I will ditto @holleywilliamson suggestions about organization. I meant to mention something along those same lines, but forgot.
Posts made by TessW
RE: What is your favorite part of SVS and what can we do better?
RE: How to Draw Everything: 2 point perspective question & feedback requested
@bichonbistro Ok, first I want to say that I think you've done a pretty good job with the perspective here. It looks like the concepts are starting to sink in by the way you are placing your details and forms and also the shadow angle in the doggie piece.
I think with the SVS bunny, giving it a little more space, especially below it, would go a long way with the illusion that we are looking up at it. I think that the way you've drawn the pose and angle of the bunny is successful overall.
I think you've done a good job with the doggie as well, it's just that the pose may not work with the perspective you've chosen. You may have to tweak the pose, the perspective, or both until it looks right. Sometimes you can make things incorrect if it looks better (For example, maybe adding a shoe to that back foot would make it look more "right" even if it's technically wrong).
It can be frustrating knowing exactly how to apply perspective to a working method. I think it's different from artist to artist. I'm still personally trying to figure things out, and my methods change all the time.
My short answer, for now, on how I'd personally approach these drawings is that I would not bother with horizon lines, unless I was adding in more rigid structures like architecture and perhaps some landscape features along with them. If I did want to figure out the horizon line for some reason, I would make very small thumbnails and play around with the horizon lines and vanishing points, and use that as a reference for my final piece- remembering that for both of these drawings, the horizon line would likely be out of the picture plane. For the bunny I might use a single vanishing point, somewhere above it's head and place a cylinder or a rectangular plane, vanishing to that point as a rough guide. With the doggie, it would just take a lot of tweaking between angle and pose, so that things read well. Sometimes the pose and the angle don't mesh well, so you have to tweak and maybe cheat things to get it to work.
For both drawings, I might look at photo reference, use one of my kid's toys, or make a rough model out of clay to figure out how things overlap and how much you see of certain things like legs and arms. In some instances, I've gone into sketchup and loaded a 3d model from the database, and play with the angle and zoom lenses to see what's going on. Sometimes I draw a rough idea of the pose in a couple of different angles, and see how it relates to the ground plane, so I then know where to place the legs- which would be applicable to the dog drawing. It's been an eye-opener for me to see artists, who seem comfortable with perspective, still using help like photo reference and Maquettes to help them along with character poses and angles.
Sorry if that was confusing- I just wanted to stop in, so you know I read your reply. Inktober is taking up most of my art time, so a better explanation, examples, and study suggestions will have to wait until later, unless someone else jumps in. For now, I would be proud! These kinds of angles are tricky and I think you are understanding more than you may think.
RE: Evil's Inktober 2017
After the inktober stuff I've been thinking a lot about the style. I've been thinking about ditching all my full color pieces and changing my whole portfolio with a more stripped down style. Messy ink line, tonal rendering, and just one or two spot colors. Any thoughts on this? Wondering if it's a good move or not to get rid of all the full color stuff.
I'm not the best person to give advice on portfolios, but I personally would include the color stuff- just because your work is very well suited to the children's market and I can imagine you getting more jobs if you show you can handle color. I think including a good chunk of these limited color pieces is a good idea as well though, because they are really attractive- and I can see where it might inspire someone to hire you based off of the aesthetic. I would maybe think about having a signature color look. Rebecca Green may be a good artist to look at. She includes a fair amount of almost black and white pieces in her portfolio and all her color stuff looks very "her".
Anyway, good luck! I'll be interested to see where you take your portfolio.
RE: What is your favorite part of SVS and what can we do better?
My 3 favorite things about SVS-
- Courses that include assignments or workbooks.
- The fun tone of the classes and personality of the instructors.
- Curriculum that includes both art skills and business knowledge.
Things you could do better-
This is concerning art skill classes. I'm also a subscriber to schoolism. My intention is not to offend with this comparison, but I think there's a couple of things that schoolism does that I've found to be very beneficial as a self-studier-
- They push you to improve your skills with assignments. Even with taking a class by subscription, it is organized by lesson and each lesson includes an assignment. You feel obligated (or at least I do) to do an assignment before you move on to the next concept. I've noticed with classes here, assignments feel like an after thought- not because the workbook exercises are inadequate- but because it almost feels like there's no pressure to do them- it's just there as an option included at the end of all of the course content. I think Jake's update of "How to Draw Everything" is a great improvement to the way the material is organized- to give more emphasis on encouraging you to apply the knowledge presented. I also loved a moment in one of the classes here where Will tells you to pause the video, come up with some thumbnails and then un-pause the video to see how yours compared to what Jake came up with. That felt like a break through moment for me, because I was challenged to apply the knowledge taught, and then I had a professional standard to compare my results to on the same exact exercise. This kind of brings me to the next thing I think schoolism get right:
2)They include the prerecorded critiques of the live class students for each lesson/assignment. You get the benefit of seeing someone less skilled than you getting critiqued- people with a similar skill level as you get critiqued, and people with stronger skills than you get critiqued- all on the same exact assignment. There's something about that set up, that I feel lets you learn so much. There's a good variety of critiques, that it's almost as good as getting a personal critique- most of the questions you struggled with during your assignment, get answered if you take the time to look at the critiques included. I know you include critique sessions here, but they are usually on personal pieces. I learn a lot from those, but it's a bit different than being able to view critiques on the same assignment.
Anyway, just thought I'd throw those out there. I really love SVS and think it's a unique and much needed addition to online art education. Thanks for all that you provide and all your hard work.