Portrait Drawing, Olivia, Part 3, Refined Cut
Added 2020-05-01 13:06:24 +0000 UTCThis is the standard edition of Part 1(meaning that the work time is sped up and the informational sections are in real time).
Hope you like it!
Comments
Hi Stephen, may I ask about your decision on leaving some contour lines on the drawing? Like on the edge of the hair, the right edge of her face, the edge of her nose, or the intersection between light and dark at the drop shadow on the right of her nose, etc. but you seem to blend the edge anywhere else. And I wonder why do these contour lines seem to be discontinuous at some points. Thank you.
Phúc Lê
2024-04-16 06:15:26 +0000 UTCthank you stephen i guess the key word here is "too"
michael joshua
2021-05-26 10:50:12 +0000 UTCLines that are too long and angle breaks that are too extreme.
Stephen Bauman Artwork
2021-05-26 09:12:42 +0000 UTChi stephen what are the reasons or concepts that makes a drawing look generic? is it the lack of straight lines and angle breaks that makes the shape design look more complex and subtle and also the design of the edges? what about the values tho ?is the disorganization of value goups or that sphere concept and broken transition also make a drawing look generic?
michael joshua
2021-05-25 09:14:58 +0000 UTCThank you so much for all the positive vibes and appreciation, Kamlika!! The appreciation is mutual!
Stephen Bauman Artwork
2020-05-20 14:36:37 +0000 UTCRegarding the contour line, there is some grey area that can be exploited. By that I mean that as long as it isn't described with totally random weight everywhere it should be able to work in the right context. I am probably on the far side of the spectrum in terms of contour line weight consistency.
Stephen Bauman Artwork
2020-05-20 14:35:54 +0000 UTCThanks Stephen, this is just brilliant. You put so much effort in the making and dissemination of these tutorials. Really appreciate it even if not said enough number of times. Question: At about 17:40 time note you introduced a contour line on the top of the hair, and restated the contour of the face on the far side with the same quality & thickness of the contour line. I’m wondering if you could share your perspective on the general idea of the thickness of the contour line when used either 1) to state the end of a plane and the beginning of the background. And 2) conclusion of a plane within a continuing form (as in the case of the face outline/and beginning of the lock of hair). I understand that historically these were used more to state the “conclusion” and separation of subject from its background. I also get the aesthetic appeal. But I’ve noticed plenty “misuse” of the contour line (especially thickness) among artists. Would love to hear your thoughts. Thanks
Kamlika Chandla
2020-05-19 15:07:35 +0000 UTCBy comparing the contrast between value in the figure against the value in the background. In the instance you describe the light of the hair stands out against the darkness of the background.
Stephen Bauman Artwork
2020-05-10 14:30:55 +0000 UTCThanks so much for these videos Stephen - really helpful. I may have missed this in the videos, but how do you decide where to put value in the space around the subject? For instance, the top left of Olivia's head in this drawing. I often seem to get into difficulty with my drawings when I add value around the subject.
Kelly Barnes
2020-05-10 07:33:35 +0000 UTCSo much good information in these videos!! Thank you!!
Annette
2020-05-05 15:32:56 +0000 UTC
