So You Wanna Be An Artist, Eh?......(A Tutorial).....

[Sir Wulfington 276]

                                       

 

Well, good news is I have a bunch of advice I think will seriously help. SOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO......

 

EDIT!: Added a step for linework, and made the guide more easy to read (with the step's in big bold underlined letters)

 

Step 1: Proportions And Referencing

 

If you're trying to draw show ponies, or anything really, you need to learn from life. Even if you're drawing a simplistic cartoon, it still needs to adhere to the laws of reality (proportions, how light and shadow work, etc.).

For whatever you're trying to draw, you need to make sure to get the proportions right. Use photo references of whatever your subject is supposed to be (human-like, animal, etc.) in order to find out just how they look, the proportions, muscles, how their joints work, how they move, etc. It needs to be accurate to real-life. Don't let anyone tell you that you should draw without refs, they're a MUST unless you've memorized whatever it is you're drawing by heart, even then, you should use them to be safe.

 

Also, if you're drawing FIM ponies, use 3d models fans have created so that you can understand how they really look at different angles (the eyes confused the fuck out of me till I saw this: http://mistersnowleo...ose-0-212151789 ). Keep in mind, FIM pony anatomy is very akin to real life horses. You should definitely take a good look at various horse photography to get an understanding of how they look and physically move.

 

Keep in mind, you can draw a physically mishapen subject, but it needs to still have proper lighting and shadow, and also, there's a difference between intentionally broken anatomy and bad anatomy:

 

Good:

 

 

Bad:

 

 

Step 2: Lighting and Shading

 

Next, look up lighting and shading guides, and study them so that you understand how light and shadow affect objects, and how they effect DIFFERENT objects DIFFERENTLY (like metal looks different affect by light than skin). Due to the fact that it's a simplistic cartoon, for the clothing and skin, the light will look the same. Metal should have it's own look for lighting. Hair can either be the same as skin and clothes, or different depending on the style. The purpose of light and shadow is to give DEPTH to your subject, so it doesn't look flat. And even if it's a cartoon, you don't want it looking like it's 1 dimensional (unless you're drawing a 1 dimensional subject, but even then, it has to be done in a way that makes it look right instead of poorly drawn)

 

Here are some help for how Light and Shadow work:

 

http://idiotsguides.com/static/quickguides/artphotography/drawing-101-seeing-light-and-shadows.html

 

I was unable to find guides on how light affects different objects, (I don't know why I couldn't, must just need more searching), so I've found something that's at LEAST helpful for simplistic and realistic cartoons:

 

 

 

Notice how the bands on the arms and waste have a different look to them? A look that makes them appear metallic? Well it's actually rather simple to do. I'd like to explain, but It's very hard to. Well I'll try anyway, draw a square, than draw one dark line VERY CLOSE to one edge in....let's say HB graphite (use more force to get darker), then right beside the that line (not the side that's close to the edge) draw noticeably lighter lines (use less force to get lighter) until you get halfway through the square, than take a tortillon/blending stub and carefully shade the lines together (try to make it look progressively lighter as it reaches the halfway point), and viola! You've got metal . That's at least one way of doing it, tho, keep in mind.

 

Step 3: The Idea For The Drawing

 

Next is the idea itself, the pose, angle, expression, background (if any), etc. You want to make sure your subject (the main focus of your drawing) is placed properly on the page, and takes up enough of it so it looks like it's about THEM and not whatever else is in the picture. Too much dead space looks bad, trust me. Center the subject if there is no background. Pic an angle, pose and expression combination that doesn't look awkward, I suggest you go for more dynamic poses (google that for more info), one way I've learned is to have different parts of the subject (clothes, limbs, etc.) pointing in different directions:

 

^

This is a good example, you can see how his arms point to opposite ends of the picture, alone with his wings, legs, and hair in opposition to horns. It's makes the piece look more interesting, as opposed to a boring static pose:

 

 

^ this one's both boring and static (and also awkward), not that all poses must be EXCITING, but avoid boring. Also, don't use the same pose over and over, if anything, AVOID using the same pose more than once. Don't be redundant. A common trait of a bad artist is one who uses one pose over and over, because it's what they're comfortable with, even if it's a terrible one.

