Mensajes en el foro por Aunt Herbert

Well, kind of. The timed classes are a practice tool, which allow to refine some stuff, but you also need to know what you want to work on, to get the best result with them.

Several people have different interpretations for what to do with that tool. Some people try to train to really get a completed drawing done within 30 seconds, and if someone just loves the challenge, and keeps at it... I have some people achieve incredible results with it, but I am not certain whether that really leads towards any particular advanced techniques..

My understanding of what the tool is best to train with, is the first lines of a drawing. Why would you want to train them separately? Because according to one drawing philosophy, most of the quality of the later drawing is decided by the quality of your first lines. And the short timer helps you to avoid waisting time on "polishing a turd", i.e. spending a lot of time to add more bells and whistles (or usually rather shades and corrections) to a flawed start, instead you better spend more time training to find a good start. For example, if you spend 15 minutes drawing and erasing and redrawing the same stuff, and then kind of draw some shadows over it, to make it somewhat look better and cover up obvious flaws, and it still looks crappy, you would have probably learned more by practicing your first lines 30 times in the same amount of time.

That method of drilling "quickies" comes with a theory of how to approach drawing a figure, and there is also a bit of a tutorial mentioning some concepts like line of action, and drawing the masses first to capture the pose, but it is extremely brief. I found this side: https://www.proko.com/course/figure-drawing-fundamentals/overview promotes a similar technical approach, but spends a loooot more time explaining the individual steps toward capturing a pose and constructing a human figure from it.

Besides the "classes", there is also the option to chose a certain timing and to stick with it, which may be more appropriate, depending on what you want to do. For example, I am convinced, that the shorties work well for figures, but don't work well for portraits, especially if you want to apply some common portrait techniques like Loomis or Reilly, as they just take at least 5-10 minutes to properly finish the initial construction.

However you use it, the site provides you with a selection of poses and references, and getting used to really "drill" your stuff, i.e. doing lots of repetition in a certain approach towards different references also made at least me more comfortable with daily training, and with not always planning ahead to creating the next masterpiece to hang into a museum and then be frustrated with the result, but to focus on watching myself try out and acquire a bit more of a technical approach to drawing.

Think of it like a benchpress in a gym. The benchpress itself doesn't make your muscles grow, and doing a single repetition on it won't either. But if you get used to regularly strain your muscles with it, you will see differences in your results.

BTW, the site quickpose.com has a similar selection of timed poses, if you start looking for more variety after a while, but it comes without a forum to ask questions.

OK, my firewall classifies the link in Dylan Wlker's post as dangerous website, warning to everybody not to use that link, and I'll write Kim a note to remove that BS post and block our lovely Dylan here.

Heirloomtomato, my first intention to post was to thank you for your post. Yes, yes, yes, on so many levels!

Your bean is looking good so far. The secret with the connection is getting an understanding of the joints next. The hip joints are in a way easier, because the hip bone is pretty much one big fixed bone, and the thigh bones always start from the same position towards the hip. The problem with the hip is, that there is just a lot more mass around that joint, so you often can't directly observe it, you rather deduce it from your understanding of the bean and the position of the thighs. There are some landmarks for the hip, but which one is visible in which position, and actually accordingly helpful in measurement seems so arbitraty, that I consider catalogueing them a bit of wasted time. I tend to mostly retro-engineer the hip joints from looking at the thighs, and then decide whether the positions I found make sense in regards to the bean. As a result, I vary the shortcuts to indicate the hip quite a bit, dependend on the reference, the exact position of the extremities and the point of view. Sometimes the classical bikini buttom works best, when I try to focus on perspective, I sometimes use one big box, that contains all of the hips and the buttox.

The shoulder joints are a bit more complex. They are at the end of the clavicula/shoulderblade bone, which starts on the center top of the ribcage, and has a bit of mobility itself. What you indicate in your longer sketches as the upper side of the bean is basically formed by this bone and the lair of muscles directly on top of it. Because this bone has a bit of independent movement itself, it slightly deforms the upper half of the torso, and it determines where the shoulder joints can anatomically and plausibly be located. On the up side, the muscle lair here is usually comparably thin, and there isn't much subcutan fat in the area, so you can almost always spot the upper edge of the clavicula, as it protrudes from the neck area, and deduct the possible shoulder positions from it.

