>>2376558 I have a lot of trabble drawing figures in perspective from the "looking at the figure from above" POV because I flatten the torso every time and just can't visualize it properly. Does anyone have any helpful construction-like pictures (I remember 0033 guy had something but I can't find it) pls familymembers?
>>2376654 galaxy note is probably what you want to look at, i think wacom makes a bluetooth pen but i have no idea how good that is, also the slates are something to look at or if you go older there are i think thinkpads that had wacom digitizers in them.
need someone who knows more than me to tell you how good each thing is though, i only recommend you dont get one with the idea of finishing pieces on it, it would be better to practice and get rough images than transfer them over to something with real power.
Got a tablet for the first time, would I be holding the stylus any different from how I draw? It seems more oriented to be held like writing since its limited to short strokes by screen length. (Wacom)
>>2376876 Try creating something simply out of colors and experiment with value. Draw an apple with nothing but color, and avoid using Black or Brown colors. Look up different colors that'll allow you to mix in dark colors to create value.
>>2376876 >to draw some leisure work on the side. I am however complete garbage at coloring and shading. >Are there any tips on how to pick the 'right' colors and colors that work together? It's called color theory.
>>2376759 Actual purpose ? you can ignore blue when scanning the drawing so you can sketch in blue and make the lines in graphite later and scan only the lines. Also usually when you are learning you sketch with blue and your teacher fixes shit with a red pencil and idunno it looks cool and you get used to it.
Beginner here. What's a good source for basic still life forms to study? Are photographs a sufficient resource or should I draw my clock, bottles, pencil sharpener, woodwind instruments, moving boxes, etc from life?
I know everyone says just use the round brush, but how the hell do people get their blending so smooth with it? If I lower the opacity it takes forever and it really just looks like a bunch of shitty layers. Do people just downsize the fuck out of their images? Is it soft brush and lasso? Mixer brush? It's making me so pissed off to see those overlapping shitty round brush strokes I've just been using a chalk brush so I can have some more leeway. Basically is there a way to make a round brush behave like a chalk one without the texture or shape? Thanks.
Don't be afraid to use photographs for subjects you don't have easy access to, but try and draw stuff you have lying around as well. You'll probably find it's a bit more difficult than drawing from a photo, because photos have already cropped your subject and 'flattened' it. It's a good way to learn and study forms, though. As for what objects, to start with try and go with more basic shapes - mugs, fruits, books, etc. Once you're confident with those you can do more complex.
I'm not even saying that in a "but that's cheating!" way, it just doesn't do the job as well as using a low flow brush and the color picker. It looks bad except when carefully used in very specific circumstances.
Do you think I should try getting work in galleries first, and then after getting some notoriety, trying for that? I know it seems ass backwards, but getting connections seems to be a rich people's club thing where I am
So I went for a portfolio review at ACCD for entertainment design. Which is, you know, the big 'best-of-the-best' program for that school. I know I'm at the level now where I could get into their illustration/entertainment arts program with relatively little trouble, but entertainment design is sooo high level it's something I'm not nearly as confident about.
The women who reviewed my portfolio outline was really supportive, said I would get in when I was done with it and she was excited to see my finished work & wanted me to get into communication with her in the process to fine-tune it. Which seemed like good news, but I'm wondering how much stock I can put into it? Is it possible to turn in a portfolio with one of the staff-member's blessings and still get rejected? Are they trying to lure me into applying and then shunt me off to entertainment arts as a consolation prize? Is that a thing?
Mainly hoping that someone who's gone through the ACCD process can give me some hard facts on that happening.
>>2376887 Thanks. Haven't seen a scanner that magically ignores blue color. Or there's something else that artists use. Either way that was just curiosity, I doubt I'll use blue pencil to sketch for a long while. I've tried to sketch with colored faber castell pencil, those are hard to erase.
I wouldn't need to erase anything if I would be better at drawing. So far my lines are messy. Does overhand grip help with eliminating messy, garbage lines? Or is it worth it on horizontal surface even...
>>2377405 Nope. I'm only really interested in attending if I can get into entertainment design - otherwise, I'll just go back to keep grinding until I can get in. I've got the contact information with me. Considering dropping that it'll either be top program or none at all from me, seeing if she doesn't get more frank about my relative prospects.
>>2377526 that's... that's the point? you deal and learn around something that's unforgiving and will mess you up until you learn how to cope, and you learn the necessary skills for good lines. then when you go back to pencil it's easy.
I looked at the pastebin but the writing left me confused.
Are Wacoms actually any good? I have no idea what tablets are actually good for drawing and those looked just fine, but the pastebin describes them as being very confusing and bad or something? Some shit about patents or such.
wat. Oh its talking about Cintiqs(the actual screens) theres nothing wrong with Wacom. Honestly when you are a beginner just go for the cheapest, any brand. Unless you want to have a two screen setup ( my shitty genius tablet can't use ONLY the main screen )
Totally noob here. Is there a way to improve faster than just basically drawing nonstop. I know, there are probably no secret shortcut. But it seems some people are getting better inhumanly fast at drawing/painting within a year (looking at you progression thread). Are they just simply drawing more than others?
bamboo/intuos is shit and you are better off with a uc logic based tablet
intuos pro has its good sides, but its what, 350$ opposed to 30-70$ of a uc logic tablet (depending on sales) so it makes it really hard to recommend wacom when the key features of a tablet are matched in lower end hardware.
once you get to cintiqs, that's where wacom and uc logic based alternatives both have their issues. there are videos online where people had to write their own cintiq drivers to get things to work because wacom had no real competition, they sat on drivers that bugged out for half a decade without doing anything.
then you have the uc logic side that is usually, at least till recently, always paired with a very sub par monitor.
like i always say though, if you go uc logic (huion, monoprice) know what you are getting into driver wise.
