Hi rakjah, thank you very much for your feedback. I have to say that I completely agree with you. I find it very difficult to draw with a color palette of more than three shades, and if you look closely at my palette, you can hardly tell the difference between the two grays. I really struggle to create different shades of gray in my drawings, so Iâm going to try the exercise again to improve my skills in using multiple shades of gray. Thank you! đđ
Try to proceed as you would with your color chart: apply a first layer of gray to all the areas you want to highlight, then apply a second layer to the darker areas, and finally, apply a third layer to the even darker areas.
In this way, you should gradually be able to see the differences between your grays and how to clearly distinguish them from each other.
I was familiar with the value scale theory, squinting my eyes and all that, but I have to admit I never actually created a scale. Instead, I tended to apply successive layers of gray until I achieved the desired result. Iâm going to start working with scales now.
I was also told that 3 values = simplified, 5 values = more realistic, etc.
I have a quick question: is working with hatching, using a kind of value scale with more or less spaced, crossed lines, comparable to a value scale like the one presented?
Iâm also attaching a drawing I recently did based on a photograph, and where I worked with successive layers (which, if I understand correctly, wasted my time :) and may have resulted in a lack of precision in terms of values.
Personally, I would like to move towards more realistic renderings, and Iâm wondering what the minimum number of values would be for an appropriate scale? (Iâm a little afraid of the answer :D)
Yes, value scales help you visualize how far you can push your values and how to create contrast. It can be quite practical: D
Regarding your question about hatching, yes, you can definitely apply it to a value scale. As you pointed out: more spaced lines = visually lighter, closer lines = darker, and the more you cross-hatch, the closer you get to black.
I have to admit that I personally also like to work in successive passes, it's a matter of personal preference. But it does take a lot of time, and without a value scale to refer to, it can be difficult to properly balance the contrast.
Regarding your question about achieving a realistic rendering, if you mean photorealistic, it would be difficult to accurately count the number of values needed, especially since it will tend to vary depending on your model and its lighting (something in chiaroscuro will not necessarily require as many values and variations as a photo taken in broad daylight, on the beach for example). But it is certain that you will need more values and, above all, blend them together where necessary.
To go back to your drawing, you have very light and well-defined areas of value, which are also very geometric. It's a stylization, but if you're aiming for realism, it's too sharp. The muzzle or ear, for example, have darker areas that are rectangular and trapezoidal respectively, which is quite unusual in everyday life. Is it perhaps a Golden Retriever? If so, I have one at home that I've been able to observe from every angle (and sometimes draw), so feel free to blend things more and add more gradation. The chest area is also very sharp, the front of the torso seems square and then goes towards the belly. This could be a kind of stylization as well, but given your goal, I don't think that was the intention. The dark value line is completely horizontal; if it were curved, following the volume of the rib cage, it would have a more realistic rendering.
In any case, the realistic style requires a lot of patience and practice. You're already doing pretty well, I think. Maybe you could try it on less complex models? Animals, especially those with fur, are complicated (managing fur in a realistic way is difficult). You could try other animals like turtles, reptiles of all kinds, birds, or fish. Or animals with short fur, like certain breeds of dogs, cows, hair, etc. This will allow you to continue practicing on subjects you enjoy, without having to deal with fur right away.
By the way, your drawing is good, I can guess the source of light, which is a good point.
Actually, the highlighted point about the geometric shapes isnât a stylistic choice, but a flaw that often appears in my work, and I havenât been able to get rid of it yet. I have several drawings like this where I spent a lot of time and probably tried to be very meticulous, and this thing really stands out. It also affects other subjects (for example, Iâm thinking of a female nude that has this flaw). Iâm not sure if thereâs an exercise to break this habit, but if you have any advice on this, Iâm all ears. :)
Regarding the realistic rendering, I wasnât necessarily thinking of photorealism, but rather something more advanced than five values, although Iâm not quite sure where to draw the line. I might do some tests to see when Iâm âsatisfiedâ by gradually increasing the number of values. Or maybe Iâll analyze the drawings that I like to see how many values they use.
