How do you properly do a master study, /ic/? I try to copy from

>>2666085
It is copying but with intent. It really depends on what you're trying to understand from whatever you're studying. It can be composition, value, colors, line, etc. Focus on one aspect and try to understand how it's done by the artist and eventually some things will click and you'll see things you wouldn't have known before.

>>2666086
This. It's still copying, but while paying attention to the nuances behind it.

>>2666085
>copy
>try again from memory
>check your mistakes to see what you didnt get
>repeat for 5+ years

>>2667773
what the fuck, that is just fucking memorizing

>>2667773
How Not To do a Masterstudy.

>>2667773
Lol are you serious

>>2667773
not gonna make it

>>2667893
Yea welcome to art buddy, where you literally have to memorize hundreds of concepts so you can apply them to your drawings.
If you can't regurgitate what you just studied (which doesn't mean a verbatim copy, just the aspects that you were actually trying to learn) it simply means that you didnt understand anything you did and were just copying.
>>2667894
>>2667896
>>2667897
well memed lads

Do a master study and then do work from your own similar material. Try and make your original work take on the qualities of what you where coping, do it about 1,000 times and you will be all good.

File: Bust-of-a-Woman-Turned-Three-Quarters-to-the-Right-Parmigianino-1531-4.jpg (369KB, 848x1149px) Image search: [Google]

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Alright listen up. I speak from pure experience having studied from old masters. The best way is to study old master drawings and to familiarize yourself with the strokes. Save many of them. You might start by copying simple drawings. Take note of where the pen has pressure, where it tapers, and such. When you find a stroke or hatches that are unusual, do it over and over again until you familiarize yourself with that stroke or series of them. Write notes on the side what the reason is in relation to the whole. When you will draw from a model keep that in mind and employ it until it becomes natural. You'll find there are certain strokes or series of strokes that are common to old masters in dealing with things like foreshortening, curving of the limbs, or the way drapery folds. Another reason aside from learning lines well is this: that by the continual employment and familiarity with them, you will find yourself to draw quicker, using less lines, and more intuitively; and you will, by a faster rate of drawing things, learn faster.

Here is a drawing which I have found only through good luck and I bestow by the goodness of my own heart.

Look at the diminishing hatches on the brow. The curved lines that frame the roundness of the chin. The way the lines at times stop just before the outline of a form. How with one fluid line it can convey the change from a soft to a sharp overlap. That one barely perceptible line inside and parallel to the outline of a leaf: what sort of form does that imply? The delicate accent on the top of the cup of the nostril. The shading of the cheek which is continuous with the outline of the cheek.

File: ryo-cvs2-fix.jpg (47KB, 386x600px) Image search: [Google]

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>>2666085
basically what >>2666086 said,
the only thing i'd add is that it can be helpful to compare the master painting to outside reference so you can have a better understanding of the design choices that are being made. if i'm studying someone like kinu or ogura, i'll also have anatomy ref open to see what they do and do not chose to emphasize. this can be harder to do with nonfigurative work, but if you can find similar materials & lighting, try doing your own study along with the master study.