I am an artist that tends to use grids. Ive used grids for about 90% of my drawings and everytime i finish one i feel like i cheated. Does anyone have any good tips, or studies to help me start free handing?
Alright /ic/, I'm sure you guys know about this stuff, you're the one group of people that can help me. I currently have: >artstation >tumblr >deviantart >twitter >facebook >newgrounds What other popular art-sharing site am I missing to drown myself in social media to post my stuff on? gotta spam everything man. Also, what's the shortest, non-furry way to the top, basically the easiest way to sell your soul in exchange of mass appeal (we're talking about even my aunt and uncle on facebook here)?
MLP and Homestuck are dying if I recall. Jump on the FNAF/Undertale/LoL train while it's still going. For something more long term, do Steven Universe fanart. Heck, any large IP is good, especially if the creators have an active twitter or tumblr and they actively retweet/reblog fanart.
>>2378012 I managed to play it without getting too spoiled, so that was one of the best game playing experiences ever.
Well, while my name is probably an easy one to remember, my last name is spic, since the internet works in crazy ways that could turn people off but maybe not idk. The username I always use is not complicated but I think it's kinda shit, it's like 5 years old and apparently my creativity doesn't apply for thinking a new one. And it's probably better if I get that one thing out of the way before making an instagram.
>>2378007 Looks cool, I'm definitely joining! ...as soon as I get a better username, for dat branding.
> last name is spic Yeah, that's pretty unfortunate in an era where people get burned at the stake over nothing on social media. What's your username? If you're having a tough time finding a username, you could either have a secret pun that has inherent meaning to you (for example, if your initials were KG, that's kilograms, which is Metric, which you could stylize as Metrik), or do the classic adjective-noun (GlossyCake, HappyPenguin, LazyNarwhal).
>>2378071 It's PkBlitz. Real name's Enzo. Oh no, I'm exposed now, scandal! jk. Every time I try to think of a new one I never find something I really like, but hey maybe next time I will. Or not, fug. The classic adjective-noun sounds good enough.
Dude, with that name, you're already fucking set up to do shit tons of Earthbound fanart and comissions. And Enzo is a boss fucking name. Find some way to work it into your username. Like Enzone. Or something less shitty than Enzone.
>>2378086 I guess, then again I never really finished playing through Earthbound even though I think it's one awesome franchise (really, I should pick it back up this year), I'm not sure about how big its fanbase is right now. I don't like the PkBlitz name so much because the Pk part is from Pokémon, and Blitz is just a word I thought sounded cool at the moment (this being like 2010 or something). I actually thought of Enzone before, haha! and N-zone as well, or really dumb stuff like Enzombie, etcetera. I'm still trying to find that non-shitty, perfect name...
How about N-ZO or just NZO? You could brand a signature with like super bold or a harshly drawn NZO arranged diagonally or something. With only a few characters, you can make some sort of visually attractive brand icon.
>>2378097 Dang, I like you anon. That sounds neat, I'll definitely keep that into consideration, top of my imaginary list now and if I don't think of anything else I will use that. Why the hell does deviantart make you pay for a Core membership if you want to change your name though? meh, a discussion for another time.
>>2377893 >>2377915 I almost understood. If I want a tablet I have to start programming my own drivers or it doesnt work? I just want to draw on a tablet that works properly. I am not even looking for those actual drawing SCREEN things yet because those fucking things cost over 1000 bucks over here. I was looking at Intuos Art and that looked fine, but I guess its too expensive for what it gives? Not that I know, I just thought you just draw on them.
>>2378509 Definitely applies for both, I don't see why it wouldn't. Of course you can get away with your wrist more in digital, with stabilizers and zooming out and pen tools, but sometimes it's not a case of what looks better or what a real artist would do, but actually what is easier and better for your drawing. There are times where you'll get a much easier time if you use your whole arm. Also, I think people mean elbow, not shoulder. Unless you have one huge tablet, then you can use your shoulder, otherwise do you even have enough space?
>>2378512 Remember quantity over quality, you will learn a lot more from drawing something multiple times than you would working on one drawing for ages. They'll probably set hour long poses and stuff but just do your thing and draw the model repeatedly.
Read up on gesture and construction, Michael Hampton and Force: Dynamic Life Drawing are books I like a lot. They're written very concisely so it's easy to digest.
I'm in the early part of vilppu (still not great at gestures), and I've got Force: Dynamic Life Drawing and have read the opening bit. The concepts itself isn't hard to understand, but I don't make progress through these books because my actual ability to execute them is really lacking. I'm trying my best not to "lie" but I'm not sure how to do that.
Also, when you say quantity over quality, how many times should I draw a figure over 15 or 30 minutes (most common time frames at my life drawing sessions)? What approach should I take to them?
>>2378523 thanks for the answere! The point you made about using the elbow and not the shoulder cleard alot up for me. I have a tiny bamboo tablet, so using my shoulder was really difficult. Going to practice using my elbow more.