 

Step 4: Clean Linework

 

A common trait in newbies, I believe, is how they draw lines. They do what's called "scratch lines", which is basically repeated slashing at the page to form a single line, resulting in a very messy excuse for one. You want to keep your pencil steady for the entire length of the line, draw in one consistent single stroke. It's hard, but you can erase mistakes depending on how dark the pencil is (or, if you're doing it digitally, you can infinitely erase ). If you're drawing a long straight line, just get a ruler out. I've heard that you should draw towards you, not away, I think I agree, tho do whatever works best. Just remember to not do the "scratch line" technique, hold the pencil steady all the way to the end of the line. You don't have to have every last bit of the linework perfect, but you do need to make sure to have as much of it as clean as possible.

 

 

Step 5: Shading

 

 

For shading, look at this for a good explanation:

 

http://cataclysm-x.d...ending-63643800

 

 

Step 6: Color

 

I don't have much experience with color, but I will just say that you should avoid making characters that are consistent of conflicting colors, it's just an eyesore.

 

 

Tools

 

As for tools, get a blending stub (or tortillon, same thing) for shading, a Mono zero eraser pen (if you can find one in your local art stores, use them for a sturdy eraser to get in the tiny cracks without erasing what you don't want, a normal sized white eraser (for big areas of erasing) and a kneaded eraser (it's like clay, so it can be shaped into any shape you want and size you want (well as big as the kneaded eraser can get), but it isn't nearly as sturdy for erasing in tiny little spots, hence the eraser pen).

 

And, assuming you're just doing black and white, at LEAST an HB, B, 2B and 4B (I recommend Steadler pencils). Graphite goes from 9h (lightest) to medium (HB) to Darkest (8-9-9xxB), but I'm pretty sure you only need to go as far as 4 or 6b. You'll want 4 or 6b for areas that need to be pitch black (like pupils, or black backgrounds, or black armor, etc.). I'm personally no expert in the usage of different pencil shades, I believe that in at least some cases, you can draw entirely in HB, since it's kind of a happy medium, can be light, medium, dark or even black. But not the blackest of blacks, trust me, there are shades of black, as odd as it may sound.

 

Mirroring To Make It Right

 

Use a mirror to make sure both your reference and your drawing look right, a mirror will show you things in an unbiased light. Alternatively, you can use paint program's "flip horizontally" feature or hold the picture IRL up in a strong enough light source to see it mirrored. A seemingly perfect piece can be revealed to be horribly messed up when looked at in a mirror.

 

KEEP A LIGHT ON YOUR WORK

 

I can't stress this enough, you need to make sure there is no shadow cast over your work, make sure it's always fully illuminated by the light when you're drawing, in order to see what you're doing, to be able to see the mistakes.

 

Beyond that, I'd suggest you look up your favorite artist and study how they do things, what tools they use, and how they use them, etc. Do everything reasonably possible to get to their level (or even greater, if you want). But do NOT, I repeat, do NOT idolize an artist who does anatomy improperly, if you aren't certain that the person you look up to is doing things right, do research on the subjects they use (like humans), look at photos to make sure they're doing things right, and also make sure you understand how light and shadow work for the same reason. Hopefully, this helps.

 

And finally, what's most important is that you NEVER give up! You're gonna suck, suck REALLY hard at first, but if you follow my advice and keep persevering, you can get better, you CAN be a good if not GREAT artist, just keep trying. And just because you're early on in a drawing, and it doesn't look good, don't give up on it, don't crumble or tear it up. Give it more time. One extra addition to the picture and it could suddenly turn from "meh" to "Awesome!" . Sometimes, it just needs a little bit more.

 

And also keep in mind, every little bit of a picture matters, don't think that the small details like hair strands and wrinkles can look however, they matter. Every, last, insignificant detail is important. Try to make LITERALLY all of it look aesthetically appealing. It doesn't all have to be perfect (proportions and lighting/shading need to be, tho, to look logical. And if you're doing photorealism everything has to be perfect but that's just photorealism), but it all needs to look good. A drawing is nothing but the sum of it's parts, the better the parts, the better the drawing. NEVER forgot this!

 

And in case you still aren't convinced, in case you still think that you're hopeless, that the professionals started out on the level they are now, well....

 

 

 

 

 

Some jackasses will try to convince you that as soon as they picked up a pencil, they were instant masters. They're full of shit, don't EVER believe them. They just want you to think of them as gods with inherent talent, so as to discourage you from trying to get better thinking you can't improve because you don't have the same natural ability they want you to think they have, so that you'll forever remain their idols, always looking to them. Because if you got to their level, or higher, why would you continue to idolize them? They're pathetic, sad, insecure asswipes.

