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I think I'll try to participate in this thread as well. I've never been to art school but I definitely have lost a lot of direction and motivation as far as drawing goes. It started with a major depressive episode that I haven't managed to crawl out of it yet despite being in a better place and I'd desperately love to be able to have my creativity back. If anyone has any tips for getting inspired I would really appreciate it.
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Oct 11, 2011 09:04
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Kismet posted:Everything you have to say there is quite fair, particularly about building a culture of good criticism. I'd contest the idea that self-teaching is 'pissing in the wind', though (of course I would, look how many words I wrote about it). Creating art is a physical and intuitive skill just like any other. Of course you'll learn faster if you have access to a great teacher and great peers, but there is quite literally no reason not to put the work in for yourself if you don't have the means to access those things. The point of this thread is that the more people with developed skills, insights and direct experience of good teaching come together to support each other, the less futile working under our own steam will become. And hey, maybe one day circumstances will change and a bunch of us unschooled people will find our way into formal education. If working hard now gives me the edge to get in somewhere good on the strength of a developed portfolio years down the line, I'd say it was time (or piss) well spent. As I said, if you want to keep it in the realm of hobby, I think that's fine. But if you want to make creative work, whatever it is, nothing is more valuable than your time - including the time you spend in school, or not in school. However, especially with things like drawing and painting, I think it's particularly easy to get into some very bad habits which may even set you back in the long run, but are pretty easy to avoid if you have a solid foundation. I think this is a great idea for a thread, but seriously, if your end game is to become someone who sells their work and makes a living at it, you really have no time to waste. Quantify! posted:I'm only in my first semester, but I'm already planning on changing schools and trying to find some people worth learning from. Every day I spend getting a bad education the more strongly I feel about doing what it takes to get a good education. For what it is worth, I studied under an artist who went to Laguna beach for years and years - there is a very strong elitist sentiment to their rhetoric. I have heard old farts talking about this poo poo for hours and hours, and I never really buy into it because they inevitably fail at a few very important things: properly articulating the basic ideas about the art movements they are describing, situating them temporally, and explaining the background of the abstract artists who were leaders (often their background was figurative). It is very easy to criticize abstract art when you view it on a computer screen or in Janson's survey text. It's quite another to do it when you are looking at a Rothko in person. The last time I was in San Francisco I saw a woman crying in front of the Rothko at their MOMA - contemporary art can be extremely powerful. It can also be extremely lovely. I personally believe some kind of foundation in figure based life drawing is critical for anyone worth their salt. That's probably why most of the big art and design schools employ it in their curriculum. I still draw 3-6 hours a week from life in open sessions, just to keep that part of my brain active even though I mainly work sculpturally. I don't think anyone would ever argue that. There are tons of great contemporary figurative artists who do really phenomenal work, but certain abstract movements really opened pathways to areas that figurative art cannot operate in. We are now ignoring street art. We are now ignoring conceptual art. Where do these gigantic art movements fit within Scott Burdick's argument? They don't, because it's poorly structured to begin with. The reality is that there is plenty of room for both abstract and life based paintings, and many things in-between (consider a contemporary artist like Garth Weiser.) The problem is that many people fall onto abstraction as a crutch, because they think it's easier, or that their "idea" is some big loving deal (it almost never is.) Those people are just full of poo poo, and it's fine to call them on it if you see it, if you wanna be that guy.
