Hey everybody, welcome to the Critique video for Episode three on the "Rough Sketch."
As you recall from the previous lesson, the thumbnail sketch was all about creating the
original idea for the exaggeration, and it could be sloppy, loose and quick it didn't
really matter.
It's just about getting the thoughts in your head down on paper as quickly as possible
and exploring lots of different alternatives.
By the rough sketch you'll have picked your favorite thumbnail sketch and you're going
to resolve it by making it just more realistic, figuring out the anatomy and the likeness.
Likeness is essentially the top priority in a rough sketch, and anatomy is a second place
probably.
We're gonna resolve the anatomy more in the next step.
So, we're gonna take a look at people's submissions from the Facebook group and figure out what
they could have done better, what I might have done differently.
In caricature there's never just one right answer to a problem, there's lots of different
ways.
So, the things I say today are not necessarily sacred, they're not the only way you can solve
the problem, all I can do is show you how I might solve them so with that let's get
started.
All right here's Phil Cicero's drawing of that guy from that TV show that I don't watch.
I know it's the "Big Bang Theory" I don't really know much else about it.
But my first thoughts when looking at yours is I can tell who it is but only in the most
broad sense because he's so iconic looking.
There's so much distortion in this particular sketch that it doesn't really have much reference
to what's going on in his face at all really.
The distortions seem kind of arbitrary and they're not helping the likeness, they're
hurting it.
I can tell who it is but it's kind of despite the face and it's more because of the hairstyle
I guess and the overall, like maybe the long nose that kind of tells me who it is.
So what I would recommend is just thinking a little bit more about the skull underneath
and what's happening.
It feels like you just pinched his cheeks and pulled them out like as if they were Taffy,
there's no structure going on here.
And you did give him a long big nose but you didn't give him his nose.
He has a much wider bridge here at the top in between his eyes and you gave him a really
narrow bridge between his eyes.
So, just be mindful of the exact shapes and nature of the features that you're drawing.
You have to think about their placement and the actual shapes of the features.
So with that I'll do a quick sketch to show how I might handle his face.
Another thing you could have done in your sketch is I would love to see more exaggerating
of the specific expression in this photo.
When I'm drawing the eyes here I can see that his irises are tucked up underneath his lids,
or his upper lids are sort of heavy and closed a little bit.
And that covers up more of the iris and pupil than what you've shown.
You've drawn almost the entire pupil and Iris in your drawing and it misses the subtle expression
that's happening.
So really pay attention to things like that as you're drawing.
This is where having a solid knowledge of the anatomy of the facial features really
is helpful in caricature.
So I'm working from a photo reference where it's not totally clear what's happening with
all the plane changes on the nose, but I know generally how the cartilage and bones on the
nose are structured.
So, I can insert that information while I'm drawing to make the nose a bit more convincing
and I can exaggerate it properly in the right places.
Like if you're going to push down the tip of the nose it's good to know how to shade
those forms after you've stretched them so you know where the bottom plain of the nose
should be versus the side plains and where the nasal cartilage wraps above the nostril.
If you haven't watched Stan's videos on how to draw the features step by step, he goes
over the eyes, the nose, the mouth, and the ears they're extremely valuable for the caricature
course.
So I would definitely recommend reviewing those videos.
So here's the point where I'm breaking through the initial form of the face that I established
and trying to get the fleshiness of the mouth and the lips to work on that overall head
design.
I still wanna keep it long and narrow but I have to accommodate for that crooked smirk
that he's got so the flesh on that right side of the face has to be distorted a bit.
So, thanks again to everyone for submitting their work on the Caricature Proko Facebook
group and following the rules of the assignments that are given out each week.
You're more likely to get selected if you do exactly the thing that's been asked in
the assignments that are given as far as what's happening from week to week.
So, post your photo reference and if you can post your progress along the way that's always
good to.
If I can see your thumbnail sketches, your rough sketches and then the next lesson we'll
get into something a little bit more technical.
So, keep on doing it and don't be afraid to post your work to get critiques from everybody,
and I'll try to get to as many people as I can in future videos.
So, thanks for watching keep, sketching and posting your work and I'll try to always get
around to as many people as I can, and hope to see you in future videos.
For those of you who will be participating in the Caricature course, we've created a
community where you can connect with other students, post artwork and get feedback from
your peers.
Join the group at proko.com/groups.
If you enjoyed this video, share it and tell your friends.
And if you wanna get updates on new videos go to proko.com and subscribe to the newsletter.