 

Look at these improvement pictures, every, single, fucking, time that you think you just can't do it. Let them remind you that through never giving up, by having such an intense passion to be good at what you love, that you can be a truly great artist.

 

Don't ever forget that.

Edited June 17, 2014 by Sir Wulfington

[Silverwisp the Bard 2,353]

Dude, you might want to slow down a little; composition and colours are all well and good, but you'll have to learn drawing first.

 

Really, all that aspiring pony artists will do for the first months is gonna be getting the hang of the anatomy. All you need for that is pen, paper and a good reference chart. Everything else can wait till later.

 

 

 

Recommended by yours truly

 

 

 

Also, you might want to change the topic title to something sounding less douchy.

Edited May 31, 2014 by Silverwisp the Bard

[Teller 360]

As an amateur when it comes to making glorified doodles, I'm looking at this tutorial and I'm reminded of this:

 

Edited May 31, 2014 by Teller

[Sir Wulfington 276]

Dude, you might want to slow down a little; composition and colours are all well and good, but you'll have to learn drawing first.

 

Really, all that aspiring pony artists will do for the first months is gonna be getting the hang of the anatomy. All you need for that is pen, paper and a good reference chart. Everything else can wait till later.

 

 

 

 

Recommended by yours truly

 

 

 

Also, you might want to change the topic title to something sounding less douchy.

 

 

Well the point was to add all the advice I could. Let them work on one step, than move on to another. 

 

And I don't really think my title sounds douchey : / does it really?

[Silverwisp the Bard 2,353]

et them work on one step, than move on to another.

The thing is, the way you went about out is not that helpful.

You start out with a somewhat confrontational title, then follow it up with a wall of text, skimming over steps that would each warrant a topic on its own and will take most most people months to archive.

 

If I was a new artist viewing this topic, I'd be intimidated more than anything else.

Edited May 31, 2014 by Silverwisp the Bard

[Lucky Lass 528]

I have to agree with Silverwisp, anatomy and body structure should come first when drawing character.
If you don't have a good foundation even a dynamic pose will fall apart.

[Sir Wulfington 276]

The thing is, the way you went about out is not that helpful.

You start out with a somewhat confrontational title, then follow it up with a wall of text, skimming over steps that would each warrant a topic on its own and will take most most people months to archive, one pic by an artist,who I guarantee has spend at least a decade honing his skills and a decent pic, which you then proceed to tear apart without going into details what its problems are.

 

If I was a new artist viewing this topic, I'd be intimidated more than anything else.

 

I never actually expected anyone to take offense to the title. And I'm not the best at explaining things, I really just wanted to condense the steps down as much as I could. I suggested people reading to research the info because other people would explain it better. Perhaps I shouldn't have called it a tutorial but instead a list of advice, pointing newer artists in the right directions, pointing out what their problems are exactly, because they may not even know, so that they can then locate the help they need.

 

I don't see why a new artist would be anymore intimidated by this than any other big guide, honestly. It's gonna be scary no matter what, but those who truly want to get better will overcome their fears and persevere.

I have to agree with Silverwisp, anatomy and body structure should come first when drawing character.

 

 

But that's what I started the guide with, for that exact reason : /

Edited May 31, 2014 by Sir Wulfington

[Lucky Lass 528]

I never actually expected anyone to take offense to the title. And I'm not the best at explaining things, I really just wanted to condense the steps down as much as I could. I suggested people reading to research the info because other people would explain it better. Perhaps I shouldn't have called it a tutorial but instead a list of advice, pointing newer artists in the right directions, pointing out what their problems are exactly, because they may not even know, so that they can then locate the help they need.

 

I don't see why a new artist would be anymore intimidated by this than any other big guide, honestly. It's gonna be scary no matter what, but those who truly want to get better will overcome their fears and persevere.

 

But that's what I started the guide with, for that exact reason : /

 

I missed that, my apologies then cx

Skimming is bad.

[Silverwisp the Bard 2,353]

 

 

And I'm not the best at explaining things, I really just wanted to condense the steps down as much as I could. I suggested people reading to research the info because other people would explain it better. Perhaps I shouldn't have called it a tutorial but instead a list of advice, pointing newer artists in the right directions, pointing out what their problems are exactly, because they may not even know, so that they can then locate the help they need.

