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 Currently working on getting the speed of my sketching up to par. This one only took an hour. I'm hoping I'll be able to get it down to about 30 minutes for the same quality, now that I've roughly figured out tools and workflow.
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Jul 17, 2017 18:43
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 Better Call Saul has some unreal good use of light and color, and it's great to use for reference for practice.
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Jul 20, 2017 16:06
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William T. Hornaday posted:Basically I've come to the conclusion that the best way to do that is to just out-stubborn myself and force myself to draw constantly, as I'm not really going to get any closer to the goal by sitting around looking at stuff that I like and wishing that I could magically someday be that good. More or less, yeah. It's frustrating when you have perfectionist tendencies, because you're unfairly expecting so much from yourself, especially the case if people constantly tell you that you've got a talent or a knack for it. The truth is that everyone starts at a relative baseline and, whether through accident or happenstance, may figure out certain aspects of formal drawing on their own, but the only way you really become good at art is through constant practice, self-analysis, and a willingness to experiment, even if it's completely out of your depth. Let me publicly embarrass myself to prove a point on this:  This is one of the first attempts at a human portrait I ever did, roughly two years ago. Looks like loving garbage, right? But I was really proud of it at the time, and I still am. I had no clue what I was doing beyond some vague notions of the Loomis technique, but I absolutely tried my heart out. The fact that it looks really, really bad isn't the point: it's that I made the attempt and, consequently, understood after what my weaknesses were. Pushing past that initial barrier of, "But what if it doesn't look good?" is one of the most important things you can do in your art education, because it teaches you that making something that looks good isn't what you should be aiming for. Rather, you should be aiming to subtly improve on each drawing you make, and if you're carefully analyzing your work and looking up resources and tips from other artists, this will come naturally.  This is the same portrait with two years of practice backing it up. Anyone can learn how to make appealing art. Don't be frightened or intimidated by the learning process. Draw outside of your comfort zone and treat it like a puzzle to be solved - figure out what you need to learn to make it look like you've imagined it. Save and date every drawing you make, no matter how wretched it might look at the time, because you'll be able to look back on it a year or two down the road and see, in a very tangible way, how far you've come, and how far you can still go.
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Aug 16, 2017 15:48
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Jake Snake posted:Based on a yearbook pic I found online. Hope it didn't turn out too Looks pretty good! The base of the neck's difficult to distinguish, but I know from experience how tough it is to define the sternocladiomastoid without making it look weird.
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Aug 19, 2017 14:52
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underage at the vape shop posted:Where should I start with learning to draw? Going off what Franchescanado posted, I would highly recommend starting with Proko's free video library, as I think it's an excellent resource for what it costs. The most essential skill that you want to master - aside from basic pencil control - is the ability to properly visualize 3D forms on a 2D (paper) surface. What I mean by this is simply being able to draw and position 3D objects like cubes, cylinders, and cones on a piece of paper. This might seem tremendously mundane, but it is arguably the cornerstone to all successful drawing, regardless of the kind of art style you're aiming for. You should fill page after page after page with boxes, cylinders, and cones, because what you're training yourself to do with this repetition is to be able to intuit 3-dimensionality. Take a look at this drawing demo from Glenn Vilppu. Notice how he starts to suddenly fill in the volumes of the gestures he's drawn without much thought: part of this is knowledge of anatomy, but the larger part is that he's trained himself well enough to be able to "see" the 3D form in his mind's eye and understand how it's positioned. This all sounds really odd and mystical, but it's really merely a skill that you'll naturally acquire as you practice. The second most essential skill is understanding gesture: the way in which our eyes follow the "flow" of an object, and how to create an appealing flow from top to bottom. This one takes a while to master, because the concept is difficult to explain, and it's based far more on feeling than any scientific or mathematical approach. Proko goes more in-depth on it, as does Vilppu in the video I linked above. The best tip I can give for learning this is to stay loose and let your hand following what your eyes are seeing, rather than overthinking the gesture and coming out with something stiff and awkward after. The third most essential skill is understanding value (light and shadow). Once you understand value, you can give true 3-dimensional depth to just about any object, even if you couldn't normally define it with lines. Don't start learning color until you get the basics of value down, because color makes everything about ten times harder compared to a simple value exercise. Once you understand these things pretty down pat, everything else is simply knowledge. Drawing a human body becomes a matter of understanding its volumes so that you can visualize and draw them. Drawing a mountain becomes a matter of understanding its volumes so that you can visualize and draw them. Drawing anything past this point really is merely a matter of acquiring enough knowledge that you can draw it successfully. Don't be afraid to use reference, but do be afraid of merely copying the lines that you see, rather than visualizing the forms. Most of all, be patient with yourself: everything you draw at first will look bad, and you'll get frustrated with your inability to properly express the images in your head onto paper, but keep a constant schedule of practice and you will eventually succeed.
