a great job with your skull.)

Torso # 2

RUBENS, Pieter Pauwel
The Holy Family with Sts Elizabeth and John the Baptist
c. 1614
Oil on panel, 138 x 102 cm
Wallace Collection, London

09 September 2006, 11:02 AM
Torso 3

RUBENS, Pieter Pauwel
Venus, Cupid, Baccchus and Ceres
Oil on canvas, 141 x 200 cm
Staatliche Museen, Kassel

09 September 2006, 09:36 PM
Torso # 4

Sleeping Cupid
Oil on canvas, 71 x 105 cm
Galleria Palatina (Palazzo Pitti), Florence

09 September 2006, 10:32 PM
Torso # 5

RUBENS, Pieter Pauwel
Oil on canvas, transferred from panel, 191 x 161,3 cm
The Hermitage, St. Petersburg

09 September 2006, 11:26 PM
Torso # 6

RUBENS, Pieter Pauwel
The Abduction of Ganymede
Oil on canvas, 203 x 203 cm
Schwarzenberg Palace, Vienna

09 September 2006, 11:57 PM
Torso # 7

PRUD'HON, Pierre-Paul
Nude Viewed from Behind
Black chalk with white highlights on blue paper

Torso # 8

RUBENS, Pieter Pauwel
Pan and Syrinx
Oil on oak panel, 40 x 61 cm

Torso # 9

VITTORIA, Alessandro
Neptune with Sea-Horse
Bronze, height: 50 cm

Torso # 10

RUBENS, Pieter Pauwel
Jupiter and Callisto
Oil on canvas, 202 x 305 cm

10 October 2006, 11:52 AM
Hey Yvonne,

good to see you're in the Torso Challenge... your work really adds to the whole thing!
Thanks for inspiring meh :)

10 October 2006, 04:31 AM
Hey, Johan!

Thanks so much for your well wishes - also happy to see your works in the challenge. :)

You know, you are the inspiring one these days - so much improvement and great results. And all from your own hard work. Keep up the studies...
(Congratulations, also, on being such a friendly contributor and commentator to so many here.)

Torso # 11

RUBENS, Pieter Pauwel
The Union of Earth and Water
c. 1618
Oil on canvas, 222,5 x 180,5 cm
The Hermitage, St. Petersburg

Went traditional for this rough sketch - pencil.
Then photographed it (no scanner handy), and in photoshop, put a goldish photo filter on it, plus adjusted levels.
(Managed to get an unplanned vertical glow as well, as I photographed the image in the sunshine coming through a window.)

10 October 2006, 05:56 AM
Really impressive work YMS! You seem to be able to do a lot in a little time too.

10 October 2006, 11:49 PM
Hey, thanks, Womball :)

You seem to be able to do a lot in a little time too.
Probably seems that way as I start so many torsos at once, then finish them off in a rush.

In that fashion, here are a few more that were stopped and started, then worked on a bit more:

Torso # 12
c. 1607
Oil on canvas, 390 x 260 cm

Torso # 13

Marble, height: 203 cm

Torso # 14

BERNINI, Gian Lorenzo
Marble, height 280 cm

Torso # 15

CELLINI, Benvenuto
Bronze, height: 62 cm

Torso # 16

RUBENS, Pieter Pauwel
St Sebastian
c. 1614
Oil on canvas, 200 x 120 cm

10 October 2006, 05:51 AM
More torsos... :)

Torso # 17
RUBENS, Pieter Pauwel
The Triumph of Victory (detail)
c. 1614
Oil on oak panel

Torso # 18
RIBERA, Jusepe de
Saint Onufri
Oil on canvas

Torso # 19
RUBENS, Pieter Pauwel
Venus Frigida
Oil on wood, 142 x 184 cm

10 October 2006, 06:51 PM
Hi... YMS....:thumbsup:

Looks like you are back in the groove. Those last four or five you posted are really nice, the
last two in particular....:bounce:
Keep going...looks like they are getting better and better with each one, which is a great thing to see happen.:applause:
Really looking forward to seeing MORE...:thumbsup:


10 October 2006, 09:10 AM
Hi there, Glenn! :)

Thanks very much for visiting and for your comments. I think I am slowly improving with the PS painting, but I really need to make more attempts with the pencil - some woeful attempts so far (they haven't been posted... :eek: ).