Without concrete links that isn't really all that helpful though.

 

 

 

I don't see why a new artist would be anymore intimidated by this than any other big guide, honestly.

  Most big guides ease you into the subject: The first chapter of any book worth its salt will be nothing but drawing shapes, then slowly working your way up to more complex things. Th trick is to break the process up into manageable steps.

[Lady 55]

I'm a new pony artist/artist in general.

I find this guide intimidating yet helpful at the same time. ;3;

Mostly intimidating.

[Sir Wulfington 276]

I'm a new pony artist/artist in general.

I find this guide intimidating yet helpful at the same time. ;3;

Mostly intimidating.

 

 

Without concrete links that isn't really all that helpful though.

 

 

 

  Most big guides ease you into the subject: The first chapter of any book worth its salt will be nothing but drawing shapes, then slowly working your way up to more complex things. Th trick is to break the process up into manageable steps.

 

 

I could've added a link for lighting and shadow study, but for proportions, I'd have to link EVERYTHING under the sun. It's really best to just find the information yourself through google images. Honestly, people learn differently, some people would rather a quick basic tutorial than a overly drawn out one. I prefer efficiency, personally.

 

edit: I've updated my post with more info on lighting and shading.

Edited May 31, 2014 by Sir Wulfington

[Espurr 449]

I like your advice. I not an artist not the drawing kind anyways. Art comes in more forms than drawing and I like writing stories. So yep. But I thought it was good advice. But until I find a way to get better at drawing, I'll keep getting better at writing stories and have my sister draw me ponies.

[Unikitty 1,212]

I felt like I was being shouted at. All of this "You need, you need, you need.." is quite in your face. As others stated above, it is very intimidating, and a good beginner tutorial should ease the reader into it.
Also, not to be one to say this is definite, but it's generally a given that you should be well versed at the subject you're teaching. It just seems like this was something you threw up because you were thinking about a similar topic.

[Sir Wulfington 276]

I felt like I was being shouted at. All of this "You need, you need, you need.." is quite in your face. As others stated above, it is very intimidating, and a good beginner tutorial should ease the reader into it.

Also, not to be one to say this is definite, but it's generally a given that you should be well versed at the subject you're teaching. It just seems like this was something you threw up because you were thinking about a similar topic.

 

Well it's because you do need to do these things (as elitist as that may sound). What am I supposed to say? You don't need to understand anatomy and such? And while I've yet to have a completed good work of art, I've spent countless hours of my time researching on what makes good art truly good, in my quest to be a good artist. I can assure you, I know what I'm talking about. I wrote this guide under the assumption that people reading it had a true desire to be good at drawing, people who wouldn't need to be "eased in", because they're already eager for help and will do what it takes to get it. They won't let themselves be intimidated by a strongly written tutorial.

 

I'm a very blunt and straightforward individual, I won't sugarcoat anything.

 

 

I like your advice. I not an artist not the drawing kind anyways. Art comes in more forms than drawing and I like writing stories. So yep. But I thought it was good advice. But until I find a way to get better at drawing, I'll keep getting better at writing stories and have my sister draw me ponies.

Thank you . I'll admit, I often forget that art isn't merely visual. I've just come to associate it with such, tho I need to remember it's not all there is to art.

 

 

I'm a new pony artist/artist in general.

I find this guide intimidating yet helpful at the same time. ;3;

Mostly intimidating.

 

Edited May 31, 2014 by Sir Wulfington

[Unikitty 1,212]

Well it's because you do need to do these things (as elitist as that may sound). What am I supposed to say? You don't need to understand anatomy and such? And while I've yet to have a completed good work of art, I've spent countless hours of my time researching on what makes good art truly good, in my quest to be a good artist. I can assure you, I know what I'm talking about. I wrote this guide under the assumption that people reading it had a true desire to be good at drawing, people who wouldn't need to be "eased in", because they're already eager for help and will do what it takes to get it. They won't let themselves be intimidated by a strongly written tutorial.

 

I'm a very blunt and straightforward individual, I won't sugarcoat anything.

 

But if you're new to a concept, you're new. Regardless of how eager you are to learn. A wall of text that just throws things at you isn't going to be an efficient method of learning. This isn't a 'strongly written' tutorial. It's just a block of varied tips and suggestions of things to do. I personally would not suggest this type of tutorial to anyone, regardless of how interested in learning to draw they are.