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Oct 11, 2011 09:56
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I feel bad for linking that video then not discussing it, but I don't think derailing the entire thread with another "what is art" type discussion would be the best thing to do. I will say that modern artists could benefit from using a lot less rhetoric. I'd be more charitable towards any non-representational work if it wasn't described by three paragraphs worth of total bullshit. I've written enough complete bullshit in my life to know exactly how easy it is. The fact that you need an "artists statement" to get your work displayed somewhere is ridiculous. If the work can't speak for itself, how much value does it have as art? I'm a firm believer in the idea that a work should speak for itself, which outrages people who spent a lot of money getting an education that told them the opposite. And I say I'm not gonna discuss it, then I start writing a novel about it... For what it's worth I had several choices in state schools to transfer to next semester, and I chose the one out of many that has a required figure drawing course. This says more about an art program than anything else, to me. My other choices had required CERAMICS classes. Great if you want to be a sculptor! Not so great for me. I don't even know how you can justify requiring a broad study of every discipline in a studio art degree. A working artist is going to focus on something, so let them study that. Beat. posted:However, especially with things like drawing and painting, I think it's particularly easy to get into some very bad habits which may even set you back in the long run, but are pretty easy to avoid if you have a solid foundation.
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Oct 11, 2011 13:11
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I can't believe I'm seeing that video here. Scott Burdick is a mouth-breathing, forest-for-the-trees fuckass, and The Banishment of Beauty is baseless, masturbatory film; the art equivalent of Loose Change or The Game. It's not my fault that he's so stuck on the nostalgia-platonic concept of ~classical art~ that he's incapable of engaging with the conceptual narratives of a modern work, and so set in his ways that he can't understand that art itself an evolving dialogue. Seriously, this is like any number of the nameless conservative music critic assclowns who were in hysterics over the idea that Rock and Roll would forever destroy the credibility of music in its entirely.
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Oct 11, 2011 16:01
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I think an important clarification for the thread is that it is not here to turn anyone into a professional. Beat., I think your concerns are justified, but I'm under the impression that this is here for hobbyists and for people who always thought 'I wish I drew more/at all' rather than people who want to make a living on it. I'm speaking as someone who wants to make a living on it and is currently in grad school for my chosen field. I'm not sure yet if I'll try to improve anything through this thread or if I'll just be a cheerleader/helpful extra eye, but I still want to encourage other people to post in it. We can always furiously derail for pages every time people disagree on something that's being said to one of the participants. Speaking of which, .7 is objectively the best mechanical pencil lead size and anyone who disagrees with me is a straight-up moron
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Oct 11, 2011 16:23
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Grantaire posted:Speaking of which, .7 is objectively the best mechanical pencil lead size and anyone who disagrees with me is a straight-up moron So I'm the only person on Earth who uses .3s almost exclusively? Lame. Anyhow, this thread is exciting! I'm 27 and I have approximately a semester's worth of classical animation under my belt (ran out of money, quit school and got a job), which unfortunately means that the only class out of the 7 I took in that one semester, only one of them (life drawing) really taught me anything about drawing itself--sure, history of animation and scripting were fun classes, but in semester one, year one, everything else is 'please make this ball bounce, hope you like drawing five hundred circles and then taking pictures of them since all of our equipment is nine hundred years old'. Long story short, I've definitely improved in the 9 years since then. I've made the jump from doodling crappy wannabe animu characters to a webcomic that updates twice a week. The issue is, I still feel like my characters' look a little too wooden. I'm pants at perspective, I know I definitely shy away from more dramatic poses, and too often I find myself looking at a page only to realize that it is mostly talking heads--I don't write for myself, so it would be easy to shrug and say 'this is what the script required', but there lies madness, I guess. I want to push myself, but I don't even know where to begin. This thread seems like exactly the sort of thing I need to gear up and do this. I don't have time to do the first assignment this week, but I did do a similar page of sketches on a long car ride this past weekend that ought to be good enough as a contribution. Apologies in advance for all of the cartooniness. If I had time to do it now, I'd vary it up more.
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Oct 11, 2011 17:43
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Let's get on the assignments! Filled up a page with hand&feet contours, which I don't do often. I'm also working on my environmental ability. I've never been any good at portraying scale.  What master paintings related to this should I study? Going Plein air won't really work, the only portable thing I own is my scetchbook, and I'd like to take the studies a bit further than charcoal can take me.