Hi rakjah, I redid the exercise, just like in the previous one. I presented a color palette with 4 values, but the drawing only contained 3. So, I created another type of drawing, this time focusing on having values that match between the color palette and the drawing.
And, by the way, itâs really difficult to apply colors across large surfaces.
Hi rakjah, thanks for your feedback and encouragement. Yes, I will continue to practice this type of exercise; in fact, the next lesson is in the same vein, so Iâm getting back to work.
Yes, absolutely, itâs a task that requires patience.
Salut rakjah merci pour ton retour et tes encouragement. Effectivement je vais continuer Ă pratiquer ce genre dâexercice, dâailleurs le cour suivant est dans la mĂȘme optique du coup je me remet au boulot.
Oui tout Ă fait câest un travail de patience ^^.
So, I can tell you a few things that could improve your drawing.
1. Composition
You've gone for something very central and very frontal. That's a choice, and it doesn't bother me, but given the scene you're depicting, which is meant to be dynamic, it's not necessarily the most effective. Centered compositions tend to make things static. By shifting the scene a little to the right or left, you would have gained more dynamism.
You also tend to place your elements at regular intervals and with regular volumes. The prime example here are your trees: the trunks are placed almost always at the same distance (not natural), almost always the same thickness, and the foliage is almost always the same size (too symmetrical). Similarly, you've placed dark trees and foliage right where your characters are, which again detracts from visibility.
2. Foreground
You've created a foreground, and that's great; it adds depth to your image. However, you've placed a clump of grass right on top of your characters, which means we can't understand the warrior's posture, and it completely detracts from the visibility of your illustration. It's a shame. If that clump of grass weren't there, it would be much more impactful đ
3. Shades of gray
You've managed this quite well overall, but your background is too prominent (it attracts too much attention and blurs the subject of your drawing: your two characters). If you can make the gray in your trees lighter, it will add more depth and readability to your image. You might also need to darken your characters.
4. Character posture
Especially the warrior; I'm having trouble understanding how she's positioned, and her attitude is strange. However, I think this is a minor problem compared to the rest. Nevertheless, there is a good dynamic between your characters.
That being said, there are many good things in your drawing. You can tell that you tried to create a nice composition, you managed to give it depth, you handled your shades of gray well overall, you created dynamic and detailed characters (especially the clothing đ), and your illustration tells a story. Knowing that this is from before your training, imagine what you will be able to do afterwards! :D
Below, I've given you a small preview of the improvements you could make to your drawing to give you an idea of what it would look like with the changes I'm suggesting (except for the characters' posture, which I haven't touched). As you can see, I did this quickly ^^' I look forward to seeing your next drawing!
Haha, I see you had a photo to use as a reference ^^
It looks good, itâs simple and effective, as they say :D
If I had to be picky: I would have made the ground stand out more from the background (slightly), and for the ground: you drew lines, and these lines should converge towards a vanishing point, which isnât the case here.
Not good!
And the very last thing, to give your macarons a little more volume: with a soft brush, slightly darken the edges on the right and left so that we can see that they are cylindrical, and that they curve downwards towards the back on the sides (I donât know if thatâs very clear ^^").
But as I said, Iâm just being picky, it works very well both from a distance and up close :)
Haha, je vois que tu avais une photo pour modĂšle ^^
Ăa rend bien, c'est simple et efficace comme on dit :D
However, be careful, the dark part of your sushi is completely uniform. The filling inside the sushi has been nicely shaded and given volume, but not the sushi wrapper, which is a shame. It gives the impression that the drawing isnât finished. The same goes for the rice (?), the part between the wrapper and the filling, which also has no shading ^^
Otherwise, itâs really good, I can clearly see the different shades you used and I recognize the sushi :D
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26/07/2019
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26/07/2019
Try to proceed as you would with your color chart: apply a first layer of gray to all the areas you want to highlight, then apply a second layer to the darker areas, and finally, apply a third layer to the even darker areas.
In this way, you should gradually be able to see the differences between your grays and how to clearly distinguish them from each other.
Essaye de procéder comme pour ton nuancier : mets une premiÚre couche de gris sur toutes les zones que tu souhaites mettre en valeur, puis tu fais une seconde couche sur les zones plus sombres, puis ta troisiÚme couche sur les zones encore plus sombres.
