New here.
Re: New here.
Hi Al. Welcome to the forum! I love the forced perspective in the first drawing, and I can tell you from experience that if you enjoy drawing, participating in a forum like this is the best way to grow and learn. Looking forward to seeing more of your artwork!
Re: New here.
Hi there, I have joined couple days ago as well 
As Laurene said already, this's the best place to ask questions and to receive priceless advices from more experienced artists, which in result will help you grow your skills and talent, which you already showing above
As Laurene said already, this's the best place to ask questions and to receive priceless advices from more experienced artists, which in result will help you grow your skills and talent, which you already showing above
*History isn't there for You to like or dislike. It's there for You to learn from it. And if it offends you, even better. Because then You are less likely to repeat it. It's not yours to erase - It belongs to all of us...*
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Mike Sibley
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Re: New here.
Good start and a good eye for detail. Don't rush anything, just draw. But, when you feel the time is right, ease yourself into the next step. And that is...
Begin to remove outline. At present, you're relying on outline to define all the edges - stones, grassy banks, engine, etc.
Outline is entirely unnatural. Nothing in life has a line around it. Did you have a reference for this? If you did, take another look and ask yourself why you can see the edges of the stones in the tunnel's face. I'm guessing it's either because the stones are darker than the mortar, or the reverse. And if the stones are dressed and standing proud of the mortar, they probably have a shadow cast underneath them.
In the meantime, carry on with what you're doing, because that's teaching you hand/eye coordination - and that has to be first step.
Along the way as you draw, you'll find something very useful occurring. You'll begin to look at the world around you differently. I'll resort to my usual example
...You have an in-built recognition system that sees a tree as a round mass on a stick. It's very efficient. You see a tree, you recognise it as being a tree, and you move on. When you begin to draw you'll start to notice more. You'll see that a tree has holes through it that expose internal boughs as silhouettes against the sky. That the foliage consists of rounded masses; each having the highlights and shadows associated with round objects. That the silhouetted foliage around the edge of the tree usually gives a strong clue to its species. And a host of other details will gradually be noticed too.
All those details will be stored in your memory. So, the next time you draw a tree it will look more realistic than the time before - because you have more information to recall.
So, just draw and let it all happen.
I'll discus the lily later when I have more time.
Begin to remove outline. At present, you're relying on outline to define all the edges - stones, grassy banks, engine, etc.
Outline is entirely unnatural. Nothing in life has a line around it. Did you have a reference for this? If you did, take another look and ask yourself why you can see the edges of the stones in the tunnel's face. I'm guessing it's either because the stones are darker than the mortar, or the reverse. And if the stones are dressed and standing proud of the mortar, they probably have a shadow cast underneath them.
In the meantime, carry on with what you're doing, because that's teaching you hand/eye coordination - and that has to be first step.
Along the way as you draw, you'll find something very useful occurring. You'll begin to look at the world around you differently. I'll resort to my usual example
...You have an in-built recognition system that sees a tree as a round mass on a stick. It's very efficient. You see a tree, you recognise it as being a tree, and you move on. When you begin to draw you'll start to notice more. You'll see that a tree has holes through it that expose internal boughs as silhouettes against the sky. That the foliage consists of rounded masses; each having the highlights and shadows associated with round objects. That the silhouetted foliage around the edge of the tree usually gives a strong clue to its species. And a host of other details will gradually be noticed too.All those details will be stored in your memory. So, the next time you draw a tree it will look more realistic than the time before - because you have more information to recall.
So, just draw and let it all happen.
I'll discus the lily later when I have more time.
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Mike Sibley
- Site Admin
- Posts: 981
- Joined: Thu Jun 20, 2019 1:32 pm
- Location: York, UK
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Re: New here.
Outline is man-made. In real life we see edges because of tonal, or sometimes textural, differences. So, you'd see the top of a carriage roof because it's darker than the sky behind.alanvdh wrote: ↑Mon Apr 13, 2020 7:20 pm I had to think about what you said about outlines. I see it now. Unless every brick had a black edge painted on, the whole of the brick or stone would be the same colour. The top of the carriage wagon does not have a black stripe painted on it so there is no distinctive black on white line.
Strictly speaking, the roof curves, so it would be darker at the base and then progressively lighter towards the top., That's because it's curving over towards the light. But that comes later - for now, think tonally and just try to remove outline when you can.
That doesn't mean you can't use outline for planning - the initial guideline drawing. Just use relatively light values and a soft grade (so you don't indent the paper). Later, they'll disappear beneath your shading.
Your copy of Drawing From Line to Life should be collected from here tomorrow. I think delivery is scheduled for Friday... as long as Hermes can find you. I live a mile up a farm track and Hermes are notorious for NOT finding me, and then claiming I wasn't at home!