Sketchbook Thread of Erich Schreiner

#341

Keep kicking, Erich! Don’t forget to loosen up a bit. :wink:

#342

@Transcendental…

thx. well, that was Rebecca’s Workshop :slight_smile:

@Rebecca
thx…i’m working on it, i swear :slight_smile:

#343

some digital speed studies. all after ref

#344

and a few more…

#345

Really enjoying seeing your updates. This isn’t work relating to a project is it? I mean your doing this seperatly?

Looking good.

#346

yeah you’re right, just training :slight_smile:

#347

another bunch of pencil studies…

#348

That first sheet is looking great, with the last lower right male figure it seems you are taking more time to think about the correspondence of the opposing sides of the body, something I think is lacking in some of the other studies. The key thing to remember with figurative art in which you are trying to express something is that the use of line and expressiveness is bound up with the ‘accuracy’ of the line you are making. I think if you did a few charcoal drawings where the size were just a bit larger, you would begin to get a bit more feeling into the work. Right now I can completely appreciate your great effort at getting basic figures down, it’s something I think everyone should try as hard as you do to do. :slight_smile: But I think further down the road it will be nice to see you push the expressiveness of your figures more, and really get a sense of energy into the linework as it enhances the pose of the figure you are depicting.

#349

thx Rebecca

opposing sides of the body, something I think is lacking in some of the other studies.

Do you mean ‘thinking across the form’ ? I thought this is still one of my problems.

that the use of line and expressiveness is bound up with the ‘accuracy’ of the line you are making

just to get it right: more accuracy means less expressiveness? Or does it mean something different?

Sorry for asking again, but discussing such things over the internet is sometimes really hard for me :slight_smile:

i made this quick sketch on A4 (lettersize).

#350

Heh, see actually I like that quick sketch you just did much better than some of the tighter pencil drawings you’ve done. :slight_smile: There’s a dichotomy that is created by doing the tighter pencil studies and then the looser ones. The only way to really force yourself to work loosely is by timing your studies, by doing short 2 / 5 / 10 or 15 minute drawings, preferably from a model, but working from reference is really useful as well I’ve found. As you do the tight drawings you build your anatomical knowledge and eye for detail, as you do the loose drawings, you build your ability to work gesturally which is often what brings beauty to a drawing. Michelangelo is best at combining both accuracy and gestural fluidity, for example:

[left]The tighter drawings you are doing are fantastic, don’t get me wrong. :slight_smile: They are doing a lot in terms of increasing your confidence and you’re certainly one of the most committed to learning I’ve seen, which is great! The main thing I think you just need to inject is doing faster, timed drawings on occasion to get your wrist and arm moving in a gestural way. It’s a tricky process to combine both the gestural strokes and anatomical accuracy, but it’s worth practicing. Vilppu is great at this, Michelangelo is the absolute master of it. The main thing to notice in the above drawings is the rhythm that is set up by the opposing curves of the form. If you follow the curves on either side of the body, the way you ‘read’ the form is not all that fast, it’s slow enough to let you appreciate the push and pull of the form. This is admittedly hard to transmit via text, but if you study the drawings of masters like Michelangelo I think that you will see what I mean. :slight_smile:
[/left]

#351

thx again, Rebecca. I hope i understood it now :slight_smile:

#352

some quickies

#353

That is 100% better! :slight_smile: The leftmost figure is exactly what I think you should be aiming for with respect to gesture + anatomical description. There is so much more expressiveness in the line that keeps me interested in the drawing as a drawing, rather than as a mere description of form. Keep pushing these, I think it will really ultimately enhance the dynamism of your paintings. If you start to study master works and compositions, you will see how the gesture of the figures is echoed everywhere in the compositions. This flow ties such masterworks together. Take a look at any of these compositions and notice how the gestures of the figures leads the eye around the composition. Though the style may not be what you are aiming for, the fundamental principle of dynamism is what any artist should try to have in their drawings / compositions. :slight_smile:

The color comps are looking nice too!

#354

thx Rebecca :slight_smile: i hope that will help.

#355

after ref…the others too, of course

#356

nice colors on the last one. I like the warm light on the feet. maybe you should tighten up the hand a bit.
good gestures, the loose ones. I like’m a lot!

Keep m coming!

#357

Really nice color studies, I like the way you are using films (I think?) to study color. Good stuff! :slight_smile:

#358

@cyanid

thx a lot :slight_smile:

@Rebecca
thx and you’re right (except the last one / photo). I like, how they apply filters in movies, but i think i have to admit now, that it would make more sense, to search up references for a certain painting / project, than to study them for fun, because there are way tooo many lighting situations etc. out there.

But, for example, they are great for concentrating on brush economy, anatomy, eye training etc…well, in my opinion :slight_smile:

#359

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