Sometimes I have to give myself a push. At the end of the day after all is taken care of I sometimes feel a need to draw or make some of artwork. I haven't really tapped into why yet, but I know it's because I have to tend to it, because it gives me some sense of value resulting in me feeling good. With that notion, when I open up my small thick sketchbook which I always keep readily available and I see a blank page-- I do feel a sense of pressure. I know it's natural. And, yes, of course it's daunting. Especially if I DON'T feel like drawing that day/night. I start to get the uncomfortable feeling of having to force myself to draw.. And that's what I do. I force myself to draw.
And thankfully, once I'm started, I'm usually good to go. Like anything with me, I guess.
That whole initial stage though? pssh. Well, I've discovered that there are some easier ways to get warmed up and get going. This method of assistance is personal preference, but it usually works for me and it's one technique that I use from time to time that is really not as bad as it would seem.
Now, I don't want to post any drawings because I am weary of how this posts will be viewed as an overall subject. I'm not sure if my approach is ethical or not, but it works for me.
Honestly, it's copydrawing.
When I used to travel a lot, I always carried a copy of ImagineFX and 3D World. When my creativity was at a roadblock or I was too tired or lazy to think, I'd flip through the pages and find the most inspiring piece of artwork out there and, yes, I'd copy it. I'd try to replicate it to the best of my abilities. Sometimes I'd pick out my favorite design or an artist I really like. A lot of times, I would go into tutorials or anatomy books and I copy those too-- mostly areas of the body that I have the most trouble with.
The result: I'm compiling all of my best resources into one easily accessible book.
And if I can't post pictures what I can do is I can give honor to some of who's work easily found their way into my head and heart. One particular artist is a regular submitter of wonderful and comprehensive tutorials that really help his reader's and fellow artists do exactly what we are supposed to do! Which is break components of anatomy down into simplified shapes. Time and time again we hear this, right? Well, he both demonstrates and explains this recipe flawlessly. Please, please, please check out his multitude of anatomy workshops. They are all great. You can also see some of his talents at work on youtube!
All amazing. I admire many artists out there, and inspiration brews inspiration. The best thing I can for myself is to try my hardest to be one of the frontliners. And how do you get there if you are do not study the best of the best, learn from the best of the best, or just the analyze the artwork that draws you in. As Ron would say about Anatomy, I would generalize down to studying artwork as well -- find the "Rhythms" in it.
So, with that shout out I add that some artists may look this tactic, as, well, whatever obscure way artists always look at
things. Ultimately critics will fill in their own quick judgement even after I
come
to my own defense.
But in my sktechbook, I have a variety of different things. Not just mimics of unbelievable artwork-- call it fan art or whatever? I have my sketchbook handy all the time so its a constant resource. Any kind of quick reference or easy access is always a benefit and cannot fail you when you are in need of inspiration. You feel good because you "manufactured" it, too, so it's a kind of a win-win.
There are written tips and technique that I memorize each time I decide to flip through my book and read over them. One tip was a question asked of Melanie Delon in ImagineFX on "How to Draw Proportions of the Face in Profile" -- something I know I always have trouble with. I had summarized her article, then wrote it down, and drew out thumbnails of her examples.
Others bits are inspirational quotes or innovative terms, like 'Mental Projection' by Howard Pyle: "Chief attributes was the ability to envision unseen words through the lens of direct experience."
Anything and everything goes in my sketchbook.
I put my own drawings in the back, my nieces/nephew/friends/loved ones take charge of doodling in the front, my life drawing, gestures, and still life go upside down, and my copy drawings and notes are scattered throughout. My characters go consecutively after each in the middle somewhere.
There's some kind of unexplainable method in my madness. ;-)
My latest piece is another character drawing mixed into an environment. I'm keeping along with my New Years Resolution from the start of 2012, which was working on creating environments and visual stories around my characters. I still need a lot of practice, but sort of finding a style as a "background artist". I think most of my strength is in my characters right now, though. Anyways, my 2013 resolution? Working on color, value, and light.
More on how that's resolution goes in future posts.... promise.
I'm hoping to have my current drawing completed by the end of the week. So, come back soon.
This long-winded post is DONE. It's great to get another post out there to the world.
Things have been very busy for me lately, so I apologize to anyone that does drop in here.
Happy New Year!
And thankfully, once I'm started, I'm usually good to go. Like anything with me, I guess.
That whole initial stage though? pssh. Well, I've discovered that there are some easier ways to get warmed up and get going. This method of assistance is personal preference, but it usually works for me and it's one technique that I use from time to time that is really not as bad as it would seem.
