Robert Chang's Survivors Club Sketches

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  05 May 2010
Originally Posted by halen: ^ Thank you. Totally understand that and didn't expect complete "before-after" gallery. Just got an impression about the subject and orginal post of this thread that it would have some work done during the workshop. It would also be interestin to see the variety of participants and exactly those different stregths and weaknesses, something that could be done in that time while learning a lot.


I think that would be up to the survivors if they want to post the stuff they did during the workshop, but at the same time, many of the assignments are highly specific to different focuses of each week, and if you don't know the context of the assignments, you might not "get" why they were done the way they were, and if we're to explain the context, then it become a matter of giving away part of the course material I spent over a year and a half creating. Since this is something run by CGSociety, I can't just give it away like that. Even if I could, explaining the context of the assignments could take pages of text and images, as the assignments were designed to really challenge the students to apply all that they have learned in that week's course material, which often contains pages and pages of text and images and well over a dozen video tutorials too. If I tried to simplify the explanation of the context, then it would be grossly undermining the essential and critical creative knowledge and skills the assignments were designed to challenge. Sort of a lose-lose situation overall unfortunately.

What Edward posted was an extra credit assignment and is not officially part of the workshop, but even then, I felt I had to step in and explain the context of the assignment, otherwise there would be misunderstanding of what the workshop is all about.
 
  05 May 2010
Of cource (posting is up to participants and cource material should stay at the cource). It doesn't hurt asking though.

Even that Edward's case is still usefull.
 
  05 May 2010
I would say without any regret that Robert's course has definitely helped me. Although I would suggest that you take part, and be a part of the discussions and you'll get a lot more out of it.

Also push yourself beyond your comfort zone, it's the only way to improve really, and don't be afraid to post up your fails.

Face drawing from mind, and a drawing from life..
 
  05 May 2010
Edward - Are you lightly sketching in the structure of what you're about to draw before you start detailing and shading? If not, you need to make sure the underlying structure is sound before you take the drawing any further. It's important to not leave mistakes on the page even if it's during the earlier stages--get things right at every stage. This is particularly important when you are working analog, because if your layout/sketch is all over the place, you're going to get a drawing that's got wildly differing sketch lines on the page that's nowhere near where all the shapes are supposed to be, and then it becomes a matter of sorting out all the inaccuracies and finding the right proportions and shapes among them. Measure twice (or three, four, five times), draw once. If you're not confident that you can get it right on first try, then draw very lightly. If it's wrong, you don't necessarily have to erase--just draw other light lines that are ideally more correct than the previous. Only when you have the overall structure done to to satisfaction should you start detailing.

The more advanced you become, the more confident you'll become, and there might even come a time when you don't have to sketch out the structure lightly and can just start doing a finished drawing from the first stroke--many street portrait artists are capable of this because they have honed their life drawing skills to a very accomplished level. They do all the measuring in their head and simply project the structure onto the blank page from their mind's eye.

When you draw from life, ask yourself what you are trying to learn from the particular angle you have chosen to draw the life model. Is it the muscle tone? Is it the proportions? Is it a study of values and lighting? Is it the pose or the emotions conveyed by the gesture? Is it a particular part of the body? Each drawing you do from life must have a main artistic purpose it serves--there has to be a challenge somewhere that is worthwhile--just like how a good story must have a main theme. Ask yourself what the theme of each drawing is.

As a beginner, when you draw out of your head, always check the result against how people really look later, because chances are, what you drew out of your head will be wrong in more ways than one--proportions, details, planes of the face, modeling of the facial structure...etc. Any mistakes you notice, you need to make a mental note and fix them, so you wouldn't repeat the same mistakes again. If you are repeating the same mistakes over and over, then you are not being smart about the way you learn. For example, if one particular feature you drew is totally off, then you refer to an accurate source and correct the mistake until it looks right. After that, you should NOT make the same kind of mistake when you draw that same feature again in the future, because ideally you have learned what that feature really looks like (at least from that angle, in that lighting).

Last edited by Lunatique : 05 May 2010 at 03:27 AM.
 
  05 May 2010
Hey Robert

Yip, sketching quite lightly to begin, although in some parts I became tired and it goes darker, it's a habit which I would like to break. Also some of the lines aren't meant to be there, I think you're referring to some lines which shouldn't necessarily be there, they look misplaced. I mean to put in the construction much lighter in future, along with measuring and double checking before drawing.

Interesting that you mention graffitti artists because I was just looking at some videos and wondered how they were able to project their drawings from mind.
Awesome, thank you for the advice.. I think I was lacking some direction this past week, wondering how to approach my life studies, it's difficult to know where to start honestly..
This last life drawing was an exercise in trying to understand the shape of a pregnant woman's belly.

Sure, yeah, I think that's sound advice there, to check back from (for example photos) and see where the errors come in.. Thank you very much for the advice, it's helping muchly. I leave you with another piece, Brea.

Thank you and keep well Robert.
Edward

Last edited by Kungfoowiz : 05 May 2010 at 12:00 AM.
 
  05 May 2010
Here's Brea painted.
 
  05 May 2010
Are you checking your proportions by flipping both your drawing and the reference? I can see some obvious problems even without having seen the original reference.
 
  05 May 2010
Hey Robert

Yes, but yeah, probably not checking carefully enough, I notice a few things now too. I'll fix them and post again soon.

Made this new drawing, Sarge, it is a bit loose though, still learning about clothing details..

Thank you very much for the advice Robert.
Edward
 
  05 May 2010
When you do drawings like these, you should think about where the main focus is, and how you want to execute the piece so that there are "hooks" (like I talked about in week 7 of the workshop). For this piece specifically, ask yourself--does the image have enough contrast in the focal points? Is there selective detail? Are inorganic shapes drawn with proper accuracy and definition? Is the modeling of the forms vague and everything is a blurry mess with no definition? Are your values coherent?
 
  05 May 2010
Hey Robert

I think this started off as a study for a face, but then I wanted to do some clothing/body too. The face should receive more contrast, and less on the gun and clothes, because I'm a bit weaker on those. The inorganic stuff I need to draw straighter lines for sure.. Values could be worked in a lot stronger too, I think that was also part of the exercise.

Awesome, thank you for the help Robert!
Edward
 
  05 May 2010
Hey Robert

I started to fix Brea's face, here's the progress at the moment.. just finding the things I'm unhappy with and which you pointed out, and then lightly sketching them into place.

Thank you for all the help so far..
Edward
 
  05 May 2010
Sorcerer, trying to improve value and studying clothing folds..
 
  05 May 2010
I'm just curious, are we going to use this thread as our organized place for posting sketches, critiques, and assignments?

I was re-reading one of Robert's final comments, and I think we should do some planning and organization (email or instant-messaging?). I'm not exactly very good (yet), but I want to help get everyone together again, we can't just do nothing..

Er, team strategy?
 
  05 May 2010
I think there were different ideas on where to go afterward, but you're welcome to post here or perhaps in your own thread.
 
  05 May 2010
In case you guys didn't know, cgtalk recently reopened its focused critiques forum, which is for people who really wanting serious critiques from other members:
http://forums.cgsociety.org/forumdisplay.php?f=102

I think that would be a good place if you are after honest and no B.S. critiques. The Art T&T forum is more for discussions and questions.
 
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