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wow, that is really impressive. I think i speak for everyone when i say i can't wait for a high-res shot :D

At 4/20/09 12:12 PM, JoeTheToucan wrote: It seems you forgot the breasts.

you may be shocked to discover that not all naked people on the internet are women. weird huh?

At 4/20/09 01:28 AM, tmkunt wrote: how about posting some detail shots? I'm interested in seeing what it looks like up close

The thing is off my wall at the moment, and I'm not about to go through the 10 minute process of putting it back up. When it goes up in the show its meant for I'll take some closeups.

At 4/20/09 06:25 AM, Leidolfr wrote: bigger than I'll ever do [im way too lazy] but, yeah, thats awesome. I heard some people sying go heavier on the shading, pss. i think its perfect, besides, they didnt have to shade all that, dont listen to them

the shading could be darker IF it were in a place that was spot lit. The point of these is to show sort of an isolated figure in a space without actually showing the space its in. The suggestion is that this space is clean and white, so naturally there would be white reflected light sort of through out the piece. If it were say to take place in a candle lit basement then yeah the shading should be darker. My goal isn't to make a convincing figure - space relationship, but more to address the psychological aspect of the negative space in relation to a figure and its actions. The hardest part is coming up with poses that work with this idea. Someone jumping around in a dynamic pose wouldn't make sense in a vacant white space, because it would be to much activity and require some sort of grounding or other reference points to stop it from just looking like a gesture study. The same would apply for extremely dramatic lighting. Putting huge contrasts would imply that the figure is directly spotlit and that they are in a dark area and wouldn't allow the figure and negative space to fit together as one cohesive subject.
(I have to start writing my artist statement for this project, can you tell)

At 4/20/09 02:52 PM, Fleshlight wrote: I have this feeling that you need to rub some of your own fecal matter on the space next to his buttocks

This is one of those pieces that depending on its location and position a whole shit load can happen to it that will change the meaning. Because its such a stark piece any tiny little addition of a detail (such as a small darkening around the ass area) could open up a whole new world of implications. Interestingly i'll be showing this one right next to another piece of mine where the person is crouching on all fours, if I'm not careful about their placement it might look like this guy just got raped.

At 4/20/09 02:54 PM, Apple-Juice wrote: wow, that is really impressive. I think i speak for everyone when i say i can't wait for a high-res shot :D

At 4/20/09 12:12 PM, JoeTheToucan wrote: It seems you forgot the breasts.

you may be shocked to discover that not all naked people on the internet are women. weird huh?

Woman or not, I see no breasts

Damn that's pretty fine.

That's really amazing. Have you uploaded it somewhere so we can see it larger?

Starting another one. Same size about. Have much less time to do it though so I'm really rushing through it. Its due tomorrow for a critique and needs to be ready for a show on the following Monday.

Already am having a bitch of a time with the overall light of the thing, but ill worry more about it on the second pass.

I'm planning on doing a big funkin drawing also, except it's going to be looong. We're talking like 15 feet

At 4/26/09 10:43 PM, Fleshlight wrote: I'm planning on doing a big funkin drawing also, except it's going to be looong. We're talking like 15 feet

Go for it. Any ideas for subject matter or medium? Also the paper type?

Ill be doing alot more of these in the future, so maybe a big honkin drawing thread is needed in the near future.

Finished the second one a while ago, but took it off the wall before I took any pics.

Now that the show has passed I snapped some of it while it was up there.

the forearm looks abit too long, as does the neck

although then again, im shit at drawing compared to this so ill shutupp :X

Since people are requesting some close up detail shots I guess I supply a few
Detail #1
Detail #2
Detail #3

And here is a pic of the pieces in the show space. We showed in the studios that people use to work in normally, which is why they are so messy and shitty and look like cubicles. I worked at home so I just was given an empty one to show in. Got my 2 friends in the shot to give some sense of the size.

At 5/5/09 08:20 AM, ornery wrote: Finished the second one a while ago, but took it off the wall before I took any pics.

Now that the show has passed I snapped some of it while it was up there.

i saw this in progress on the webcam on stickam... nice work there... i can see what you mean about the quality... but i do feel that the lengths are slightly odd... i dont know if its beacuse of the angles arnt clear but i will put it down to that... the shading is good... i take its a picture of yourself... i saw you had a little picture while you were working... hope it all went well... *thumbs up*... ciao

Woah, I didn't expect something of this quality. Your shading is intense. *pleasantly surprised :o face*

Figure i should revive this thing since I'm starting more of these and i always like documenting my process (even though i think people who make art that is solely process based are idiots) and because with my recent large ones that I didn't document people seem to have forgotten just how big these things are.

For this one ill go more into my technique and method where as the other ones were just "here is a pic, here is a more developed one".

Hopefully this one will be educational for the lot of you.

The Purpose
First I'm gonna say that I'm doing these things for my senior thesis BFA degree. The subject I'm focusing on is isolation and loneliness through the use of NO background. I have nothing against backgrounds, I use them in other works, but these ones are intentionally blank and minimal because the composition depends on the figure to activate the empty space in a way that conveys the isolation. At no point should these figures feel "floating" or arbitrarily placed.

The Photos
I start each drawing by taking a bunch of reference pictures of either myself or which ever model I can get my hands on. I have the pose in mind and the general composition before I even take the pic, but often times based on other poses the model does I change the idea. After having the pics i chose the one who's pose i like best, this is not necessarily the one that i like the details of though. Often times other poses have better lighting or details so i use those pics to get the lighting and details i want for the final piece. In each drawing i use maybe 15 or so different reference photos

Laying It Out
Once i have all the photos I want I do a rough grid on the pose photo around the figure, then generally I multiply that grid by 6 or so and do a similar grid on the paper. I do this so that I see how much of the page will be occupied figure and how much will be blank space. This process can take up to 2 hours of just placing the grid in the place that feels right on the page. the grid is not to scale so drawing from it would be pointless, i just use it as a sort of compositional tool.

Drawing
Once I have my boundary grid in place i start by fitting the figure inside of it with a very faint outline of the general shape, this outline will be altered and changed drastically throughout the drawing as more of the figure gets filled in, but for now it gives me a sense of scale and where i am working.
I then pic out the darkest part of the drawing and start establishing that dark so that i know not do do any other places to that intensity. More details on this process will be mentioned as the drawing develops.
Drawing in progress

Materials
I use powdered graphite for the sake of speed, ideally I would do the whole thing in pencil but due to the deadlines I have to meet for each one I have to use the powder. Its not as controlled as pencil but I am definitely getting more and more comfortable with it. I apply it using Q-tips and cotton balls and then erase any areas that got too dark or went over the line wanted. It has to stay in some sort of container because grabbing it straight from the jar picks up to much, when you have some sort of plate to put it in first you can control how much powder you pick up each time. I found a metal Ms. Fields cookie tin to be ideal for this.
Photo of graphite (in plate container)
Photo of other utensils

Here is a shot of a size comparison for this one, keep in mind I'm 6'2'' and that board is slanted (the board is 7 feet tall) so it looks a bit shorter than it really is.

the head feet and arms need work on the last ones the chest on the person laying down looks good though

Well ornery, I gotta say, I really love what you got going here. Very ambitious and very well done. I commend you good sir.

have fun with them crazy super sized pictures!!!... looking forward to the end result as always...

do you do a rough outline first to make sure everything is in proportion before you go all out shading?... beacuse its very hard to see any fine lines from the tiny pictures... just a though :P

good luck and have fun you crazy scottish man :P