(Still have fond memories of watching your Sorolla beach study come to life.)

Torso # 20
SUVÉE, Joseph-Benoit
Milon of Crotona
Oil on canvas, 261 x 200 cm

Torso # 21
Marble, length: 195 cm

10 October 2006, 08:39 AM
Torso # 22
CAMPAGNA, Girolamo
Man of Sorrows
Marble, 85 x 115 cm

10 October 2006, 09:27 AM
Torso # 23 (Pencil)
Amor Victorious
Oil on canvas, 156 x 113 cm

10 October 2006, 07:47 PM
Just posting these last, rough, Torso WIPs now, as today is my last day (Saturday), and I'm short of time this weekend.

10 October 2006, 08:07 PM
huh, it's still friday here in europe :D

well done Yvonne
incredible amount of work and at a very high quality standard... just lovely!

10 October 2006, 08:07 PM
More WIPs:

10 October 2006, 08:10 PM
Hey, Many Thanks, Johan! (You got in there while I was adding to the WIPS :) )

Last set...

10 October 2006, 08:51 PM
I like your style YMS. Nice quality of work all around. I love the way your Ganymede by Cellini turned out. It so hard to choose one that I like the most since they are all great. Keep up the good work.

10 October 2006, 05:01 PM
I love the way your Ganymede by Cellini turned out.
Thanks for stopping by, Matt :)

That one would be the most finished of the torsos I attempted.

(very) quick digital sketch: (Oct 24)

Ballpoint studies: (Oct 22)

Pencil studies: (Oct 21)

10 October 2006, 09:00 AM
Next study: Ballpoint pen (#50 in the Anatomy/Head Workshop)

Equestrian Statue of Gattamelata (detail)
Bronze, 340 x 390 cm

(Kept going with it despite some lack of resemblance, and messing up of the eyes placement - it's also not dark enough in places, but it's the best I can do at the moment - definitely room for improvement :) )

10 October 2006, 10:09 AM
Some wonderful studies throughout your thread, Yvonne. I love to draw with the ballpoint. I knew an artist that used to have all these Lindy ballpoint pens because they came in an amazing amount of colors and he would do whole paintings with them. It was pretty cool.

I look forward to seeing more.


11 November 2006, 09:46 PM
Thanks for popping in, Cris! (Your illustration thread is just wonderful :) )

I've never tried any colour for the ballpoints but the normal "blue".

Okay, I've let myself be distracted by Photoshop manips lately, but have managed a few ballpoint studies very recently:

Couple of quick gestures from an "Anatomy for the Artist" text:

Michelangelo study ("An Allegorical Figure"):

Two Sargent studies:

11 November 2006, 03:52 AM
hey YMS

it's been awhile so i thought i'd pop in and see what you've been up to.
looks like your doing great :thumbsup:


11 November 2006, 07:02 PM
Hey, thanks, Mark. Yes, still plodding on, just not as consistent as you and others :)

(I'll have to go and see how your drapery study and 15 minute sketches are going!)


I decided to have a go at Roberto's scavenger hunt and sketched my first item this morning (Saturday for me).

Second sketch; again stopped at 30 minutes:

Sketch #888
Leaves, 2 points
(One of our indoor plants - can probably grow outdoors in other countries)

First sketch: took all of the allowed 30 minutes and it is still very rough, but it will have to do :) Not used to working from life, so good practice - freehand, pencil.

Sketch #888
Action Figure, 1 point
(Our son's plastic dinosaur toy)

11 November 2006, 11:33 PM
For the next few scavenger items, it was my first time out drawing (or attempting to draw :) ) in public.

Managed three more sketches despite the wind ripping at the pages, and numerous passers-by (I was in the Botanical Gardens). They're disappointingly bad, which just shows how much I need to practice and improve.

Sketch #888
Park bench, 2 points
(Local Botanical Gardens-my own rules of perspective and physics, apparently. I was sitting below this bench on another one.)

Sketch #888
Drain, 1 point
(Original drain being flat to the ground and surrounded by rocks, pebbles and leaves-I couldn't convey any depth to the slots at all.)

Sketch #888
Courtyard/Garden, 2 points
(I really have no idea or experience of drawing anything surrounding me - I was seated at the back of this courtyard looking out across it and down over it.)