De cette maniÚre, normalement, tu devrais voir au fur et à mesure les différences entre tes gris et comment les différencier clairement les uns des autres :)
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27/07/2019
I was familiar with the value scale theory, squinting my eyes and all that, but I have to admit I never actually created a scale. Instead, I tended to apply successive layers of gray until I achieved the desired result. Iâm going to start working with scales now.
I was also told that 3 values = simplified, 5 values = more realistic, etc.
I have a quick question: is working with hatching, using a kind of value scale with more or less spaced, crossed lines, comparable to a value scale like the one presented?
Iâm also attaching a drawing I recently did based on a photograph, and where I worked with successive layers (which, if I understand correctly, wasted my time :) and may have resulted in a lack of precision in terms of values.
Personally, I would like to move towards more realistic renderings, and Iâm wondering what the minimum number of values would be for an appropriate scale? (Iâm a little afraid of the answer :D)
See you soon :)
je connaissais la thĂ©orie de l'Ă©chelle de valeur, plisser les yeux tout ça mais j'avoue que je ne crĂ©ais jamais l'Ă©chelle, j'avais plutĂŽt tendance Ă faire des passages successifs de couches de gris jusqu'Ă obtenir ce que je souhaitais. Je vais donc me mettre Ă travailler Ă partir dâĂ©chelles.
On m'avais aussi dit 3 valeur = simplifié, 5 valeurs = plus réaliste etc...
Petite question, le travail en hachures avec un genre d'échelle de hachures plus ou moins espaces croisées est il comparable à une échelle de valeur comme celle présenté?
J'en profite pour joindre un dessin fait rĂ©cemment Ă partir d'une photo et ou j'ai travaillĂ© par passages successifs (ce qui si j'ai bien compris m'a fait perdre du temps :) ) et peut ĂȘtre manquer de prĂ©cision quant aux valeurs.
Personnellement j'aimerai bien me tourner vers des réalisations plutÎt réalistes dans le rendu et je me demande quel serait donc le minimum de valeurs nécessaires pour échelle adaptée ? (j'ai peur de la réponse :D )
A bientĂŽt :)
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27/07/2019
Yes, value scales help you visualize how far you can push your values and how to create contrast. It can be quite practical: D
Regarding your question about hatching, yes, you can definitely apply it to a value scale. As you pointed out: more spaced lines = visually lighter, closer lines = darker, and the more you cross-hatch, the closer you get to black.
I have to admit that I personally also like to work in successive passes, it's a matter of personal preference. But it does take a lot of time, and without a value scale to refer to, it can be difficult to properly balance the contrast.
Regarding your question about achieving a realistic rendering, if you mean photorealistic, it would be difficult to accurately count the number of values needed, especially since it will tend to vary depending on your model and its lighting (something in chiaroscuro will not necessarily require as many values and variations as a photo taken in broad daylight, on the beach for example). But it is certain that you will need more values and, above all, blend them together where necessary.
To go back to your drawing, you have very light and well-defined areas of value, which are also very geometric. It's a stylization, but if you're aiming for realism, it's too sharp. The muzzle or ear, for example, have darker areas that are rectangular and trapezoidal respectively, which is quite unusual in everyday life. Is it perhaps a Golden Retriever? If so, I have one at home that I've been able to observe from every angle (and sometimes draw), so feel free to blend things more and add more gradation. The chest area is also very sharp, the front of the torso seems square and then goes towards the belly. This could be a kind of stylization as well, but given your goal, I don't think that was the intention. The dark value line is completely horizontal; if it were curved, following the volume of the rib cage, it would have a more realistic rendering.
In any case, the realistic style requires a lot of patience and practice. You're already doing pretty well, I think. Maybe you could try it on less complex models? Animals, especially those with fur, are complicated (managing fur in a realistic way is difficult). You could try other animals like turtles, reptiles of all kinds, birds, or fish. Or animals with short fur, like certain breeds of dogs, cows, hair, etc. This will allow you to continue practicing on subjects you enjoy, without having to deal with fur right away.
By the way, your drawing is good, I can guess the source of light, which is a good point.
