draw you a floorplan

anonymous asked:

♬ and/or 💾 //kenjkats

♬ - what do you listen to/have on in the background when you draw?
usually my playstation is on, it’s either netflix or just youtube with autoplay

💾 - what do you love to draw?
fashion drawings and floorplans super random I know. I used to go to college to become an interior designer but I dropped out bc I was too depressed 🙃

the con asks
  • i was married: how long lasted your last relationship?
  • relief next to me: do you have a secret you told nobody about yet?
  • the con: do you cry a lot?
  • knife going in: have you ever been seriously injured?
  • are you ten years ago: what was your life like 10 years ago?
  • back in your head: do you want to be missed by someone?
  • hop a plane: do you have a long distace relationship/friendship?
  • soil, soil: do you prefer phone calls or messages?
  • burn your life down: are you/have you ever been suffering from depression?
  • nineteen: when's your birthday?
  • floorplan: are you good at drawing?
  • like o, like h: are your parents still together?
  • dark come soon: do you prefer sunset or sunrise?
  • call it off: do you think a lot about "what if"s?

anonymous asked:

Your art is so good. Did you go to art school? Do you have tips for aspiring artists who unfortunately did not go that route?

Thank you, I’m glad you like it! No, I don’t have a formal art education. What I know about art comes from a lot of practice and analysis of what I’m doing and how well it’s conveying what I want to get across, plus observation of other artists’ work and analysis of what I like about their stuff and why it’s effective for their purposes, and like everyone else I’m still constantly learning. There’s a lot of art advice floating around on the internet and I’m sure you can find some that’s specifically suited to you if you Google around, but I’ll try to pinpoint the most universal tips I can think of:

Start with basic shapes and guidelines. This is the most boring advice I’ve put on this list and one of the first things any beginner’s art book teaches, yet it’s amazing how many new artists go years ignoring it. Don’t just put your pen to paper and draw an eye floating there in the emptiness, and then another eye and then a smile and then a head around it and so on until you’ve got a lopsided cartoon person standing there. First you need something that’s going to tell you how much space your character or object is going to occupy, whether that’s a line of action reaching from their head to their feet or a big rough shape of about the size you want them to be, or both. It can be helpful to put some marks at the halfway/quarter/etc. points of the shape to get proportions right, so that you have markers to measure against when you’re comparing your reference to your picture (exactly how far does the arm extend past the halfway point when hanging at the side, etc.?).

Build up your character or object around the line or inside the shape using simple circles and rectangles to stand in for the different parts. Do that thing where you put a cross inside a circle before you start drawing a character’s facial features. Don’t start adding detail until you’ve pinned down the basics, or else it’s very likely you’ll only realize that you got the arm completely backwards after you’ve spent five hours carefully shading the whole thing (believe me, I’ve been there). Always start by looking at your reference and mentally breaking it down into the most simple shapes, then draw those out before you start adding anything more complicated.

USE REFERENCE. ALWAYS. There’s this awful idea floating around that you’re not a real artist unless you can draw perfect figures straight out of your head, and it’s somehow cheating to look in the mirror or at a photograph or at someone else’s art for ideas on how to approach a drawing, so a lot of people sit around scribbling people from memory and thinking that if they do it long enough their drawings will eventually magically come to match the vision in their heads. The actual truth is that any artist, at any skill level, will do a better job when using reference than without it, and that professional artists routinely gather large collections of reference for every significant piece they do. The sooner you get used to doing this, the faster you will improve.

Your goal when you look at your reference is not to copy it exactly, but to understand the information in it that’s useful to you. Get a lot of reference; get pictures of the thing you want to draw from different angles and in different lighting conditions; get pictures of different varieties of the same thing; get pictures of other artists’ representations of the same kind of thing and study how they approached it. Take the time to stare at and analyze your reference before you start drawing. Look at this thing’s shape. Look at where its different parts are relative to each other; see which segment they’d end up in if you put the whole thing in a box and divided it into sections. Look at how the light hits it. Look at where the shadows fall. Look at the colors on it and which ones are lighter and darker than the surroundings. Look at this other artist’s drawing of it. What does the drawing have in common with the reference? What’s different about it? Why did the artist choose to draw certain details of this thing and exclude others, and why did they decide to color it and arrange it with the background in this way? What’s the effect of the result? What aspects of your reference are you going to include in your own drawing, and what are you going to change or leave out?