11 November 2006, 10:11 AM
Hey yvonne,

good to see you're busy in such creative way!
I really like the ballpen studies... pretty hard medium eh...
I noticed on some drawings you maybe start getting a bit unpatient and rush the hatching... that's ok because ballpen takes a lot of time to keep the shading subtile... I would suggest to avoid going back and forth with the pen when shading though...

more like on the top right on below example:

hoping to see more pen studies soon :D

11 November 2006, 04:56 AM
Johan, thanks for taking the trouble to advise re. my hatching - you're right, I was probably rushing, and it can be quite hit and miss with me - I'm not exactly sure of what to do when it comes to rendering, etc. In future, I'll try to be as lean with it as in your illustration. :)

Pencil for this one, not ballpoint - done last week. (I managed to get the eyes too large and misplaced - don't usually have a rubber at hand, so left the mistakes.)

A study of Raffaello's "Agnolo Doni":


Scavenger Hunt continued:

Sketch #888
Monument, 3 points
(Soldiers' Memorial high on a hilltop surounded by large boulders and farmland; a very steep walk to the monument base. He looks across a harbour and to the hills beyond. A very windy spot - I had to hold my hair down, and my paper... :) )

Sketch #888
Old Man, 3 points
(He's not really all that old, but he thought that my poor drawing would "age" him sufficiently!)

11 November 2006, 09:22 PM
Next scavenger pencil sketch, about 15 minutes - done on my Monday (Nov 13th)

Sketch #888
Wedding ring, 1 point

(My own hand for reference - finished ring looks far too big...)

11 November 2006, 06:02 AM
Sketches from life (in front of a mirror):

^^ This sketch looks much worse to me today than yesterday - too much messy hatching! I also managed to make the eyes too big, too high, and pinched the nose a lot for some reason. (There's some resemblance, so that's a start... :) )

11 November 2006, 09:34 PM
Today's sketch, from photo reference - (original photo by "gent", Concept Art, 2004):

11 November 2006, 06:08 AM
Hey Yvonne

great to see you're sketches!
I'd love to see a fully rendered one in pencil... with all the bells on it :)

11 November 2006, 07:59 PM
Thanks for your support, Johan. :)

Though no bells with this one :) and not fully rendered - just a pencil study for more practice.

There's a lot wrong with it, but it's an improvement on a lot of my other attempts:

- too feminine looking, chin too short, eyes (as usual) too big, nose and face too narrow, messy looking, and the values are all over the place ... oh, well, on with the practice :)

"Man in a Turban" by Jan van Eyck (1433)

11 November 2006, 08:04 PM

With this last study, you're really starting to approach that really fine tuned study of details - but it's nicely balanced with a consideration of the larger shapes and form. A suggestion might be to still simplify further to see the larger shapes - for example, the larger shadow shape of the eye sockets - and to incorporate that further into your drawing.

Good to see your progress, and I look forward to seeing more. :)

11 November 2006, 08:16 PM
Thanks for your advice, Rebecca! :)

A suggestion might be to still simplify further to see the larger shapes - for example, the larger shadow shape of the eye sockets

Will try to look for this/see more, and incorporate it; thanks again. :)

I realise that I wasn't thinking enough about what I was doing - just copying what I saw in the painting, and not remembering the structure that is there as well. I should have thought "eye sockets" for example, then the eyes would have had a less drawn-on look. (Have to try another skull soon; this time, by hand...)

11 November 2006, 05:16 AM
hi YMS

great work on that last one :thumbsup:
mirror studies, tried that didn't really like it, damn person in the mirror kept moving
like that scavenge hunt idea, use to do some thing like it all the time. when ever i got a min to sit, would draw first thing i would see, great practice


11 November 2006, 07:26 AM
Hey, thanks, Mark! :)

Yeah, the mirror is tricky - each time I looked up, I was in a changed position. And no glasses on, so in theory, should have been able to see the values better! I should tackle one as Johan is doing, and try using a photo for the SP.

The hunt was good for me as I realised I couldn't draw from life! (Had been spoiled by the ease of CG and the use of references.) Must practice more .... :)


More pencil work:

A WIP - back to PS and digital painting for this one; all done by eye, so no initial sketch or colour-picking: (image from Ron Eyre's thread in CG).