 

You even forgot the most important step, which is; regardless of what rules you follow, and what techniques you try and do, the most important thing is that you don't stop. Even if it looks bad, put it aside and continue with another drawing. Also, avoid scrapping projects mid-way. When you're working on a drawing, it will look bad. But the end products more than often turn out very good. So you just have to keep at it.

 

You're forgetting this sort of positive demeanor. Drawing shouldn't be made to sound like a task. It should sound fun.

[Powderpuff 390]

The most important things for artists of any and all skill levels is that they keep on painting, drawing, writing, composing, sculpting...whatever, with their eyes (and heart) open. And that they continuously ask for advice and feedback. Really, everything else will fall into place if they do those two things.

 

But...minor detail here, but...one of the first things I learned in my first figure drawing class was not default to a centrally placed figure. Even if there is no background. That makes for a boring composition, and there is no thought to that decision - it is a not-decision.

 

There are, of course, infinite ways you can get around this rule. Because that's one of the things you do in art...Learn the rules, then question why they're there. If the rule makes sense, know why it does. If it doesn't, f*ck it, but know why it's bull. Or maybe you'll just decide to apply it to certain instances. Whatever, doesn't matter, it's art! Haha.

 

 

Edit: if you don't mind, I would like to add a little personal story to this comment. I keep on thinking of more things to say after I've left this thread, haha.

 

On using a blending stump, and blending: when I first started drawing, I learned that blending/smudging was how you shade. It just was. So I used it, a lot. Eventually I became unhappy with my shading. I pinpointed the problem to my reliance on the blending stump. Okay then, I cut it out of my toolkit. Didn't use it, and when I saw others rely on it, I saw it as a hallmark of amateur work (and I believed myself far better than amateur at that point...). I noticed that you generally get much more specific, accurate, intentional marks if you actually draw out the strokes. And if you couldn't draw out the strokes well and make them look even...well, that was another hallmark of an amateur to me. 

 

Only a year ago did I learn that, well, actually the blending stump/smudging can be useful. But in moderation - used with care, and in the right times/places. Because it is just another type of mark. And the best drawings have a balanced, coordinated, particular use of a variety of marks.

 

That's just what I believe now, but I don't know how I'll see this a few years from now. My own personal rules morph and change, I acknowledge that. It's inevitable.

 

So the original post is more of your own current set of personal rules. But artists learn new things constantly, there isn't a concrete, definitive, set way to *be* an artist...

Edited June 1, 2014 by Powderpuff

[Silverwisp the Bard 2,353]

Well it's because you do need to do these things (as elitist as that may sound). What am I supposed to say?

The thing is, art is a highly individualistic process, about as individualistic as it gets.

I will agree that every pony artist should first learn the anatomy to give him/herself a feel for how ponies work.

But beyond that, how they develop is really up to them: Traditional, markers, watercolours, acrylic, the various digital methods digital...

Every artists has to find his/her own medium and style and telling them This is the one way to do it is one of the worst things you could to that process.

Edited June 1, 2014 by Silverwisp the Bard

[Ryzu 984]

                                       

 

Well, good news is I have a bunch of advice I think will seriously help. SOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO......

This first part makes me feel like this is fake

[Sir Wulfington 276]

The most important things for artists of any and all skill levels is that they keep on painting, drawing, writing, composing, sculpting...whatever, with their eyes (and heart) open. And that they continuously ask for advice and feedback. Really, everything else will fall into place if they do those two things.

 

But...minor detail here, but...one of the first things I learned in my first figure drawing class was not default to a centrally placed figure. Even if there is no background. That makes for a boring composition, and there is no thought to that decision - it is a not-decision.

 

There are, of course, infinite ways you can get around this rule. Because that's one of the things you do in art...Learn the rules, then question why they're there. If the rule makes sense, know why it does. If it doesn't, f*ck it, but know why it's bull. Or maybe you'll just decide to apply it to certain instances. Whatever, doesn't matter, it's art! Haha.

 

 

Edit: if you don't mind, I would like to add a little personal story to this comment. I keep on thinking of more things to say after I've left this thread, haha.