The shoulder joint itself is generally contained in rather prominent muscles, but these mostly can be depicted in a rather simple form. Whether that form looks more like a sphere or more box-like or even formed like a tear or a double tear varies a bit dependend on the model's physiology and your own graphical goals, but it is generally too compact to become really hard to visually understand.

So, hip joints, simple construction, but harder to spot, shoulder joints, a bit more complex, but usually easy to observe, once you know, what you are looking for.

In my head, as I progressed to see the shoulder joints as individual objects, I automatically also started to modify the upper half of the bean to reduce it to that typical egg form of the boney ribcage, with the shoulder "apparatus" basically sitting on top of it.

Some drawing challenges occassionally would be nice, where the site proposes a theme, a motive, or a technique or so, and everybody gives it a try?

I would try to focus on the main masses first. Head, chest, hip. Head is generally easy enough to spot, chest, i.e. ribcage and clavicula (or ribcage and shoulder blades from behind) is in itself a rather simple form, but it takes some practice to everytime spot it. Hip is a bit complicated, and you might find some variation to indicate it. Some people indicate it as a box, that includes the buttox, some just draw a bikini bottom, I generally vary as it fits the motive.

As a rule of thumb, I wouldn't bother finishing the outline of limbs, before you are done with indicating the position of head and torso. Your shorties are supposed to follow the same routine as when starting a longer drawing, and instead of feeling hurried when drawing them, you should become more comfortable with not finishing them. They aren't supposed to be finished. Ideally keep the same drawing rhythm up for shorter and longer drawings, the shorties are meant to practice the crucial initial steps more often, they aren't meant as a separate art form.

You are practicing methodically, and will see improvement over time.

A tip: On the shorter timed drawings, try to separate yourself a bit from the attempt to draw "the whole picture", including a complete outline, and just focus on finding some good lines for head, chest and hips. For the limbs a simple line indicating length and general orientation is more than enough, unless they hide the torso. Head and torso define 90% of the pose, as they determine where the joints are, to which those limbs are attached, and how they are oriented.

The purpose of shorties is to practice the first lines of a longer drawing repeatedly and efficiently, and once you get there, you will realize, that a mismeasured limb is usually easily fixed, while an unclear, unnatural or unconvincing torso is usually grounds to scrap the project and start all over again.

To draw good torsos, really getting an idea of how chest and hips are separate forms, and in which ways they can combine is somewhat key. I see you got our feisty male model quite a few times in the image selection, on him, and on other overweight models I often even add "the paunch" and "the thighs" (and ofc "the breasts" on female models) as additional masses. They aren't as decisive for the placement of joints, but they hide the form of the hips and the chest, so separating them mentally allows a bit of mental standardization of chests and hips to more resemble their relatively uniform bony foundations.

A shorty with clear indications of "the masses", but without any outline or limbs, is ultimately more useful than a shorty with outline and limbs, but only vague indication of masses. Because in the long run you train to start your drawings by finding the masses first and foremost for best results.

I am glad everything turned out well. I am old enough to understand the necessities of real existing capitalism, and that services like from this site are only possible as long as they are economically viable for the crew that runs them.

Thank you for your service and good luck!

Your drawings show the complex poses quite convincingly.

They would look more naturally if you had more of a clue how head, ribcage and hip function as voluminous bodies in space to define the torso.

I would recommend the free lessons here: https://www.proko.com/course/figure-drawing-fundamentals/overview

And while I am at it, here is the second recommendation for all beginner artists, this one is mostly about explaining line quality and how to understand perspectivic drawing: https://drawabox.com/

Working through those two courses will generally give you the foundation to figure out 90% of all typical beginner challenges.

• Aunt Herbert edited this post on February 23, 2024 12:41pm.

On the "your studio" page, instead of telling me how many days in a row I practiced and how many minutes I practiced today, I am told to subscribe? I assume that has to do with the design changes on the map, but my heart missed a beat when I first spotted it. 65 days was the last running total, and it would be super-disheartening to lose that.

My name and logo is still visible on the upper right of the screen, so I am very much subscribed, and "your studio" even remembers the 65 days, but the boxes "spenzt practicing this week" and "critiques received this week" are empty.

I am also told to upgrade my account to upload to my sketchbook... did anything go wrong with the billing mayhaps?

Edit...