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Oct 2, 2017 05:32
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Shinmera posted:Of course. I guess I just fall into the pit of "I'm never gonna get there" way too easily, which is something I'm aware of, but not sure how to combat against. I've kept a record, whether digital or physical, of every single drawing I have ever done since I started drawing two years and change ago. Whenever I start thinking, "There's no way I can learn how to do this," I go and pull out one of the drawings I did two years ago and compare it to something I did even two days ago. It's a very good and very real reminder that I've been able to progress immensely through hard work and dedication, and that I'm not going to suddenly plateau and be unable to learn a new technique or master drawing a specific form. If you're seriously struggling with the confidence to put thought to paper, it's never a bad idea to go back to the absolute basics. Whenever I start struggling with things like anatomy and form, I go back and practice the simplest possible methods of construction - boxes, spheres, cylinders, etc. - and apply them to the form I'm attempting to draw. The times where I get in trouble when drawing are usually because I've succumbed to hubris and thought myself above simplifying a torso as a box or drawing some perspective lines or looking at reference. If you've been doing it for 30 years like Glenn Vilppu or Steve Huston, you can get away with not always drawing things to look like a box to begin with, but for us casual schmoes, constantly brushing up on and adhering to the basics is the best thing you can do.
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Oct 30, 2017 17:34
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sinc posted:Hey thread. I got an Apple Pen a couple of months ago for boring non-art stuff but since then I've ended up spending quite a bit of time with Procreate. Never really tried to draw anything properly before, turns out it's kind of fun. The two big things that stick out:
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Nov 22, 2017 06:33
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The trick with figure drawing is always to first find the gesture. If your drawings feel stiff and cumbersome, it's because you either haven't found the gesture, or you haven't exaggerated the gesture enough. Finding the gesture consistently takes a long time to get good at, and there's no real solution aside from doing an absolute shitload of gesture drawings. Franchescanado, do you have any examples of your figure drawings handy? It can be good to have a second set of eyes looking at your drawings if you think there's something wrong about them. For me, it's easy to get wrapped up in minutiae and end up missing the bigger picture of why a drawing doesn't work, and having someone else looking at it is immensely helpful.
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Nov 23, 2017 05:51
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The Dregs posted:My final for drawing 1. I hosed up her mouth a bit and I don't know how to fix it, but I think it is plenty good for drawing 1. It's all about proportions. You made a pretty common mistake for new artists, which is to put the line of the mouth at the midpoint between the nose and chin. On most people, it's the bottom of the lower lip that's at the midpoint, with the line of the mouth being slightly higher than that.
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Dec 4, 2017 06:07
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The Dregs posted:Damnit you're right. Thanks No problem. My recommendation for portraiture is to always stop and take multiple looks at your roughs before going on to the finished product. I'll usually take two looks: one for when it's at its roughest (which is usually just planes and a few line indicators for features like eyes/nose), and one when I've added on more features like the eyes, eyebrows, and so on. If something feels off about it and you can't quite figure out what, do a quick general proportion check. If it still feels off, it's usually a result of a certain feature not matching the model, not showing enough plane changes (such as with the bridge of the nose), or you having lost the intended emotion. It's still a pretty good drawing, though. You've got a clear grasp of drawing elementary forms (which is especially noticeable on the right arm), which is the hard part to get down pat. Everything else is simply knowledge.
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Dec 5, 2017 07:19
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Having a specific project to work on helps a lot with productivity. I've started drawing comics specifically because it's excellent, consistent practice that works towards something.
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Dec 14, 2017 06:25
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Really great stuff, though I'm having an aneurysm thinking about how long that armor shading took to do. 
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Dec 29, 2017 17:31
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