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Oct 11, 2011 22:03
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Try looking at some of Ansel Adams photography. It's all black and white so it won't help you much with color (if you're worried about that at all) but it's got huge environmental stuff and the values are great to study. Just like to say that I'm really excited for this thread. I haven't been able to motivate myself to draw much lately (at least not much beyond stupid doodles). I did get an art associate degree from a community college before
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Oct 12, 2011 00:11
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edit: nm
Quantify! fucked around with this message at 02:46 on Oct 12, 2011 |
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Oct 12, 2011 02:31
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I don't know about you guys, but ever since I started working on my art alone, rather than in a class with lots of people, I feel much more confident in my work. Being in a class with other people forced me to compare my stuff with everyone else's, and I was REALLY bad in comparison. So much to the point where I couldn't see myself improve. All I could see in my work is that it was worse than the guy next to me. Now that I'm no longer an art major in a class, I can compare my work with my own stuff, and I can actually see improvement. I know it's good to learn from the people around you that are better, but for me, it's a real bummer. Nothing was stopping me from comparing my work to past works while I was taking classes, but my mentality about everyone else kept getting in the way. I hope this isn't some crazy mental issue. Maybe I'm just dumb. Anyway, I absolutely love this thread. I'll be checking it everyday.
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Oct 12, 2011 03:58
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I have the same problem but I think it's better to get over that issue than to stop working around other people. Working with other people can create great creative atmosphere. Every working artist I follow is constantly working with other people or sharing their work with other artists. The true art hermit who produces his work in isolation is pretty hard to find. I'm one of the most creative persons in my design class and it makes me try really hard on my projects and challenge myself. The stuff just really clicks for me and when I get an idea and start laying it out I get an incredible rush of "this is right". I can work on tedious stuff for hours once I start seeing it take shape in that "this is right" sense. I'm the worst drawer in my drawing class and it's incredibly discouraging. It's a shame I don't have a certain level of natural talent because I'm so eager to take on challenges when I expect a certain level of success. I feel like once I get over the initial hump of "bad drawings" I'll have this same feeling when it comes to just drawing stuff. Has anyone else had an experience like this? Maybe I'm talking bullshit here I dunno.
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Oct 12, 2011 04:14
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Yes, I feel that after enough experience you just "know" what you're drawing, and can very easily express it on the paper. For example if you were to ask me to draw a super model with attitude I could give you about 10 variations of a super model with attitude within the hour. Ask me to draw a car on its last legs, and I wouldn't even know where to start. It just all comes with time and experience. Quantity and breadth of work really comes into play here, when you realize that the best way to learn to draw a specific thing is to do a lot of drawings of it. Hard to do at times, when you really, really do not want to draw the interior of a factory or something but need that mechanical look.
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Oct 12, 2011 05:55
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I have six days to fill up a page? Hmph! Nice OPs Kismet  , I look forward to improving. I started school last year to break habits I had self taught myself. They have no been as useful as I had hoped, but it may be because it's Community College and no one wants to critique anyone else.
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Oct 12, 2011 14:08
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Quantify! posted:I have the same problem but I think it's better to get over that issue than to stop working around other people. Working with other people can create great creative atmosphere. Every working artist I follow is constantly working with other people or sharing their work with other artists. The true art hermit who produces his work in isolation is pretty hard to find. I was one of the worst drawers in every art class I have ever taken. Don't get discouraged by "not having natural talent", in my opinion, there is no such thing. There is a natural creativity, but being able to take that idea and put it on paper is something that takes PRACTICE. Anyone can draw if they just keep doing it, but you'll never be able to if you just keep thinking "I suck". As to working with other artists, that was probably a turning point for me. I freely admit that if I was still drawing alone in a dark room, with no input, I would probably be making all of the same mistakes I was making 6 years ago. Having other artists around is great. Not only can you get input on whats right, but you can get input on what's wrong, which is vastly superior. I ALWAYS have coworkers look at poo poo I'm about to tattoo, to see if they can point out anything that's wrong, because sometimes I just can't see it. Plus, you can pick up on things those around you do, and incorporate it into what you do. Also, if you want silly little ideas to use to get better, look for art threads in gbs. They're fun as hell, and sometimes challenging. ToastFaceKillah fucked around with this message at 14:35 on Oct 12, 2011 |
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Oct 12, 2011 14:11
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I'm really happy this thread was made. I'm getting back into drawing after a... long time, and I've been practicing a lot recently, especially on humans and challenging poses. I don't go to school though, so I've been using stuff online, and this thread is really helpful with everything in the OP. That Pose Maniacs site has been particularly helpful I still have a ways to go though, and I need a lot of practice on lighting and perspective and coloring (some of the coloring I've seen in the Daily Drawings thread is just mind blowing). But I'm stoked to be drawing again and slowly getting better.