I went through the subscription process again to check after the drawing session. I was irritated, that the option was even offered, but it still remembered my billing details and congratulated me on my subscription. Your studio still seems to believe, I am not. I checked with my bank, everything seems fine on that side, and I have no messages about declined payments.

Btw, right under this message I see the add to support LoA, which tells me it would be removed, if I already did....

Edit again. I found th e Billing info in my profile. It tells me, the next payment will be deducted in -2 days, and I am a Free member.... I guess, that has something to do with the problem. The card details I provided haven't changed, and there are about 1500 € debit on the card, so I don't know what the problem is.

• Aunt Herbert edited this post on February 22, 2024 6:43pm.
• Aunt Herbert edited this post on February 22, 2024 7:08pm.
• Aunt Herbert edited this post on February 22, 2024 7:10pm.
• Aunt Herbert edited this post on February 22, 2024 7:15pm.
• Aunt Herbert edited this post on February 22, 2024 7:17pm.

Well, you did it super accurately, as always. I am way to sloppy a draftsman myself in comparison. I am fully content, when I see on a reference that curve between neck and shoulder. When I do sloppy quick sketches I almost treat her as just a bit of a single bent line from the center of the neck towards one of the shoulder joints. After all, the only thing usually visible is that typical shadow bump, caused by the upper edge of the clavicula pushing against the skin. And when I have more detailed questions, I just touch my own shoulder and feel for example how much the clavicula moves, when I move my arm (usually not so much, as the connection between clavicula and the shoulder joint is quite mobile.)

Well, you don't see the shoulderblades when drawing from the front, and you don't see the clavicula from the back. What IS visible from the front is that one slightly tilted curve underneath the neck that leads towards the shoulder joints. (or rather the pair of them that lead to both shoulders from the centre)

You only ever have to draw both shoulderblades and clavicula in a rather odd pose, where you get a glimpse on the shoulder directly from above, and in that case they just form sort of a rounded v-shape.

If you draw the shoulders from the back, the shoulderblades are often quite easily visible, and they don't have a very complex shape either. Knowing about them will just help you understand where those bumps and shapes you see on the backside of a model come from.

If you told me to draw an anatomically correct clavicula and shoulder blade, I would probably mess up quite a bit, so you don't have to worry so much about "drawing them correctly".

Just if you look at a body and think about why it is hard to identify where the ribcage is underneath all those muscles you mentioned, those shoulderbones are where the upper side of those muscles end. Knowing where they are and how to look for them helps you connect the ribcage to the outline of the upper torso. They are basically the missing link. The outer border of the part that you can't see through, in a common pose from the front.

If you insist on worrying as much as possible, you can probably spend a few hours to practice drawing those until you can publish them in an anatomy book, and time spent drawing is never time spent wasted when your goal is to improve your drawings, but in practical terms it is entirely sufficient to be aware of how those curved lines and the ribcage relate to the outline of your reference.

Pheew, explaining how to visualize something is a bit tricky. But here is s 3d-model I found of the clavicula and shoulderbone: https://sketchfab.com/3d-models/coraco-clavicular-ligament-42689ac0f46d4c28854af990733ad487

The clavicula are two shallow curves, extending from the center top of the ribcage outward towards the shoulder joints. If you understand their level of mobility, you understand basically all the ways the outline of the upper torso can transform.

And, yepp, when drawing an entire torso the ribcage is a simplistic shape, nobody can really "see" through the body, because we don't have x-ray eyes.

You don't have to be able to literally "see" everything, or to practice to draw everything perfectly from memory, but having a general idea of how that stuff looks can give you an idea if you drew an outline of a shoulder or a neckline and something looks off, but you aren't sure what's up.

You find good abstractions for the flow of the pose. What I find iffy are the uppermost sketches, where you seemed to have been searching for the one perfect line like a dozen times or so for almost every curve or circle. At this level of abstraction, I don't think the difference in quality between each attempt is big enough to warrant the amount of time trying over and over again.

First, big applause for chosing ink. Second, yepp, looks like you got the shape of the ribcage down. That should be helpful for designing the masses when drawing pose.

If you are interested in more bones, I would advise shoulder bones and clavicula next, that way you basically got the complete foundation for the upper torso.

Very cool and dynamic shapes. Not super naturalistic or perfectly measured, but narratively strong and just the right kind of funky. Brush pens are quite lovely to work with, unless the ink flow starts to develop hiccupps.