>>2374726 >because drawing shit that constantly challanges you pays bills. companies generally want artists who actually put effort into their designs and can go outside their comfort zones. literally any artist can pump out the floating character on white background shit
>>2378071 if someone said their name was metrik and mentioned that reasoning, i'd giggle, not gonna lie
Im going through Keys to Drawing, and am at a point (pg58) where freehand drawings are assigned. I went through and am noticing my gesture drawings are absolute shit. Ive went through the previous lessons relativley well but this is demoralizing. Im on the verge of crying. How am I supposed to improve if my overall underatanding of shapes and scales is trash? Am I holding my pencil wrong?
>>2378810 If smudging becomes an issue but you want to rest more than your pinkie on the page, use a piece of barrier paper, tissue paper maybe, that doesn't slide around to prevent smudging. >>2378831 Depends what you're doing or more comfortable with, general rule of thumb is overhand for figure, organic things, tripod for perspective and inorganic. Ghosting should be a present habit in both grips.
>>2378829 you just gtta keep practicing man, dont let minor setbacks stop you or youll never improve , and if you think your overall understanding of shapes is trash then you know exactly what you should work on.
>>2377963 You can move to just a cross-hair or a plumb line. Bargue plates are traditionally done with one plumb line and knitting needles or thread to measure angles and distances from that. There are also visual measuring techniques like the sight-size method. Proko has some videos explaining these I think. You can still "cheat" with measured points to get landmarks right and eyeball the rest.
>>2378394 Ones with paper that works well with your medium and binding that you find comfortable. I don't think anyone can answer this question except you.
>>2378810 This depends entirely on how you draw. I usually draw from the shoulder with only the last joint of my pinky finger grazing the table, but I anchor the entire side of my hand to the page when doing details using only finger motion.
>>2378858 Either is fine, so long as it isn't anchored or restricting movement from the rest of your arm.
>>2378867 Drawing with an overhand grip using your whole arm is much easier with a steeply angled surface. Having all four corners of the page equal distances from your eyes helps judging proportions. It also helps promote good posture. I use an MDF board leaned against my desk all the time. Double-sided tape and rubber cement are alternatives to binder clips.
>>2379410 If her goal is anime fan-art, I'd say some type of inking tool is a must. Drawing pens (Microns), dip pens (Zebra G-pens), and brush pens (Pentel Pocket Brush Pen) are the most common types. Here's a video series that aired on Japanese TV not long ago about various mangakas and what they use: http://www.nyaa.se/?page=search&cats=5_19&filter=0&term=manben
>>2379410 take a look at the pastebin, i added something at the end "what tools do you recommend" everything on the list isn't a bad choice. >>2379480 that conte pencil im never able to find for less than 7-12$ for a single one, SO not worth the fucking money for a beginner, also the reason its recommended by proko/watts is because they can guarantee the taper you can get, for a beginner i would recommend a 12 pack prismacolor ebony instead as its 5$ for 10 or 12 and will get you a lot further than the conte
outside of that, when she gets good, and can legitimately say she has value down, probably some copic sketch and ciao... i recommend getting the ciao first and filling in what doesn't come in ciao with sketch due to cost.
i also recommend getting them on import as they are cheaper in japan than america,
ciao japan > sketch japan > ciao america > sketch america
in order from least cost to most.
you may even want to get her a sketch set form copic now too, to get her use to using the markers, the sketch set is just i think a 9 marker set with various values.
>>2379219 Okay, WHICH monoprice or huion are you referring to? Every single one I looked up has people complaining about drivers simply not installing or the pen breaking in half within the first day of use.
>>2379663 this is bull shit, i bought a h610 pro and i've never been happier with a tablet. my old wacom bamboo had as much if not more driver problems. if you're not stupid and know how to uninstall old drivers and install the new ones fresh on, it won't be a problem.
>>2379663 I have a Monoprice 10x6.25 inch tablet, bought about 3 years ago: http://www.monoprice.com/product?p_id=6814. I will confirm the pen isn't the most durable - mine felt a little wobbly after 2 years, and broke recently. I bought a Huion pen to replace it (it works fine), but I recommend buying the 'Graphic Tablet Pen' (http://www.monoprice.com/Product?p_id=8297) along with the tablet. The driver on the installation CD that came in the box didn't work on all computers, but since installing the latest drivers from the UC-logic site, there hasn't been a problem. I don't own a Wacom personally, but my friend bought her Wacom bamboo at around the same time, which had a similar size drawing area. It cost her $100, compared to my ~$45 (shipping was about the same for both of us). Her pen was better, with an eraser end, but accuracy/pressure felt the same for both. The Wacom had a smoother surface compared to the Monoprice, which has a slightly textured plastic layer on top (that I preferred actually, it made it easier to transition from paper to digital). Honestly, if all you want is a functional tablet with decent specs, then go with Monoprice/Huion. If you have money to throw away and want extra security/better customer support, get a Wacom.
>>2379703 What if I dont have any drivers yet? >>2379746 That huge price difference is a benefit in favor of mono and huion, but if I cant get it to work because of shit drivers, it was 45$ wasted anyway. The confirmation about the pen is good info though, means I can expect it to break and have a replacement ready.
I really wish I could get some extra luxuries but I dont even know what those would mean on a graphic tablet, like how I have no idea how textured plastic layer feels in comparison to not having it or to paper.