 

On using a blending stump, and blending: when I first started drawing, I learned that blending/smudging was how you shade. It just was. So I used it, a lot. Eventually I became unhappy with my shading. I pinpointed the problem to my reliance on the blending stump. Okay then, I cut it out of my toolkit. Didn't use it, and when I saw others rely on it, I saw it as a hallmark of amateur work (and I believed myself far better than amateur at that point...). I noticed that you generally get much more specific, accurate, intentional marks if you actually draw out the strokes. And if you couldn't draw out the strokes well and make them look even...well, that was another hallmark of an amateur to me. 

 

Only a year ago did I learn that, well, actually the blending stump/smudging can be useful. But in moderation - used with care, and in the right times/places. Because it is just another type of mark. And the best drawings have a balanced, coordinated, particular use of a variety of marks.

 

That's just what I believe now, but I don't know how I'll see this a few years from now. My own personal rules morph and change, I acknowledge that. It's inevitable.

 

So the original post is more of your own current set of personal rules. But artists learn new things constantly, there isn't a concrete, definitive, set way to *be* an artist...

 

For placement, it depends. If there's nothing but the subject, then it should be centered and take up enough of the picture so that it looks like it's the focus and not the space around it. When you add backgrounds, you can place them in different spots. It's more about having an even amount of empty space around the subject, or else it looks odd. And the purpose of the blending stub is both to make nice smooth shading and allow you to shade in close spaced areas without smudging up places you don't want smudged.

 

 

This first part makes me feel like this is fake

 

I'll admit, the picture is photoshopped.

 

But if you're new to a concept, you're new. Regardless of how eager you are to learn. A wall of text that just throws things at you isn't going to be an efficient method of learning. This isn't a 'strongly written' tutorial. It's just a block of varied tips and suggestions of things to do. I personally would not suggest this type of tutorial to anyone, regardless of how interested in learning to draw they are.

 

You even forgot the most important step, which is; regardless of what rules you follow, and what techniques you try and do, the most important thing is that you don't stop. Even if it looks bad, put it aside and continue with another drawing. Also, avoid scrapping projects mid-way. When you're working on a drawing, it will look bad. But the end products more than often turn out very good. So you just have to keep at it.

 

You're forgetting this sort of positive demeanor. Drawing shouldn't be made to sound like a task. It should sound fun.

 

The purpose is to explain exactly what they need to do in order to improve. I wanted to get straight to it instead of wasting time. Someone who's really eager will most likely not want any pointless fluff, they just want to get better asap. Someone who really wants to be a good artist won't allow themselves to be intimidated by advice. If my "wall of text" (which it isn't even, a wall of text is a massive block of unspaced paragraphs, which mine clearly is not) scares somebody from trying to learn, because the information is too much (instead of just doing the intelligent thing, which is to read through all of it, then work on one step at a time), than their desire was never very strong to begin with.

 

But yes, it's definitely important that one never gives up, they won't start off great and neither will any potentially great drawing. And even the great artists started off utter shit. I'll update my post with that, along with showing progression summarys of at least one really good artist to show that, contrary to what some of them would have you believe, they didn't just pick up a pencil and became instant masters, they started off with shitty ass doodles and by refusing to give up, by doing whatever they could to improve, got to the level they're at now.

 

The thing is, art is a highly individualistic process, about as individualistic as it gets.

I will agree that every pony artist should first learn the anatomy to give him/herself a feel for how ponies work.

But beyond that, how they develop is really up to them: Traditional, markers, watercolours, acrylic, the various digital methods digital...

Every artists has to find his/her own medium and style and telling them This is the one way to do it is one of the worst things you could to that process.

 

Anatomy, lighting and shading, placement, picking the right poses: these things are objective, all artists need to adhere to them. Style, is another matter. You have to learn the rules before you can break them.

 

And honestly, I think you guys are giving newbies too little credit. Not all freshly starting artists are going terrified of some strongly written advice. Cut them some slack here.

[Silverwisp the Bard 2,353]

 

 

The purpose is to explain exactly what they need to do in order to improve. I wanted to get straight to it instead of wasting time. Someone who's really eager will most likely not want any pointless fluff, they just want to get better asap.advice.

Creating art can be a lot of things: it can help to relax after a long day at school, it can be a way to blow of steam. It is not a contest. Anyone going in with the attitude of "getting there asap", isn't gonna last long.

I'm sorry, but I'm with Unikitty; I can't recommend this tutorial to any aspiring artists.

