tag:blogger.com,1999:blog-59095032762704624972024-03-04T20:15:32.933-08:00Babe Lab : Pinup Research & DevelopmentPaul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comBlogger72125truetag:blogger.com,1999:blog-5909503276270462497.post-38810558588482473302015-01-11T19:50:00.001-08:002015-01-11T19:51:17.290-08:00Paul Richards on Patreon<div dir="ltr" style="text-align: left;" trbidi="on">
If you enjoyed Babe Lab, we hope you'll support its creator's latest efforts on <a href="http://www.patreon.com/thepaulrichards">Patreon</a>.<br />
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There will be tutorials, sketches and lots and lots of girls!</div>
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Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-76624271157652670422014-03-09T21:55:00.000-07:002014-03-09T23:25:41.046-07:00Lines of Continuity<div dir="ltr" style="text-align: left;" trbidi="on">
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What if the same line that describes this cheek...<br />
<a href="http://www.autodestruct.com/images/co01.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co01.jpg" style="width: 128px;" /></a><br />
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...also described this shoulder blade?<br />
<a href="http://www.autodestruct.com/images/co02.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co02.jpg" style="width: 128px;" /></a><br />
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What if this breast didn't end here...<br />
<a href="http://www.autodestruct.com/images/co03.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co03.jpg" style="width: 128px;" /></a><br />
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...but here?<br />
<a href="http://www.autodestruct.com/images/co04.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co04.jpg" style="width: 128px;" /></a><br />
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What if this...<br />
<a href="http://www.autodestruct.com/images/co05.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co05.jpg" style="width: 128px;" /></a><br />
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...connected to this?<br />
<a href="http://www.autodestruct.com/images/co06.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co06.jpg" style="width: 128px;" /></a><br />
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We might refer to such imaginary connections between unrelated body parts as "lines of continuity."<br />
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<a href="http://www.autodestruct.com/images/co07.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co07.jpg" style="width: 320px;" /></a><br />
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These lines help us in our observational work, to maintain proportion and achieve unity. Where one thing leaves off, another may pick up along the same, or similar, path.<br />
<a href="http://www.autodestruct.com/images/co08.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co08.jpg" style="width: 320px;" /></a><br />
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Lines of continuity will vary depending on viewing angle and personal interpretation.<br />
<a href="http://www.autodestruct.com/images/co09.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co09.jpg" style="width: 320px;" /></a><br />
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They can be used on a micro level, to link parts which are nearby...<br />
<a href="http://www.autodestruct.com/images/co10.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co10.jpg" style="width: 320px;" /></a><br />
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...or on a macro level, between figures.<br />
<a href="http://www.autodestruct.com/images/co11.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co11.jpg" style="width: 320px;" /></a><br />
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What lines of continuity can you find in this image?<br />
<a href="http://www.autodestruct.com/images/co12.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co12.jpg" style="width: 320px;" /></a><br />
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Don't draw parts in isolation. Relate them to other parts. Find lines of continuity!<br />
<a href="http://www.autodestruct.com/images/co13.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/co13.jpg" style="width: 320px;" /></a><br />
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review.</b></div>
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Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-49939907328354216152013-12-27T17:17:00.001-08:002013-12-27T17:20:08.099-08:002 Figure Composition Randomizer<div dir="ltr" style="text-align: left;" trbidi="on">
The following tutorial incorporates three previous Babe Lab tutorials.<br />
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- <a href="http://babelab.blogspot.com/2013/02/more-or-less.html">More or Less?</a><br />
- <a href="http://babelab.blogspot.com/2013/11/the-canopy-effect.html">The Canopy Effect</a><br />
- <a href="http://babelab.blogspot.com/2013/11/greater-than-less-than-equal-to.html">Greater Than, Less Than, Equal To</a><br />
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<a href="http://www.autodestruct.com/images/2figure.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/2figure.jpg" style="width: 320px;" /></a>
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In 2 figure compositions, one figure is seen more (dominant), the other less. Abstract compositions built from angular "canopies" divide space, creating limitations which aid in design. By altering the camera angle, there is no end to what you can get from one abstract!<br />
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This method works well as an idea generator. Not all experiments will be successful, but there will be many unexpected results which can be revised and re-cropped into new compositions. </div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-43242989179187311192013-11-10T15:28:00.000-08:002013-11-10T23:40:54.620-08:00Greater Than, Less Than, Equal To<div dir="ltr" style="text-align: left;" trbidi="on">
When trying to send a message about your subject, camera angle counts. You may find that, subconsciously, you prefer certain views more than others. Why?<br />
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<a href="http://www.autodestruct.com/images/angles1.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/angles1.jpg" style="width: 320px;" /></a>
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Consciously making your pinups 'greater than', 'less than' or 'equal to' will thrust the observer into a dramatic role, whether they realize it or not. They will revere or be intimidated by that which they look up to, subjugate or treat with more care that which they look down upon, or relate to that which is on their own level. Observe these relationships in the following photographs.<br />
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<a href="http://www.autodestruct.com/images/angles2.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/angles2.jpg" style="width: 320px;" /></a>
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review.</b></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-82174648361900505822013-11-09T20:04:00.000-08:002013-11-09T20:16:35.328-08:00The Canopy Effect<div dir="ltr" style="text-align: left;" trbidi="on">
You might wonder what tree canopies and beautiful women have in common. True, they share an organic nature, composed of many broad and subtle curves, but their simplest geometrical outlines reveal other similarities.<br />
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Look at how, in each instance, we are able to break the tree into flat, sawed-off diagonals. Notice the very few (if any) incidents of 90 degree angles, and how the diagonals oppose each other strongly.<br />
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<a href="http://www.autodestruct.com/images/canopy1.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/canopy1.jpg" style="width: 320px;" /></a>
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Compare that to a similar treatment of the images below. Again, notice the deficit of 90 degree angles and the abundance of opposing diagonals.<br />
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<a href="http://www.autodestruct.com/images/canopy2.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/canopy2.jpg" style="width: 320px;" /></a>
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Once an angular 'girl canopy' is established, it is easier to introduce subtle curves to the outline / interior while maintaining the very structural -- and very natural -- shape of the figure. <br />
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review. </b>
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Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-92137625216741188452013-11-01T21:20:00.002-07:002013-11-01T21:27:13.436-07:00The Cleavage You Know<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXeZKAIxdw8CROgzzw-xTP1bNptLRiJqRJLT_IVluOXBxttN4uwrQOG5wldc1luOKQgmmOZfQvng0eR8brdB24AYBt3Z-iV3GkxrDKqwltTGOB71tzmiaeK83Hb8eIPpYSCVLvghZTc8k/s1600/cleavage_you_know.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXeZKAIxdw8CROgzzw-xTP1bNptLRiJqRJLT_IVluOXBxttN4uwrQOG5wldc1luOKQgmmOZfQvng0eR8brdB24AYBt3Z-iV3GkxrDKqwltTGOB71tzmiaeK83Hb8eIPpYSCVLvghZTc8k/s320/cleavage_you_know.jpg" /></a></div>
<b><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review.</b>
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Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-56950244669510235922013-10-28T12:50:00.000-07:002013-10-28T12:54:21.084-07:00Imaginary Underwear <div dir="ltr" style="text-align: left;" trbidi="on">
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It's true that knowing the nude helps in drawing clothing, but sometimes, <i>knowing clothing helps in drawing the nude.</i> Introducing : Imaginary Underwear! <br />
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Brassiers fasten <i>beneath the shoulder blades</i>, and wrap around the ribcage to support the bosom.<br />
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Panties ride on the hips,<i> filling a gap beneath the abdomen</i>. When removed, we can see a 'ghost outline' of the space this garment was designed to fit.<br />
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Drawing "imaginary underwear" onto the nude helps locate important anatomical landmarks, and creates surface lines which aid in understanding the body in three dimensions.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8eRMq8BQZ8bgEKCR3BwNv3XV0Ixqg1UAzvdj0ZLa1AC7x7vVGjS5IStAxkYcj0n2zIVNzFPq6-P7jjj-VhYwYw1p3IBcXH-AI8vkZAEchdnnXgNNh3qVbduikfPpJycNCfOihd7s_Q04/s1600/imaginary_underwear.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8eRMq8BQZ8bgEKCR3BwNv3XV0Ixqg1UAzvdj0ZLa1AC7x7vVGjS5IStAxkYcj0n2zIVNzFPq6-P7jjj-VhYwYw1p3IBcXH-AI8vkZAEchdnnXgNNh3qVbduikfPpJycNCfOihd7s_Q04/s320/imaginary_underwear.jpg" /></a></div>
