HEY…RAZZ…
…NICE CRAP…
I really like the figure in the lower right,with the walking stick…beautiful little drawing…really nice line quality…and gesture…:applause:
I think you will find, that ,as the pile of crap gets bigger,… there will be more and more GEMS in the pile, to chose from, and work with,…and in the end, there will be alot more gems than crap,…and if you are lucky,
the top of the pile might even be diamond , ruby, emerald ect. encrusted…
A great little exercise that really enhances your ability to visualize,that was taught to me by my painting teacher years ago…just remembered it…the exercise… try to visulize in terms of concept,…,…decribe an action, that has a funtion, using more than one figure in your concept.
…have the figures, one acting, and the other reacting to the action of the first figure…eventually increase the number of figures, acting and reacting to each other…change the ratio,…like all reacting to one, and one reacting to all ,…and all the ratios in between ect…Have the figures overlapping…one with the arms around the shoulder of the other, maybe whispering something in the ear of the one figure, and then have that figure react to what is being whispered into his or her ear…There is your action, the whisper, and the reaction is in the gesture, expression of the person who heard the whisper…you now have a compound figure composition with an acton reaction,and funtions…this is the kind of thing that is great to do with and while doodling, and really forces you to consentrate on your composition, among a lot of other things that lead to great paintings…
This little exercise really forces and increases your visulization powers to reach a higher level…you can just start out with little stick figures, and improve upon them once you get the concept of action reaction down…great little exercise to sharpen your inner eye, imagination, or whatever you prefer to call it…It’s a system that really works…give it a try, if you want,…just to challenge yourself…I think you will like the results, and will be surprized at what your imagination comes up with, and is capable of…JUST A THOUGHT AFTER ALL…
NOW,…LETS SEE SOME MORE CRAP…
TAKE CARE
Glenn
Anatomy Thread of razz - 2D/3D
SpiritDreamer, thank you. You’ve always show up here with great advices, suggestions that are very useful. I gotta try this exercise, and the one Annette suggested too. Though it’s one thing, there’s another. My lack of skill doesn’t let me put a drawing I have in my mind on paper. Practise me needs
Ok, drawing from imagination makes me very unproductive. I mean, I spend as much time as I was when studying some master, but the results are much lesser. Oh I’m waiting when I’ll crawl out of the noob hole and draw stuff from imagination and be proud of it.
More CRAP, I mean, imaginational stuff.
HEY…RAZZ…
What lack of skills are you talking about…must be somebody else you are referring to…
Take a look at Ghoul’s new thread…on his running picture…notice the little stick figure up in the corner…use those little stick figures to get your thoughts onto the paper or canvas to start with…don’t get trapped by the details in each figure composition, until you have the thought down first, using those stick figures, or else you will get frustrated and will most likey lose your original thought…IT’S JUST A THOUGHT…
TAKE CARE
Glenn
Hey razz,
you’ve got some pretty amazing stuff in here! In this last one, I think the eyes might be a touch too far apart. Other than that, it’s just great.
You mentioned in my thread you might try the structure of man tutorials since you’re having trouble drawing from your mind. I’m not sure if you need them, but if you’re having trouble working out proportion and feature placement in your drawings from imagination (which are stunning you fool 
), you might find them useful. He approaches teaching proportion in a way I haven’t experienced before (though I’ve not been to school for art). He teaches some basic ideas, has you make them your own, then starts building on those, creating a library of interconnected reference points.
Your imagination stuff is great though.
SpiritDreamer, I always start from a boxy figure and, well, I don’t get further with my imaginational stuff. Tried the exercise you suggested. Actions, reaction…Drew one little figure and the other reacting to it and then the third reacting to the one before. Helps to get the idea going, but I’m still frustrating how to get my figures drawn from mind look good. I need lots and lots of practise. Thank you for visiting my humble thread
Adien, I have a big difficulty drawing from imagination. Yes, I can scribble a wry, sketchy face from front or from the side, but anything more than that kills me. I hate that…
Everything is crap (=imaginational), except the girly that looks better than the rest of the stuff. That is a study I started after Marko Djurdjevic.
Nudity down there
Took my mechanical pencil and finished the study after Marko Djurdjevic.
Drawing heals :lightbulb
Hey razz,
You’re studying Marko Djurdjevic too? If you haven’t gotten it already you’ll want to get ImagineFX issue 14. It has an interview and workshop of Marko.
Keep the crap up 
Johan, always busy raz <— art addict.