11 November 2006, 02:45 PM
What a fantastic update! :) The presentation is rather nice as well. I think that Ron would really enjoy seeing the work you're doing from his great reference - it's quite cool because he really does have a kind of Michelangeloesque body type. Looking forward to more! :)

11 November 2006, 04:36 PM
Hi....YMS / Yvonne ....:) :thumbsup:

Just popping in to say that I totally agree with Rebecca.......THAT'S GREAT...:applause:
REALLY like the harmony you are getting in those colors, and the way you are using the purple from the background in some of the shadow areas of the figure...creates a oneness in the whole painting....BEAUTIFUL JOB...:thumbsup:
Your hard work is really paying off, and is really showing through...nice to see that you reconize your small errors, and point them out to yourself the way you do, great practice to get into...will keep you from repeating those errors in the long run..:)
REALLY looking forward to seeing your next post..:thumbsup:

11 November 2006, 11:58 PM
Rebecca, thanks for your encouragement (as always :) ).
Yes, I read in his thread that Ron would like to see the results of the work done from his poses, so I will post either a link or the image there when it is more refined.

Hi there, SpiritDreamer; thanks! :)

...harmony you are getting in those colors, and the way you are using the purple from the background in some of the shadow areas of the figure...creates a oneness

Total fluke if that's what I managed. :) Must be working on a subconcious level as you have said elsewhere.

(In one of the workshops, you suggested purple rather than a black, so that advice must also have seeped in!)

Now, someone just has to talk Mr Mu into producing that book of Glennisdoms... :thumbsup:

Today's distraction, Roberto's fundamentals exercise: sketch 20 hands in 60 minutes.

Only managed 13 in 55 minutes (my posing hand got a bit stiff by that time; all but one of the hands are mine - my son was home sick, so I coerced him into posing for one of the hand sketches... :twisted:


Had to choose the 5 best and post them, then post them all.

The 5:

13 total:

12 December 2006, 11:49 PM
(Have to make time to add recent work done, but not yet posted... :) )

Began Workshop 20, tackling two paintings. Both done freehand in PS, straight painting - will hopefully finish them despite the distractions of the holiday season.

12 December 2006, 01:25 PM
hey YMS

I see the beginings of 2 great paintings :thumbsup:


12 December 2006, 08:30 AM
Hey, thanks a lot, Mark! Nice of you to say so... :)

Some recent paintings from 15 min sketch refs (but with more time taken to do them).

(Lost my way with trying to finish 'Ron' so did these to get back into the painting...he's still on my agenda for this year!)

More work on OFDW20:

12 December 2006, 01:21 PM
Just stopping by to say...WOW....:) ....REALLY NICE STARTS ON THE ..OFDW #20.....:thumbsup:
You have really come a long ways, in a short time...FANTASTIC THING TO SEE...:applause:


12 December 2006, 03:35 PM

ODFW20 is looking good :thumbsup: realy like the dancers too, great work :)


12 December 2006, 04:02 PM
have to agree with Glen! Wow your OFDW #20 is just jumping out at me! It's too awesome for words, really... LOVE IT! [sorry I'm really drooling here LOL]

and I really like the ballet studies too!

12 December 2006, 12:20 AM
Updating here after a bit of a break.

Thanks Mark, Glenn, and Magdalena! :)

Still working on my two PS paintings for the OFDW, (and Ron's image is still on the agenda). Also managing to produce some truly ugly artwork. I'm tempted to not post it, but it's part of the journey, so I guess it should go in here - be warned :eek:

Decided to try a few things without references (don't know how they do that in Daily Sketches).

This girl is painted in PS - she ended up more creepy than cute.

First go with oil pastels (my daughter's from years ago). I got into trouble and had to stop when I couldn't change the colours any longer. The desat'd version shows that the values are a bit lacking.

After the above shock to the system, tried a still life painted directly in PS. Reference, this time! (Positioned to the side of my computer desk...) Quite pleased with painting glass for the first time.


Latest Kinder piece: managed to make her chinless, but will fix that soon. The girl under the woman's arm is cut out at the moment - she didn't seem to be in the right place, so I'm repositioning her :)

The latest Ingres piece: (I'll apply Glenn's advice and get him looking younger...)