 

 

 

Anatomy, lighting and shading, placement, picking the right poses: these things are objective, all artists need to adhere to them.

Actually, no they don't. That's why it's art and not engineering.

[Sir Wulfington 276]

 

Creating art can be a lot of things: it can help to relax after a long day at school, it can be a way to blow of steam. It is not a contest. Anyone going in with the attitude of "getting there asap", isn't gonna last long.

I'm sorry, but I'm with Unikitty; I can't recommend this tutorial to any aspiring artists.

 

 

 

Actually, no they don't. That's why it's art and not engineering.

 

 

This guide was made for people who really want to improve, so I wrote it in a more efficient manner, getting straight to the point. Not for those who don't really care. And if you wanna take your time, this guide is good for that too, just read it, than take it step by step. It's not complicated.

 

And yes, they do actually. Anatomy, at the very least, can be distorted, but it has to be done in certain ways. As I linked in the other thread, there's a difference between this:

 

 

And this:

 

 

Light and shadow need to be portrayed in a manner that determines the light source and how it affects the subject, it also gives depth to the subject. Proper placement on the page makes it so that there isn't too much, for example, white space taking away focus from the subject. If your drawing was about the subject alone, why would you have so much useless space around them? Certain poses (like the human rarity one I linked) just look awkward. Why would a human being just stand holding their neck in such an uncomfortable position? That's what I mean by "awkward". Unless, like the broken looking creature in the black and white picture, you're trying to convey a, well, broken looking subject, than don't have your characters posed in such illogical positions.

 

By your logic, nobody should be taking any advice at all from anyone, just do art however you feel like. That's basically what you're saying. I didn't make this for people who don't care about doing things the right way, I made it for those who care about the quality of their work, not people who do it just for fun. Obviously it shouldn't a chore, you should enjoy the process, but this is for those who are interested in the quality of the end result.

 

By saying there's no right or wrong in art, you're saying all tutorials and guides completely pointless.  You can do whatever you want with your art, but if you want to be good (as terribly elitist as that may sound) there are a few objective truths you have to follow.

Edited June 1, 2014 by Sir Wulfington

[SkyBound 829]

Just like learning any skill or or gaining knowledge, one much have a strudy foundation to work upon before moving on to more advanced learning.  For artists, it starts with simple shapes, then giving those shapes form, lighting and shading, anatomy, pose, foreshortening, composition, color theory, texture, etc, etc.  I believe you get my point that there is a plethora of information for an artist to absorb and understand that requires time, practice and study, which can be quite overwhelming to have some much information thrust upon them all at once.  It is best to take such things one step at a time and allow them to proceed at their own pace while giving them guidance when needed, which make the journey that much more enjoyable.  For it an artist is not having fun with what they are doing, it is most likely that they will not last long before moving on to something else.  

 

It is quite true that there are rules that need to be followed when one begins drawing, composing or any other artistic endeavor that they choose.  For example, anatomy for visual artists is key, allowing them to learn proprotions and how the body moves and functions which gives their creations more grounding in reality.  However, once these rules are learned and mastered, one can begin to bend them in nearly limitless ways to create wonders that cannot be seen in the real world.  However, with their understanding of anatomy at their disposal, these imaginary creations still have enough real-life knowledge put into them that they can be seen as something more believable.  However, this is merely one example of how these rules can be learned and then bent and manipulated.  Experiementing also helps with this 'rule-bending.' as well as it can be quite fun and enjoyable even when it results are less than expected.

 

As it stands,you do make several valid points and provide a lot of useful tips and advice, from shading, composition and other such vital components.  However, I do believe that it may be far too much information for one tutorial and would be best broken down into several, smaller ones, covering the foundations before moving onto more advanced studies and information.  Art is a journey, not a race, and it is best to take one's time when wishing to walk down that path, enjoying what is around them while keeping both their eyes and mind open.

 

For now, perhaps I am rambling, but I am glad that you posted this, Sir Wulfington.  I have been contemplating this for quite some time now, but I was unsure if there would be enough interest to warrant moving forward with it before now.  Perhaps a 'Tutorial and Reference Guide' thread can will allow any interested member to look up specific tutorials on what they wish to learn and go about it at their own pace, with tutorials arranged by both subject matter and such.  This will not only provide more insight and give them more guidance at their disposal, but they may find more joy as they are learning new skills and procedures for creating new artwork.  This is simply just a thought right now and it would require a lot of tweeking before being implimented but I thought I would throw that out initially.