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Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-39176250067342733112013-08-05T16:00:00.001-07:002013-08-05T19:39:00.236-07:00Action / Repose<div dir="ltr" style="text-align: left;" trbidi="on">
Think of someone driving a car with automatic transmission : One foot works the gas/break pedal while the other stays idle. One hand grips the steering wheel while the other rests on their leg or by the window. Many activities are like this -- with some parts of the body in <i>action</i> and some in <i>repose</i>.<br />
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We can use this knowledge when inventing poses for our pinups. In these photos by Bunny Yeager we can see these action/repose states in evidence.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl40SVlzP2iXUZjaziUuX_r2Mqc0DSvD0lSbCwqfP4aDGVX78nm33-C9LN6U0K3rYjOKzsvjmvHD0-PO-KQDOOpwPyEw4zmxPrYJWCuHZhypbf3POB-QNXrwD0jQl35bhtXNfuiLTl7S0/s1600/action_repose.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl40SVlzP2iXUZjaziUuX_r2Mqc0DSvD0lSbCwqfP4aDGVX78nm33-C9LN6U0K3rYjOKzsvjmvHD0-PO-KQDOOpwPyEw4zmxPrYJWCuHZhypbf3POB-QNXrwD0jQl35bhtXNfuiLTl7S0/s320/action_repose.jpg" width="152" /></a></div>
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A) The model's <i>upper body</i> is in action while her <i>lower body</i> is in repose.<br />
B) The model's <i>left leg</i> is in repose while her <i>right leg</i> is extended, tensed -- in action.<br />
C) Here we see the model's <i>right</i> <i>side</i> in action, with a comparatively reposed <i>left</i> <i>side</i>.<br />
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When every part is active, the body will appear to be in spasm. When every part is in repose, the body will appear limp and dead. By balancing active parts with reposed ones, we wind up with a more natural look. <br />
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review.</b></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-37151636793480732892013-07-09T16:59:00.000-07:002013-08-09T19:28:31.883-07:00Full Tilt<div dir="ltr" style="text-align: left;" trbidi="on">
If you're looking to up the "cute factor" of a girl, a very effective way is to tilt her head and feet. It shows a reaction -- veers the drawing away from static neutrality and more toward "Awwww!" As a compositional bonus, the inward-tilting feet create a "closed circuit" which keeps the eye moving within the pose, and the tilting head combines with the tilting torso to form a graceful arc. See how far you can push this!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNsvsVXal77if_FFjKisTtBbLpJBjnXToYkI_bAY2amYJ2WIvTfoLSi8dFTyphLSr4LvWHQuKMue0IlAyXfgZ74bZLRp6HiyFXPLKQfpegCT5vta4Zrmx3KirgsFuGRzugvt-yXVSA6aU/s1600/babelab_tilt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNsvsVXal77if_FFjKisTtBbLpJBjnXToYkI_bAY2amYJ2WIvTfoLSi8dFTyphLSr4LvWHQuKMue0IlAyXfgZ74bZLRp6HiyFXPLKQfpegCT5vta4Zrmx3KirgsFuGRzugvt-yXVSA6aU/s320/babelab_tilt.jpg" width="305" /></a></div>
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Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-68368788602140557222013-03-10T20:11:00.000-07:002013-03-10T20:12:25.423-07:00"What Strikes You?" - Cézar Brandão<div dir="ltr" style="text-align: left;" trbidi="on">
It's time again for<i>"What Strikes You?"</i> , where experts on the female form share their impressions of random cheesecake. Digital sculptor <a href="http://branduarte.blogspot.com/">Cézar Brandão</a> was asked to share five things that struck him about this image.<br />
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<a href="http://www.autodestruct.com/images/pinup_cezar.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pinup_cezar.jpg" style="width: 320px;" /></a>
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1) "The first thing that I see here is her eyes. I mean, they're very open, so it looks like she's surprised or seeing someone, or in this case, someone took a picture of her and she's surprised about that. Anyway, why this called my attention is because I see a lot of drawings and sculptures of girls with very big, open eyes, and they always look scared or something. For me it looks soulless, and a lot of times that's not what the person wanted to transmit in his/her sculpture or drawing. The eyes are so important in a character. They transmit what they are feeling at that time."<br />
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2) "I don't know why, but I keep looking at her arm. It reminds me of a chicken wing! Haha ! It makes a very cool silhouette but, at same time, it's really weird if you pay attention to that."<br />
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3) "The colors are trying to indicate a grape with the purple and green, so I immediately associate this with wine. I could be wrong, but that's what pops in my mind."<br />
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4) "I see curved lines all along her body (right side of the image), and then the arm there breaking those curves, making a nice change of silhouette."<br />
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5) "When I look at her face and the leaf, it's almost like she's thinking, "Oops! That leaf fell on me. Can you grab it?" Haha ! That's weird. You know that leaf is there for a reason. Your eyes will always be there! Haha!"<br />
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Thanks <a href="http://branduarte.blogspot.com/">Cézar</a>!<br />
<a href="http://www.autodestruct.com/images/cezar_example.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/cezar_example.jpg" style="width: 320px;" /></a>
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review. </b></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-83063738958108289322013-02-26T12:49:00.003-08:002013-02-26T12:52:23.456-08:00Re-crop<div dir="ltr" style="text-align: left;" trbidi="on">
Working from a photo? Try to recompose and re-crop the image to your liking, rather than merely replicating the shot. All elements can be played with.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj24Y30xCcJL_EBRlIptcI0mT_2JK_UJPoxBjo5RhpizJXj9Lle-buLZvJwntnTH6BG0jfyf-RSCrrsUxL0txgWPeTumeay_QiYPQj6EOnnZ-RtT5J0JIV5IqBVZuqe7p6xrOSdsJ-XZqQ/s1600/re_crop01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj24Y30xCcJL_EBRlIptcI0mT_2JK_UJPoxBjo5RhpizJXj9Lle-buLZvJwntnTH6BG0jfyf-RSCrrsUxL0txgWPeTumeay_QiYPQj6EOnnZ-RtT5J0JIV5IqBVZuqe7p6xrOSdsJ-XZqQ/s320/re_crop01.jpg" width="320" /></a></div>
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In this Photoshopped treatment, we've left-justified the figure, which gives more "headroom" for her look, reinforced further by a diagonal spotlight. The lines of her dragging garment can also be manipulated to point the viewer to a desired location. This is just one of many possible solutions! <br />
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<i>Original photo by <a href="http://www.ranum.com/">Marcus Ranum</a>.</i></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-91681091615145946002013-02-16T10:18:00.000-08:002013-03-10T20:15:00.073-07:00"What Strikes You?" - Jon Troy Nickel<div dir="ltr" style="text-align: left;" trbidi="on">
In this new segment, <i>"What Strikes You?"</i> we ask top artists to reveal their observations and thought processes. This time we've asked 3D artist <a href="http://hyperdivine.blogspot.com/2012/09/vertex-magazin-article.html">Jon Troy Nickel</a> to list five things that come to his mind when presented with the following image. Take it away, Jon!<br />
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<a href="http://www.autodestruct.com/images/pinup_jon.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pinup_jon.jpg" style="width: 320px;" /></a>
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1) "The hair, handlebar ribbons and lack of significant grounding shadow gives the impression she’s just come off an epic ramp and got some wicked air."<br />
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2) "The whimsical grip on the handlebars is interesting because of my number 1 observation. It makes me think that’s all she needs to control everything that’s about to happen on the landing, and is totally confident of maintaining posture / poise / persona and carrying on her merry way after completely sticking the landing."<br />
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3) "Her left leg is obstructing view of anything resembling a seat at all, which is both curious and exciting, especially given her posture and expression."<br />
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4) "Red, white and blue color combo screams ‘USA’ to me."<br />
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5) "My eyes always fall back on the prominent silhouette of her breast on her right hand side (left side of image). The saturated red on her pale skin makes it the clearest line in the whole image for me."<br /><br />Thanks, <a href="http://hyperdivine.blogspot.com/2012/09/vertex-magazin-article.html">Jon</a>!<br />
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<a href="http://www.autodestruct.com/images/jontroy_example.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/jontroy_example.jpg" style="width: 320px;" /></a>
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review. </b></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-79678731271663471592013-02-15T17:49:00.001-08:002013-02-15T17:55:53.247-08:00More or Less? - Mons Pubis<div dir="ltr" style="text-align: left;" trbidi="on">
Women aren't Barbie dolls down there! The <a href="http://en.wikipedia.org/wiki/Mons_pubis">mons pubis</a> is a subtle rise that has <i>curvature</i>, and thus is especially prone to the "more or less" spatial division discussed in our <a href="http://babelab.blogspot.com/2013/02/more-or-less.html">previous tutorial</a>. Though symmetrical, there is rarely a mirrored repetition in its halves.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSNZmd0NfJ1904t1YHuegN34lA7L-RheUtXq4lUblS85JqgV4CStdEnC9sDjIKAKc4tTYSMqB6fi1jqt5SCGZ2cu0hGBxKJDg_27H9GrV1MHyMJtQ8bbPoDtyal6PjW2051Tf4BxW-6rM/s1600/mons_pubis.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSNZmd0NfJ1904t1YHuegN34lA7L-RheUtXq4lUblS85JqgV4CStdEnC9sDjIKAKc4tTYSMqB6fi1jqt5SCGZ2cu0hGBxKJDg_27H9GrV1MHyMJtQ8bbPoDtyal6PjW2051Tf4BxW-6rM/s320/mons_pubis.jpg" width="291" /></a>
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Note how, when tilted away from us, or when the legs cross, the center split is pushed more to one side, or becomes partially enveloped by the fatty tissues acting against it. </div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-35490925767636580352013-02-09T21:10:00.003-08:002013-02-09T21:10:30.892-08:00More or Less?<div dir="ltr" style="text-align: left;" trbidi="on">
The next time you see an advertisement like this, do a quick size comparison of the constituent parts. Which side has more? Which has less? <br />
<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.autodestruct.com/images/more_or_less.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/more_or_less.jpg" style="width: 320px;" /></a>