12 December 2006, 05:06 AM

hehe creepy girl :) just have to smile
like the glass too, nice work

your 2 ofdw20 are really coming along, the first one though is just outstanding :thumbsup:


12 December 2006, 06:30 AM
I think you've got a really good eye for color... I know I know I'm repeating myself but I'm just so jealous of that lol
Really looking forward to the next update(s) of your OFDW pieces Yvonne!
Thanks for treating me eyes so nicely :D

12 December 2006, 02:25 AM
Thanks, Mark and Johan! Hope you're getting a holiday break.

OFDW and other drawing is on the backburner at the moment. Just popping in to post a recent PS painting done for the season as an exercise in using no reference (and also entered in a PS comp on another site) - just tried to remember the anatomy and where it all goes. Looked in the mirror when I got really stuck! :) Amazing how many impossible poses I was trying to put these people in.

Quite pleased with the result despite some wonkiness: (though it seems to look bad in a Macintosh RGB proof setup...)

Enjoy Safe and Happy holidays, all! :thumbsup:

12 December 2006, 11:48 PM

just waiting around for the new year, guess yours has already started. hope it got off to a good start. looking forward to seeing updates on your OFDW's

Happy New Year


01 January 2007, 03:28 AM
Hey, Mark, hope you and the family enjoyed your New Year's celebrations! :thumbsup:
Did your band perform anywhere for the event?

About the OFDW updates - luckily for me (and others, I expect) Rebecca has extended the deadline - good thing, as I've experienced Photoshop inertia over the holidays, and haven't updated my two efforts in a long while! :eek:

01 January 2007, 07:21 AM
*** HAPPY 2007 ***

Went shopping today and got you some of my favs...

good health
lots of love
much inspiration
and lots of sunshine

Take care,

01 January 2007, 12:42 PM
Hi Yvonne! Just dropped in to say Happy New Year:scream:.. and your OFDW pieces are beautiful!

01 January 2007, 02:56 AM

hehe stayed home and painted till 11:00
band hasn't play out in a while maybe in the spring or if i learn the songs other band
want's to do something


01 January 2007, 09:19 PM
Hey, Guys, Happy 2007, and thanks! :)

Looks as if I haven't posted my final OFDW pieces here so here they are:

Choice 06:
Jean Auguste Dominique Ingres (1780-1867)
Copy after Ingres's 1804 Self-Portrait

Choice 16:
Friedrich von Amerling (1803-1887)
Mutter Und Kinden

I have recently been working on two pieces which are still WIPs. (I had hoped to have them finished by now... :) )

Also for comparison, because of the Before and Now thread, a portrait of my brother begun in October 2005 - a start in Painter then taken to Photoshop. I think I was put off for quite a while after this attempt!

WIP from OFDW 20

Choice 04:
Lord Frederick Leighton (1830-1896)

Another WIP - more work done recently on one begun in November 2006,
from photo of Ron Eyre

01 January 2007, 03:42 AM
beautiful paintings, Yvonne! great work on Ron's picture... you captured that pose nicely!:thumbsup:

01 January 2007, 08:15 AM
Hey Yvonne,

wonderful work for OFDW20!
Keep going =)

01 January 2007, 05:38 PM
very nice work on the OFDW ! Your paintings are looking really great! I hope you can learn a lot from it for your no/less ref work :)

Keep at it :D

01 January 2007, 05:47 PM
Hey hey, two finished pieces for the OFDW20, awesome! I'm really excited to see those, they turned out very well. " Mutter Und Kinden" especially!

01 January 2007, 03:46 AM

Your REALLY getting a great sense of color and draftsmanship in your paintings...BEAUTIFUL RAPID PROGRESS..Each one seemes to be a little better than the last....WAY TO GO...Yvonne..:bounce: :thumbsup:

01 January 2007, 04:21 AM
ahhh... I think i'll just sit back and salivate a bit more at the sight of that Friedrich von Amerling copy... :drool: That child on her knees is just perfect!:applause:

01 January 2007, 03:28 PM

putting out some awesome work :thumbsup:


01 January 2007, 11:14 PM
Thanks for your comments, everyone – you’re too kind! :)

Hey, Anand – Thanks again. Yes, I like the way Ron’s painting is coming along, though it’s a lot more work to finish than I thought it would be! I’ve been inspired to try some 3D (hopefully, it posts below…)

Johan, “keep going” is something I’ll try to do more of in ‘07, which will be easier if I follow your hard-working example, thanks! My head is so full of do’s and don’ts, I sometimes get paralysed by them, and can’t attempt any work at all. Probably scared of failing/not progressing.