>>2379894 >I guess graphic tablets have their own drivers Of course, every single graphic tablet needs a driver. I have a Huion H610 Pro and had no problem. Just downloaded the driver, installed, restarted and was ready to go. even the old wacom driver is still installed and so far no complications.
>>2379894 I have an h610 and I haven't encountered any driver issues yet. If you order one, make sure to go to their site and download the drivers for H610 before you plug in your tablet. If you haven't had a tablet before, you don't have tablet drivers installed so don't worry about it. And on the off-chance you do (used computer that you didn't wipe or something), just uninstall it.
>>2378902 >It's like, ok if my first few five minute figure drawings look absolutely retarded, right? That's absolutely fine, don't get discouraged. The drawings in the book are from professionals, they're something to aspire to not to meet in your first attempts.
Question in regards to character design. Currently learning my fundamentals, and I have a decent idea of how I'd like to draw, but wondering about something.
What exactly do you learn in a class like "Fundamentals of Character Design"? I'm not too sure what to expect. I have styles in mind I'd like to mimic once I approach that level, but not sure what type of impact these lessons/lectures would have. I'm not asking "How to Character Design", but rather, what do you learn from the "Fundamentals" of character design?
>>2379956 I am curious about that too, since I have no idea what it could contain. My best guess is that they talk about what colors fit together on a character or how retarded your character looks if he wears sandals with socks or something similar.
>>2380099 Eh. Yes, but in a very diffuse way. About as indirect as a crime can get. If it bothers you and your goal is to be a professional, self-supporting artist, pledge to yourself to give back if you make it. If you don't and give up, then it wasn't worth what you should have paid.
So I've been practicing fundamentals with some copic multiliners (the cheaper plastic tipped ones). I really enjoy using them, but sometimes when I want to get a little faster I'm worried I'll mess up the tip.
I've already fucked up one by pressing too hard, so that lesson is learned. Even when using smooth marker paper it feels like I have to baby them.
Am I using the right pens for what I'm doing, or are technical pens just not meant for this kind of usage? I want to know if there is something more appropriate that isn't a ball point, or if that's even a thing.
When you make a new thing in Photoshop, there's one default background layer, all white. I find myself changing that shit to grey every single time. Is there any way to change it forever, so that I don't need to touch it anymore when I make a new canvas?
how the fuck do i into construction? i can copy photographs and draw boxes in perspective from any angle but i find it impossible to simplify complex objects into basic forms. i mean i can draw a bottle or a lamp because it can be simplified easily. but i am completely lost as soon as something doesn't fit one of the basic forms perfectly. is this where loomis comes in? if so, what book(s)?
>>2380822 Short answer "No", long answer "Maybe but probably not". The answer is definitely no if you're younger than 23. Give yourself some time to grow as an artist on your own so you can try for a scholarship. These schools aren't going anywhere if you don't go right after highschool.
I noticed I can't visualize my drawings in my head before I start putting them on my paper.even trying my best to do so is a struggle . even when I draw alot and "increase my visual library" I can't visualize whatever an object looks like clearly anyway, even objects and things I've been drawing for years now still arent clear in my mind. should I do something about this or does it not matter
My tablet does an obnoxious thing where if the pen is held down on it for more than a second or so a circle appears around the cursor and limits movement. This gets in the way of drawing obviously. I have a huion and looked in the tablet options but found nothing. Can someone help?
>>2380970 Do you ghost your lines? The motion helps me visualizing some stuff.
Also I have noticed that while drawing from imagination I just start and let the lines direct me in several moments. It's like the sketch was begging to be taken in a particular direction that may or may not coincide with your original idea.
Why is taking two days off after drawing every day for half a year worse than having started two days later and worked every day? Why am I always told to draw every day? I feel like my muscles need more time to rest and my mind needs more time to process. I really want to take a few days off, but I'm scared it'll somehow ruin half a year of practice. Let's assume that motivation (ie actually starting to draw again after the break) is not an issue.
>>2381070 I don't think it's really an issue if you take oneeee day off. I remember there was a span of like 2 weeks where I didn't play soccer, but I watched live soccer games. when I picked back up I made noticeable improvements despite not playing. idk if that would work with art though
Is there an efficient method to sketch down layers of hair? Every time I try it ends up becoming a mish mash of incoherent crisscrosses. I try to block it down into basic geometric shapes, but I guess my fundamentals are not quite there yet for me to plot them down in a naturral way.
>>2381122 You're free to dabble around with it at any time. It can be useful to do it on the side to ease the transition later, but it's much easier to get into the motions with physical mediums to train your eyes, muscle memory, and fundamentals.
>>2381395 It's solid if you decide to stick to it. I would suggest that you dedicate some of your studying time to look at what you've made previously to reflect on what you did right and what you can improve upon. That way you are improving both your anaytical and intuitive abilities.
Also, if you really plan on getting serious, make a habit out of carrying a notebook, post its, (anything to draw on and with really) so you can scratch something up whenever you get the impulse.
Is it advisable for a beginner to have multiple sketchbooks for different subjects? For example I do all my life drawings in one book, doodles/imaginative work in the other and I use printer paper for anything else. Both sketchbooks are 15~ pages though.
I'm worried I might be spreading myself too thin, but I don't have any other of how other artists organize this.