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By virtue of how we typically see things (i.e. not straight-on), you will notice a general trend of 'more on one side, less on the other.' When we remember to differ these sizes in our drawings, a more natural look results. <br />
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review. </b></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-32191054902464259332013-01-26T15:23:00.002-08:002013-01-27T22:30:43.526-08:00Pure Vs. Impure<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
Compare these three images. What do they have in common?<br />
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<a href="http://www.autodestruct.com/images/pure_impure1.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pure_impure1.jpg" style="width: 320px;" /></a><br />
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The anteater, the man at the bar and the long piece of fabric are simple on one side...<br />
<a href="http://www.autodestruct.com/images/pure_impure2.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pure_impure2.jpg" style="width: 320px;" /></a><br />
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...and complex on the other!<br />
<a href="http://www.autodestruct.com/images/pure_impure3.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pure_impure3.jpg" style="width: 320px;" /></a><br />
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The simple sides could be said to be <b>"pure"</b> because of their lack of abrupt changes. They form smooth curves and straights.<br />
The complex sides could be said to be <b>"impure"</b> because of their many lumps and corners.<br />
<a href="http://www.autodestruct.com/images/pure_impure4.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pure_impure4.jpg" style="width: 320px;" /></a><br />
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Seeing "pure" and "impure" sides can aid us in our depiction of women (both observed and imagined), for once one has been identified, the other is never far away! First, look for the "pure" sides. Because of their relative simplicity, they usually stand out.<br />
<a href="http://www.autodestruct.com/images/pure_impure5.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pure_impure5.jpg" style="width: 320px;" /></a><br />
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Next, find the "impure" sides. When combined, their contrasts create immediate impact!<br />
<a href="http://www.autodestruct.com/images/pure_impure6.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pure_impure6.jpg" style="width: 320px;" /></a><br />
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<b>Reasons for purity :</b><br />
-extension (stretch)<br />
-anatomy (spine)<br />
-resting on a surface (floor, wall)<br />
-gravity flattening out the top of something<br />
-gravity forcing something directly down<br />
-streamlining/aerodynamics<br />
-momentum being gained<br />
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<b>Reasons for impurity :</b><br />
-compression (squash)<br />
-objects pushed upward by surface impact<br />
-gravity drooping fat/muscle down<br />
-momentum being lost<br />
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This happens on a micro level as well as a macro level. Look for the "pure" and "impure" sides of limbs, necks, fingers and toes.<br />
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<a href="http://www.autodestruct.com/images/pure_impure7.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pure_impure7.jpg" style="width: 320px;" /></a><br />
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How many "pure" and "impure" sides can you spot in these images?<br />
<a href="http://www.autodestruct.com/images/pure_impure8.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/pure_impure8.jpg" style="width: 320px;" /></a><br />
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Not <i>everything</i> about drawing women should be complex. Seek "purity." The rest will take care of itself, resulting in a more pleasing, balanced design. It's <a href="http://www.autodestruct.com/images/pure_impure9.jpg">everywhere</a>!<br />
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review. </b></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-76894108982021026792012-10-20T22:16:00.002-07:002012-10-21T08:36:45.324-07:00Normal Nachos<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
You don't know it yet, but this <i>nacho chip</i> is going to help you draw better arms and legs.<br />
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<a href="http://www.autodestruct.com/images/nachos01.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos01.jpg" style="width: 320px;" /></a><br />
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If we think of a nacho as a flat, 3 sided polygon, the direction its top is pointed is referred to as its <b>'normal.'</b> [facing up here]<br />
<a href="http://www.autodestruct.com/images/nachos02.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos02.jpg" style="width: 320px;" /></a><br />
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Tilt the nacho, and its normal points in another direction. [facing down here]<br />
<a href="http://www.autodestruct.com/images/nachos03.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos03.jpg" style="width: 320px;" /></a><br />
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Now, imagine that nachos came in all different triangular shapes, some lopsided, others razor-thin.<br />
<a href="http://www.autodestruct.com/images/nachos04.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos04.jpg" style="width: 320px;" /></a><br />
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What happens when we map nachos to the triangular shapes of the arms and legs? What are the sizes and shapes of these nachos? In which directions are their normals pointing? <br />
<a href="http://www.autodestruct.com/images/nachos05.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos05.jpg" style="width: 320px;" /></a><br />
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Knowing 'the normal of a nacho' will help you determine which planes of a limb are top planes, and which are side planes. The axis of the elbow/knee<i> runs parallel</i> to the direction of the normal.<br />
<a href="http://www.autodestruct.com/images/nachos06.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos06.jpg" style="width: 320px;" /></a><br />
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Knowing the size/shape of a nacho will help you determine how much a limb is foreshortened. An 'equilateral' nacho, for instance, will be less foreshortened than an 'isosceles' nacho. [pictured below]<br />
<a href="http://www.autodestruct.com/images/nachos07.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos07.jpg" style="width: 320px;" /></a><br />
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Note the variety of nachos and normals present in most poses.<br />
<a href="http://www.autodestruct.com/images/nachos08.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos08.jpg" style="width: 320px;" /></a><br />
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Also note that, while the nachos are composed of straight lines, the arms and legs they represent also contain curves. Use the 'normal nacho' method to establish proportion and better understand form, not as a means of rigid construction.<br />
<a href="http://www.autodestruct.com/images/nachos09.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/nachos09.jpg" style="width: 320px;" /></a><br />
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¡Vaya con nachos!<br />
<br /></div>
<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review. </b></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-6923692425510921182012-10-01T23:30:00.001-07:002012-10-02T09:57:14.296-07:00Spotlight on Alberto Ruiz<div dir="ltr" style="text-align: left;" trbidi="on">
"<i>I still believe women are the only subject I can never get tired of drawing." </i>asserts<i> </i><b>Alberto Ruiz,</b> publisher, ex-New Yorker, current midwesterner, husband, father and an amazing illustrator. Naturally, Babe Lab had to pick his brain.<br />
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<a href="http://www.autodestruct.com/images/ar07.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/ar07.jpg" style="width: 320px;" /></a><br />
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<b>Babe Lab</b> : Hey, Alberto. What's up?<br />
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<b>Alberto Ruiz</b> : <i>Nuts'n'Honey. (My genitals are very important to me. I love them.)</i><br />
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<b>BL</b> : Understandable. Let's delve back a bit. What early memory of women cemented them as your favorite subject matter?<br />
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<b>AR</b> : <i>I was raised entirely by women. There were no male figures in any of the homes I lived in as a child. Women were all I saw, and pretty much all I care about, artistically and otherwise.</i><br />
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<b>BL</b> : So being around women from a young age didn't instantly demystify them for you? Seeing their hair up in curlers...fighting for the bathroom....<br />
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<b>AR</b> : <i>No, quite the contrary, and this is perhaps the key to my fixation with those "trivial", seemingly unimportant and, for the most part, overlooked (read : "purposely ignored") womanly traits. I wrote a few years back that my admiration for the female of our species went from thinking of them as supernatural beings as a child, to unadulterated infatuation as an adolescent. I basically grew to love all those things that most people (including women themselves) find unappealing, such as that third roll of fat you're not supposed to depict. </i><br />
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<a href="http://www.autodestruct.com/images/ar02.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/ar02.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : Well, that sort of leads neatly into our next question. The artist who spends enough time with the model has a lot of time to pick apart broad and nuanced aspects. Which of both have you fetishized, and why?<br />
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<b>AR </b>: <i>I don't spend a lot of time with any one model in particular. While it's true that I have developed certain mannerisms, I do make an effort to not follow formulas and to not develop fetishes, something I may not always be successful at doing, but at least that is my intent. I have no fetishes that I am aware of. If I catch myself "liking" some type of woman or body part over another, I do a 180. There isn't much fun in drawing the exact body type every time. There are poses or body types that are more fun or interesting to draw than others, but if I'm pressed to choose between broad and nuance, it would have to be the latter.</i><br />
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<b>BL</b> : So you don't obsess about the gaps between toes or eyelashes or little fatty creases at the belly? No recurring fixations? You've clearly found beauty in the hand.<br />
