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    Just looked up the line-up for this year's Wychewood Festival, it had some pretty good acts on this year. I'd have especially wanted to have seen Super Furry Animals. The biggest act at Workhouse was an Ian Dury-less Blockheads, which I was going to see, but in the end didn't bother as I was feeling uncomfortable after 3 nights of camping and just wanted to go home. Though it was nice while it lasted, everyone was nice and ready to chat, along with a willingness from everyone to dance like prats. (Me especially on that account, on the saturday I was dancing as if I was in the Hacienda rather than a field in Wales)
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    Thanks very much for your replies Nick, it was very helpful. And sorry for the extreme lateness of this comment, I was at a local music festival (which was full of hippies drinking herbal tea and having casual spliffs in front of security) so I couldn't reply till now sorry. To be honest those last messages you wrote answered my questions fully, so thanks very much for your help.

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    By the way took your advice on getting that ImagineFX, it's pretty good. (One thing I noticed was how many connections it had to this site, with characters that comment on threads here were mentioned in a few articles. Like Steph Laberis) I'll take time to look through that Animal anatomy section. (The issue I have the anatomy section is part 2 and looks at the torso, was part 1 more general about animal anatomy?)
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    So is there a kind of hierarchy of payment, for illustrators? Seems a bit peculiar that one artist should be paid more for dealing with a certain subject matter to another.

    Anyway thanks again.
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    In terms of style, I don't really want to be like any artist/illustrator, but as of yet I don't know where I want to go with it. (Apart from that I know I want to become a sequential Illustrator/Comic book artist/Graphic Novelist, but that'll probably be no time soon) I'm taking a lot of influence in my life drawing from Egon Schiele's approach to drawing line, but if I spend a substantial amount of time on something it won't look like I'd have any influences from him at all. Alot of my 'illustrations' don't really look like any other work I've done before, partly because my knowledge in human anatomy is weak my mind keeps backtracking to my knowledge of 'How to Draw' techniques for Manga books, and so I end up with very simplistic drawings. It's something that's really starting to get on my nerves.
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    Thanks Nick, I'll have to check out that Imagine fx issue.

    Well looking at your work, you must have done quite a degree of studies to get the figures in your illustrations to be so 'complete'. (And have a good memory of where everything goes.) Whenever I try to draw something out of memory, the whole structure of the body becomes a muddle, and I don't know whether to concentrate on the dynamics of the pose (and try to make it interesting) or to take the technical side and spend time getting all the proportions/anatomy correct. So I end up with some odd looking half-finished drawings covering half a dozen pages in each sketchbook, as I end up giving up on the drawings out of frustration. I guess it all boils down to practice, with studies and application of that knowledge.
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    At the moment I'm struggling to decide where I want my stuff to go, nothing seems to represent what I want to do. Sometimes I want something ethereal and wispy and a few days later I want a gritty style? Or doesn't it matter for the time being?
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    Sorry for the late reply. (By the way the best way to reply through profile messages is to write on the other persons profile, and then you can view what's been said when you click on 'view conversation'.)

    I best get to studying the skeleton in detail then, I have drawn a full skeleton twice now. But both drawings were done a while ago, and I don't do smaller scale studies on the skeleton very often, or enough. I'll also try out the advice on watching althletes playing sport, thanks.

    And thank you very much for your time, I'll try and keep at it. Also just a quick question on how you developed a style, after you learnt the basics did you make a conscious decision where you wanted your illustrations to go or was it something you just grew into?
  9. Part2- If you can draw a decently proportioned underlying skeleton, even in simplified form, then you can hang your body drawing on it knowing it has a better chance of working. I find it particularly helpful in parts like the hands, where I'll draw it without any flesh on in a simplified, boney fingered way before fleshing out only parts like the palm by the thumb. Hands are mostly bone and sinew after all.

    If you think of the skeleton as a sort refined stick man, it demystifies it a bit and should allow you to be more adventurous with your poses after a while. It's all back to that time and practice thing. There's one hell of a lot to take on board. I'm still learning and getting it wrong all the time. I've just got a bit better at disguising my fudgery over time.

    Keep at it young sir. You can do it.
  10. Part1 - Hi Rich,
    Sorry about hiding an answer to your earlier question here. I wasn't sure how things worked round this forum. I'll pm in future if that's better.

    Yes, the plot in anatomy books is a bit predictable, but at least you know where the body is hidden.
    Life drawing classes are a great idea. Given a bit more practice you should find that the body begins to make more sense. I'd take time to watch sports videos and other material where you can study the body in movement. You'll see how the groups of muscles work together and the shapes they tend to form and when. Might help you simplify them into shapes you can make work for you in your drawings.
    With regard to how dreary anantomy books can seem - If you try and tackle them in isolation, just reading them and seeing how much sticks - yep, I'd have to agree with you, that it can seem like that. The most useful thing I got out of my early studies was a better handle on the skeleton.
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Nick Harris illustration SKETCHBOOK GALLERY
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