Oui les Ă©chelles de valeurs permettent de mieux visualiser jusqu'oĂč on peut monter ses valeurs, et comment contraster les choses ^^ Ăa peut ĂȘtre assez pratique :D
Concernant ta question sur les hachures, oui, on peut parfaitement appliquer ça sur une échelle de valeurs. Comme tu l'as souligné : plus espacé = visuellement plus clair, plus rapproché = plus foncé, et plus on croise en faisant de couches et plus on tend vers les noirs ^^
Je t'avoue que personnellement j'aime bien travailler par passages successifs aussi, question de feeling personnel. Mais ça prend effectivement beaucoup, beaucoup de temps et sans Ă©chelle de valeurs Ă cĂŽtĂ©, ça peut ĂȘtre difficile de bien doser le contraste.
Pour ta question concernant un rendu rĂ©aliste, si tu entends par lĂ photorĂ©aliste, ce serait difficile de compter exactement le nombre de valeurs nĂ©cessaire, d'autant que ça aura tendance Ă varier selon ton modĂšle et son Ă©clairage (quelque chose en clair obscur ne demandera pas nĂ©cessairement autant de valeurs et de variations qu'une photo prise en pleine journĂ©e, Ă la plage par exemple ^^). Mais c'est certain qu'il faudra davantage de valeurs et surtout, les fondre les unes avec les autres aux endroit oĂč ce sera nĂ©cessaire ^^
Pour reprendre le cas de ton dessin, tu as des zones de valeur trĂšs claires et dĂ©limitĂ©es, trĂšs gĂ©omĂ©triques aussi. C'est une stylisation, mais si tu tends vers du rĂ©alisme, c'est trop net. Le museau ou l'oreille par exemple ont des zones plus sombres respectivement rectangulaires et trapĂ©zoĂŻdales ce qui est assez peu frĂ©quent dans la vie de tous les jours. S'agirait-il d'ailleurs d'un Golden Retriever ? Si c'est le cas, j'en ai un chez moi aussi que j'ai pu observer sous toutes les coutures (et dessiner parfois ^^), n'hĂ©site pas Ă fondre davantage les choses et Ă dĂ©grader. Au niveau du poitrail aussi c'est trĂšs net, l'avant du buste semble carrĂ© et ensuite partir vers le ventre. Ăa peut ĂȘtre un genre de stylisation lĂ encore, mais vu ton objectif, je ne pense pas que c'Ă©tait le but recherchĂ©. La ligne de valeur sombre est totalement horizontale, si elle Ă©tait courbe, en suivant le volume de la cage thoracique, ça aurait eu un rendu plus rĂ©aliste du coup ^^
En tout cas, le style rĂ©aliste demande beaucoup de patience et d'entrainement. Tu es dĂ©jĂ pas mal je trouve. Peut-ĂȘtre que tu peux tester sur des modĂšles moins complexes ? Les animaux, Ă fourrure notamment, sont compliquĂ©s (gĂ©rer la fourrure de maniĂšre rĂ©aliste, c'est difficile ^^). Tu peux te tourner vers des animaux autre comme des tortues, des reptiles en tous genres, des oiseaux ou des poissons. Ou des animaux Ă poils ras, comme certaines espĂšces de chiens, des vaches, des cheveux, etc. Ăa te permettra de continuer Ă t'entrainer sur des sujets que tu apprĂ©cies, sans avoir Ă gĂ©rer tout de suite aussi la fourrure :D
Soit dit en passant, ton dessin est pas mal, j'arrive Ă deviner la source de lumiĂšre ce qui est un bon point đ
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27/07/2019
Actually, the highlighted point about the geometric shapes isnât a stylistic choice, but a flaw that often appears in my work, and I havenât been able to get rid of it yet. I have several drawings like this where I spent a lot of time and probably tried to be very meticulous, and this thing really stands out. It also affects other subjects (for example, Iâm thinking of a female nude that has this flaw). Iâm not sure if thereâs an exercise to break this habit, but if you have any advice on this, Iâm all ears. :)
Regarding the realistic rendering, I wasnât necessarily thinking of photorealism, but rather something more advanced than five values, although Iâm not quite sure where to draw the line. I might do some tests to see when Iâm âsatisfiedâ by gradually increasing the number of values. Or maybe Iâll analyze the drawings that I like to see how many values they use.