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Oct 12, 2011 23:34
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I am also super glad about this thread. It has everything I've been looking to improve myself upon. I think I'll follow the challenges too!
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Oct 13, 2011 01:22
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I drew a friend from a photo reference. (Only I added a Leia haircut as a creative freedom.) Took me a few hours. I have a feeling that drawing digitally in photoshop will curb my ability train figure drawing on paper. I am pretty proud of this one anyways. Just look at that mouth!! It's the frst time in my life I have made a mouth look like one. Also, this is a great thread. This thread will be my art education. Thanks.  Instead of reposting, I'll just edit in this newly finished non-finished drawing of Ingrid Bergman from a photo reference. Again some proportions are way of, but I've been desentizied by hours or watching the photo and are unable to spot them. (Question: Does it actually look like her?) 
clearly not a horse fucked around with this message at 01:32 on Oct 14, 2011 |
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Oct 13, 2011 14:01
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clearly not a horse posted:Instead of reposting, I'll just edit in this newly finished non-finished drawing of Ingrid Bergman from a photo reference. Again some proportions are way of, but I've been desentizied by hours or watching the photo and are unable to spot them. (Question: Does it actually look like her?) Her face seems kind of tiny and lost in her hair. I mean, I saw the reference picture from the other thread and the hair is pretty similar in both... Maybe it's that the hair is too wide on the left and it's throwing her face off. I would also push the shadows on her face more. I really like seeing these paintings that you do, the textures and hair is always amazing. This one is no exception, but it seems like when you get to the face, you stop being adventurous with the shadows and it gives the skin this flat look. Her eyes are very small. WHere are those beautiful, piercing eyes?? Lastly, you gave her nose and mouth a different angle than her eyes, eyebrows, and he rest of her head it seems. Again, I saw the ref pic and I think that's why that happened, so maybe you want to change the eyes and the face to match that angle because it'd be a lot easier... or just watch out for that in future paintings since you probably don't even want to look at this one anymore  .In short, yes it does look vaguely like Bergman, but there are a few little things here and there that are just kind of throwing it off as a whole. Sorry I just kind of tore into it! I really do love these paintings that you've been doing, even the creepy faceless Hitchcock stills. Maybe you should just make a series of faceless classic film paintings. That'd be eerie... and it is October.
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Oct 14, 2011 16:27
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Hey, thanks for the criticism. I know the proportions are off, and the angle on the nose is weird. I didn't notice the hair, but now I am unable to ignore it. Instead of fixing it, I'll try doing it all over again for practice. Drawing it is a good reason to stare at that face without feeling like a creepy guy. (I'm not!!!) Halfway though the drawing, I flipped the image and was met by a horrible abomination of skewed poo poo, which I did not notice until then. gently caress the relativity of angles - they confuse me. But thanks again, I'll probably continue doing these for practice, and forget about colours. I tried to do Jimmy Stewart today, but he ended up looking like Cary Grant. Stewart's drooping eyes seems impossible. I guess my technique is still lacking. Up until now, I just use a straght circular brush, or a diagonal ellipse for angles. Half flow when just sketching out the main tones, and dropping it to 8 or so when I'm just chilling out. I have no structure other than that. Is it normal to just do a segment over and over again for hours until it seems right? Also, I'm too lazy to really read tutorials, but I'll definitely take your advice into account. AND another question to everyone; when I draw lines and strokes, should I use my arm instead of my wrist? I feel its hard to do controlled lines with my wrist and saw it mentioned on the internet something about my arm but I just skimmed it.