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<b>AR </b>: <i>Yeah, sure I have. I just don't see those things as fetishes, though. For instance, I also obsess about the clumps of hair and other less glamorous elements such as elbows and the back of the knees, but I believe I obsess about all parts of the body at various times.</i><br />
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<a name='more'></a><br />
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<a href="http://www.autodestruct.com/images/ar03.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/ar03.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : What's the difference between the nude and the erotic nude?<br />
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<b>AR</b> : <i>The way i see it, there is no difference. I am aware that non-artists do not agree with my views on this subject, but I happen to believe that a naked human (overwhelmingly moreso a woman than a man) is in itself a sensuous, erotic being. These labels were employed to differentiate academic nudes from sexually suggestive content. The label "erotic", nowadays, is slapped almost exclusively on ugly, cheap smut.</i><br />
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<a href="http://www.autodestruct.com/images/ar04.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/ar04.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : It would appear that, on some of your drawings, your instrument never leaves the page. What's up with that?<br />
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<b>AR </b>: <i>The motivation is to allow the brain to loop and join elements in an almost subconscious and effortless way; not much different than when we write in "print" really fast. Since the brain has no time to depict each element in detail, it's left with no choice but to distill the entire figure at once using a natural "shorthand" which, in turn, produces a pretty unique piece and (I'm convinced) it helps you to think about, see and draw the figure as a whole rather than a collection of parts.</i><br />
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<b>BL</b> : What's the worst way an artist can mess up a girl drawing, and how is this remedied?<br />
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<b>AR</b> : <i>Perhaps the worst and most common is excessive lines. Easily fixable by using less lines.</i><br />
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<b>BL</b> : Are you speaking of the notorious "hairy line" as opposed to the direct stroke, or when people "age" faces by electing to draw every crease they see? It seems like economy is important to you.<br />
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<b>AR</b> : <i>Hmmm. I'd say the ragged stroke is the most common offense (even among "pros"). A 'dirty' brush line (and for that matter, pencil or pen lines) can be beautiful and can add character to a drawing. The "aging faces" issue is usually reserved for younger and less experienced artists. Economy is important to me. That's how I teach myself how to draw.</i><br />
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<b>BL</b> : What can you say about the portrayal of personality...the elusive "soul" of a drawing? What do you think that is and how do you go about capturing it, consciously or unconsciously?<br />
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<b>AR</b> : <i>I am not joking when I say this: I am not at all concerned with portraying personality and least of all capturing the elusive "soul" of a drawing. I had such nightmares at the beginning attempting to infuse personality and character into the drawings that I gave up on that futile quest, almost immediately after I began. Nothing ever is about content when it comes to my drawings. I want to learn how to draw first and foremost. I'll worry about capturing expression and emotion when I feel competent enough to draw convincingly enough.</i><br />
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<b>BL</b> : Nevertheless, your drawings do possess that "zip" of liveliness. Perhaps you can speak to how, in the pursuit of better drawing, more of a woman's authenticity peeks through...?<br />
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<b>AR</b> : <i>I think you nailed it. There is no way for that not to happen when you are constantly and earnestly looking to improve the quality of your drawings via relentless practice and keen observation.</i><br />
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<a href="http://www.autodestruct.com/images/ar05.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/ar05.jpg" style="width: 320px;" /></a><br />
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<a href="http://www.autodestruct.com/images/ar06.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/ar06.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : Artists live from one little revelation to the next. What's a recent revelation of yours?<br />
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<b>AR</b> : <i>The more I distort, the closer I get to the real thing. The real thing being that ideal picture in my head. It would be helpful to know that the picture in my head keeps changing with each new little revelation.</i><br />
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<b>BL</b> : You're excellent at draw-through. Can you extol the benefits of this?<br />
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<b>AR</b> : <i>Drawing through the figure is the best teaching tool a self taught artist could ever have. The benefits are many but the one I appreciate the most is that it keeps my proportions and the relative distance between the many landmarks in check. Particularly when I go off on a distortion binge.</i><br />
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<a href="http://www.autodestruct.com/images/ar08.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/ar08.jpg" style="width: 320px;" /></a><br />
<b>BL</b> : You're responsible for most of the killer graphic design work in the Brandstudio Press books, as well as your latest imprint, Trinquette Publishing. What from that field helps your drawing, and what from drawing helps your graphic design?<br />
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<b>AR</b> : <i>In my case, it has only worked one way. My figure drawing is a byproduct of my work as a graphic designer, more precisely as a logo designer. It started that way for sure and with time it has become what it is today, a hybrid of sorts. Perhaps my graphic design has gained elasticity and an overall sense of urgency due to my figure drawing but design was always very organic for me. Drawing, however, was not as linear and geometric as it is today, and that I owe entirely to graphic design. I think of myself as a graphic designer first and as an artist second. ...Or third.</i><br />
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<b>BL</b> : Last question, and we'll get out of your hair. What's the best way to ask someone to model for you?<br />
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<b>AR</b> : <i>I use bribery. I offer one of the original sketches as compensation.</i><br />
<br />
<b>BL</b> : Like printing your own money. It was very cool of you to chat with us, Alberto.<br />
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<b>AR</b> : <i>Thanks, I enjoyed it.</i><br />
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<a href="http://www.autodestruct.com/images/ar01.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/ar01.jpg" style="width: 320px;" /></a><br />
<br />
Places to follow Mr. Ruiz :<br />
<a href="http://www.brandstudio.com/">http://www.brandstudio.com/</a><br />
<a href="http://processjunkie.blogspot.com/">http://processjunkie.blogspot.com/</a></div>
Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-31897106934876140422012-03-10T17:44:00.003-08:002012-03-10T18:22:29.555-08:00Amplification Exercise<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on">In our ongoing quest to <i>understand</i> the poses we're drawing (rather than simply reproduce them) we must be real with ourselves about what we're seeing. Once aware of these realities, we're free to <i>amplify</i> them. <br />
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Let's identify some of the things going on in the photo below...<br />
<br />
<a href="http://www.autodestruct.com/images/amp01.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/amp01.jpg" style="width: 320px;" /></a><br />
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It's a girl sitting on a couch, fiddling with her garment. <br />
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We can see she's leaning over, and that there's a high/low shoulder and knee relationship. Push these things further and what happens?<br />
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Front/back relationships : The thing that's furthest from us in the photo would appear to be her right elbow, and the thing closest to us would appear to be her left foot. Therefore, we have license to push that elbow <i>even further</i> back and pull that foot <i>even further</i> forward.<br />
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In the photo, it's unclear as to whether her garment is being <i>slid off</i> or <i>pulled on</i>. In the drawn version, we can make a decision about this. We can also tilt her head down even more, so it looks like she's focused on the action. <br />
<br />
Finally, we can tell the couch she's sitting on is soft. Would sinking her into it more sell that better?<br />
<br />
Drawings don't have the fidelity of photographs, so they must speak louder to be noticed. Amplification is communication!</div><br />
<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review.</b> <br />
<div><br />
</div></div>Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-36489417173983736572012-02-26T20:04:00.000-08:002012-02-26T20:04:08.973-08:00Cornered<div dir="ltr" style="text-align: left;" trbidi="on">Take a look at Rodin's "The Thinker" -- his elbow on his knee, his wrist on his jaw. All of these are <i><b>corner points</b></i> of the body.<br />
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<a href="http://www.autodestruct.com/images/corner04.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/corner04.jpg" style="width: 200px;" /></a><br />
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Babe Lab would like to suggest that these corners are where parts of our bodies naturally go to be at rest. The bone is closest to the skin at these points, giving us someplace sturdy to apply weight, or hook ourselves around. There is nowhere we can slip. <br />
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[below] A cross-armed girl's hands settle snugly to the inner elbows (corners).<br />
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<a href="http://www.autodestruct.com/images/corner03.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/corner03.jpg" style="width: 320px;" /></a><br />