Thank you again,
See you soon. :)
En fait le point soulignĂ© sur les formes gĂ©omĂ©trique n'est pas de la stylisation mais un dĂ©faut qui revient souvent chez moi et dont je n'arrive pas Ă me sĂ©parer pour le moment, j'ai plusieurs dessins comme ça ou j'ai souvent passĂ© un long moment et sans doute voulu m'appliquer oĂč ce truc est rĂ©ellement ressorti et ça concerne d'autres sujets (par exemple je pense Ă un nu fĂ©minin qui se retrouve avec ce dĂ©faut) je sais pas trop si il existerait un exercice pour perdre cette habitude mais si vous avez des conseils Ă ce propos je suis preneur :)
Pour le rendu rĂ©aliste je pensait pas forcement Ă photo rĂ©aliste je pensais Ă quelque chose de plus poussĂ© que 5 valeurs mais sans trop savoir oĂč placer la limite en fait je vais peut ĂȘtre faire des tests pour dĂ©couvrir Ă quel moment je suis "satisfait" en augmentant progressivement le nombre de valeurs. Ou alors peut ĂȘtre en analysant les dessins qui me plaisent pour voir combien ils en utilisent.
Merci encore,
A bientĂŽt :)
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29/07/2019
Hi rakjah, I redid the exercise, just like in the previous one. I presented a color palette with 4 values, but the drawing only contained 3. So, I created another type of drawing, this time focusing on having values that match between the color palette and the drawing.
And, by the way, itâs really difficult to apply colors across large surfaces.
Salut rakjah jâai refait lâexercice comme sur le prĂ©cĂ©dent je prĂ©senter un nuancier de 4 valeur et le dessin nâen contenait que 3 du coup jâai rĂ©aliser un autre type de dessin ou cette fois ci je me suis concentrĂ©e sur le fait dâavoir des valeurs concordante entre le nuancier et le dessin.
Et dâailleur Câest vachement dure de colorier des valeurs sur de grande surface.
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31/07/2019
This is much better, and it also improves the clarity ^^
Youâre on the right track đ
Donât hesitate to do these kinds of exercises regularly :)
And I agree with you that coloring large areas is a challenge, haha. Itâs a task that requires patience!
C'est beaucoup mieux, et on y gagne en clarté aussi ^^
Tu es sur la bonne voie đ
N'hésite pas à refaire ce genre d'exercices réguliÚrement :)
Et je te rejoins sur le fait de colorier de grandes surfaces, haha. C'est un travail de patience !
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01/08/2019
Yes, absolutely, itâs a task that requires patience.
Oui tout Ă fait câest un travail de patience ^^.
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09/08/2019
Iâm sending you a drawing I made long before I started taking classes. I would just like to get your feedback on it.
Otherwise, Iâm working on another drawing focusing on shades of gray!
Je vous envoie un dessin que j'ai fait bien avant de commencer les cours. J'aimerais simplement avoir de vos commentaires.
Sinon, je travaille sur un autre dessin pour les nuances de gris !
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11/08/2019
Thank you so much for sharing!
So, I can tell you a few things that could improve your drawing.
1. Composition
You've gone for something very central and very frontal. That's a choice, and it doesn't bother me, but given the scene you're depicting, which is meant to be dynamic, it's not necessarily the most effective. Centered compositions tend to make things static. By shifting the scene a little to the right or left, you would have gained more dynamism.
You also tend to place your elements at regular intervals and with regular volumes. The prime example here are your trees: the trunks are placed almost always at the same distance (not natural), almost always the same thickness, and the foliage is almost always the same size (too symmetrical). Similarly, you've placed dark trees and foliage right where your characters are, which again detracts from visibility.