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Oct 14, 2011 16:39
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clearly not a horse posted:AND another question to everyone; when I draw lines and strokes, should I use my arm instead of my wrist? I feel its hard to do controlled lines with my wrist and saw it mentioned on the internet something about my arm but I just skimmed it. Most of the professors I've had recommended drawing using the arm instead of the wrist for that exact reason.
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Oct 14, 2011 17:26
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Kismet posted:
  I focused on value and not proportions while doing this, so the proportions obviously suffered. But I'm still not getting the values I want. I have a very difficult time making gradations of value. Everything falls into a dark, light, or middle value and its hard to get those subtleties that I see in the source image. Spent about 2 hours on this.
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Oct 14, 2011 17:53
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Current Assignment: Mon Oct 11th - Mon Oct 18th
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Did the weekly assignment I'm interested in seeing what subsequent assignments will be.
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Oct 15, 2011 04:14
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Quantify! posted:I had hopes for doing something better for this weeks challenge, but I'm swamped with schoolwork so I probably won't finish anything else in time. The trick is to NOT think about the subtleties. Just do dark, light, and mid tone, and if you get those right the subtle tones will fall into place. And do highlights last, since those tend to make things look "good" even if they're not right.
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Oct 15, 2011 04:41
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I'm attempting a coloured version of this B&W photo of Kate Bush. I feel I am getting there, but her face looks a bit off, mostly because of the nose and eyes, but I am liking the colours and creative freedom I have with the colours. I'm trying to have make the skin and hair have different shadow tones.
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Oct 15, 2011 17:04
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The most important thing is getting off your rear end and out into the world to draw it. Throw away the stupid drawing books that tell you to copy this picture upside down and pat yourself on the back for it, or the 3d models with terrible rigging and cheap muscle texture thrown on it. Sit at your window and draw the front yard every day if you have to. The problem is people sit there and draw what they think they see all the time, and surround themselves with people who are of the same skill level or less. Nothing will make you learn faster than actually hanging out with a bunch of guys completely content with drawing one tree for 6 hours, or staying up all night just so they can get the perfect lighting for a plein air of the morning sky. That's what you're really paying for at art school - it isn't any different from "self taught" methods. The only difference is you are going into debt to be part of the environment instead of having to search it out yourself.
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Oct 15, 2011 22:45
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I was getting really down on myself today thinking I wasn't improving at all...wanted to give up after drawing just a few poses. Powered through it though. Busted out my tablet for a change of pace. Started reading some of Walt Stanchfield's book on the whole gesture drawing thing. Oddly, I always seem to have a good day after reading a little of his stuff. Who'd've guessed, right?? Anyway, I did a bunch of quick stuff from Cirque Du Soleil and proved to myself it's not all in vain. These are so much better than anything I could have done even just two weeks ago. Wish my lines were a little more confident though, still seem to wander aimlessly at certain points.    Is it normal to keep drawing the same pose over and over again as per the last picture? I feel like I don't really truly understand what I want to say about some poses/pictures until I've drawn them a bunch of times. It's just sort of...playing with the pose. Kind of like when you're writing and you rewrite the same sentence a few times just to get a feel for which version you like best. I can see them getting better and better as I draw and redraw too, which is encouraging. Anyway, any thoughts or comments would be appreciated. Otherwise, feel free to ignore me and my rambling.