SirRon, hey, I might just do that! I just love the thing that Marko draws straight in form, no construction lines or anything, just not the way it is tought all around Tell me, is it possible to buy old issues of the ImagineFX? There’s one where I’m answering a few questions, so I’d love to get that one too.
More CRAP for all of you! Looked through my 2d characters folder, got inspired, sketches, scanned and painted this. Trying to find a way how to speedpaint figures. Will need some time…
HEY…RAZZ
I had a teacher one time tell me that the best artist, were the ones whose work had alot of spontanaity in the brushstrokes…which gave the appearance of being painted fast…The method they used, was not based on speed though, …it was based on observation instead…They would do countless little studies of the figure or whatever it was that they were representing, until they had the problems solved, and knew the figure or whatever by heart / had it memorized…then they would paint it fast, with full energy in their strokes…and each stroke knew AHEAD OF TIME, where it was going, because it had been practiced COUNTLESS TIMES, ahead of TIME in the preceeding STUDIES…so that when they did the final painting, they didn’t have to THINK about what they were painting,while they were painting, …because they KNEW what they were painting by HEART…
The OLD MASTERS from CHINA, would sit and stare while absorbing all that went into and was the essence of a shoot of bamboo, blade of grass, ect… for a month,…then they would capture that essence in one swift brushstroke, with thier sumi brush…thier final result required great speed, but also, and more importantly great observation beforhand…just some food for thought, concerning SPEED…
BECOME THE BLADE OF GRASS, BEFORE YOU PAINT IT …YOUNG GRASSHOPPER…
TAKE CARE
Glenn
I agree, I’m not sure I understand the concept of speed for the sake of speed - which is unfortunately what the internet perpetuates. 
I think that speed for the sake of spontaneity and tests of accuracy is a different matter - it’s all in the intention. I think too many people see speedpaintings on the net and then beginners try to copy the ‘big guys’ but without an understanding of the intention behind the speed, and post speedpaintings that would have been better off with more time spent on them. It’s not to discourage experimentation, just to stress that a speedpainting done just for the sake of speed and not understanding is not the most fruitful, in my humble opinion.
But forgive my little rant about speedpaintings - overall you’re making fantastic progress.
SpiritDreamer, Rebecca, I agree with both of you. Didn’t you see me suggesting people not to rush on what they’re doing in some of the threads here? Since 50 head workshop I’m interested in how good I draw/paint, not how fast, in other words, looking at the quality, not quantity. And by speedpaint I mean that I give myself a certain amount of time, say 2 hours, and I see how much I can do in that time. So in NO WAY I’m trying to do something FAST, I just do it in my normal speed, I would just stop when the time runs out…continue if it’s worth after that, but in this case it’s not
I’m always interested to hear your thoughts. Speedpaints I do shouldn’t even be called speedpaint, it’s more just unfinished pieces, something more than a sketch to put out ideas. Sort of alla-prima.
I hope you get the idea.
I’m not in a rush
Will try to make the next imaginational painting better looking. Have to learn, don’t I?
Hi razz,
can you do something on this pencil scanns? I mean this loose stuff? It is really not easy to see anything for me. I can only guess what you are showing
On this last piece the colors and brush strokes are interresting … but I don’t like the anatomy Keept at this speedpainting attempts
Trunks, I guess I could/should higher the contrast much more. It’s a bad habbit I have, drawing very lightly when from imagination. Sort of if my every line was a construction line, put there to be pushed forward and made darker some day, but never gets that way (damn, it rhymes…). It’s the confidence I lack when doing imaginational stuff. Will get over it in a years time hopefully. With hard work and sweating.
Your crit just got me painting more today. It’s twenty to one at night and I do have school tomorrow. I usually only sit 'till midnight or even less. Have to change this
Scribble crap
HEY…RAZZ…
I like that last one you posted …nice proportions, rhytum,ect…:applause:
What I posted above, was just food for thought is all, wasn’t meant to be critical of you or your work’ one way or the other…I for one, think you are going about learning what needs to be learned, in a great way …the results you are getting, show that very clearly…just my opinion though…
I also think it is great that you draw these imaginational figures lightly at first…nice habit to get into…those light lines, are like a cat stalking it’s prey…It’s only when the cat knows it has it’s prey where it want’s it, that it pounces in to finish the prey off,…if it didn’t do this, the prey would most likely lead the cat on a wild chase, and would end up getting away…Same goes for when you are drawing or painting.
