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I just realized something awesome, I wonder if you did also. One instructor once said to me( in response to my question on how to decide the shadow lines), "It's not about the shadow shapes, it's only about the light shape. In fact, it is so important, we often forget to talk about it." And that is exactly what happened there. When you find yourself stuck with some difficult shadow line decisions, try to forget about the shadows. Look instead from the light shape, does the light shape make sense?
]]>I finally decided to change the standing leg because the model has not been in that extreme pose for nearly a whole week. I figured that this was one of the reasons why I am frustrated everyday in the model room. I do have to say the change of leg looks ok at first glance, but not at all an interesting pose for me. I would much prefer the pose in the most relaxed position. However, perhaps for now changing him from the more hunched back/ neck into the more recent straighter back, looking up, belly in, would make the pose more harmonious.
But do I want to change it now? lol
Aside from getting the pose's outline, the comment I got today was mainly about my shadow lines. First, I should try to make the lines thinner, and second is the quality of the lines. So below is how I understood the comments with some other students' help:
thinner lines with much lighter value and variation, think in terms of relative value to exaggerate the difference between high contrast areas from low contrast areas. Thank you so much!! ; ) It finally made sense.
Line qualities could mean more distinction from soft and sharp edges( boney parts as one said), plus more indication on how the lines turn depending on what kind of forms the shadow falls on.
Let's call this a day, cheers!
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I also got some important concept pointed out to me by a previous student. The reason why we are focusing on the shadow lines and light shapes is because we are preparing for painting for the next 2 years.
So the method simply put is that we get the outline with simple brush strokes only, then put in blocks of colors with anticipated value, premixed. This is why we are only allowed to put down shadow lines and light shapes. Thus, "Getting as close as it is to the visual impression at every stage. "
Until tomorrow. Skål!
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I did not understand the comment well enough I think. The instructor said that checking proportions to adjust outlines and light shapes are not of linear progression, but more of continuous, simultaneous progress. I now think he was perhaps talking more generally than specific to my "fuzziness". I did however, despite not understanding fully, erased all my toned shapes and eventually erased some outline in response to the comment that "we should always check our proportions".
That would have been a good comment, had I understood how exactly do I check proportions for long poses, but I did not. So I think what I have now is a mixture of 2 or 3 slightly different angles of the model. >_< Of course the model is always moving a little, but instead of looking and judging if the pose I am looking at/ drawing from is the one that I want on my paper, I put down what I guessed would be right.
I guessed wrong.
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First one I was eager to get to more details of the pose, adding nose and hand...
The next one I took a step backwards, focused only on getting proportions right, you can see my sight-sized mark on the side, height of figure, head size...
When I started for the third one, I was apparently too excited about getting the shadow shapes and too quickly filled in some tones. I was instructed to erase my tones and focus on more detailed shadow line/ shape. Check the 2 images below for before and after.
simple shapes with unecessary tones:
More detailed shadow and light shape differences:
(instructors comment: but need to think more of the design of the light shape be closer to the visual impression of this stage.)
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