I'm conflicted and confused. There seem to be two kinds of approaches to drawing: The Vilppu aka "we never copy the model" approach and the Dodson aka "just copy the model" approach. I don't know how to consolidate the two. I can never quite decide if the next mark I make should copy the contour or just represent a simplified gesture and this indecisiveness cripples me. You're gonna be inclined to say that obviously I should start with gesture and then copy the contour onto it but that doesn't make any sense. If I'm gonna copy the contour, I don't need a gesture drawing; that's only ever useful if you're doing construction. If I'm going to construct the contour from the gesture, I'm not going to have to copy any contour. I just don't fucking understand. Help.
>>2381701 Just remember to have fun in the pursuit of skill. If you spend like Xhrs a day studying fundies, take some time to apply yourself to a piece, or just copy an artist you like, figure out what you like about them and emulate it.
>>2379600 Woah I live in a 3rd world country and conte pencils aren't as expensive (around 3 dollars each), no idea what's going on (this is why I reccomend it and what I learned with, if I wanted to be fancy I'd reccomend sanguine)
No idea about prismacolor ebony but I will give them a try whenever I can
>>2381819 Krita is on Steam. I've never had any problems with it, but I haven't had it installed since around the time they put it on Steam. (I think that was a year or two ago?) I'd imagine the Steam version is perfectly safe, at the very least.
I'm having trouble with the center line for the forms on the Loomis head drawing method. Gauging the foreshortening on the horizontal eye, nose and chin lines Is throwing me for a loop too. Does anyone have any tips?
>>2382203 usa, every now and then i look them up because i would love to try them out, but not at 7 to 12, there are some other variants that pop up that are different, but even then it's something like 2-5$
you know where to get them cheap i'll probably get a few when i got money to burn, christmass kind of wiped me out this year.
half of that book is focused on perspective, you can try to study from that book if you want. It's not bad, but there are other means to study it.
Perspective Drawing Handbook, Perspective made easy books. Or if you'll have the willpower to work through How to draw by scott robertson then that one might work either.
Also, there are videos around interwebs you can search for perspective series by marshall vandruff, perspective series by erik olson(this one's harder to find as it's from new masters academy, but content is gold).
Really stupid question incoming: how do I stop symbol drawing?
Since I got grilled by one of you for symbol drawing, I have become incredibly insecure about my art. I decided that I would stop symbol drawing. But I can't. I literally can only do lineart/starting sketches like pic related
My biggest problem is eyes, I think, so I decided to tackle this problem first. I have no idea how to even begin to draw eyes without symbol drawing. I did my best to follow guides, look at proper eye shapes, none of it works, I can't draw the eye properly.
Is there some secret I'm missing? I always fuck up around the tear duct/drawing the eye crease. I can't do it for the life of me. I've only become aware of this problem for about four days, and it has made me seriously consider just throwing away my tablet and giving up drawing forever.
hey /ic/, i find that the more i learn about different animals the better my fantasy creature designs are. i was thinking about making a skype group dedicated to drawing one weird plant/animal a day to accompany anyones personal studies. i figure itd help people not interested in animals or plants much to draw things they never even knew existed.
is what im doing a waste of time or does it sound like a fun idea?
So say I choose a sp and a cov of 60° Naturally outside this cov, distortion will start. But my question is if I change the sp and place it further away from the hl but keep the same cov. Will the distortion still appear within this new cov? Even thought technically there shouldn't be any?
>>2381691 Well, it's like what Vilppu says about Musashi. Basically, everyone has their own methods and ways to approach figure drawing. However, the end goal is all the same with each method. He uses Musashi as an example, simply because when he was teaching his sword techniques, he wasn't teaching you specific methods, but rather, How to kill the opponent. So no matter how you approach it, the end goal is all the same.
>To cure your symbol drawing, you need a different view of the world around you. Instead of drawing what you know, start drawing values, shapes and shadows. For example, while before you might have drawn an eye, now draw this abstract combination of dark and light areas.
>Learning to copy is the most basic skill an artist needs. This is the first step towards analyzing references and other art to improve your own work.
Try varied line weight on mouth, shadows on noses by shading like crosshatching, add light/dark values on hair (find the light source).
Observe how manga authors in Jojo's Bizarre adventure, Berserk, Vagabond etc. do this.
I haven't finished a single lesson of drawabox to be honest. A lot of attempts throughout months, but nothing that made me improve. Exception are straight lines, I can draw them easier than before. Ellipses though are shit like ever.
Also I'm constantly jumping from one resource to another, with hope that I get to learn something. So far learning process is depressing.
What does imitating plates such as Bargue's drawing course actually teaches?
get better at sight size seeing?
but what if you only wave to get better at comparative measuring?
does it count as a master study?
the scans are pretty shitty so I wonder why not just buy plaster casts and draw from life instead of relying on plates. I mean, Bargue's lithographs are based on sculptures anyway. Is there an advantage of doing these compared to life drawings?
I'm sure this is a dumb question but what the hell. Could Garry's Mod be used to create art references, I mean you got the props and characters, you can alter poses and check skeletal structure. So could it or am I being retarded
>>2383152 >Ellipses though are shit like ever. Scott Robertson teaches them pretty much in an opposite way. Maybe you want to look into that instead of grinding the drawabox approach. https://www.youtube.com/watch?v=AaZmwHU7vZo
When people say, alongside fundamental books like Keys to Drawing and FWAP, beginners should strive for 5-10 minute life drawing, as many as possible, quantity over quality, I understand. It's better to get the mileage than to gain nothing buy attempting to render garbage.