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[above] A hand planted on the corner of the hip...<br />
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[below] ...or a foot nestled just above the ankle of the opposite leg...<br />
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<a href="http://www.autodestruct.com/images/corner02.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/corner02.jpg" style="width: 320px;" /></a><br />
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[below] ...or in the hollow of the knee convey security and stability.<br />
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<a href="http://www.autodestruct.com/images/corner01.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/corner01.jpg" style="width: 320px;" /></a><br />
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Watch your own posture when you settle. Are you currently at rest on any of your body's corner points?</div>Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-3609685258407005712012-02-17T18:40:00.000-08:002012-02-18T08:17:42.309-08:00Sequence of Invention : The Magic Bean<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on">When a model isn't present to capture a gesture from, and we don't have the clearest mental image or intent, how can we go about drawing a girl from scratch? <b>Babe Lab</b> would like to suggest a <i>logical sequence of invention.</i><br />
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In a <a href="http://babelab.blogspot.com/2011/11/crossed-wires.html">previous tutorial</a>, a proportional tool was introduced : two crosshairs (indicating the direction of the <i>neck root</i> and the <i>thigh root</i>) connected by a bent, bisected wire represent the torso. We can see this tool in white below.<br />
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<a href="http://www.autodestruct.com/images/magic_bean_1.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_1.jpg" style="width: 320px;" /></a><br />
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If this visualization is too abstract, think first of a <b><i>bean</i></b>, curved on one side and bent on the other.<br />
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<a href="http://www.autodestruct.com/images/magic_bean_2.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_2.jpg" style="width: 200px;" /></a><br />
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In all but the most rigid postures we can see <i>some</i> bean-like deformation in the torso, so (1) draw a few random beans from various angles. One or two strokes for each. <br />
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<a href="http://www.autodestruct.com/images/magic_bean_3.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_3.jpg" style="width: 320px;" /></a><br />
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(2) Apply the crosshair/wire tool to them. <i>There will be more than one way to do this with each bean</i>, so don't think about it too hard. The torso is where all other parts of the body branch from, so it's a sensible place to start. With us so far? <br />
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<a href="http://www.autodestruct.com/images/magic_bean_4.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_4.jpg" style="width: 320px;" /></a><br />
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(3) Now determine which ends you'd like to make the <i>neck roots</i>, where the heads will sprout from,<i> but don't actually draw them yet.</i><br />
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<a href="http://www.autodestruct.com/images/magic_bean_5.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_5.jpg" style="width: 320px;" /></a><br />
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4) On the opposite ends will be the <i>thigh roots.</i> Drop the legs here. Legs/buttocks are usually what's in contact with the ground, and act as resting places for hands and elbows. <br />
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<a href="http://www.autodestruct.com/images/magic_bean_6.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_6.jpg" style="width: 320px;" /></a><br />
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(5) Arms and hands come next in the logical sequence. Had we drawn these earlier, we wouldn't have had leg geometry to work with or around. <br />
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<a href="http://www.autodestruct.com/images/magic_bean_7.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_7.jpg" style="width: 320px;" /></a><br />
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(6) Block in the heads next. Play with their tilts, keeping gravity and direction in mind. Heads are very seldom centered!<br />
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<a href="http://www.autodestruct.com/images/magic_bean_8.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_8.jpg" style="width: 320px;" /></a><br />
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(7) Now that we have a better idea of what the legs, arms and heads are doing, we can begin to define what's happening around the busts and waistlines. Maintain the curved/bent relationship from your original beans, but don't keep to their outlines. You're not drawing vegetables anymore; you're drawing anatomy. Locate the corners of the hips. Are there twists? How are the breasts reacting to the geometry around them, and to gravity? Ask yourself these questions at this stage.<br />
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<a href="http://www.autodestruct.com/images/magic_bean_9.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_9.jpg" style="width: 320px;" /></a><br />
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(8) Without the preceding geometry built, it would be folly to draw hair. But we <i>have</i> built it, so go nuts! Think of things like hair and breasts as dessert, to be saved until after you've had your beans!<br />
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<a href="http://www.autodestruct.com/images/magic_bean_10.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_10.jpg" style="width: 320px;" /></a><br />
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(9) Now's a good time to remind ourselves where the facial features might go...<br />
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<a href="http://www.autodestruct.com/images/magic_bean_11.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_11.jpg" style="width: 320px;" /></a><br />
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10) ...and to tweak the overall graphic shapes of the poses we've created.<br />
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<a href="http://www.autodestruct.com/images/magic_bean_12.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_12.jpg" style="width: 320px;" /></a><br />
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(11) From here, we can finish out the drawings as we see fit, adding clothing (optional) and making corrections. The important, underpinning construction is all done, so we're free to play with subtleties. As we can see below, not all bean-powered poses will be 100% successful. </div><br />
<a href="http://www.autodestruct.com/images/magic_bean_13.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/magic_bean_13.jpg" style="width: 320px;" /></a><br />
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What can <i>you</i> do with a magic bean? </div>Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-7350310674111843742012-02-05T20:26:00.000-08:002012-02-05T20:33:50.408-08:00Foot Check / Stiletto Thumb<div dir="ltr" style="text-align: left;" trbidi="on">Drawing a stilettoed foot is hard, but drawing a <i>checkmark</i> (✓) is easy!<br />
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<div style="text-align: -webkit-auto;"><span style="text-align: left;">If we extrude a 2D checkmark into 3D space, we get two planes : a long one and a short one, each pointing in a different direction. Practice drawing this 3D checkmark from above, below, in front, behind and everywhere in between. </span></div><br />
<a href="http://www.autodestruct.com/images/foot_check.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/foot_check.jpg" style="width: 320px;" /></a><br />
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After you've gotten comfy with this, begin to think of the long plane of the checkmark as the <i>arch of the foot</i>, and the small plane of the checkmark as the <i>toe of the foot</i>. Plant a cone behind the toe for the stiletto heel, running up to the top of the arch. Whether drawing high-heeled feet from your imagination or from a model, this primitive construction tool will help you flesh them out.<br />
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<b>Observational note :</b> The thumb of a weight-bearing hand is not unlike an<i> offset stiletto heel</i>. This is another place where we can employ the "foot check." <br />
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<a href="http://www.autodestruct.com/images/stiletto_hand.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/stiletto_hand.jpg" style="width: 320px;" /></a><br />
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<b>Bonus nugget : </b>While we're on the topic of planes, notice how fingers A, B, and C [above] are the same shape. If we shove the fingernail to the top (as in A) the finger looks like it's tilted away from us. If we shove the fingernail to the bottom (as in C) the finger looks like it's tilted towards us. Fingernails and toenails are <i>basically tiny, slightly curved planes</i>. Use them!</div>Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-59905124570124742642012-01-29T09:48:00.000-08:002012-01-29T14:04:05.373-08:00Spotlight on Otto Schmidt<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on">Moscow-based <b>Otto Schmidt's</b> art is shockingly direct, viscerally graphic and unabashedly sexual. Sift through the many layers and you'll find generous doses of cuteness and humor as well. Babe Lab was able to pull Otto away from his workstation long enough to ask him a few questions.<br />
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<a href="http://www.autodestruct.com/images/otto_haruka.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_haruka.jpg" style="width: 320px;" /></a><br />
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<b>Babe Lab </b>: "Schmidt" is a German name meaning "someone who makes things." "Otto" is likewise German. How did your family come to live in Russia? Or did you just make the name up to sound cool?<br />
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<b>Otto Schmidt</b> : <i>I agree it sounds cool. But, from the other side, I never had a choice because my family has German ancestors who moved to Russia in Reformation times. They were Lutherans, which made their lives tough, and there were also a lot of military riots and conflicts between Germany's principalities. That’s why my ancestors decided to move to Russia. There they were given land on the Volga River area. In that hard time, a lot of people immigrated to Russia from Europe. Since then, they all lived together in a German enclave on Russian territory before World War II.</i><br />