Trunks, good to see you around! You’ve got it – this is just copying the masters; I need to work towards more original work. Though I do feel some benefits from replicating them.

Razz, yep, the two images for OFDW20 as promised, though I needed Rebecca’s extension in order to complete them. Really looking forward to following your traditional painting experiments. The original “Mutter” pic sure had something special – I was caught up right away in the fantastic colours and the whole composition.

Glenn, you’re a great supporter, many thanks. I haven’t been tested as to whether I can carry what I learn from the Master works into my own images - hopefully on a subconscious level, and with a lot more work and practice from me! I’ll certainly be following what you post of your Life classes!

Magdalena, I still regret spoiling that painting background with the final update! Salivate away, though – glad you enjoy looking at it! Yeah, that baby, you can almost feel its cute little butt and feet.

Mark, thanks for the thumbs-up! Your own baby must be coming along. (Glenn had fun with it!)


Okay, I didn’t want to post without some art, so I’m posting something remotely related to anatomy – my first foray into sculpting (made over the last couple of days), though this attempt was truly first (

I was desperate for some reason to create something 3D so this was practice for an eventual hand, torso, etc.

It was on theme – a Laughing Nosferatu, but it’s a very original take on the character!

This guy is around 9 cm high, sculpted in grey, firm super sculpey (expensive!).

01 January 2007, 02:37 PM
Hi Yvonne :)

Popped in to see what you've been up to in this exciting thread of yours :) :thumbsup:

I really think you should finish the portrait of your brother, it's looking great so far - you've already got the likeness there so no need to be put off :)

When I was a kid we used to make that salt, flour and water dough... we called it "magic dough" :D it's not quite as workable as sculpey... ;) but I was thinking that maybe if you got a bag of "real clay" you'd have 10-12 kilos of the stuff to play around with at a lot lesser cost than sculpey...? Drawback is that it does need to be fired (~1000-1300 Celcius depending on the clay) to make it hard and more permanent. Yet as 3D exercises... you can make pieces, dry them out, take photos, and then crush them up, wet the clay and start all over again :)

And.. I do like your creatures and laughing Nosferatu :) it would be great to see you do more!

cheers and take care
a. :)

01 January 2007, 04:21 PM
After reading Annette's explanation on clay I was wondering... did anyone try to bake clay in a microwave yet?

edit: nice sculpture btw... looks a bit like an old chinese thingie now

01 January 2007, 11:57 PM
;) Nice one Johan! I like the shortcut "nuke-it" theory... Sorry just joking :P

Microwaving clay... on high; will definitely cause the clay to explode.. and if pieces are thick - a bit of a bomb inside the microwave :D I used to dry small pieces in an old microwave (read ancient) (on LOW) for 30 seconds at a time (when weather was wet and didn't dry the clay fast enough), making sure to open the door and let moisture out inbetween each nuke... Clay needs to pass the quartz inversion (@ 573 degrees Celcius) for it to even start to think about a non-porous state of mind, it's a non-reversible chemical process - and unfortunately the microwave won't get to temperatures like that without self-destructing. :)

I'm not sure about the oven-bake clays, like sculpey and fimo etc, I've only ever tried them in conventional oven... maybe they are microwaveable - probably good to check first :)

Oh, and sorry Yvonne for hogging your thread! :wavey:

Take care and cheers!
a. :)

01 January 2007, 02:57 AM
Hi, back today from holiday! I had threatened the family before we left that I was going to get them to model for me so I could get in some sketching, but they eluded me! :)

Hey there, Annette and Johan!

Re the portrait of my brother, this was from October 2005, one of my "befores" :) So, as I have improved since then, you're right, Annette, I should get back to it. :)

And, I think that I' ve read that polymer/oven-bake clays should not be microwaved, either. :eek:

Johan, I'll take "old Chinese thingie" - he took shape as I worked him and I didn't really know what I was doing. Tons of room for improvement. :)

About 3D practice, I think that Glenn recommended in someone's thread to get EZ clay as it's non-drying and can be used over and over. I'll have to get some more materials, but by mail order, so not immediately. Of course, on holiday, I was oohing and aahing over huge outdoor metal, and concrete sculptures - getting a bit ahead of myself! :scream:

Annette, your "Magic Dough" was our "playdough"...