2. Foreground
You've created a foreground, and that's great; it adds depth to your image. However, you've placed a clump of grass right on top of your characters, which means we can't understand the warrior's posture, and it completely detracts from the visibility of your illustration. It's a shame. If that clump of grass weren't there, it would be much more impactful đ
3. Shades of gray
You've managed this quite well overall, but your background is too prominent (it attracts too much attention and blurs the subject of your drawing: your two characters). If you can make the gray in your trees lighter, it will add more depth and readability to your image. You might also need to darken your characters.
4. Character posture
Especially the warrior; I'm having trouble understanding how she's positioned, and her attitude is strange. However, I think this is a minor problem compared to the rest. Nevertheless, there is a good dynamic between your characters.
That being said, there are many good things in your drawing. You can tell that you tried to create a nice composition, you managed to give it depth, you handled your shades of gray well overall, you created dynamic and detailed characters (especially the clothing đ), and your illustration tells a story. Knowing that this is from before your training, imagine what you will be able to do afterwards! :D
Below, I've given you a small preview of the improvements you could make to your drawing to give you an idea of what it would look like with the changes I'm suggesting (except for the characters' posture, which I haven't touched). As you can see, I did this quickly ^^' I look forward to seeing your next drawing!
Merci beaucoup pour le partage !
Alors je peux te dire quelques petites choses qui pourraient améliorer ton dessin.
1. La composition
Tu es partie sur quelque chose de trÚs central et de trÚs frontal. C'est un choix, ça ne me pose pas de souci, mais vu la scÚne que tu montres et qui se veut dynamique, ce n'est pas nécessairement le plus pertinent. Les cadrages centrés ont tendance à figer les choses, en décalant la scÚne un peu vers la droite ou la gauche, tu aurais gagné en dynamisme.
Tu as aussi tendance Ă placer tes Ă©lĂ©ments Ă intervalles rĂ©gulier et avec des volumes rĂ©guliers. L'exemple par excellence ici ce sont tes arbres : troncs placĂ©s Ă peu prĂšs toujours Ă la mĂȘme distance (= pas naturel) , Ă peu prĂšs toujours de la mĂȘme Ă©paisseur, et feuillage toujours Ă peu prĂšs de la mĂȘme taille (trop symĂ©trique). Idem tu as placĂ© des arbres et feuillages sombres pile aux endroits oĂč se trouvent tes personnages, ça nuit lĂ encore Ă la visibilitĂ©.
2. Le premier plan
Tu as fait un premier plan et c'est trĂšs bien, ça apporte de la profondeur Ă ton image. Mais, tu as mis une touffe d'herbe pile sur tes personnages, ce qui fait qu'on ne comprend pas la posture de ta guerriĂšre et que ça nuit totalement Ă la visibilitĂ© de ton illustration c'est dommage. Si cette touffe d'herbe n'Ă©tait pas prĂ©sente, ce serait beaucoup plus impactant đ
3. Les nuances de gris
Tu as plutĂŽt bien gĂ©rĂ© globalement, mais ton arriĂšre plan est trop prĂ©sent (il attire trop l'attention et brouille le sujet de ton dessin : tes deux personnages). Si tu peux mettre un gris plus clair Ă tes arbres, ça apportera plus de profondeur et de lisibilitĂ© Ă ton image. Il faudra peut-ĂȘtre assombrir tes personnages aussi.
4. La posture de personnages
En particulier la guerriĂšre, j'ai du mal Ă comprendre comment est elle est positionnĂ©e, son attitude est Ă©trange. ça reste un problĂšme mineur je trouve par rapport au reste, il n'empĂȘche qu'il y a une bonne dynamique entre tes personnages.
Cela Ă©tant, il y a beaucoup de bonnes choses dans ton dessin. On sent que tu as cherchĂ© Ă faire une jolie composition, tu as rĂ©ussi Ă donner de la profondeur, tu as bien gĂ©rĂ© tes niveaux de gris globalement, tu as fait des personnages dynamiques et dĂ©taillĂ©s (notamment sur les vĂȘtements đ) et ton illustration raconte une histoire. Sachant que ça date d'avant la formation, imagine ce que tu seras capable de faire aprĂšs ! :D
Ci-dessous, je t'ai mis un petit aperçu des améliorations que tu pourrais apporter à ton dessin pour te donner une idée du rendu que ça aurait eu avec les modifications que je t'indique (sauf la posture des personnages que je n'ai pas touché). Comme tu le vois, j'ai fait ça rapidement ^^' Hùte de voir ton prochain dessin !
