mega crit  feed back

This drawing study is of georgie. there was no bag on the photograph but i added one to fit the theme that i was going for. with this one i wanted to be inspired in a walking dead kind of theme.  on the TV shows it always fascinates me where they get there equipment from, endless rounds of ammo, a gun belt, all kinds of crazy clothing but in my reality i think you would be wearing the same clothes as you was wearing the day the world come to an end...grab a bag, throw in some shit ...find Patrick or Fred, they have boat! so for me, it was all about making the clothing tattered and the body language stressed.

when I was in my ink stages of this drawing I lost the face due to using/ testing a dry ink brush. but i knew that i could bring it bak in digital. the boot is ink and white ink. i wanted the boot to have that wet weathered look...an experiment that digital will answer.

final piece. I added a gun to it (this characters back story is that she's a daughter from a farmer so its easy to get a gun...) I'm happy with the this one, everyone recognised who it was and recognised it was an end of the world theme. ben spotted that it was influenced by walking dead so i feel pretty happy wth the results. happy with the weathered and dirty sleeve ends.

Extended practice peer review

Understand and demonstrate coherent and detailed subject knowledge and professional competences some of which will be informed by recent research in the discipline

6A3

Research is good - extensive

the audience is at the right 

thorough blogging

Articulate and synthesise the knowledge and understanding attributes and skills in effective ways in the context of creative practice employment further study research and self-fulfilment 

6B3

using roughs effectively. demonstrating start to finish.

characters are appropriate to research

problem solving  is evidenced by development.

Develop appropriate methods are professional presentation combining visual verbal and written techniques

6C3

the blog looks lovely.

consideration for presentation - looking at portfolio 

maybe try applying your work to a different format - editorial or covers.

think alternative results like publication, the format of characters think of alternative results - a year book, 

Terser there ability to synthesise and analytic and intuitive approaches with a high level of process and professional skill

6C4

relevant to practice.

professionalising your process

focus on projecting its self, not for the portfolio.

Analyse information and experiences for meal independent judgements and articulateness reasoned argument to review and evaluation

6D3

honest, artical. keep it up. identifying your weakness and stengths 

this was a succesful crit for. i feel it helped talking to people who understood my practice, they know how i work best and what i dont work well in. there for i didnt get suggestions like have you tried to screen print this? suggestions that aint even related to my practice. 

all my feed back was greate, its always nice to hear that your doing a nice job! but its also nice to be told to try a different approuch.  

im concidering the year book idea, this is somthing ill discuss with my tutors with in a tutorial and get some feed back from this.

figure drawing

On a tutorial with Patrik, we were having a conversation regarding my concept and comic book ambitions. we spoke how figure drawing is a key element to both practices. Patrick suggested that I start a project to focus on figure drawing. we decided that I'll spend one day a week drawing figures and to explore media and to practice with poses and proportion of the anatomy and how proportions are distorted with composition. this project is to exhaust myself one day a week to really push my understanding and my skill level with figure drawing. 

I feel that to push my understanding of figure drawing and my level of skill I shouldn't just explore new things but to recap on what I do know. from previous projects I have felt that my drawing figure abilities had dropped a lot, I'm not saying that my figure drawings are rubbish I just know they are not as good as they used to be.  

so the best thing is to introduce the basics. to start a sketchbook of life drawing, iv been life drawing for the best of 10 years before the illustration course and there is where I learnt the most about figure drawing, proportion, the perceptual skill of drawing, gestalt linear perspective and most importantly eye level. So this is something I'm intending to practice again.  

also when I had a tutorial with Teresa, before my tutorial with Patrick, with in a conversation about  concept art she had suggested that I should start a task that focuses on lighting. experiment with light sources and the angles they hit the form and to play with more than one light source in a piece.  

with the directions my tutors have suggested to me, it seems that this is to better my practice as a concept artists. So I recapped on the feed back from the emails that recived concept artists that i have contacted. and im going to aplly the suggestions they made with the suggestions from my tutors. 

below are comments from a couple of artconcept artists that i contacted and i feel will help me me push my practice forward. 

feedback from concept artists Renaud Roche

   

feedback from  concept artists  lorin wood 

but the bottom line is what is the tools you feel you can work with the fastest, to produced the highest quality in the shortest amount of time.

the best advice is to draw ALL THE TIME. carry sketchbook with you everywhere you go. study reality and be able to mimic it first. what that does is build up muscle memory so when you create something fantastic it will be imbued with relatable details and a sense of reality. also have a good foundation of the fundamentals, proportion, things like that. 

I started by reading and researching figure drawing by reading parts of these books from the library. 

I did this as part of touching up on what I already know. saying that there was a lot that i forgot so I'm glad i made the effort of research a topic that I thought I could just start drawing right away. 

                                     

I dedicated about 4 hours of my time on drawing classical figure drawing, again this is where I learnt most of my drawing techniques. i plan to carry this on for the next few weeks. or i might fill a sketchbook full of classicly drawn poses nudes and cloths models.

I started by drawing the female form for a number of reseans. lets get it out of the way...yes becuase i enjoy drawing them. in my opinion drawing and mastering a female nude is like the foundation of any other figure drawing. if you can draw a female form you can draw male, child, fat thin what ever.

obviously i want to walk away with this project with a stronger ability to draw figures in a concept scene and to be able to say 'ive mastered figure drawing' but i want to walk away with that and have a body of work that shows that. i want to have a sketchbook/sketchbooks showing that iv practiced and studied this hard  and i want to some nice rendered work. 

so i decided part of my daily task is to draw a pose of someone a nice rendered piece.

i got the strong good looking pfffttt....i cant lie to save my life. i got Tom from our class to stike a pose so i could draw it. 

below is my pencil design for the piece, i didnt like the idea of him sat on a chair so i played around with the idea of him sat on barrels or a petrol canister...somthing to fit the look. tom looked veryy urbon this day i might add. 

once happy with my pencil work i inked the line work. i used the light box to ink the line work. ever since my traveling man project i feel that the light box gives my work a better profestional finish, its more cleaner. as you can see a dog has apeared. i know this is a figure task but the more i was drawing tom the more i was getting lost in an idea of this urban lad sat with his Dog. (the dog was penciled in before i started to ink it)

im glad i put a dog in there becuase its more character and more menasing feel to it. 

i added textures by dragging a semi dry brush across the ink and i used a touth brush for the flicks. 

i used white gouache to remove the unwanted flicks and drips. 

this is somthing that i use alot of in my practice. i think it gives it a very gritty feel to it and it brings a realistic element to the piece. 

 finaly it gets digitally coloured. i coloured these in the way i would paint a figure drawing, block colour overlapped by  loose and straight stiff strokes. I had tom sat on a rock to fit the look of the piece. 

below - iv added some close ups to show the use of strokes as explained in the above.

also an oppertunity to see how the ink flicks work as texture in a piece.

 

 

further development - the job

progression on this project has been slow due to the dissertation but i'm plodding along nicely. 

i spent an evening digitally making some heads shots of some of the characters from my sketchbook. 

i pushed one idea to a more refined image. 

during my tutorial Patrik talked me through the process of the concept artists. vital information that i need to know, this is the question iv been asking concept artists in my ppp but none have been as clear as our good Patrik was.

silhouettes is the first step that is presented, to show the scale of the characters. then it works towards how the character looks so, a 180 look of a character, action poses, headshots and so on. then its illustrated to a refined image (hero shot)

this is a exacly what i needed to know. now i know what process my characters need to go through for a presentation. so my 10 characters that i choose for my bar scene will have - 

a silhouette stage

180 look

head shot 

in action look 

final render