all I'm doing is sketches until I get better at composition I guess

The man’s voice spoke again: “Are you very tired?”

“Oh, tonight I gave you my soul and I am dead!” Christine replied.

“Your soul is a beautiful thing, child,” replied the grave man’s voice, “and I thank you. No emperor ever received so fair a gift.”

- Phantom of the Opera - Gaston Leroux

anonymous asked:

hey teddy (⌒-⌒; ) I've seen your tips for drawing but like how do you get better at it, like what are you suppose to practice ?

ahaha i’m sorry i should have talked about that more i guess ///// though frankly there’s so much you can practice that it’s hard to specify. ultimately what it always comes down to is to draw. you won’t get anywhere if you don’t do that! if that sounds scary (i know that from experience, ‘i can’t spend eight hours a day just drawing that’s crazy talk’) then i can console you with the fact that i personally find it incredibly important to be aware of what you’re doing and the world around you. be aware and pay attention, that’ll teach you a lot too. analyse other people’s drawings, their colour choices, composition, stylistic devices. learn how to use colours. study ways to compose a drawing to guide the viewer’s attention to where you want it to be. 

copy. there’s no shame at all in copying reality or even other people’s work if it’s merely for learning purposes. do studies (12, 3). draw quick, one minute gestures, five minute ones, 15 minute studies. (you’ll practise different skills with those, so don’t cheat!) 

draw both from reference and imagination (>>apply what you learned while studying the reference). draw simple sketches and try different colour variations. pick a character and draw them in different styles. work on a single thing for a long time. experiment a lot to get to know your tools (software, paint, brushes, etc.)

one thing though: keep your inspiration away from your workplace—i’ve made the experience that if you keep comparing your stuff to others’ while you’re doing creative work you’ll always feel like you’re falling short, or you’ll want to try to make your art match the one you see and drive yourself into a dead end. compare before or after, but not during work.

it might take a long time until you’re comfortable with drawing and get to draw your ideas just the way you want to, but i hope that won’t discourage you! ♥ it’s a time-dependent process, so allow time to do its part and just draw. 

Bleeding Colours

Prompt: Imagine Person A of your OTP is a really good artist, and they always let Person B see their art, even when unfinished. But, as A is working on a new sketch, they won’t let B see it, saying it’s their best piece yet, not meant for eyes until perfect. They do everything in their power to make sure B won’t see it. Then A falls asleep while working on it. B walks in and sees the open sketchbook/art doc/etc. to see that it’s a super complex drawing of B or A and B together. (@otpprompts)

Pairing: Taekook
Warning: Rated mature


When Taehyung enters the room, he’s greeted by the hurried sounds of papers fluttering on top of each other as Jeongguk closes his sketchbook. Jeongguk’s hasty and secretive movements in response to his arrival already seem painfully familiar, yet it’s less than a week ago when Taehyung was still allowed unfettered access to all that Jeongguk created. Finished or not.

“How is your latest masterpiece coming along?” The words have a bitter taste and Taehyung wishes he was better at hiding it.

“Okay, I guess.”

Keep reading

anonymous asked:

Hi John! I'm a recent graduate and the work that makes me happy in my sketchbook looks completely different than it did 8 months ago when I was in school. I have a better idea about my voice now, but I have no idea how to take these doodles and visual ideas and make them feel like "finals" anymore. Do you have any suggestions about how to take things out of your sketchbook and getting them to a professional level? As always, thanks for the wise words.

Hi!

I forgot who said it at the Illustration Academy, but someone had offhandedly mentioned that James Jean ruined sketchbooks for everyone. We all laughed knowingly, candidly recognized that we too had gone through a “James Jean phase,” and then hid our ballpoint pens while no one was looking.

The point being James Jean’s sketchbooks are beautiful and wonderful, and we all want to have sketchbooks like that to show everyone and publish through Adhouse. However, the problem is that we are, shockingly, not all James Jean. 

The majority of us have sketchbooks to help us figure things out. They’re probably not going to get published, and they probably don’t make a lot of sense to someone else thumbing through it. And that’s OK! That’s what they should be. As kind of backwards at it seems, think of your sketchbook as an additional computer. It’s ideal for: 

  • Visual problem solving (thumbnailing, sketching.) 
  • Making connections between the information that you input (writing, diagramming, juxtaposition, etc.)
  • Experimentation (with media, subject matter, etc.) 

Note that I don’t necessarily recommend going for more “finished” pieces, ala your instinct after thumbing through a Process Recess book. I think the strength of one’s sketchbook lies in its volume. Who do you think will have a more comprehensive knowledge of drawing? A guy who does 1 giant drawing, or a someone who does 100 small ones?

Now, what I think you’re really asking is: that’s great and all, but what constitutes a finished piece? I think my criterion for a final is if the piece “speaks for itself” (Again, stolen from the Illustration Academy.) Do the formal elements of the piece support what you’re trying to say? (Design) And is it executed in such a way so as none of those formal elements are lacking? (Craft)

For example, have you ever wondered why you love your sketches way more than the finals? How many times have you said, or heard someone else say, “I liked the sketch a lot better.”? If you placed the sketch next to final drawing and took a hard look at both, you’d probably see a few differences: perhaps the energy in the linework was more evocative in the sketch, or the value scheme you had planned fell apart, or maybe it’s just simply not as well drawn in the final! The point being is that they are separate drawings, with their own identities. If you (or others even) consider the final a failure, then somewhere in your process, there was a breakdown in either your craft or design.

So take a look at what you’ve got in your sketchbook. Take any of the little germinations of ideas, and ask those same questions: Do the formal elements of the piece support what you’re trying to say, and is it executed in such a way so as none of those formal elements are lacking? 

If the design is good, but the craft is lacking, find the medium that fits the message. Maybe to make it representationally real, you need to paint and render the crap out of it. Or maybe to make it retain some looseness, you need to use a medium that forces you to lose control a bit, like monotype. If you’re not comfortable with any medium really, then use your sketchbook to do studies and practice!

If you feel pretty good about how you’re going to execute it, but the design is lacking, then you need to, you guessed it, use your sketchbook. Thumbnail, plan, research, and sketch until you get your composition working just the way you need it. And then be sure to retain your design throughout the execution (but you’re such a hotshot that you know how to do that, right?) 

If neither is up to snuff, just go for it anyway. It’ll give you a benchmark from which to measure from. Remember: failure is your friend. He’s the friend you’re really embarrassed to know because he’s kind of loud and still wears cargo shorts, but he’s been there since like elementary school, and deep down you know he’s an important part of how you’ve turned out as a human being. 

One last thing: for me, there is a pretty thin line between what constitutes a “sketch,” or an experiment, and a final piece. I’ll pull stuff from my sketchbook, and crank on it just to see what comes out pretty frequently (that last mouse piece, for example.) I think what really separates something like that from a final is intent. If my intent is to just mess around, then there are no real rules really; but if my intent is the conveyance of some specific information, emotion, narrative, etc. then I’m going to really need to work to find that sweet spot of craft and design so that my illustration can speak for itself.