01 January 2007, 06:55 PM
Heya, speaking of 'befores', I have to get you to post here ( :)

Welcome back!

02 February 2007, 08:30 AM
Hey, thanks, Rebecca - I just finished up an 'after' and posted in the thread :)


(Gif seems to have actually worked ... :) )

After (done today, Feb 5th)

Photoshop painting - no sketch, eyeballed for proportions and colours - from 15 minute sketch reference thread

WIP, recently begun/painted in Photoshop (Rubens - self and friends)

First (laughable :) ) attempts in traditional oil painting: digital has spoiled me for the real thing - so used to working in Photoshop straight over the 'paint', and nothing has to dry, and less chance of mud.

These are done on canvas pad pages (A4).

Just doodling with this first unreffed one, but I thought the fabric looked reasonable. Wiped away the face as it was pretty bad, plus I couldn't get the paint to do as I wanted!

Second go, ref this time (from the 15 min sketch reference thread):

No white paint available so tried to leave the white of the canvas. B & W original suddenly became coloured with the colour choices I had - trouble with getting a grey so will try to fix it up with new paints one of these days.

Pencil practice - Pontormo's "Deposition" (detail, 1528)
(Never sure how much to try to render, considering I don't know how to do it with much finesse - yet :) )


02 February 2007, 10:23 AM

Very good master copies and an excellent scuplture.
Once I bought some sculpy clay and never used it. Hard as a brick now. Probably exhibit it someday with the title "Procrastination". :)

02 February 2007, 11:01 AM
Hey there, Vincent :)

That grey firm sculpy I used was brick-like! I think you're meant to use a pasta machine to condition hard clay - I don't have one, so managed to strain my hands initially. (Next theme is 'Innocent turned Evil' :twisted: )

"Procrastination" - good title :thumbsup:

02 February 2007, 04:31 AM

Wow lot's of great work going on :thumbsup: especially like the hands
hehe oils take forever to dry that's way i started using acrylics...definately will want some white


02 February 2007, 10:19 AM
Mark, I have finally added white to my stash of paints!
I'll probably stick with trying out oils for the moment, despite the drying time. :)


Some skeletal gestures painted in PS - reference based on screenshots taken from

skeletal dynamics (



02 February 2007, 11:54 AM
:cool: cool :bounce:

like them gestures, looks like a great sit too

hmmm... how about a dancing skeleton gif ? :)


02 February 2007, 04:55 PM
The skeletal gestures look awesome! Really like 'em. The hands are looking great too. It was interesting to see the gif. I like the approach, without any linework. Good it's digital, personally I'd die if I'd start painting without any linework.
Looking forward to see the Rubens study developed further! Great decision on that one, six faces in one piece, hehe.
And good luck with your oils there! Amazing medium, isn't it?

02 February 2007, 11:34 PM
Hey, thanks, Mark and Razz :)

Mark, LOL, "dancing skeleton gif" - I think that's what I started with!

Razz, you're probably way more accurate than me in your results (from using linework initially). Yes, really wanting to progress with oils, but have barely started.


A current WIP in a Photoshop painting (source: Reuters newspaper clipping).
Still a lot of balancing of values and colours needed with this piece.

- I know I have a lot of WIPs that never seem to get finished, but I do learn something from each of them ... :)

I also know that there's not a lot of merit in reproducing a photo :) with all its distortions, etc, but for me it's an exercise in recreating proportions from reference to a smaller original (by eye), plus value and colour practice. (I liked this family shot a lot!)

As usual, just started off with blobbly colours roughed in... then kept refining, with reference to the clipping.

Charcoal attempt of a woman by Pierre-Paul Prudhon

WIP Stages (Started too large on the paper, so she has no lower limbs :) )

Final image (looks much better in real life - lost something in the photographing...)


Another Prudhon image in charcoal (bit messy, and not quite finished...)



02 February 2007, 03:34 AM
hey YMS

great job on that charcoal drawing :thumbsup:
looks like your of to a great start on your wip also