However, what i don't get is what I should be doing. Should I just being drawing ordinary objects from life? Should I focus on drawing contours accurately? Or should I attempt to capture the gesture of the object? How precise should I be? How do I deal with something relatively complex, like a human figure in a time constraint like 5-10 minutes? How can I get the most mileage out of these thousands of quick images, and when do I know I can move on to "real pieces"?
is it normal to get real fucking tired when drawing in photoshop? I can play games for literal 8 hour shifts just taking a piss and eating a snack bar throughout but using my tablet at my desk for 25 minutes just knocks me out and I gotta take a little nap after. I can draw in my notebook much longer for some reason.
I also tend to hold my pen really tight which I can't explain but it makes my hand sore quickly.
what are some good arists to make master studies of when you're still a beginner? Is it better to just grind perspective/anatomy and if so what are some exercises that won't make me want to kill myself?
How long may it take to finish "keys to drawing"? I'm thinking I have to get back to basics to improve my line confidence. So far I just feel stuck in every book I attempt to work through. Or the reason behind it all is my lack of passion to read a single book. I haven't read that many, probably I should have though.
>>2384261 Bargue Bargue Bargue! At most classical ateliers you spend half the time of your first year doing Bargue drawings (other half you draw the model from life). His drawings are a really great foundation to start from because while they're simplified, they contain a ton of subtle information that is really worth studying.
It's a little hard to get the most out of Bargue drawings without an experienced instructor to help you to train your accuracy in observation but if you take your time with each drawing and really focus on seeing shapes and the subtle transitions between them you will probably learn a lot.
I think in the beginning, one should train accurate observation and drawing above all else. Perspective and anatomy are tools to help you see things but it should never replace accurate observation.
- Vitamin D, make sure you're getting enough of that - Drink your milk - Don't draw from the wrist, if you're holding things too tight it means you're burning excessive energy for no good reason, which is what will tire you out quickly - Eat good amounts of fruit and have red meat occasionally. Oranges, apples, bananas and pears are good. - Almonds and tuna are a good snack - Chuck spinach in with your food whenever you can
>>2384013 5-10 minutes for life drawings is not nearly enough to really train your ability to draw accurately. You don't get the opportunity to take your time and really study the delicate overlaps of a figure or the subtle changes in a contour. I'd say, set a minimum of 2-3 hours per life drawing and really push your ability to observe the subject and draw it very accurately.
Don't just assume that a 3 hour drawing is all about rendering. It is very common in ateliers to spend 3 hours on just drawing the contour of the figure. Instead of producing quantity over quality, look for ways to push each step of a drawing as far as it can possibly go. This way you make sure to always strive to make everything as good as you can possibly make it and by doing so, get a little bit further/better each time.
When it comes to "what" to draw, you can't really go wrong with drawing the figure. That being said, ideally you'd want to train your brain/eyes to view things as abstract shapes to block in and if done properly, you should be able to train that by drawing pretty much anything.
When it comes to "gesture" there is a lot of BS online. If you do a proper figure drawing, it should contain a good gesture. Most people just consider doodles to be gesture drawings and while they may contain a gesture, you can study it even more in-depth by doing accurate drawings of a figure. Being able to see the very subtle gesture in (let's say) the contour of an arm takes time and you really need to focus to draw it well.
Also I'd challenge the thing regarding those "fundamental books". The books you listed are something like hobbyist books and while they're fine, they aren't really meant to be a serious foundation. If you really want to get down to the core of what drawing is you should look up the book "The Practice and Science of Drawing" by Harold Speed.
>>2384464 I'd recommend doing them at any time. They're kinda difficult to do and it helps having an instructor to guide you through them.
The reason it is seen as "great" is that it is a classical book on academic drawing. It was commissioned by Jean Leon Gerome in the 1800's to teach new students at the french academies how to observe and draw accurately. The book is mostly just drawings, the text isn't that important so if you're cheap, you can just download some of the drawings and print them out yourself.
(The image attached is one of mine although the picture was taken before it was finished. I think that was the second one I did).
>>2384479 It's really really good. It's very different from other books on the subject because it is more about the underlying ideas behind drawing rather than technique (although those underlying ideas feed into your ability to draw well).
How many hours did that one take you? I'm going through the book now with printed sheets and I'm up to the feet but I still cant get it to look like this. I'm definitely more accurate since the start but the shading is nowhere near this seamless, so I'm starting to think I might be rushing it a bit
>>2384504 When it comes to perspective I personally learned most of it from Joseph D'Amelio's "Perspective Drawing Handbook". In reality, most books on the subject do a good job explaining it so don't worry too much about that.
I was never really a fan of Vilppu but I'm kinda biased. I'm an academic/classical art student so whatever I say tends to be in favour of that. Vilppu is more on the animation side of things and I find that his way of working isn't easy for new students to learn from (or I should say, it isn't easy to build upon what you learn from him). The reason I go for a more classical approach to figure drawing is because I personally found it to to be way more sound in its approach and I learned a lot faster through it.
Books that I think are worth having are The Practise and Science of Drawing by Harold Speed. The Practice of Oil Painting and Drawing by Solomon J. Solomon. Artistic Anatomy by Dr. Paul Richer. The Human Figure by John H. Vanderpoel.