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11/08/2019
Thank you so much for this very helpful and constructive feedback! I will take note of everything you said so that I can improve even more! đ
Un Ă©norme merci pour ce commentaire trĂšs constructif ! Je prends note de tout ce que vous me dite pour pouvoir m'amĂ©liorer davantage ! đ
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12/08/2019
Here is my drawing for this exercise. I was inspired by a photo!
Voici mon dessin pour cet exercice. Je me suis inspirée d'une photo !
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16/08/2019
It looks good, itâs simple and effective, as they say :D
If I had to be picky: I would have made the ground stand out more from the background (slightly), and for the ground: you drew lines, and these lines should converge towards a vanishing point, which isnât the case here.
Not good!
And the very last thing, to give your macarons a little more volume: with a soft brush, slightly darken the edges on the right and left so that we can see that they are cylindrical, and that they curve downwards towards the back on the sides (I donât know if thatâs very clear ^^").
But as I said, Iâm just being picky, it works very well both from a distance and up close :)
Ăa rend bien, c'est simple et efficace comme on dit :D
Si je devais pinailler : j'aurais davantage démarqué le sol du fond (légÚrement), et pour le sol : tu as tracé des lignes, ces lignes devraient fuir vers un point de fuite donc, et c'est pas le cas.
Paaaas bien !
Et la toute derniÚre chose, pour donner un chouille plus de volume à tes macarons : avec un brush flou, assombris légÚrement les extrémités à droite et à gauche pour qu'on sente que c'est cylindrique, ça s'enfonce vers le fond sur les cÎtés (je sais pas si c'est trÚs clair ^^").
Mais comme je l'ai dit, je pinaille, ça fonctionne trÚs bien de loin comme de prÚs :)
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16/08/2019
Thank you very much đ
Merci beaucoup đ
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30/08/2019
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02/09/2019
Itâs pretty good :D
However, be careful, the dark part of your sushi is completely uniform. The filling inside the sushi has been nicely shaded and given volume, but not the sushi wrapper, which is a shame. It gives the impression that the drawing isnât finished. The same goes for the rice (?), the part between the wrapper and the filling, which also has no shading ^^
Otherwise, itâs really good, I can clearly see the different shades you used and I recognize the sushi :D
C'est pas mal :D
Attention toutefois, la partie sombre de tes sushis est complÚtement uniforme. La garniture à l'intérieur du sushi a bien été ombré et mise en volume, mais pas l'enveloppe des sushi, c'est dommage. Ca donne l'impression que le dessin n'est pas terminé. Idem pour le riz (?), la partie entre l'enveloppe et la garniture, qui n'a aucun ombrage non plus ^^
Autrement c'est pas mal du tout, je vois bien les différentes valeurs que tu as utilisé et je reconnais les sushis :D
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30/09/2019
Here is my drawing for this course. đ
Voici mon dessin pour ce cours đ
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01/10/2019
It might be a little hesitant sometimes, but I can definitely see several good points.
C'est peut-ĂȘtre un peu timide parfois, mais je vois bien plusieurs valeurs :)
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07/10/2019
I used different types of pencils (4B black, HB anthracite, etc.).
Consistent practice is essential!
J'ai pris différentes mines (noir 4B, anthracite HB etc...)
Une pratique assez soutenue s'impose!
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13/10/2019
You drew it very well, and the different values are clearly visible.
However, the areas in question are quite small, so it might be interesting to test it on a different model.
Tu l'as bien dessiné et on voit bien les différentes valeurs ^^
AprĂšs les zones concernĂ©es sont assez petites donc ça peut ĂȘtre intĂ©ressant de tester sur un autre modĂšle :)
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11/10/2019
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13/10/2019
Very nice! You drew it well, and you can really feel the volume. I can also clearly identify your values, so itâs perfect in my opinion ^^
TrÚs joli ! Tu l'as bien dessinée, et on sent le volume, je peux aussi bien identifier tes valeurs, donc impeccable pour moi ^^