[Everleaf 541]

I'm already pretty good but....WOW 0-0

[Frith is Magick 1,471]

First of all, some people draw for fun, others for quality. If it's just for shiz n' gigs, this tutorial isn't for you, but it's good if you are seeking to improve on an objective scale. Just a few things I want to add in here.

 

-This tutorial, while valuable, doesn't really directly help improvement, it mostly describes a path to improvement.

 

-You don't need to improve everything at once. Focus on one or two things and build slowly. My best piece to date has bad anatomy, but I'm not too fussy because I was focusing on shading and can work on anatomy later (though I admit that's bad because shading should follow anatomy). 

 

-To the new artist: don't buy a bunch of tools right off the bat. It would suck to waste a bunch of money on stuff you won't care about in a month or two. I believe that it is best to develop the skill and decide whether yu want to pursue it further before getting extra stuff. I'm not good, but I have surprised myself with a simple mechanical pencil (and I'm a bit of a cheapskate). I can't speak for everyone, but my best friend when drawing is an eraser.

 

-If you can't handle blunt advice, stop drawing (or start doing abstract). If you can't handle honest critique and need everything to be sugarcoated, asking for advice and trying to improve is a waste of everybody's time. There's no need for critics to be arseholes, but they should be honest, and the creator should be damn grateful for it. If you're ignoring one element to focus on something specific, say that when asking for critique; advice on the other elements is still valuable, but you'll probably get more advice about what you're working on if you specify what you're working on.

 

-Time is important. You will become better over time with practice, but the time spent on the individual piece is important. I stop drawing when I no longer care about the drawing, thus my best ones are the ones I really cared about and put the extra time into. More time means you're being more careful and tweaking different things, but even down time is good. I find that a drawing that looks great looks like absolute garbage after I've stepped away from it for 15 min. 

 

-Don't throw stuff out. Keep those shameful and horrible pieces, because the more you look at them, the more you will understand where you went wrong and how to fix it.

 

To everyone who comments on a piece, no matter what the media, don't be afraid of being mean. Honest feedback is helpful, and sugarcoating everything will only hinder the creator. By all means aspiring artists should be encouraged to continue and improve, but saying "good job" and nothing else is infinitely more douchy, at least in my opinion, than saying "good job, but try working on this or doing that next time". Praise improvement and relative quality, but please, try to be helpful too. 

[Kay Dreamer 884]

This tutorial is like me throwing a Mozart concerto at a fledging music student and telling them that if they can't work it out, they don't care enough about music. It's way too much at once, when the key to ANY artistic improvement (visual, musical or otherwise) is baby steps and practice. It's all very well to tell new artists they need to do this, that and the other in order to become good, but this is just ridiculously overwhelming for someone just starting out. I'd go so far as to say it's demoralising. Believe me, if I were to teach students - regardless of subject - in the manner outlined by this tutorial, I'd lose those students faster than rats from a sinking ship.

 

The first step to learning to play an instrument is learning how to produce a note from it.

Likewise, the first step to learning to draw (at least for cartoons) is learning to produce simple shapes.

 

The second step to learning music is learning to play the things you hear. Even simple things, like 'Mary Had A Little Lamb.'

The second step to learning to draw is putting simple shapes together to create a picture. (Probably a pony, in this case.)

 

The third step to learning music is making up other little tunes with the few notes you know.

The third step to learning to draw is rearranging the shapes which make up a figure to create different poses or characters.

 

The fourth step to learning music is learning to read it.

The fourth step to drawing is just practicing steps 1 to 3 for... well, forever. It's not like we ever stop.

 

The fifth step to learning music is adding expression, dynamics and other nuances.

The fifth step to learning to draw is looking at ways in which to improve your pictures. Shading, colour, thickness of line, and so on.

 

And the golden rule for both of these: PRACTICE.

 

It takes years to become a good artist. Draw the things you like to draw. Most of all, have fun. What's the bloody point if you're not enjoying what you're doing?

 

I use the exact same philosophy with music students too. Above and beyond everything else, have fun. I want them to play what they love! If that happens to be Star Wars instead of Mozart, well, if it's getting them to practice, who gives a flying feather?

Edited June 12, 2014 by Kay Dreamer