Other than that, just do a ton of drawings from life, really emphasising simplification and getting a good block-in going.
Ah, I see. Actually, I'm interested in the cartooning/stylized/animation style of art, but I do know that understanding how to draw from life, and by extension how to construct, is absolutely vital for the pursuit.
> block-in That's where you start with general and simple shapes and move deeper into the detail once satisfied, right?
>>2384525 Man, that drawing took something like 60 hours when I finally finished it. The picture was probably a week from finishing it. Now I can probably finish one at the same level in half that time, a lot of the time I spent on the drawing was just figuring out/learning how to control my use of shapes.
There are a few core principles I think are really worth keeping in mind when working on Bargue drawings. One is to just make sure you use straight lines in every part of the drawing (even the rendering). Another thing is to look for 2D shapes. if you can draw this way, you can start to really look for the character of these shapes, their edges and their transitions to really render the drawing accurately.
>>2384539 The block-in approach comes from academic drawings although today its meaning is a little diluted. What I mean by it is the use of straight lines to draw a simplified version of your subject. While it is a simplified drawing, it'd done to work with the simplest lines possible to reach a very very accurate representation before moving forward and finding smaller angle breaks. If you use straight lines, you can more easily change them and you an use them to find more exact shapes. You can see an example of a block in on this image http://ricardopontes.com/wp-content/uploads/2011/11/80_plate_I_53_young_woman_life_cast.jpg
>>2384564 Yeah, It's interesting that you brought this up. When working from life you have something given to you that you can work towards while if you want to draw from your imagination you need to mentally supply the form and impression of your subject. I personally use more curved lines and "loose" ways of working when drawing from my imagination because it helps me feel the form what I'm drawing and it generally helps me construct things like the figure.
Honestly, this is something I have to talk to my instructors about. When working from life I find the-block in very useful however when at home, just drawing from my imagination the block-in approach feels more like a hinderance when beginning a drawing. I do feel as if having intensively studied the block-in approach helps me in my imagination based work but I'm not to sure it's an appropriate approach for that. I might just need to get back to you on that.
See, I always ask these questions and I get all the more bewildered and frightened the more answers I get back. I know that the only way forward is through consistent, focused practice, but the way to do so is debated in every single book, website, heck even on here, I get conflicting advice (such as what you just posted which blew every notion of proper practices that I once thought were correct). And I'm mortified, because I know that there are people who practice a lot and linger and plateau despite their best efforts and that's because they're not practicing correctly. I haven't done enough to know whether I'm on the right track or not, but I don't want to throw in half a year of hard work and realize that I've been practicing counterproductively, or worse, developed bad habits that will take longer to reverse.
I guess, cards on the table, I'm interested in going into stylized art, namely animation, character design and cartooning, probably mostly digital. I understand that more than most traditional forms, gesture, construction and drawing from imagination is absolutely critical. However, I absolutely cannot advance without comprehensively understanding life drawing (this includes figures and ordinary objects). The problem is, once Loomis and Bert Dodson let me off their leash of exercises, I have fuckall idea of what to do and where to go, or if using them is even the right direction, because people have disputed those books as well.
Basically I'm fucking lost. For the first time ever, I'm a month into steady, dedicated, daily practice and I'm terrified I'll make no progress.
>>2384628 Know the feeling, man. I used to have some really bad anxiety regarding this stuff because it felt as if there was a mountain ahead of me that I needed to climb relatively quickly and I didn't know where to start.
My advice is to pinpoint certain areas that are guaranteed to be of use to you. Perspective, anatomy, life drawing, understanding light and so on. Find one thing in one of these subjects and just learn that. Just focus on one thing at a time. Studying anatomy? Just ficus on being able to identify bony landmarks or just focus in learning one muscle. Feel as if you line drawings are too scratchy? Just focus on making clean/unified line art. Your brain can only keep one thing in your mind at a time so let that guide how you learn. Just one small step at a time. This will also help with learning anxiety because at the end of the day or week, you can sit back and honestly say "I learned X" instead of feeling as if you just got a little better in some general/vague way.
Whenever I try to learn 10 things at a time, I really don't end up learning any of them (or at least not fast). If I break these goals up into individual things that I can tackle one at a time, I can easily learn them and move on to the next one, then finish all 10 in a shorter span of time.
One thing I'd recommend if you have the opportunity is to just spend one year at a good atelier. Just going through the drawing program can be very helpful if you learn everything one step at a time and focus on absorbing as much as possible. You'll leave with a decent understanding of how to continue learning on your own.
The ateliers I'd recommend are The Florence Academy of Art, Angel Academy and The Repin Academy. I'm at one of these places and I know students at the others and they all seem to be really good.
I'll be back on in an hour or so if you wanted to reply something. Need to go grab dinner.
What is the best approach to learning all of what a digital art program can offer? I feel like tediously reading the manual is the best method, but perhaps not the most fun / efficient? Also is it terribly necessary to know the program up and down?
Fastest way to git gud? Progress has been pathetically slow. Already studying something else so art college is out of the question. Are those group classes worth it? There's one near where I live : http://synstudio.ca/drawing-from-life/#
>>2384915 Not the way you're doing it. You're not studying, you're trying to draw the subject in your own way. You should be trying to copy the likeness of the painting as best as youcan, even if you use a different medium
When i draw I like to turn the canvas because i naturally draw with my wrist making curve movements. This transitions horribly into my digital works since turning the graphics tablet does nothing to help.
