frontal portrait

anonymous asked:

Hi! I'm struggling with drawing heads at a 3/4 angle :( I love your art as well! Do you have any advice or tutorials on 3/4 heads?

hey there! I apologize if it’s a bit shitty but I had little time to put this quick explanation together. I also want to say that I am by all means not a master, I am still learning too! but I’ll try <3

ok, first of all, why are ¾ heads so hard to draw? The reason is that while profiles and front views are more ‘flat’ and symmetrical, and easier to boil down to lines, in a ¾ view there is a lot of tridimensionality involved. Angles and planes shift,and without a basic grasp of the structures it’s easy for the face to look weird. Which brings us to the first step:  basic head construction.
It’s something that should always be done, especially while learning, because it’s what will really make you progress. Understanding how 3d objects behave in space, and ‘seeing’ the geometrical structures that make basic shapes is the key to learning how to draw. I’ll make it very quick because it takes a book to explain it thoroughly, but

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Ala Mhigo’s Silver Lion

Kickass frontal portrait commission of my boy Singto Perak of Final Fantasy XIV fame, done by one blessed @divinedespair. I knew I had to pitch a commish to her the second I found these works.

Any Final Fantasy XIV player owes it to themselves to give her a follow cuz there’s countless more masterpieces where this came from on her account, so give her a follow. Another thousand and one thanks for taking this on and here’s to your continued work in the future~

anonymous asked:

I am about to be an IB junior and I chose art for my 6th subject. All of us going into IB art were given a packet explaining our summer assignment which is to make 40 high quality IWB pages. But I still have no idea what an IWB page is supposed to be and none of my friends could explain to me what it is because most of them don't know either. I looked through the IWB tag on here and your account popped up so I was wondering if you could explain what exactly an IWB page is 😁

Hello anon! Kudos to you for doing the IB Program and chosing visual arts! Visual Arts has been one of my favorite classes of all time, and I’m grown so much as an artist from taking that class. Good luck to you and your classmates as well!

So your IWB is your investigative workbook, where all your planning for projects, research, and documentation of projects goes. (That’s how I see it, others may define it some other way.) 

NOTE: almost all of these steps should be done in your IWB, and if you try to work hard and thoughtfully about your work, you’ll definitely get 40 quality pages, or more! If you’re not enjoying your work and the process, my general rule of thumb is that you’re doing it wrong.

  1. Brainstorm ideas. Ask yourself: what do I want to achieve with this project? Set realistic goals for yourself. Is your project going to be something technical or more conceptual?
  2. Do preliminary research. Make sure when you do this you insert images and text and reference your sources. Research as in something that is relevant to your idea. Your research should have two components: an art history reference (artist, movement, style, etc.) and a cultural reference. For finding an art history reference I recommend asking yourself: has any artist dealt with the ideas/issues I’m trying to portray in my artwork? Is there an artist that I can learn a certain technique from? Is there an art movement that dealt with the ideas/issues I’m trying to portray in my artwork? Is there any artist I like, and want to know more about? For example: I wanted to work on my technical ability so I planned to do a still life. (Brainstorm) I then began to research famous still life painters, and found myself writing more than three pages on dutch still life painters. (Preliminary esearch) Often your research begins to lead you down a different path than your original idea, which is always a good thing. By the end of Year II (Senior Year) your work should be able to be technically, visually, and conceptually strong, along with it having personal relevance and cultural relevance. Much of the “culture” aspect comes from researching other artists/art movements. If you’re American, examiners love to see non-western art influences. As for a cultural reference this one is a little more tricky because it depends on how you (and the IB) define culture as. Maybe a good starting point for you would be to figure out what culture means to you, and what culture you may want to explore and how. Culture can mean an actual culture such as: consumer culture, Asian/African/Indian culture, or it can be a context in which your art is effected by. My “focus” or “theme” (which I’ll get to) ended up being “Intimacy” and what I found was that there are different forms of intimacy, and today’s definition of “intimacy” and the means by which we become intimate with others is changing due to technology. The IB is looking for you to reach out and look at large world issues, or concerns, and see how your artwork fits into that context.
  3. Start sketching and creating thumbnails. Your first idea/compositional sketch will not be the best, I guarantee you. My rule of thumb is to do a minimum of 3-5 thumbnail sketches, or more until I create a composition that isn’t: boring, typical, and enhances my idea. Some general tips to help you at this stage: 1.) Avoid completely frontal portraits: they’re very typical, and it shows creativity/skill if you show the face from a different angle. 2.) Don’t forget the background! If backgrounds are your weakness, work on them first. Simple colored or patterned backgrounds are very typical, and show that you didn’t really think much about the background. Think about it this way: your subject exists in what environment? I wish I had started out knowing that! 3.) Look at different compositions. If you’re doing a scene, look at how other artists have tried to portray the same thing (write about it with full documentation).
  4. Medium exploration. Depending on what your art background is, you may be confident in a certain medium, such as paint, or you may not be that experienced and have never tried paints before. For me, I had taken many art classes in school but wasn’t very comfortable with any medium. I started out first using ink and digital (such as Photoshop) then making a natural progression with: watercolors, photography, colored pencil, chalk pastels, acrylic paint, and oil pastels. If you’re really strong with using watercolors or collage, USE THEM. If not, take time to explore different mediums, and make projects centralized about trying to use that medium to the best of your ability. As time goes on you will be doing less medium exploration.
  5. The actual project. Make sure to pace yourself. Set reasonable goals for yourself too. Say: I’m going to finish drawing the face today, and tomorrow I’m going to start coloring. Watch out for due dates because crunching things in is really bad for your mental health and more often than not produces bad artwork. Make sure to take work in progress photo’s to print out and paste in your workbook later to show how you progressed.
  6. Documentation: Once a project is done, I document it in my IWB. A documentation page often looks like this:

