Portraits...time for your close up!

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 So since my fall into figure drawing and discovering Scott Eaton's thorough anatomy course, I was mortified by every close-up camera shot I made the moment I put detail into it. Now I understand one of the things that attracted me to storyboarding was that heavy rendering was not needed. It’s to be fast but accurate, get ideas down quick like that lesson in storyboarding class “how to storyboard if you can’t draw” Meaning maybe I am overthinking my storyboard with all this extra knowledge. Though I learned and thought of ways to make it a career I was in the beginning always using it as an exercise to maximize my learning potential in art. After all, I was cramming Four years of University level knowledge in the shortest amount of time As I could so that I may build something with it all, and keep the digital nomadic lifestyle going as long as I can.


        My dialogue scenes looked more than stiff but just like… what are they even doing with their hands? Doing close-ups meant showing “Clear! Facial expressions” and t. All of these courses say the human body is built to read the slightest shift in expression. This is true when it comes to basic emotions like sadness, happiness, anger, or surprise. I found out however I couldn’t read the more complex ones, which is critical to portraying the current emotion of any artwork, not just a character in a story. I had to dig deep and it led me to Scott Eat covering expression action lines and an entire map of the human face.


-It can’t be true about sociopaths not being able to read emotions right?...-


    Anyways… Back to the primary subjects at hand. Portraits and a whole new system of measurement. So just as the body had methods of drawing, did just the head. Rules of thirds from Loomis or using reily lines, the human head in all is bound by proportional rules based on the laws of average and its deviations. Scott Eaton’s videos got me so involved as he was going over the most influential parts of the superficial layer of the face, the fat.  It is what shows age across the face as fat begins to lose its elasticity. This great majority of the boroughs dip the human face. Understanding the fat cells not only helps understand the true form for rendering and shading but brings out the likeness and accuracy of the proportions of the subject. The only primary structure and all this fat will be guided by are my newest favorite thing to draw. The skull and its many variations. All those times the Loomis's heads kept making the same-looking people over and over. It’s the skull that causes so many differences in shape, and using average overlaying the primitive object (The skull) will begin making them unique and believable. The skull is one of the most important things to master and draw if you ever wish to go towards characters and figures for a career.


    After a thorough study watching Scott Eaton’s hours' worth of lectures, I can safely say the human skull probably would have helped my figure drawings if it was learned first. Thankfully a month is a blink in the eyes of a lifetime.

    Once again Shout out to Amy Wynne who provides a LinkedIn Course for certification on how to draw portraits. It was around this time  I found that portraits themselves are a good way to make small commissions, not the highest paying as I was seeing hyper-realistic portraits for $15 worth of work. I know I have worked on my speed and workflow tremendously with these exercises and studies, but some things are bound by the forces of nature, and father time knows the hours needed in rendering alone makes it less than a minimal or even living wage. Speaking of rendering…Hair! I will never make good hairstyles! I think it’s because I already don’t like 90% of the world's hairstyles ( no offense to anyone, I'm weird) I never paid attention to what ones I found appealing. I personally…usually bald.


    OVerall my portrait studies were a pain in the rear compared to the rest of what I learned, and wasn’t something I wanted to do, but tricked myself into believing it was the next best step in my art career where it’s attempting to take me right now.

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