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Join Date: Mar 2012
Thanked 12 Times in 10 Posts
05-20-2013, 09:01 AM
Volen - No worries man, I did a little thing for you, only as far as the lines, so you can see my set up. See below . I'm glad you think I'm improving though lol, it's kind of hard to see from my side sometimes.
So, regarding the 10 hours a day. That's something that will come with time, if you stick to it. I don't make it every day, but atm I try to average 60 hours a week. Gives me a little bit of wiggle room, and I can take a day off. It's not tooo tough for me seeing as this is all I do lol. The main thing is to be consistent. If you don't draw everyday atm, try and draw for at least 2 hours every day for the next couple of weeks. If you already draw every day, just try to increase the time slowly. It'll get easier . But there's no point in doing one 14 hour day, and then not working for a week.
And what do I do? Well, it depends what I'm trying to achieve for the most part. With the illustration I'm doing atm, (again, see below) I'll work on it until I get to something I can't do, or I've never drawn before (like the doors and walls above). Then I'll go away, gather some reference, and study from that. Before working on my piece again, with newly acquired information. I'll do this a couple of times at each stage of the piece. So when I'm designing with lines, I'll do some design studies (with just rough lines) of whatever it is, and when I'm rendering stuff out, I'll do some more painted studies, looking at light, and colour.
Basically, the key thing is to study the thing your struggling with, and be as specific as possible. If you don't know what breastplates look like. There's not a lot of point to painting one breastplate really really well. You'd be better off doing really quick line studies of 20, and a longer study of the kind of metal you want to use, then combine them in your piece.
So yeah, that's about it. Haha, this turned into a bit of a lecture.
Key points though:
-Work from imagination, and study the things that your struggling with
-Make your studies as specific as possible.
-Don't study "a face". Study the way sunlight reacts with a middle aged, male face when it's lit from the side. Or the proportions of an older man's face.
-Before each study, know what your trying to get from it, and focus on that.
-Oh and that reminds me. Make notes! It's so easy to just zone out and paint when you're studying , and I find that making notes helps me to focus. Just jot down things that you notice, then you can use them when you're working from imagination.
-Ah, and apply your studies. There's not a lot of point to studying a polar bear, then painting a woman. Focus your studies on the work you're doing, don't just do them for the sake of it.
Gonna link a few things you might find interesting on the subject as well.
Anthony Jones talked about it on his stream a couple of times. http://www.livestream.com/robotpencil
One called "how I study realism.." and one called "studying design" Check them out
If you haven't already, check out dave's youtube channel. Loadsa cool info
And Tim Ferris is the guy who got me to start breaking everything down as small as possible. He talks a lot about an idea called "meta-learning". Worth checking out if you're interested. I'll link a couple of things, it's been a while since I listened to them though, so not sure if they're the most relevant. But they'll be good, promise. He's got some interesting ideas you can apply to art.
TL;DR - Work on the most specific thing possible, and do everything as quickly as possible. When you're learning, quantity can be as, if not more, important than quality. The guy who draws 200 quick faces, is going to be better at pulling a face out from imagination than the guy who spent 200 rendering one perfectly (at least initially). There's a point when you're studying when you stop learning useful info, and at least when you're starting out, I think that point is much earlier than people think.
And yes, there's definitely a place for long form studies. I love them, I think they help a ton. I just don't think enough people do quick stuff.
Lol, the TL;DR was long too. And, to be honest, what do I know? Just some thoughts. <3
And those screenshots.
So, I pull up my reference, and make another document at the same size, to work in.
Start by just blocking in lines, looking at proportions and stuff.
Flipping the canvas helps to see mistakes.
Blocking in some rough values. Not to match the reference so much, mainly to distinguish planes from each other.
Then I lower the opacity on the sketchy layer, and on a new layer, start some clean linework. Sometimes I'll roughly measure across with the mouse, but it's not very accurate, so most of the time I'm just eyeballing stuff.
Keep doing that, keep adjusting stuff, and you're good.
This isn't a great example, coz I kinda dicked it up, but you get the idea. Just practice practice practice man .
And starting to render. Might finish this today, we'll see
Last edited by JakeB; 05-20-2013 at 09:08 AM.
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