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KIWI
02-29-2000, 05:42 PM
Hi, it's Kelly again with a 12x16 pencil drawing. I would also like some suggestions for a good drawing paper. Thanks
http://www.wetcanvas.com/Critiques/User/mystique.jpg

cagathoc
02-29-2000, 05:50 PM
She's awesome - full of personality and mystique.

The neck bothers me a little - it kind of looks like cloth. Is she wearing a loose turtleneck top?

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Cindy Agathocleous

"What if imagination and art are not, as many of us might think, the frosting on life, but the fountainhead of human experience?" - Rollo May from The Courage to Create

Electra
02-29-2000, 06:31 PM
WOW! Fantastic, Kelly. I love the dramatic lighting you've used here. Aside from the neck issue mentioned above.. I can't see anything I would change. http://www.wetcanvas.com/ubb/cool.gif

dhenton
02-29-2000, 07:24 PM
<h3>All right!!!</h3>
Art that I can relate to!!

Here are a few suggestions for you to consider. These are meant to be constructive, after all, this is my kind of stuff, so I apologize if I should sound pedantic. What I'm really saying here is how I would modify it if it were mine--which it isn't.
<ul>
I am assuming that the scan cropped the hood. The top of the hood to the eye line should be about the same distance as the eye line to the chin.
The base of the nose reads flat. You've got the sides of the nose down, but the tip of the nose needs to come OUT, so the base would be a different value--darker. The nose isn't a triangle, its a pyramid.
There is usually a cast shadow under the lower lip
My instructors recommended shading the upper lip darker than the lower lip. It always seems to work. I think because it suggests the inward positioning of the upper lip.
the neck needs to be longer. There is a muscle that runs from behind the ear to the insertion in the collarbone--the sternomastoid--it defines the side of the neck from this view.
The ear should run from the eye to the base of the nose.
a drop shadow on the neck cast by the head would make the head "stand out"
[/list]

Well, thanks for sharing. If you haven't already, check out <a href="http://elfwood.lysator.liu.se/elfwood.html">http://elfwood.lysator.liu.se/elfwood.html</a>. It is a HUGE gallery of art like this, and then some. Also, you can check my work out SHAMELESS PLUG. <a href="http://webpages.marcus-online.net/dhenton/wetcanvas/ptsample.jpg">http://webpages.marcus-online.net/dhenton/wetcanvas/ptsample.jpg</a>

It's so cool to see something like this here. As for the paper recommendation, as soon as you find a good one, let me know, I haven't a clue! Good Luck.

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"Art is anything you can get away with." -- Marshall McLuhan

[This message has been edited by dhenton (edited February 29, 2000).]

[This message has been edited by dhenton (edited February 29, 2000).]

[This message has been edited by dhenton (edited February 29, 2000).]

Drew Davis
02-29-2000, 07:54 PM
Lighting as strong as that implied by the shadow cast by the hood on the face would have a lot of effect elsewhere. Folds in the hood, shadow of the head on the right shoulder, and so on. That might add to the sense of mystery and drama. The complete blackness of the shadow means there would be little ambient light for the rest of the figure. (Unless there's something peculiar about that particular shadow for a reason... I don't really want to meet her in a dark alley.)

How realistic did you want the features to be? They have an elongated elegance that fits the subject.

As for drawing paper, what do you use now? I haven't gotten very exotic. Canson I like a bit better than Strathmore (or at least the yellow-cover Strathmore 300 series I get to see locally; 400s and 500s are more scarce). Canson makes both a white and a cream color in the ~60-70 lb weight. You might want to try bristol board, which is a stiff multi-ply paper with a smooth surface. Aquabee makes some nice sketchbooks with heavier paper, up around 90 lb, which is good if you want to put a wash on a sketch. In the rougher direction, you might try something like Canson Mi-Tientes or the lighter weights of watercolor paper. (You don't really need heavy paper for dry media.)

The sky's the limit on bigger sheets of heavier paper. There's all kinds of good stuff with varying characteristics out there.

Mellryn
02-29-2000, 08:42 PM
http://artistnation.com/members/lofts/leivan/images/headprop.jpg

For those who are visual:
Here are the typical proportions of the head. Notice the head is 5 "eyes lengths" wide. Eyes are set 1 eye length apart, which is also the width of the nose. Mouth is 2 eyes wide and set from center of one eye to the other. The other proportions are noted.
The drama of the face can be achieved through shading.

[This message has been edited by Mellryn (edited February 29, 2000).]

Phyllis Rennie
02-29-2000, 09:08 PM
The key word in Mellryns comment is "typical". It helps to study the "rules" but faces do vary so use the typical as a guideline and build in the variations.

