While drawing from life is important, this idiot is suggesting that you don't need to learn how things work.if you want to be an actual artist, ditch Loomis, Vilppu and all the other "for Dummies" poison books.
draw people as much as you can from real life. in parks, cafés, shopping malls, at bus stops, on the train, school, at work, anywhere - best in places where people rest and hold still for a few seconds at least. ask you friends to sit for you. using construction as a beginner right away makes you think in construction constantly. i've seen sketchbook pages here of people who use construction, even when they draw people in real life. you shouldn't use that at all, when all you need is in front of you
If you go to a life drawing session to draw a vase of flowers without understanding that it's just a modified cylinder with light rays bouncing off of it, you won't learn more than 10% of what you could've learned.
Go to your local art school to see how far drawing from life alone gets you.
This is bad advice. We need to learn from others before us, and absorb the sum of human ingenuity and artistry, and channel this language alongside your own ingenuity and ideas.
Example: go out into the wild to do some "survival". If you haven't learned from other humans, learned macro and micro details and methods, chances are you'll catch an illness, invent some crude tools and probably fail. It's the same with artistry, look at the evolution of greek statues
First they started as simple Egyptian 2D statues
Then they "took a step forward", literally going from flat 3D heiroglyphs to a semi realistic model in real space.
Then they invented rules like harmony, contrapposto etc, and the figures started to look languid, noble, beautiful, graceful.
Then the sculptors decided to take it to the next level, and did autopsies of bodies, stripping away skin to reveal musculature and veins, bones and facial proportions. They studied the previous statues, and improved them to the point of realism.
Then they idealised them further into gods, using the work of hundreds of years of sculptors to turn it into a mathematical science combined with the pure artistry, reverence and ambition of the Greek soul.
Then the Greek and Roman world crumbled, and most of that knowledge was lost, hence the naive, 2D art of the Medieval and Dark Age period (just google the Book of Kells).
The rules of the Greek and Roman masters were resurrected by artists who studied the statues dug up by archeologists, and they tried their best to carry on where Antiquity had left off, leading to sculptors like Michaelangelo, painters like Botticelli etc.
Those who do not learn from history are doomed to repeat it, while those who do have the pleasure of watching them repeat it.
> shitting on Vilppu
> the same guy who gives clear instructions on how to study from life
If what you got from Vilppu is "construction only", you were not paying attention.
Shit, I hate this advice too. People took the concept of "don't trace someone's work and if you do credit them" and totally convoluted it into "EVERY ARTIST IS SACRED" and if you don't ask every single moment of your life for forgiveness for using their art you're a terrible person. Or you have the kind that think two characters sharing a slightly similar pose is "tracing" when in reality, the human body has a set of limited movements we can make. HOW we show them is what makes them unique. For example, The same body templates/movements seen in Bleach will not be the same as in Jojo's Bizarre adventure because the styles are so distinct. And how do you develop those styles? From studying from life.Good old "references are cheating" (multiple times, from diffirent people, so I actually was afraid to use them untill I was like 19), "you won't get anywhere doing this as an adult, so stop" and also "you probably saw this [design] somewhere and just think you made it yourself" (not an advice, but instilled a long-living phobia).
Then again, I don't think I can draw properly - I can make designs, but poses, anatomy etc. just elude me. But I sure enjoy* doing it.
*with certain exceptions
Some stores sell wooden anatomy figures that are much better for using as a "base", they provide structure, can be posed in many ways, and dont have any particular styles attached to them.bases were good for practice as references when that is never the case. Bases suck because they are made from other people who can't draw and when you use them they give you bad results because you're restricted to bad art. Bases actively destroy your potential because you are limited to a certain style. I don't know where this idea came from that da and tumblr bases are good, but they aren't. You're better looking up an actual tutorial and doing all the work for yourself.
That is pretty true. I think the main problem with that advice is that people generally don't know your position when you're drawing. Everyone is at different rates after all. So someone could be drawing the same way over and over and not realize how it's frustrating. You need to get out of your comfort zone that's the only way you'll know what you're doing.Any version of "just find your own style!".My response is always "What do you cocking mean with that?"
Sycra has a good video on this topic:
Like I don't have A style- I have many. Every artist have their own strokes and ways of applying them, just like with handwriting. But there is a difference between someone scribbling and someone doing this:
Imagine if calligraphers got the same "just find your own style!" advice, and then spent their whole lives just penning ink in one way? Developing different styles for different fictonal universes is part of the fun of being an artist. You can create anything as long as you can draw it.
My high school art teacher was one of those that make us keep a sketch journal and gave us weekly assignment sketches to do. Apart from that, I remember him often reminding me I wasn't really finished with my picture until I could tell it was, and it was hard for me to know when I was finished. Watercolor is a bitch sometimes but I've learned what he really meant by it.high school art teacher informed me to just “feel out” poses and proportions, also references are a crutch and make you not creative
That just looks wrong to me. You can tell someone didn't want to deal with holes/slits in the pants and just threw it above the waist and called it a day. There's noting wrong with it coming out of the 'crack'.oh you mean like this?
Sounds a little like the method Nicole Hollander uses for "Sylvia". That comic is basically "Cut 'n Paste: The Strip".Worst advice I've gotten personally? In that same shitty class my teacher made a comment about how my comics would go a lot faster if I just photocopied a few pages of drawn out panels and used it for all my subsequent pages. Not atrociously bad advice, but I was having a hard time trying to explain to him that you would end up with only three different page layout options and would be designing your scenes based on panel shape, and not vice versa.
Damn, that's pretty odd not to try something on your own..He also seemed to suggest to various people in the class that we shouldn't work in different styles and need to stick to just one thing that we were good at. Just about every other art teacher has said that experimentation is important and that it's good to broaden your horizons especially when you're young.
Now that's rough.A professor, in my first year of Fine Art at university, back in 1989, told me...
“I have no idea why you are here majoring in Fine Art. You should be airbrushing vans for fans of the Grateful Dead.”
I changed my major the following year.
I never understood why there is an stigma when it comes to references in the first place I highly doubt anyone can draw something like a car even if its made up just draw from the top of their heads without having some from of reference.I think there's a misunderstanding about references. References are good because they give you ideas on how things behave like drapery. However don't just copy it wholesale like Dobson. I do believe he didn't trace Big Ben because he's shown that he has the tools to draw it freehand, his problem was he drawn it in the same angle and position as his reference.