Save your full energy for when you pounce with your brush, pencil,pen or whatever, only after everything is in it’s proper place,…that way you will not be on a wild chase, when you should be finishing your drawing or painting off…just like the cat does it’s prey…how’s that for an inner visual metaphor…
Just having a little fun with words and thoughts here Razz…good way to stimulate the imagination…KEEP UP THE GRET WORK, AND FANTASTIC PROGRESS
TAKE CARE
Glenn
Hey razz, nice to see you’re stil busy here! I really like this:
I think with some more subtle tonal work, this could be really lovely. I do, however, hear you on the imagination thing. And it’s frustrating at times, as you feel like everything you’re studying isn’t sinking in! But trust me it is… the Djurdjevic study is great… when you’re doing these, are you trying to get as close to the original as possible, or are you doing it to understand how he make his marks - why he draws as he does? As I’ve found the two give very different results, and it’s the second that teaches more, even if the end result isn’t as close. But the mindset is quite different, you have to stop thinkking about the marks and start thinking about the anatomy… if I’m making any sense… it’s hard to explain as I’ve kinda made this discovery myself recently.
SpiritDreamer, the problem is that it stays very light no matter at what stage of drawing I am. Even if I’m detailing, it’s very light. As I said, not much of confidence. But pushing forward, drawing stuff from imagination is becoming more exciting as the results are getting better, even if it’s only slightly better. Maybe I could even make a bigger painting if I used references, but can’t get to that yet Will do one day maybe. I should get those bones and muscles memorised first. Legs are my very week part anatomy-vise. So as I was saying, will work on those bones and muscles.
Zephyri, I’m never trying to copy exactly. I’ve said it a few times before, that it’s not the exact copy what I want. It’s the second one, understanding how and why the artist did what he did. I believe it helps me more when doing imagination work than it would help if I was going for an exact copy.
I’ll be doing more sketches like that one, hopefully you’ll like those too
After Kevin Llewellyn. Can’t get enough contrast with a HB pencil (little level adjustments on the scan), should’ve used a mechanical one, but it’s harder to me, not used to it when doing this kind of pencil-work. The scan here is very slightly bigger than the drawing itself, so pretty small actually. And looks much better in real.
Very nice Razz, who’s that guy? looks abit like Android without a kilo or two of makeup. Cool lights but as you say yourself it lacks abit of contrast.
Great to see some nudity here aswell ^^
You got Djurdjevic’s dvd? How is it? Is it WOW-good or more Meh…-good? I’m pending abit if I should buy it or not.
Hey Razz pretty nice though even though it was made with a HB (Half Black)
One can only get Black with a pencil withing the range of B - 9B
What size is this? the hatching is very well visible so I guess it must be not too big.
Anyway, the guy looks a bit too dressed up to have a mohawk imho
Wasker, that’s Kevin Llewelyn, the ref was his self-portrait. It was freaking exciting to draw this one! But yes, as for a contrast lover like myself, it screams for more of it. I’ll make the next study of his more contrasty. His pencilwork is awesome so I hope to do more of his studies. And bigger ones maybe. Think of the fun it would give!
About Marko’s DVD, if you like the way he draws, get the DVD. But you should know he doesn’t teach that the way it is taught all around. Like starting with straight lines, building an arabesque or a boxy/spherical figure at first. He just goes straight on with the form, first a light outline of the body, and then everything else. Linework first, then some shading. Personally I liked it a lot and it was a great inspiration. I mean, how could I not like this kind of stuff
Johan, you know, I have a HB pencil from another company and it’s really softer than the one I used on that piece. But I like the more hard one. I should be using more than one pencil on a piece maybe, hehe. I see people using 6 or 9 different pencils on one piece, but that looks crazy to me. 3 is more than enough in my opinion At least for the stuff I’m doing. I’ll post a piece I’m doing at the art school now with only a HB pencil when I get the chance of photographing it. There you’ll see lots of hatching and some contrast that a Hb pencil lets me do!
The posted scan is something about 110% of the original. Yes, small. And I wrote that above it :rolleyes:
What’s wrong with the mohawk? I liked the look of it and the clothes together Does a mohawk seem to do something with naked people?
Started on the OFDW. Here’s the first block in. From this stage I’ll start to look carefully. Until now it was just ‘getting started’ on the study stage. Funny, I chose two pieces this morning to start doing big studies of them and I saw the OFDW. Now those two pieces will have to wait. Will post in the OFDW thread when I’ll have more done.
