razz / thanks:) I am waiting for some books I ordered recently, when they arrive I’ll stop drawing from imagination for a while and actually study anatomy. I am glad you like them, that’s encouraging me to draw more, thanks:)
Rebeccak / thank you Rebeccak, I hope to be around more from now on since the busy school period is over now. and thanks for the articles and the references 
Hi Su! Those sketches from your imagination are quite good! Did you use refs for the last 2? I like the slight color you put in the last one too.
Roja / I didn’t used any references for those, thank you 
I got myself a hogarth book today, gonna do some copies tonight. I like the eye, but the torso sucks I know I’ll get better I hope :hmm:
Hi Su,
you have some nice studies here … I like the “quick photoshop wash”. It would be very cool when you could do this “wash” with watercolors or other colors? This would give the drawings a very nice touch
Keep at it
After Rubens, 30 minutes:
Also did one after Algardi, but it’s on paper and it’s way too big for my scanner.
th hairline is a bit off (easy fix)
looks very promising so far!
loving the creatures in the last few posts and that human next to the creature has a really nice and dynamic pose
thanks NR43 I think I’ll take a break from this one and do some other stuff for a few days.
here’s where I’m at so far:
edit: hehe I messed up his right eye pretty bad the previous one was better
Hi …su …
Was just checking out your thread…You have a good imagination I see…
Like those Hogarth studies,…great that you are creating some of what you have learned from his books by using your own imagination…you will remember his lessons better that way I think.
Keep doing those master studies …those will pay off for sure…You will pick up and remember a little something from each one you do, and it will show up later, when you create figures from your own imagination.
Really like your monk painting so far…time to go back and check distances,…like on the left side of the painting,…the distance from the end of his lip, to the outter edge of his face…the eye on left side of painting, the way the outter edge of his face in that area creates the brow that his eyebrow sits on, and depicks the underlying brow bone.
Really measure the distances from the central features of the face, …the eyes, nose mouth ect to the outter edge of the face…distances are key to getting the likeness…also consentrate on the corners of his mouth, and the shape and wrinkles on his forhead…key elements to creating his expression, and also the distance again from the brow ridge, center top of nose bridge,to where his hair line is…size of his eyes in the sockets is also critical…just trying to be of some help to you at this point as you refine his face further…GREAT JOB SO FAR, now the likeness will take shape, with some very acute observations and measurements of distances of the elements that are in place, in relationship to each other, and to the outter edge that surrounds the the face.
KEEP POSTING, LOOKING FORWARD TO SEEING MORE OF YOUR WORK, AND PROGRESS…
TAKE CARE
Glenn
SpiritDreamer Thanks for stopping by and another huge thanks for the pointers on the Rubens copy I’ll fix them as soon as I have the spirit for it 
doodle // no ref // 40 minutes (spent too much time on it and made it worse)
I think I’ll do all my sketches in Open Canvas from now on, I love it
no ref // Open Canvas // 15 minutes
hey those are great, especially the boy on the chair… really like that one, very vivid and I love the looseness of the sketch