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<i>As for my nickname, well, there is no special intrigue. There was a hero, scientist and polar explorer <a href="http://en.wikipedia.org/wiki/Otto_Schmidt">Otto Yulyevich Schmidt</a> in Soviet Russia. "Schmidt" is actually my last name, and my middle name is Yurievich, which sounds close to Yulyevich, so people were just confused and ignored my real name, Evgeny. They kept asking me, ”Are you a relative of Otto Yulyevich Schmidt?” That's how I became Otto Yulyevich over time, or just Otto.</i><br />
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<i>Later in my adult life it was funny to watch the reactions of people who found out that “Otto” is my nickname and “Schmidt” is my real last name, because everyone who didn't know me since childhood usually thought the opposite : that “Otto” was a real name and “Schmidt” was a nickname. These days people might call me Otto, or by my real name. I’m fine with both, but for an artistic nickname, "Otto" definitely sounds more interesting than "Evgeny." :)</i><br />
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<b>BL</b> : Russians and their complicated names! So...level with me here...do all women in Russia look like your drawings?<br />
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<b>OS</b> : <i>Yes, every one. But I’m not sure all of them are Russian ;)</i><br />
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<a href="http://www.autodestruct.com/images/otto_steampunk.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_steampunk.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : How did you get your start in cartoon illustration/animation, and what are some of the clients you've worked for?<br />
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<b>OS</b> : <i>I started working as an illustrator relatively recently, about 7-8 years ago. Before that, I worked as an art director for Networks RA, as a concept character artist for the video game industry, and also as a animator for a TV studio. I moved to the illustration field and left my career in advertising, and I don't regret this decision.</i><br />
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<i>Before that, I worked for brands like Toyota, Motorola, FHM, Unilever, KraftFoods, Schwarskopf, Gillette, Tuborg, FinnFlare... and a lot of others brands only Russians would know about. Illustration became my outlet for creativity and horrific experiments in poor and illogical ideas. I have an Italian agent, <a href="http://www.tomatofarm.it/">TomatoFarm</a>. There were a few book covers as well. In the past, and these days, I have a few projects for European and American comic book covers.</i><br />
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<a href="http://www.autodestruct.com/images/otto_mabaker.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_mabaker.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : You're as bold in your application of color and light as you are with your lines. How long do you spend on a typical piece, like "MaBaker?" [above]<br />
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<b>OS</b> : <i>It’s a very popular question about how much time I spend on this or that piece, and it's a hard one to answer. Sometime it’s 2 hours, sometimes it’s 2 weeks and, at the end of both periods, the two pieces might have no visual difference between each other in their amount of detail or how complicated their compositions are. </i><br />
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<i>As for "MaBaker", it’s a very old art work. I mean, the sketches, characters' variants, pencil drawing, colors, composition variants -- all these I did 3 years ago. I did this art to 70-80% and right after that, I just stopped. I didn't like this picture anymore, and couldn't see how to finish it. I started to feel like I “tortured” this painting, which is the worst scenario. I put it under the table to let it rest for some time. I could afford to, because this picture was supposed to be for my personal project, "Mikka", and I didn't have a deadline. I switched to different work and, not long ago, while I sorted some of my art for prints my agent asked me for, I found her. Even though I had trouble scheduling my main work project, I just sat and repainted everything for 2 hours, and that’s it -- the lady was done. However, as it turned out, I needed to fix the text since English isn't my strongest point.</i><br />
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<i>To sum up, I spent 2 hours or 3 years on "MaBaker." But usually, for this type of job, I spend 4-5 hours.</i><br />
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<a href="http://www.autodestruct.com/images/otto_mikka.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_mikka.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : Photoshop, Sketch Book Express and Painter -- What are the advantages of each, as they pertain to your workflow? Do you use any other programs?<br />
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<b>OS</b> : <i>Photoshop. Its main advantage is its universality. Latest versions give the artist a terrific set of opportunities for self-expression. But some people have the opposite opinion : that this wide variety of tools is too much and makes artists lazy when it comes to studying the fundamental basis of drawing, color and light. I agree that version 5.5 was the apogee of appetite for a system and its capability as a program. As for me, I think ctrl+z is the main evil.</i><br />
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<i>SketchBook Express is a different type of program. Even though I didn't work with it for long, I found it more convenient for tablets with touch screens, ModBooks for instance. This is a small program adapted for small displays, with a layer system interface. But, compared to Photoshop, I would use SketchBook for sketching and storyboards.</i><br />
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<i>Painter...I’m done with Painter after version 7. It was a very resource-wasting program. That's why, when I was still new to CG painting, I didn't feel the need for a real painting imitation. In those days, I also was doing video composing and art direction, so painting was only a hobby for rare personal free time.</i><br />
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<i>I also use CorelDRAW for vector graphics. Sometimes I need this program for logo creations, along with AdobeStreamline, just out of habit :)</i><br />
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<a href="http://www.autodestruct.com/images/otto_layers.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_layers.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : This Alenkiy Tsvetochek PSD [above] is meticulously organized -- different parts on different layers. Is this so that the elements can be level adjusted, or moved around within the composition?<br />
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<b>OS</b> : <i>Layers and layer group organisation helps me a lot to not get lost in my own work, and keeps track of my timeline if I have more than 5-6 layers. For long-term painting it helps a lot as well. All elements can be easily moved or transformed. As for “Alyonushka”, well, there was originally an absolutely different composition and it had been transformed many times. Its center and horizon had been changed many times, but with this workflow I figured out the perfect solution.</i><br />
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<a href="http://www.autodestruct.com/images/otto_tsvetochek.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_tsvetochek.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : You use a variety of tools. Modbooks, ipads, cintiqs, tablets, pencils, watercolor, just to name a few. Which feels the best to you?<br />
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<b>OS</b> : <i>I don’t use an iPad simply because I don't have one. I had a chance once to try an iPad for painting, but I wasn't impressed. It felt wrong after using a ModBook. I totally understand that this device wasn't originally intended for artists; it's just not my thing.</i><br />
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<i>Cintiqs are a very interesting variant, but they're kinda too pricey. I like the idea, but I can’t see how I'd fix a display that was worn out after repeated use. Buying a new Cintiq isn't an option. I haven't decided for myself yet.</i><br />
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<i>Recently I’m working on an Intous 3 (a4 at the office or at home, and a5 for travelling). Intous 4 slightly disappointed me, probably because I've never used the tablet’s buttons. Keyboard buttons were always enough for me. I was waiting for Wacom to make a tablet with more pressure sensitivity and dpi resolution, but instead, we got a shrunken workspace and an even more shitty, brand-name surface sheet. I really miss Intous # A5's width. That was an ideal tablet for work, home and travelling. </i><br />
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<i>I love pencils. I’ve drawn with pencils since childhood, because I could control the drawing process. Paint was too messy for me and only disturbed my creative process. I started to love painting when I was a student and had an oil painting course at my university. It was a slow process, but I figured out how to mix paints and how to work with colors. Watercolor has always been hard to reach, so I just admire other artists who can work with this material.</i><br />
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<a href="http://www.autodestruct.com/images/otto_gt.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_gt.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : Your women are skinny, but not skeletal. What are some Otto Schmidt Rules of Thumb when drawing pretty ladies?<br />
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<b>OS</b> : <i>The secret here isn't thinness, but elegance. Even the skeleton has some elegance :) I wouldn't call it a set of rules or secret bible. It's all on the surface : not-too-wide bones, narrow joints, tiny details and a true love of the female body :)</i><br />
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<i>Yes, my bodies aren't perfect, but I’m not a photographer. Yes, I always idealize and present an unreal archetype. But this is my show and my rules :) At the same time, I’m against putting "ideal" on some production line. My life in the USSR has trained me to run to the identical clones crowd, to sameness.</i><br />
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<i>I’m absolutely fine with natural beauty and silicone beauty. Holy wars on this theme always make me laugh. The secret of drawing a pretty girl is in her own prettiness. If you like her, you will always forgive her if she's overweight or too skinny. At least for drawn girls; in real life it's not so simple.</i><br />