Just DRAW. Make it your goal to produce quantity, not quality. Set aside time to draw on a regular basis and stick to it. If you feel nervous about people judging your work, then don’t show it to anyone until you feel ready. Draw for yourself. Draw what you want to see; draw what you enjoy looking at. Draw it as well as you can, and then go draw something else. After you’ve made a few more drawings, come back and look at the first one again, and ask yourself what you like about it and what you could have done better, and what you learned from it that you used in your other pictures, and what you did with it that you’ll never do again. Find things you like about every picture; try to forget for a moment that you made it and ask yourself what you’d say about it if one of your close friends had done it and was showing it to you. Make time for quick studies where you try to pinpoint the important aspects of a scene or gesture within a short time limit, to keep from getting bogged down too often in agonizing for days over the details of an image. Keep analyzing and keep drawing. Produce the quantity, and the quality will come.

Do the things you’re bad at until you’re good at them. If you don’t know how to draw something, start collecting reference for it and keep making pictures based on the reference until you get a result you’re satisfied with. If backgrounds are hard, look at photographs of the kind of environment you want to draw, look up perspective tutorials, map out floorplans, set up dioramas with blocks or 3D programs or whatever you have to—then draw backgrounds based on the information you’ve gathered. Backgrounds and perspective and proportions and anatomy will always seem hard until you try to tackle them, but they will never get any easier until you do. The more you practice them, the faster they will become easy for you.

Be an art critic. Look at other artists’ work, both the stuff you regard as masterpieces and the stuff you think is ugly, and ask yourself why you feel that way. Why does a picture produce the effect that it does? Why do these shapes feel exciting and active, and why does this lighting feel calm and serene, and how can you use this information in your own work? Why does this picture look rough and why do all the colors seem to blend together, and why does that expression look kinda creepy, and how can you avoid that effect yourself? Stop telling yourself “this picture is good/bad because ___” and start asking yourself what effect every element of the picture has. What does this red lighting or these blue shadows do for the atmosphere of the scene—what do you think when you look at the expression on her face—what does the shape of this cartoon character’s body tell you about his personality—what does this person’s pose tell you about the way they’re carrying out their action; are they hesitant, excited, angry? What would you do differently if you tried to draw a similar scene? What elements of this artist’s work would you like to imitate in your own? Try it.

Other artists are your friends, not your rivals. Negative feelings about your work and jealousy or bitterness towards other people’s success are your worst enemies. Everyone experiences these feelings from time to time, but you need to recognize it when it happens and keep drawing anyway. The moment you create something and show it to others, you become part of a community of artists that are all constantly learning from each other, and it’s important for us to support each other as much as possible. We’re not in a competition; we’re all working together towards the same goal, of having our work be meaningful and understood in the same way that other artists touch and inspire us. Most people who become internet-popular don’t do it by trying; they just keep drawing stuff they like and talking to others, and eventually people get to know who they are and start following them. Keep producing work and being active, and eventually people who are attracted to the kinds of things you draw will notice and start paying attention to you. Try not to be bitter when some beginner artist gets a load of faves and comments on a simple fanart for the popular new thing of the day; in the end, a single well thought-out comment on a piece you put effort into is usually more meaningful than thousands of faceless people clicking the “like” button.

Improvement is NOT your main goal. Your goal is to COMMUNICATE. An artist is a person who looks at the world we live in and interprets it in a way that brings certain aspects to the forefront and conveys something that makes the viewer see or feel or understand it from their perspective. Your technical artistic skill is meaningful only to the extent that it allows you to convey your ideas or characters more effectively the greater it is. Your goal whenever you set out to make a picture should be to show something, to convey emotion or personality or action or atmosphere or tell a story. Judge your work not based on how good you think it looks compared to other people’s art, but on how well you feel it conveys the effect you set out to make it convey. Improvement will happen naturally over time as long as you keep challenging yourself to portray new things in different ways, but instead of always yearning for a future when you’ll be “good enough”, focus on what you’re able to do right now with your current skill level and DO it.

Remember to have fun. Draw things that make you happy, things you want to see, that ridiculous crack pairing that you and your friend were joking about at 4 AM yesterday. It’s easy to get bogged down in feeling pressured to keep doing more and more and better things, but everyone needs a break once in a while to relieve stress and just doodle things they love or that random joke that popped into their head after seeing that new movie. What is it that made you want to be an artist originally? What is it that you enjoy drawing? As often as you can, do whatever it takes to remind yourself of the answers.