Structure class

 

I wasn't feeling well last night, so I probably wasn't at the top of my game, and somehow it feels like this drawing just gets worse and worse the more I try to fix it, ha! I don't know. Maybe I'm just getting tired of looking at it. Or maybe (definitely ;) it was a bad start, and it's just hard to keep working a bad start. You have that many more problems than you have with a great start. Just one more week with this, so only a few more hours of wrestling this one ;)

Anyhow, so I don't forget the night's critique: Colleen gets that feeling of solidity because she's not just drawing what she sees, but what she understands about how the body plane shifts relate to the light source (like a sphere). The lighting likely wasn't so dramatic on those figures you can see on the right of my board. She probably had a similar lighting situation to the drawing we are working on here, but pushed the value (as well as the pose/anatomy) in order to get the effect she wanted.

When laying value, start in global planes, and then pull out "moments" of light very deliberately, keeping the value relationships tied together. You don't want a piece meal collection of value moments in your drawing. Think about large relationships.

I had pinched rib cage in too far, making him look too feminine (not the first time I've heard that in the past month :P). And some other proportional things--this poor drawing...