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<a href="http://www.autodestruct.com/images/otto_hands.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_hands.jpg" style="width: 320px;" /></a><br />
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<b>BL</b> : Your girls' hands are phenomenal! Is there a secret to this? Lifedrawing, reference or good old fashioned know-how?<br />
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<b>OS </b>: <i>Phenomenal? Thank you :) I wouldn't say so. Actually, hands are one of the most complicated things to draw. I very often re-draw them and tweak composition, position and motion. Figures and faces might never get changed at all, but hands always do. The best reference is lifedrawing of course. But, if it’s not possible, I just draw my own beauties and change them as needed.</i><br />
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<b>BL</b> : What's the worst piece of art advice you were ever given?<br />
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<b>OS</b> : <i>Hmm..worst? “Something's wrong with your anatomy here.” I’m not a saint, and I’m not a realistic classic artist either. Even with all my desire to make a perfect picture, I try to avoid maniacal depressions about quality. Perfectionism is very egotistical, and at secondly, the ego is an artist itself. And it often happens that perfectionism, like a parasite, kills its carrier.</i><br />
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<b>BL</b> : Profound! Thanks so much for talking with us, Otto.<br />
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<b>OS</b> : <i>Nazdorovie! </i><br />
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<a href="http://www.autodestruct.com/images/otto_hoop.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/otto_hoop.jpg" style="width: 320px;" /></a><br />
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You can follow Otto's prolific output by visiting the following links.<br />
<a href="http://schmidteugenart.blogspot.com/">http://schmidteugenart.blogspot.com/</a><br />
<a href="http://daskunst.livejournal.com/">http://daskunst.livejournal.com/</a><br />
<a href="http://otto-von-todd.livejournal.com/">http://otto-von-todd.livejournal.com/</a></div><br />
<span style="font-size: x-small;">Special thanks to <a href="http://firstkeeper.deviantart.com/">Tamara Bakhlycheva</a> for her help in translating this interview.</span></div>Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-25981445349393493392012-01-20T18:32:00.000-08:002012-01-20T19:09:47.235-08:00Face Filtration - A Study Companion<div dir="ltr" style="text-align: left;" trbidi="on">The following method of photo study comes from fast-tracked concept artist <a href="http://www.robotpencil.org/">Anthony Jones</a>, who once said something along the lines of...<br />
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<i>"Humans, by default, can only see a certain way. But what if we were like The Predator, and our eyes took in information differently? That's what Photoshop gives you : a second sight." </i><br />
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<a href="http://www.autodestruct.com/images/face_filtration.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/face_filtration.jpg" style="width: 144px;" /></a><br />
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Here we've run a variety of filters on some faces.<br />
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<b>CUTOUT</b> : reduces to simple pattern with minimal color (useful for simplifying values)<br />
<b>PHOTOCOPY</b> : gives "coloring book" edges, eliminates interior noise<br />
<b>THRESHOLD</b> : reduces to on/off pattern, loses edges, consolidates darks (useful in figuring out graphic stamp)<br />
<b>HIGH PASS</b> : shows where the brightest parts of the image are (useful in figuring out highlight options)<br />
<b>MEDIAN</b> : eliminates noise, brings down detail, simplifies colors<br />
<b>MAXIMUM</b> : generates high-key palette<br />
<b>MINIMUM</b> : generates low-key palette<br />
<b>MOSAIC</b> : generates simple palette<br />
<b>POSTERIZE</b> : reduces to simple pattern with minimal color (useful for simplifying values)<br />
<b>CONTOUR</b> : shows edges (useful for seeing shadows)<br />
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The next time you do a study from a photo, see if one or several of these filters helps you in your analysis...and try out a few others while you're at it!<br />
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review.</b> <br />
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</div>Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-29491505762929182252012-01-10T18:26:00.000-08:002012-01-11T22:58:33.096-08:00Sensitivity Training -- LIVE WORKSHOP<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: arial; text-align: -webkit-auto;"><b>"Babe Lab : Sensitivity Training" </b></span><br />
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<a href="http://www.autodestruct.com/images/sensitivity_banner1.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/sensitivity_banner1.jpg" style="width: 320px;" /></a> <br />
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<span style="font-family: arial; text-align: -webkit-auto;"><i>Sensitivity in art is vital, especially when women are involved. Join concept artist / pinup enthusiast <b>Paul Richards</b> and veteran model <b>Stacy E. Walker</b> as they guide you through the do's and don'ts of portraying the female form. </i></span><span style="font-family: arial; text-align: -webkit-auto;"> </span><br />
<span style="font-family: arial; text-align: -webkit-auto;"><b><br />
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<span style="font-family: arial; text-align: -webkit-auto;"><b>Where</b></span><br />
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<span style="font-family: arial; text-align: -webkit-auto;">January 26th, 7PM-11PM</span><br />
<span style="font-family: arial; text-align: -webkit-auto;"><a href="http://www.gnomonschool.com/">Gnomon School of Visual Effects</a></span><br />
<span style="font-family: arial; text-align: -webkit-auto;">1015 N. Cahuenga Blvd. Hollywood, CA 90038</span><br />
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<span style="font-family: arial; text-align: -webkit-auto;"><b>Schedule</b></span><br />
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<span style="font-family: arial; text-align: -webkit-auto;">Thursday, Jan.</span><span style="font-family: arial; text-align: -webkit-auto;"> 26th</span><br />
<span style="font-family: arial; text-align: -webkit-auto;">7:00 p.m. - 7:15 p.m.: meet-and-greet with Paul and Stacy</span><br />
<span style="font-family: arial; text-align: -webkit-auto;">7:15 p.m. - 9:45 p.m.: Sensitivity Training (lecture)</span><br />
<span style="font-family: arial; text-align: -webkit-auto;">9:45 - 11:00 p.m.: lifedrawing session</span><br />
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<a href="http://www.autodestruct.com/images/sensitivity_banner2.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/sensitivity_banner2.jpg" style="width: 320px;" /></a> <br />
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<b>Stacy E. Walker</b> is a professional figure model providing inspiration and visual reference for world renowned illustrators, major animation studios, video game developers, fine artists, sculptors and a variety of academic institutions.<br />
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<a href="http://www.autodestruct.com/images/stacy_action1.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/stacy_action1.jpg" style="width: 320px;" /></a> <br />
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<b>Babe Lab :</b> Hi Stacy! Thanks for descending the model stand to chat with us. Watch your step!<br />
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<b>Stacy E. Walker :</b> <i>It's my pleasure. I'm thrilled that you asked. I'm a huge fan of the blog so I'm honored to be introduced to all your followers.</i><br />
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<b>BL :</b> Well, we're honored to have you as our first model! So what was the turning point in your life when you decided to start doing this? Something or someone must have emboldened you.<br />
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<b>SW :</b> <i>I grew up wanting to be Batgirl or a professional dancer. I began studying ballet, jazz and tap at the age 5 and was dancing professionally in stage productions in NYC by the time I was 10. As I began to mature, I was getting more curvy than tall and was constantly being told I was not thin enough, not tall enough and too "ethnic." Sometimes I wouldn't even get the chance to audition. They would just look at you and send you away. It got very difficult to handle so I started looking for other things I could do. I always loved comics and fantasy art but had no idea how to get involved with the field until I saw an article in a magazine about Fabio. The rest is history, as they say, and my strong background in dance really enhances my modeling work.</i><br />
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<b>BL :</b> Wait, Fabio...the guy who did all those romance novel covers? <br />
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<b>SW : </b><i>Yes, [the article] showed you how he and a female model would pose for a photographer who would then supply the images to an illustrator. So when I saw they do actually use real models for this I began to seek out artists who needed models for their work.</i><br />
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<b>BL :</b> When a person draws you, they get the privilege of being before the nude, and a few pieces of artwork under their belt. What do you get out of it? <br />
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<b>SW : </b><i> I love to see all the different variations and styles the artists portray me in, but most of all to help inspire their creativity and tell their story. It's always amazing for me to see myself as some of the most amazing characters this genre has to offer, especially when I inspire an original character. </i><br />
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<a href="http://www.autodestruct.com/images/stacy_action2.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/stacy_action2.jpg" style="width: 320px;" /></a><br />
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<b>BL :</b> Describe the arc you've made in your modeling career. What are you doing now that you weren't doing when you began? What might you do differently in the future?<br />
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<b>SW :</b> <i>I spent the first half of my career working primarily for illustrators who work from photos. Some would shoot the photos themselves and others had photographers who would do it for them. We would get the art brief ahead of time so we could show up with hair and makeup done and any accessories we could bring to add to the character. You had to be able to walk in and give them exactly what they needed. I treated them all as small acting roles. As time went on, many of the artists trusted me to deliver the photos because they knew I had a ton of costumes and props and really embodied the characters I was given to portray. They would send thumbnails or sketches and I would shoot the reference for them. I view myself more as a collaborator and not just the model. My image has been featured on countless book covers, calendars, trading cards, magazine covers, t- shirts, statues, comics, posters, etc.</i><br />
