[Marcolino Estuardo]

A few more from this one + a self-portrait!

[Marcolino Estuardo]

Hi Andrew. Definitely seeing some improvement with these last three. May I ask how big these drawings are?

For the hair, you can always look at the drawings by Da Vinci. He would usually just throw a single value mass with lines going in one direction. Also, to make it easier and clearer to the viewer, you can map out out sections in the hair with lines that differentiate the angle of the hair. Loomis has a good section on Planes. Keep at it.

[Marcolino Estuardo]

Hi Ram, you’re getting there. Not sure what you mean by the ‘middle-line’. If visible, yes, I thrown down a thrust line of the whole figure and construct from there. Don’t concern yourself too much with ‘proportion’ while doing these quick sketches. Proportion should be a separate study on its own. Everything helps the other.

Your shapes are clearer. But pay attention to how the cross-contour GOES AROUND the form. They’re a bit too straight (bottom row, left torso/hips). Grab a cylindrical object, place rubber bands around it, and view it from varying angles. Notice how the band changes. Practice drawing ellipses as a warm-up next time. Regarding those arms, follow the movement and try to make it as simple as possible. Don’t get too sloppy with the connection/growth. 😉

[Marcolino Estuardo]

Same model. I can really see the training from Huston’s book showing through. Quite the battle to have two teachers educating you in a short span and picking and choosing a method of attack when I was at a session. Alright, bye everyone!

[Marcolino Estuardo]

Hola @Jan, thanks for the kind words. No problem. Just sharing whatever knowledge I can to help. I’m just starting out too!

Yes! Very inspiring. I’ve been studying from his books for 4-5 years so it was killer to have things become clear in-person. Please, stick around. I have about 2 other sketchbooks to show from this year. 😉

Here are some warm-ups.

• This reply was modified 4 years ago by Marcolino Estuardo.
• This reply was modified 4 years ago by Marcolino Estuardo.

[Marcolino Estuardo]

Hi Ram. Much better! Focus in on those long, light, fluid lines. But! Watch your proportions and shapes. Observe constantly. Keep going.

[Marcolino Estuardo]

Thanks Ram.

For this week I’ll be sharing pages off a sketchbook dated February 15-March 30. A lot of live figure drawings and practice pages from Steve’s ‘Overview of Basic Forms’ chapter. I had finished Glenn’s class late February and the pandemic was making its way. In mid March, seeing that a bunch of sessions were cancelling and the world itself was shutting down, I was wondering how to substitute that with life drawing still. I figured I would keep track by doing daily self-portraits.

 

[Marcolino Estuardo]

Hey Jan, I would pick out you main focus of the eyes and push your darks further (pupil, eyelash masses, subtle cast shadow from the upper lid, nose opening). From there, pick out a few highlights to bring out (eye).

Beautiful portrait overall!

[Marcolino Estuardo]

Solid. Just went back to your first 2-3 plates. Oof…crazy. *thumbs up*

[Marcolino Estuardo]

More life drawing and a copy after Jan Fyt at the Norton Simon earlier this year. These conclude this sketchbook. I’ll be back with one started in February and ending with the pandemic outbreak.

[Marcolino Estuardo]

Hey Ram! Great that you’re taking in the words and applying it best you can. I assume you’re studying Steve’s book? I did a quick and rough re-draw of your sketch above. To make it more fluid, simplify your shapes/forms more. Since you’re starting out, it is best to ignore every bump of anatomy. Get the BIG picture down first. The WHOLE, the TOTAL. Track the long-axis lines for each part. The arms, from elbow to elbow, can be a long relationship line that frames the head. In your pencil test page, keep within those clean, loose, light marks. That’s good what you got there! Compare that page to your previous ones. See how well they read? On the topic of depth (coming in/out), grab any cylindrical object in your house, wrap rubber bands around it, and move it around. Observe how the bands move in perspective. It’s about pushing/curving your lines further. Cheers.

[Marcolino Estuardo]

Hi Raven. Good job on the bottom figure. It’s an example you should follow: the torso and back leg both are made up of those long-axis lines. More of that. I would say re-do that same one but fix that arm. Compare that limb to the legs and torso.

I forget the book, but it mentions something about the inner dialogue the artists do. What you did, talking about gesture for teeth, is a good way to go about it, rather than criticizing every little thing.

[Marcolino Estuardo]

Hi Mattias! Nice job on adding a perspective grid on the floor. Definitely helps ground a figure properly in space. I only do it sometimes. 😉

I did a draw over of your first image here. Always be on the lookout for long-axis relationships. You see how the front of the back leg doesn’t line up with the torso line? You could’ve extended that torso line all the way down so they connect and flow from the shoulder to the foot. Hope my example helps and makes it clear. It’s alllllmost there! So close! 😀

[Marcolino Estuardo]

A lil weekend update. Surprised I did two reclining poses in a month. Don’t see it often.

• This reply was modified 4 years ago by Marcolino Estuardo.
• This reply was modified 4 years ago by Marcolino Estuardo.

[Marcolino Estuardo]

Awesome work all around! I would pick a focal point (or points) and push your values darker to bring it out more.

Beautiful line work.

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