After Sunday night’s studies, I was pretty tuckered out and browsed /IC before bed. Not too interested in doing animation(but I do love 2D animation) and came across Richard Williams’ Animator’s Survival Kit.
He provides many insights he’s gained from his experience in training and work in just the opening chapter. I thought I’d post this bit from an interaction he had with Milt Kahl which really gave me a boost in my pursuit of competency in drawing fundamentals and provided a bit more clarification on what I want out of this whole art thing. To be a good enough draftsman to a point where the drawing isn’t the difficult part, but expression and design is the goal.
I’m not going pretending that this particular advice or conclusion is unique or hasn’t been repeated many times by many different artists or that I haven’t head some form of this wisdom before. It’s just put very succinctly by such an incredibly skilled artist that it really took to me. In fact it kept me up practically all night looking up some of the artists he encountered. John Watkiss’ anatomy skills and visdev work on Tarzan is fucking crazy good. Yeesh.
I might post more of these from time to time.
Shout out to AvoidingThePuddle’s for helping to fill the time while studying because I’m starting to hate every song in my library T_T
I’m better at torsos, abs and obliques still fuck me up, will probably study the shoulder girdle this week, but still need to work on torsos. Frustrating.
Torsos are hard. Work ethic getting easier.
I can draw an okay arm from imagination now. Well, excluding foreshortening but I’m leaving that for hopefully May.
This past week, I’ve changed my study approach a little bit. Normally when I’m going through this Bammes book, I’ll study one body part or muscle group for a couple hours, then go on to the next one the next night. Not sure that’s been working out. What I’ve been doing this past week, as you can tell from the gallery below, is dedicate more time and more focus to single body parts before moving on. This week was arms.
So, the first step was drawing the arm bones, which happen to be deceptively difficult. So the approach, grind the bones until I could somewhat accurately draw the arm bones from memory, then study bones even more so I can understand the attachments and really understand the anatomy, rather than replicating an angle that was studied. Then apply that same mindset to studying the arm muscles.
The reasoning behind the approach, my brand of dummy science. The way I see it, when you’re first learning how to draw something, most if not all of your brain power is dedicated to getting your drawing to look like whatever your drawing is supposed to look like. It’s hard to think about understanding the mechanics or why shapes are shaped the way they are when you just want your arm bones not to look like dogshit. After getting comfortable with the subject, I.E drawing the arm bones over and over again, you don’t have to dedicate nearly as much brain power to replicating the reference, because you can do it from memory. Now when studying, you’re actually understanding the anatomy.
Maybe that makes sense, maybe it doesn’t. I don’t know, I feel like I’m better at drawing arms(still probably going to dedicate most of the week to the muscles of the arm). Either way, I definitely busted my ass this week. 40 hours at the day job, 33 hours studying.
Closing words? fuck forearm muscles. To death.
too tired to write