--- "Take a wild, friggin guess"
<a_change_of_plans_at_yahoo.com> wrote:
> How did you ever become so good with detail?
>
An easy way to learn to draw detail is to isolate a small
part of the picture - look at the shapes (NOT what the
items are!) and tones within that area. Isolate a smaller
area, then smaller again, till you get to the point where
there is one line or one graduation. This is the limit of
the detail. Learn to draw this one line or one graduation
- this will give you accuracy. Then move the box slightly
and draw the adjoining parts. Just like the old 'grid
copy' system you probably learnt in school. As you get
better, you learn to do this in your mind. It is all about
observation skills- if you simplify it enough, then you
(anyone!) can draw it.
> For human anatomy, I would recommend a book called
> "Atlas of Human
> Anatomy for the Artist" by Stephen Rogers Peck, I
> believe. I think
> Scrapper put a text file with info about it in the FILES
> section of the group page.
>
He did indeed - in summary:
"Atlas of Human Anatomy for the Artist", by
Stephen Rogers Peck. 272 pages The ISBN number is : 0-19-
503095-8, $17.95.
> Live models are nice as well, but those can be
> difficult to find (unless you have a significant other
> who is willing to help).
>
The other problem is if you can not structure and have an
understanding of the 'base shapes' (what structuring is),
then live models won't help you as you're trying to be a
human photo-copier. We have a cool device called a camera
for that job. Hence you need to understand structures so
you can then place the detail (everything that is not a
construction line is detail) in the right place to get the
desired effect, since cameras don't seem to be able to
capture yiffy anthro skunks...
> Some folks might get a bit embarrassed at
> drawing a live,
> nude human body, but shit, man, it's just a body.
>
This is the thing with getting turned on while drawing as
well. The idea may be titlating, but once you get the
concepts and pictured planned out in your head, you tend to
switch to 'construction' mode and it is subsequently a
mechanical science to build up the picture. The 'art'
component is coming up with the idea and deciding how you
are going to portray it; the actual rendering is a science,
hence anyone can learn to draw, but not everyone will come
up with great picture ideas.
> One thing to avoid is copying the art of a comic book
> artist or cartoon show. By doing so, you will
> inadvertently be copying their faults and mistakes.
>
What is known as double-bastardisation. Your interpretting
someone else's interpretation. You can use other people's
cartoon characters to generate a structure, that you then
add detail to - this is a very good way to learn as it
means you have a simplified image to start with. Everyone
needs to start simple, so this provides that means.
Structuring can be used to give a rough outline, but it is
NOT tracing; tracing will not give the results you are
hoping for.
> And to be honest, a lot of the comic artists
> I've seen get published should really go back to school
> to learn how to draw better.
>
Many artists are self-taught and not very analytical with
what they do. Subsequently many hit glass-ceilings, make
the same mistake over and over or just don't produce good
work. It is important to have peers and feedback (being
self-critical also helps) so you can learn and grow.
Regular practise is very important too, for you 'get
rusty'. You remember how it is done, but you lose hand
control - even great artists who haven't picked up a pencil
for a few weeks are not as sharp as they were - though they
are able to regain that control quicker. You may remember
how to ride the bicycle, but it doesn't mean you have the
cycling fitness you used to!
> Don't forget to try drawing everything! ...
> How many comics do you see nowadays with empty or
> nearly empty backgrounds? Sad, really).
>
And not just backgrounds, environments! There can be
things in FRONT of the character too. The less
white-space, the more interesting the picture, the more
there is to look at. The secret is to add lots of
interest, without making the picture 'too busy' - this is
_rarely_ a problem unless you do everything in the same
line weight. This is why JMH's stuff is so good - there is
heaps of detail; very little white space and lots to look
at! You can omit backgrounds for effect (such as when
wanting to add focus on a character's reaction), but in
general, they add a lot to the pictures 'story'. Yes, they
can take about the same time again to draw that the
character did, but they really are important.
Drawing furries is easier than humans, for as was
mentioned, no one really knows what they look like, so you
can 'get away' with far more. You also avoid any problems
with Uncanny Valley. For very interesting reading see:
http://www.arclight.net/~pdb/nonfiction/uncanny-valley.html
http://en.wikipedia.org/wiki/Uncanny_Valley
Hands and feet are relatively complex, hence we have
trouble with them, but hands and faces both frequently
suffer Uncanny Valley, hence anthro equivalents give more
leeway. This is the other reason to 'draw toon style'
while learning - you learn structuring, simple detail and
how to exaggerate what is required to make things look
good. If any of the skunk sisters were real, their
proportions (despite being appealing) would look quite
freakish compared to normal humans. There is a required
level of exaggeration to make things look right.
If we look at the picture on the home page of the group,
check out the girls' bust sizes - Lori would be bordering
on a E or F cup, Natasha F or G and Onyx looks slightly
less well-endowed would still put her at DD.
Consider things like their faces and how wide apart their
eyes are - would look very strange in reality, especially
if those ratios were applied to a huamn face, but these
things increase 'cute' factor. It is fantasy, you are
drawing, do what looks good! And in this case, JMH is very
good at adding detail that increases our interest and
desire in a manner that sells to us a figure we perceive as
being plausible (and very desireable).
> --JMH, still so far behind on e-mails...
>
Ya, I know the feeling... And why am I still in the office
an hour after home time? O_o
Scrapper, Black Dragon, theoretically quite well versed,
but more pushing pencil required!
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Received on Wed Oct 17 2007 - 00:44:35 CDT