Is there any way around this? I use Krita, does it rotate canvas like photoshop?
>>2385364 He means actually drawing the outline first, as in having your pencil go in a human-shaped racetrack. It makes the figure drawing process longer, more prone to mistakes, needs complete redoing if you get something wrong, and rarely gives you feel of the figure. By drawing out the "skeleton", lines of action, etc, you get a better grasp of the figure.
>>2385435 There's a lot of argument over the subject but the main thing is that you're not doing the 3D to 2D conversion with your own eyes and brain. It's viable enough to use photo ref, but if you're in a position to draw from life, use it.
>>2384936 Thanks. I'll keep that in mind. I might do that, actually. >>2385082 I tried to, but reading your post I can see that I was kidding myself if my drawings looked anything like the originals. I guess I need to reconsider going back to the basics or something. I appreciate the feedback. Thank you.
>>2385476 hmm thats kinda weird because people tend to go for the textured surface (some people go as far as using a paper sheet in top of their tablet) so I guess you could use an acetate sheet or a piece of plastic
>>2385506 How about you take the time necessary to study the figure in-depth instead of half-assing it? If you study something for a long period of time, you will be gaining a better understanding of it so when you want to make the same kind of thing but faster, you have already spent a ton of time learning the subtleties of a figure or the delicate change of shapes in smooth objects.
The goal of these kinds of studies are to make it easier for you when you want to make something quickly from your imagination or work alla prima. Sure, exclusively doing longer drawings might not be great, but I do think that it is important to work on a drawing/study until it is correct. A lot of beginners want to make stuff as fast as the artists they idolise but forget that trying to emulate what Schmid does effortlessly when you can't even draw a proper portrait will just leave you with a poor drawing/painting. By pushing yourself to make the best drawing possible, you will also develop the ability to reach a higher quality image faster and after several years of doing this, maybe you can do a great drawing in 10 minutes, but when starting out, I find it more important to do a proper drawing than a fast one.
Is it better to study less subjects and concentrate on only one or two a day? I draw for 1-4 hours a day but end up trying to learn 5 to 10 things. Instead of drawing a few dozen hands I do 2-4 and move on to the next thing. Should I just go with whatever works for me? Am I overthinking this?
Is there a 3D model poser program that has camera effects like fisheye etc? i am trying to figure out some perspective angles with camera distortions and i need something to help me figure this shit out.
Beginner here. I need some help with coming up with consistent exercise regimens outside of my reading of books. My practice so far has been all over the place, so I'm trying to refine it and learn core concepts one at a time.
I'm aware of how to tackle perspective (draw boxes/scenes from imagination, observe and draw perspective naturally through still life observation), and that it's too early for me to even consider colour or composition.
What exercises should I do to train my ability to break down objects into basic shapes, understand how light and value works, and improve my construction?
Also, I understand that drawing from life is the most effective way of learning. However, being a student in an apartment, I'm pretty limited as far as subject matter goes and I find myself running out of household objects or ways to arrange light fixtures for life drawing. Should I start searching for photos online or what other databases/solutions are there?
I'm really new to this, and one of the biggest problems I was facing was drawing the lines I wanted, so I posted a thread on here and now I'm doing the exercises from this site: http://drawabox.com/ (thank you by the way to whoever suggested it). Anyway, I've been doing the exercises but now I have a question that seems very important:
At first I began doing the exercises not thinking too much about my arm. I limited myself to locking my wrist, and that was it. I drew with my hand brushing the paper every time, but then I reached the ghosting exercises, and seeing as I have probably the worst lines I've ever seen in the history of ever, I have to do a lot of invisible lines. I noticed it was quite annoying to keep the hand on the paper, since after a while the friction feels weird, and there's always a "drag" when I try to move my arm because of my hand, besides, I feel like if I'm working with something that can easily smudge (like charcoal), this would definitely be a problem. Now I've been doing the exercises with my hand hovering, and with the pen perpendicular to the page. It is a bit hard to control sometimes (I've been getting considerably more comfortable with it), and it can get pretty tiring (when I can't go on I just stop, I've decided to never draw with my hand resting on the paper again), but this seems to have many benefits, including the ease with which any line at any angle is made, since I can just adjust my arm to find a suitable motion, and don't have to think about wrist angle at all.
Am I doing the right thing here? Should I keep drawing with my hand hovering over the paper and build up resistance and arm control, or am I hurting myself?
Is Vilppu's drawing essentials course a good alternative to learn the very basics? Obviously I can't afford to pay for it 600$ but still.. You get the drill. I can't seem to learn from books, never been my passion to read books even. Probably video lectures would be better suited for me.
I work full time, but I would really like to get back to drawing. As a hobbyist, but I want to actually get good. The problem: I really have troubles motivating myself after a long day of work. Any tips? Or am I just not cut for drawing then?
What's a good, yet reasonably priced pen that I can use for the Peter Han work? I'm trying to break out of the habit of shaky, hairy lines, so if there's a pen I can buy in multiples without breaking the bank, that'd be nice.
I just started doing bargue plates right now, but I think that I take way too much time. Each eye of the first plate took me over 30 minutes. Is this normal? When I'm doing it I end up pondering a lot and thinking where i should put the stroke. but when I do the stroke I do it not slowly but fast, good thing?
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