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Oct 16, 2011 03:21
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Diseased Dick Guy posted:Figure drawings The main thing I'd suggest is to draw their spines. In my first (and only) figure drawing class, the formula for quick sketches was: Draw the head, then the spine, then the angle of the shoulders, the angle of the hips, and then either the arms or legs. Flesh it out if you want to spend more time on the pose. I've got a book that has different methods, but I prefer the stick figure method overall. I just KNOW I'm gonna get poop for this method, but that's what my teacher taught. If there's a better, or correct way to quickly sketch poses, let us know! Also, google "line of action" and look at some images. Though, I'm not sure if the "line of action" thing is only for animators, or if it can be applied to figure drawing. I personally think it can apply to figure drawing as well.
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Oct 16, 2011 08:12
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I've always had trouble bringing a painting together. As soon as I start trying to paint details and smooth edges, I get a goofy-looking mess. So I tried starting with a 50% surface and painting slowly. I think I got somewhere... But some regions just look awful. The temple of the head on the left, and the shaded region under the nose of the head on the right, for example:  Something about the way they're blended with the rest of the image looks goddamn nasty to me, and that happens a lot. Maybe I just need to stop posting and paint more. What are some good ways I can practice painting different types of edges?
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Oct 16, 2011 09:08
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John Kenpon posted:edges? (*edited because I am not awake yet.) Edge variety in traditional painting is frequently a result of tightly controlled brushwork, i.e., a diffuse edge will be composed of many very small but crisp multidirectional brushstrokes. Or sometimes it's a hard edge, but the value contrast between the two opposing planes will be so slight that the edge will appear softer than if it were a harsh black-and-white value difference. It's not as common in traditional painting to work edges together that much, because it makes everything mushy, as you are observing. Here are two good resources: http://www.conceptart.org/forums/showthread.php?t=51913 http://gurneyjourney.blogspot.com/2008/06/depth-and-edges.html Try to start by thinking about forms as planes rather than curved surfaces. Many older how-to-draw/paint books encourage this approach. When working digitally, a square brush will give you better control than a round brush. Also, turn your opacity up to 100%: John Singer Sargent posted:If you see a thing transparent, paint it transparent; don't http://www.scribd.com/doc/27078763/Craig-Mullins-Sargent-Notes neonnoodle fucked around with this message at 12:36 on Oct 16, 2011 |
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Oct 16, 2011 12:27
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A note on digital edges: I'd advise also to lay off the soft-edged brush for a while. The edge isn't usually as soft as you'd think and the transition between the "body" of the brushstroke and the edge leads to a lot of unevenness with that lumpy look. Practicing with only the hard brush will force you to be a lot more precise when it comes to choosing value.
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Oct 16, 2011 12:43
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neonnoodle posted:
Huh, I've never heard anything like this before. Wouldn't square brushes lead to all sort of horrible corners and squared off patches? And isn't building up layers with low opacity kinda part of the whole advantage of digital painting? (I mean, your quote is discussing something completely different - the process of 'faking' translucent surfaces with low opacity drawings.) And anyway even with real life painting, the paint you use don't have 100% opacity.
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Oct 16, 2011 14:35
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Um Jammer 6096 posted:The main thing I'd suggest is to draw their spines. In my first (and only) figure drawing class, the formula for quick sketches was: Draw the head, then the spine, then the angle of the shoulders, the angle of the hips, and then either the arms or legs. Flesh it out if you want to spend more time on the pose. I've got a book that has different methods, but I prefer the stick figure method overall. I just KNOW I'm gonna get poop for this method, but that's what my teacher taught. If there's a better, or correct way to quickly sketch poses, let us know! Oh yeah, I do actually do the whole stick figure thing a lot of the time (usually will give the ribs and the pelvis shapes for depth though.) The top two have one in a cropped out corner of the layer. These images were pretty much the fleshed out, secondary versions. I too prefer a stick figure method because it's so fast and really easy to expand on the pose afterwards. As far as I know, the method isn't wrong. I imagine a trap people start to fall into with it though is giving the pose a really rigid feeling, because the stick figure is easy but fleshing out not so much if you're not used to drawing more than just a skeleton. I was kind of guilty of that for a long time. One thing I almost never do is start with the head though. I usually start with the torso and kind of radiate outward. Is this wrong? Am I better off placing the head first? As for the line of action, I attempt it a lot but I don't think I'm really getting it yet. It's supposed to be a vague line that kind of sums up the pose, right? Like, if I was only alloted one line to draw my figure, it would be the one that most conveys meaning. Mine always wind up being too literal and tight and therefore lose meaning. I will practice it more though. Thank you for the advice! It's really helpful. Do you happen to have any advice on head direction. I am so laughably bad at this. I just don't know how to translate what I see onto the paper itself, especially when the look is almost completely to the side. Is the answer just draw a billion heads?
