Tag Archives: man

Portrait Course, lesson # 28

18 Apr

Portrait Course 20110418 # 1

Finished ink sketch of a male model. While the model as a whole is fine, I need to practice on the features, especially the ears.

There will be a break of four weeks until the next portrait course lesson. That will give me an opportunity to brush up on my weaker points.

Thanks for reading and I hope you enjoyed this brief report of my portrait session.

Portrait Course, lesson # 27

11 Apr

I have practiced inking since the previous time I did an ink drawing of this male model, and I think it had its effect. My lines were much more deliberate (which is a good thing in inking).

Portrait Course 2011-04-11 # 1
⇧ With only a small correction of the (model’s) right glass of the spectacles, I made this preparatory sketch for my ink drawing. I used 2H lead, because it doesn’t smear as much as the HB and B-type leads. My digital camera had a hard time picking up the lighter lines.

Portrait Course 2011-04-11 # 2
⇧ I needed 45 minutes (out of an hour) to ink the sketch. Alas, my instructor is a fine artist and has little experience with contour drawing, which is more illustration than fine art.

As always there were parts I was satisfied with and then there were parts that I would do differently next time. Fortunately, the good parts were in the majority.

The art of destruction

1 Oct

Before you can build something, you have to clear away some of the existing stuff.

Mark Rudolph, part 7

For instance, poses. Poses are ways to position the body and rearrange extremities into a meaningful configuration. In short, it is a kind of sign language, separate from spoken or even written language.

Just as beginning artists have preconceptions about the world and draw what they know instead of what they see, drawing stock poses, based on popular art is a guarantee for dead art. Let different people do the same strong pose, and see how they slightly differ from each other. Different people do the same thing differently. So should your characters.

You can’t assume that once you’ve understood a certain pose, you can just put that same pose on every character. It has to fit the configuration (the build, physique) and the personality (how they behave) of that particular character.

To construct you have to deconstruct first, unlearn some of what you have learned.

That is all.

Mark Rudolph (part 2b)

1 Oct

Just some random doodle I made.

Mark Rudolph, part 6

I guess if you’re obsessed enough with a subject you can draw it without reference. It becomes almost iconic. In fact, I think it IS iconic. This mental picture of a subject seems important if you want to change it into something else, like a Samurai fighter, a barbarian, and yes, even a dog.

I also think passion and obsession is the only way to draw art that people want to watch. It has to speak from the heart or be silent. There seems to be nothing in between. That is very Yoda of me to claim: “Do or do not. There is no try.”

Where would we be without Star Wars?

That is all.

Mark Rudolph (part 2)

30 Sep

Sometimes you can get obsessed by a drawing, especially if you were mentioned in a podcast (Art & Story Extreme!!) by one of the people you’re trying to immortalize as a cartoon character. No pressure, though.

Today I wanted to make a better cartoon character version of Mark, somewhat closer to the Asterix and Obelix universe. I tried all kinds of things, even removing the perspective from the reference photo. Although it was interesting to know how you can visualize a head inside a cube, and how perspective works, it didn’t help me create a better cartoon version of Mark.

So I drew several versions of the reference photo, until I found one that came pretty close. A bit frustrated by the lack of progress, I took a short break, and from across the room I saw the sketches on a piece of paper. Because I looked at it from an angle, the flat paper was foreshortened. From afar and in that perspective view, that version looked much better.

I tried to recreate what I saw with an image editor (GIMP), by distorting the scanned sketch with the perspective tool. This tool presents you with four corners on your image. Dragging the corners distorts the pixels into some kind of perspective view. Like this.

Mark Rudolph, part 3

The upper sketch is the distorted version, and the lower the original. I guess the perspective tool can be useful at times.

The widest part of the face is halfway the nose, and the eyes are somewhat smaller and closer together. This means the lower part of the face has to become bigger, while the relative amount of area of the upper part shrinks.

I tried to incorporate that observation into a cartoon face, and after several attempts, I settled on this face. It isn’t entirely what I wanted, but it’s pretty close. It still has to be reworked into the style of Asterix and Obelix (drawn by Albert Uderzo), and then Mark has to change into a dog, which should look like Mark if he were a dog.

Mark Rudolph, part 4

Integrating the features into a new character and still have some resemblance with the original means you have to keep looking at your reference material, while stylizing the drawing at the same time. Unfortunately I can’t describe it better than this: stare at reference photo, visualize the stylized version (using the rules of thumb you established), start drawing, and hope for the best. This drawing was the sixth attempt. I have never done this before, and I guess it will get easier with practice.

I’ve spent around five hours of my life on these sketches. It can be frustrating at times, so you have to really do have to like it to keep going.

I think I should use different reference material, because it’s hard for me to get any more out of the one fuzzy photo I used. On Art & Story Video there are some videos with Mark and Jerzy, which I going to watch for reference.

More to follow in part 3.