Now, I don't want to post any drawings because I am weary of how this posts will be viewed as an overall subject. I'm not sure if my approach is ethical or not, but it works for me.
Honestly, it's copydrawing.
When I used to travel a lot, I always carried a copy of ImagineFX and 3D World. When my creativity was at a roadblock or I was too tired or lazy to think, I'd flip through the pages and find the most inspiring piece of artwork out there and, yes, I'd copy it. I'd try to replicate it to the best of my abilities. Sometimes I'd pick out my favorite design or an artist I really like. A lot of times, I would go into tutorials or anatomy books and I copy those too-- mostly areas of the body that I have the most trouble with.
The result: I'm compiling all of my best resources into one easily accessible book.
And if I can't post pictures what I can do is I can give honor to some of who's work easily found their way into my head and heart. One particular artist is a regular submitter of wonderful and comprehensive tutorials that really help his reader's and fellow artists do exactly what we are supposed to do! Which is break components of anatomy down into simplified shapes. Time and time again we hear this, right? Well, he both demonstrates and explains this recipe flawlessly. Please, please, please check out his multitude of anatomy workshops. They are all great. You can also see some of his talents at work on youtube!
His name is Ron Lemen and his work plus some is here:
I keep a copy of ImagineFX's recent Anatomy release around me all the time and study it regularly-- trying to
memorize the muscles and muscles groups. It's always travel friendly, too, because its a magazine. So when I go out to draw it accompanies perfectly in my purse. This issue contains insurmountable amounts of learning resources and
majority of the material I give thanks to Ron Lemen. It tops as one of my all time
favorite ImageFX releases.
I'd also write out the excerpts that partnered the drawings. I have a lot of writings in my sketchbook, interesting bios of the artist that I can relate to, or inspirational quotations, and tips.
Other copydrawings include:
Those of which I couldn't find direct links to the specific image, I referenced their portfolios or videos)
From Jiggery Pokery.
The Assassin's Creed Dude
(of which I don't know who the artwork specifically is credited within Ubisoft's hands)
And then some....
in the mix of my own.
All amazing. I admire many artists out there, and inspiration brews inspiration. The best thing I can for myself is to try my hardest to be one of the frontliners. And how do you get there if you are do not study the best of the best, learn from the best of the best, or just the analyze the artwork that draws you in. As Ron would say about Anatomy, I would generalize down to studying artwork as well -- find the "Rhythms" in it.
Copydrawing helps with the basics fundamentals of hand-eye coordination as well-- although drawing from life is always best, of course. But this mixes it up a bit. I do have a very thick sketchbook-- about an inch thick and 4 inches tall.
I try not
to get too deeply lost in my own work as difficult as that may be, or
too vain. And replicating artwork helps deter my vanity and
bring me right back to equilibrium that belong in. It also gives me a break from time to time.
But in my sktechbook, I have a variety of different things. Not just mimics of unbelievable artwork-- call it fan art or whatever? I have my sketchbook handy all the time so its a constant resource. Any kind of quick reference or easy access is always a benefit and cannot fail you when you are in need of inspiration. You feel good because you "manufactured" it, too, so it's a kind of a win-win.
There are written tips and technique that I memorize each time I decide to flip through my book and read over them. One tip was a question asked of Melanie Delon in ImagineFX on "How to Draw Proportions of the Face in Profile" -- something I know I always have trouble with. I had summarized her article, then wrote it down, and drew out thumbnails of her examples.
Others bits are inspirational quotes or innovative terms, like 'Mental Projection' by Howard Pyle: "Chief attributes was the ability to envision unseen words through the lens of direct experience."
Anything and everything goes in my sketchbook.
I put my own drawings in the back, my nieces/nephew/friends/loved ones take charge of doodling in the front, my life drawing, gestures, and still life go upside down, and my copy drawings and notes are scattered throughout. My characters go consecutively after each in the middle somewhere.
There's some kind of unexplainable method in my madness. ;-)
My latest piece is another character drawing mixed into an environment. I'm keeping along with my New Years Resolution from the start of 2012, which was working on creating environments and visual stories around my characters. I still need a lot of practice, but sort of finding a style as a "background artist". I think most of my strength is in my characters right now, though. Anyways, my 2013 resolution? Working on color, value, and light.
More on how that's resolution goes in future posts.... promise.
I'm hoping to have my current drawing completed by the end of the week. So, come back soon.
This long-winded post is DONE. It's great to get another post out there to the world.
Things have been very busy for me lately, so I apologize to anyone that does drop in here.
Happy New Year!