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Oct 16, 2011 16:03
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Diseased Dick Guy posted:One thing I almost never do is start with the head though. I usually start with the torso and kind of radiate outward. Is this wrong? Am I better off placing the head first? I'm just a beginner myself, but I'm finding that if I start with a torso, I can't get the angle of the head right; but if I start with the head (just a ball with a meridian and an equator, and a vague indication of a chin), then the spine, then use those to place the torso and limbs, it comes out much better. Of course this isn't the only "right" way of doing things; it just works for me.
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Oct 16, 2011 16:18
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What a great idea for a thread! I'm not much of an artist, but I've been doodling with a web comic for a few months now and trying hard to improve day to day. It's tough! So... here's my thingy - just a couple of characters getting philosophical or something. Hands are a real pain in the rear end for me - they tend to look like they've been worked over by the mafia, or become very abstracted. I'm also having problems with poses seeming static and lifeless, like mannequins - but I just need a lot of practice figure drawing.
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Oct 16, 2011 17:48
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Anyway, what I did for the assignment. Some DC character reboots, sorta in response to the current hullabaloo in the webcomics thread. Possibly too big, so click here
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Oct 16, 2011 19:28
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Diseased Dick Guy posted:
Since everything, and I mean EVERYTHING on the human body is relative to the head, you really gotta start with that first. I can't stress this more. As for head direction, I don't have much to say other than to read up on it/practice a lot. Preferably on bald models. A really good book I read is Burne Hogarth's Drawing the Human Head. Google it.
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Oct 17, 2011 04:08
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Chiming in to say this is a really cool and inspiring thread that I intend to follow closely. My day is kind of full-booked today, but it's all about drawing, so I'll see if I can get something going for the assignment. As far as staring at a blank page and not knowing what to draw goes, I can't believe 3CH has not been mentioned yet. It's a brilliant tool to get the creative juices flowing, and I wish I'd use it more. Basically: A sanguinolant robot uproots a transvestite in a crater. Kismet posted:That also reminds me I meant to link this article in the OP, which was posted in the daily thread and is really a must-read for everybody here. Real interesting read, quite the eye-opener. I'll be throwing this link around a bit myself. Thanks!
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Oct 17, 2011 11:46
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Welp! I was at a conference all last week and just got back in, so I don't have anything done for the assignment. But I'm going to keep working on it anyway and post it when it's done. Wah!
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Oct 17, 2011 18:44
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I've been obsessed with sport and gymnastic bodies lately, so I did a page of photo studies of ballet dancers. It all ended up a bit cramped into the middle, which I'll try to avoid next time. Anyone still working on the assignment, don't worry. I'm going to make some dinner and decompress before I type up the next one, so you've got a few hours yet. Or feel free to post it after the deadline, it ain't no thang. On the topic of the next assignment, how does everyone feel about another one-week deadline? We've been working at a good pace with decent participation so far, so I'm happy to keep themes and exercises coming if everyone else is happy to keep cracking on.
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Oct 17, 2011 23:36
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Kismet posted:I've been obsessed with sport and gymnastic bodies lately, so I did a page of photo studies of ballet dancers. It all ended up a bit cramped into the middle, which I'll try to avoid next time. Anyway, I think a week is a good deadline for the class. Any longer and people will just wait to work on stuff or lose interest, any shorter and people like me who spend half the week incredibly busy will miss out.
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Oct 17, 2011 23:42
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