Adelphia
02-29-2000, 11:25 PM
[QUOTE]Originally posted by KIWI:
[B]Hi, it's Kelly again with a 12x16 pencil drawing. I would also like some suggestions for a good drawing paper. Thanks
Hi kelly,
The key to deciding what type of paper you use is directly related to the effect you want and the grade of pencil/charcoal you choose. What i am doing right now is working on smooth paper with an hb graphite because i am a novice and make so many mistakes when trying new studies. It pulls off real easy with the kneaded eraser http://www.wetcanvas.com/ubb/smile.gif. . I have also invested in some 100% cotton certificate paper from kinko's (where i live it is 10.00 for 100 sheets any tone you choose). This is for the times i am feeling very confident before starting a new portrait just incase it is something that i decide I like well enough to hang. The cotton is archival. Hope this helps Kelly. Adel

kayemme
03-01-2000, 02:45 AM
hey, great job.

http://www.wetcanvas.com/Critiques/User/mystiquekm.JPG

i made a few adjustments, though my adjustments make your gal look a bit too much like jodi foster for my tastes. my intent was to only show you where certain features might be placed, and at what size.
remember that the eye socket is about as big as a golf ball... so you'd probably have some shadows there... the nose has a little dent between the eyes (go ahead, feel yours!) and therefore is shaded. the mouth will curve around the head, the ears are usually pretty big. the eyes lie in approximately the center of the head on a spherical plane http://www.wetcanvas.com/ubb/smile.gif

please don't think that i think your piece should look like my modified version.. i'm just trying to illustrate my points http://www.wetcanvas.com/ubb/smile.gif

Rod
03-01-2000, 04:48 AM
Hi Kelly,
Late getting to the boards today, Hey its all been said, Great sketch just keep them coming ,love to see,
Rod. http://www.wetcanvas.com/ubb/cool.gif

Gisela
03-01-2000, 01:07 PM
Hi Kelly,
I don't have anything else to add to what's been said above, but did want to say, Nice job!! Your mother must be sooo proud... http://www.wetcanvas.com/ubb/wink.gif

Gisela

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http://www.artistnation.com/members/paris/gisela

oleCC
03-01-2000, 09:37 PM
I really can't add anything to what has been said... but it is wonderful work and please keep posting ok? http://www.wetcanvas.com/ubb/smile.gif

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kayemme
03-02-2000, 07:01 AM
[QUOTE]Originally posted by Mellryn:
[B] http://artistnation.com/members/lofts/leivan/images/headprop.jpg

hey, is this a self portrait? (snicker)

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km (http://www.artistnation.com/members/lofts/kmarion/)

KIWI
03-02-2000, 06:24 PM
Thanks for all the advice. I'm printing this out for my art teacher to see. (think I'll get extra credit?) Kelly http://www.wetcanvas.com/ubb/smile.gif

irene clark
03-02-2000, 07:15 PM
Hi Kelly,
I love that sultry look.
Adding just a smudge of shadow in the eye area and more of a tapering back of shadow inside the hood are the only things I might experiment with.
This is a most memorable piece to my mind.
You go girl.
I gotta see more.
When it comes to paper, I feel it truly depends on the touch of the artist and the feeling being portrayed. In other words just experiment and keep track of what you like working with best, it could be many kinds.
Sincerely
Irene Clark with a heart for art.

[This message has been edited by irene clark (edited March 02, 2000).]

Mellryn
03-02-2000, 08:19 PM
http://artistnation.com/members/lofts/leivan/images/selfweb.jpg
No, but this is though.

I just posted that ugly example to give some general info about head structure. I use the formula all the time. It is very useful. Especially when you are working on the fly wanting to capture a face live or from memory without a formal sketch or photo to draw from.

bruin70
03-03-2000, 05:19 PM
fabriano hot press watercolor paper....it ain't cheap

loenart
06-08-2000, 10:47 AM
Not to much to add to other comments about anatomy. The standards are all well and good as an average, but you can't beat your own powers of observation.

A good way to learn proportion is to work loosely from a model (photo or live). Don't begin at "point a" and progress to the end point trying to produce a finished, polished drawing. Keep referencing your model and retrace back and forth, not trying for a refined drawing but rather a record of your observations. You'll start to notice your mistakes in proportion as you compare and recompare your drawing to the subject.

Don't go by the concept of a face you might have in your mind, (an eye is not always shaped like your idea of an eye). Look at the model in front of you and you'll start to notice how it really looks.

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Michael Loen