    I put the title over the photo of the finished product, I write the date when I started and ended, what mediums I uses, the size in both inches and centimeters and the numbers of pages relating to the project. On average you should have AT LEAST 10 pages, more is always good for a project. I then write about the idea behind the project, and talk about my strengths/goals achieved with this project. NEVER EVER WRITE: “I don’t like it.” Be thoughtful about what you write in your IWB and your artwork, and if you don’t like the way it came out, why? What could you have done better? I also write about the process, including work in progress photos. At the end of each documentation, if not written earlier I write about what I could improve on and what I plan on doing next. My documentation is usually 1-2 full pages front to back.

That was probably a lot of information and if a lot of it doesn’t make sense, don’t worry! Hopefully it will! I don’t know how your IB Visual Art’s class in run where you are, but for me I was given a lot of freedom to choose my projects, along with some mandatory things we were assigned.

Some other helpful tips/things to be mindful of:

  • Make sure to print out clear pictures of whatever artist/movement/ reference photo/ etc and paste them into your book. Also, REFERENCE YOUR SOURCES. One great source for finding artists, movement, and cultural things is
  • Number all of your pages in the bottom right hand corner, and make sure you numbered them correctly. This will help when you begin to reference pages later.
  • Write the date in the upper hand right corner.
  • NEVER tear, rip out, skip, or cross out pages. Some pages might be really awful, but at the end of Year II you selected only your best, so don’t worry about anyone seeing those.
  • Don’t skip pages thinking you’ll go back to them and fill them in. Just do everything chronologically.

I hope my information was helpful. In order to get your 40 pages, this summer try to create at least 2-3 pieces of artwork! Good-luck to you! If you have any more questions feel free to ask!

Jane Fonda is looking at a portrait Richard Avedon took of her for the September 1960 issue of Bazaar, her young, gold-dusted face punctuated by a whimsical beauty mark painted on just above her cheekbone. With a throaty laugh, she recalls posing for another shot during the same session that never made it into the magazine—one that rattled her so much, she had the picture burned.

“I remember being photographed naked by Avedon and then going home and becoming terrified that my father would get angry,” Fonda says. “The next day I went back to Richard’s studio and persuaded him to burn the negative, which he did—in front of me.”
Fonda takes a second look at the “frontally revealing” Bazaar portrait that made it through that shoot unscathed. “Is this really 1960?” she marvels. “It’s funny, I was recently in Atlanta, I have a roomful of photo albums, and I saw pictures of myself in 1960 that were as different from this as night and day. If I had any identity then, it was pretty shaky. But, you know, Avedon had a way of either bringing out your true identity or else making you look like you had one even if you didn’t.”

Giant Manta (Manta birostris) filter feeding. Raja Ampat, Indonesia. by ArturodeFrias Giant Manta Ray
(Manta birostris)
Frontal portrait of Giant Manta Ray filter feeding. These huge animals (with a wingspan of up to 7 meters) staged an incredible ballet around us, slowly flapping their wings with amazing majestuosity.
Waigeo, Raja Ampat, West Papua, Indonesia.