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<b>BL :</b> That's got to be surreal. What's the most random place you've seen yourself? <br />
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<b>SW :</b> <i>One time I was walking with friends in a mall and there was a store that did airbrush work on shirts and jackets and there I was on the back of this jacket right in the front window. They had copied an image that Boris Vallejo had done of me in a calendar. They had zoomed in and it was 4 times the size of the calendar image. It was surreal and exciting at the same time. Yes, I went right in and bought it and I still wear it to this day. After that it started to happen quite frequently. You see someone in one of your t-shirts walking around. I get photos emailed to me saying "I used this image for a tattoo and just realized it was based on a real person." I enjoy their excitement when they discover that girl in the image is real and not just made up by the artist. There have been gas tanks on motor cycles, hoods of cars, you name it. </i><br />
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<a href="http://www.autodestruct.com/images/stacy_vallejo.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/stacy_vallejo.jpg" style="width: 320px;" /></a> <br />
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<b>BL :</b> So getting back to your career arc... Kinda derailed you there...<br />
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<b>SW :</b> <i>Now I am primarily providing live visual reference from series of gestures to the long poses nude and in costume. My style and knowledge of the industry is ideal for animation and gaming studios and the field is booming at the moment. For the immediate future I want to get more into performance capture work. It allows me to take my work to the next level and I love it. I really want to work with Blur Studios so I hope to make that happen really soon. I still have not given up on a part in a big screen film and it is my dream to work with Peter Jackson and Zack Snyder. I am also outlining ideas to run my own specialty workshops as well as digital reference for downloading. At some point I may cross over to a full time position working with artists in one of the studios or gaming companies as I also represent a group of artists through my production company that I book for jobs via freelance work hire assignments. </i><br />
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<b>BL :</b> <i>Do you get a chance to observe or speak with others in the field? What sets you apart in your approach or presentation?</i><br />
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<b>SW :</b> <i>Yes I do. There is also much you can learn from seeing them in the artists work. What sets me apart is my extensive background in dance and working as a professional art model as well as my thorough knowledge of the genre and art in general. I know how important the figure model is to the creative process and the need to help tell the artist's story. I always bring my own music to establish a mood. I always push to bring a dynamic quality to my work even if it is a more sensitive moment. With each pose I am telling a story from the look in my eye to the unique ways I use my hands. I put my entire body into each pose and will push the hip and shoulder to the extreme. Dance taught me to always lift from the ribcage and I use my torso well. I am a story teller with my work. Sometimes making my own movie in my head or my own graphic novel panel by panel. I always have fun props like a variety of swords and guns so I don’t have to use the boring pole or broom handle. I also have my own methods of using a variety of rubber balls and chords. I want to leave a room knowing I have inspired the group whether they are students or professionals. I consistently hear that I am so fun to draw and working with me was very inspiring and that is greatest compliment I could ask for.</i><br />
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<b>BL :</b> What, if any, are your expectations from the people drawing/painting you? <br />
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<b>SW :</b> <i>I hope that they will not sneak photos of me and post them on Facebook or other social networks or blogs. I had an issue last year and it was not cool at all. I don’t have real expectations. I love to see what they are doing and hope when I ask if I can photograph some of the work for my archives and my new website they will let me. It's always an honor to receive actual credit on something because it really makes you feel as if you added to the success of the piece or the project. But, as I understand, it's not always possible to give a printed credit. I really love to see when an artist uses me in their work and to be able to add it to my body of work so I wish they would let me know. There are so many times when I see an image and it's so obvious that it's me. I know the photo they may have used off my site, or I know my poses, or my cleavage and I can really tell when someone took something we did in life class and elaborated on it into a beautiful color illustration. It feels awkward to contact them to verify and it's very frustrating when they admit it's me. It doesn't take anything away from their creation to say it's based on my image. People do it all the time and it hurts me not to be able to post it loud and proud. I don’t know if they think I'll ask for money, but that's not the case at all. It happened several times just in the last few months and I'm still working on getting confirmation. There's always the hope in my heart that I'll inspire one of the studios I work with to create a character based on me that would appear in a game or movie. One that I could voice and do the actual performance capture as well. That would be the ultimate dream goal for me.</i><br />
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<b>BL :</b> Greatest pride moment? <br />
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<b>SW : </b><i>The first illustration that Boris Vallejo did of me. Working with him I learned so much and it awoke something in me I never knew was there. I was very lucky to begin working with him early in my career and I will be forever grateful for the time I had working with him. It was also have to be the first illustration that Alex Horley did of me. It really seemed to capture me more than many of the others and has become my signature piece. “Red Stacy” has been a limited edition lithograph, quilt, t-shirt and a statue. </i><br />
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<a href="http://www.autodestruct.com/images/stacy_horley.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/stacy_horley.jpg" style="width: 320px;" /></a> <br />
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<b>BL :</b> Greatest moment of embarrassment and/or frustration?<br />
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<b>SW :</b> <i>This is my favorite story. I was appearing as a guest at the Motor City Comic Con and when I first starting the Con circuit I always tried to really look the part so I would wear a lot of latex. On Friday nights the cons go late so we usually get really hungry. One of my fans was a chef so he brought my friend and I some of the food from his Italian restaurant. I have always tried to eat very healthy so I don’t use much oil or salt etc. Needless to say the chicken parm did not agree with me and I became quite gassy while wearing a pair of latex leggings that I soon realized were blowing up like a balloon from all the gas. It kept going down one leg so I tried to shift it over so it would down the other because I was afraid to try and push the bubble out. I was laughing so hard I almost passed out! Embarrassing as it is, it happens to all of us and it is such a great story it has to be shared.</i><br />
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<b>BL : </b>Wow, that's....uh...well, let that be a lesson to all you latex wearers out there! Thanks for baring all, Stacy. Figuratively and literally.<br />
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<a href="http://www.autodestruct.com/images/stacy_action3.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/stacy_action3.jpg" style="width: 320px;" /></a> <br />
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You can catch Miss. Walker in her element at a studio space near you (provided you live in Southern California) or in the following app : <a href="http://posebookbysilver.com/">Posebook by Stephen Silver – A Fundamental Guide For Artistic Development</a> for iPad, IPhone and android. An updated version of her <a href="http://www.stacyewalker.com/">website</a> will be launching in the next couple of months with a ton of new features and content, so please check back.<br />
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<a href="http://www.autodestruct.com/images/stacy_posebook.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/stacy_posebook.jpg" style="width: 320px;" /></a> </div>Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.comtag:blogger.com,1999:blog-5909503276270462497.post-22681782486418490592011-12-07T15:01:00.000-08:002011-12-07T15:28:40.017-08:00A Look At Negatives - Legs<div dir="ltr" style="text-align: left;" trbidi="on">Stare long and hard at this symmetrical 5 dot configuration. There's a little dot on the top and the bottom, two longer, stretched out dots and a medium sized dot in the middle.<br />
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<a href="http://www.autodestruct.com/images/negatives_legs02.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/negatives_legs02.jpg" style="width: 144px;" /></a><br />
Setting aside all knowledge of anatomy, it's a quick way to remember the interior shape of the legs as seen directly from the front or back. Notice that, from these views, the interior contour or the leg is lumpier than the exterior contour.<br />
<a href="http://www.autodestruct.com/images/negatives_legs01.jpg"><img alt="" border="0" src="http://www.autodestruct.com/images/negatives_legs01.jpg" style="width: 320px;" /></a><br />
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This "5 dot" configuration only works when the heel is elevated.<br />
(1) the space near the crotch<br />
(2) the space between the thighs<br />
(3) the space between/below the knees<br />
(4) the space between the calves<br />
(5) the space between the toes<br />
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<b>Babe Lab Disclaimer : Non-proprietary photos and illustrations featured on Babe Lab appear for the sole purpose of review.</b></div>Paul Richardshttp://www.blogger.com/profile/15000419262088663449noreply@blogger.com