Results 1 to 10 of 10
August 22nd, 2008 #1
The art student BEGINNERS THREAD,Lost where to start? what exercises to do? come here
OK, so many people come an ask the same question over an over..where to start if im a beginer, or im getting back to art, or i want to master the fundamentals. Concept art is already doing this ,by way of dvd's videos..I have three of them and they are great..and people here help each other out, but some people seem lost at what to do...exactly where do i start from zero.
what should i do everyday..some exercises for expecific purposes.
As you see, im no master (im working towards it hehe, hell the other day i started sculpting with clay,and i suck!).Anyways ,lets get to the points you need to master to become a strong artist.
PLEASE I INVITE OTHER ARTISTS TO POST INTO THIS THREAD, SHOW WHAT YOU DO,WHAT THIS EXERCISE WILL BRING? so i can also do it
5.the fifth element is YOU,getting to know yourself hehe.
First get yourself a SKETCHBOOK, swear to yourself you will draw in it everyday no matter what, (hey you eat,sleep everyday,so make Draw a natural routine in your life)
For a representative artist (be it a painter,sculptor,illustrator,concept artist,or whatever), is better if your time is well spent mastering the nude figure first. that doesnot mean you cannot draw other subjects as well,but you will try to concentrate your efforts into mastering the human skeleton,its proportions,then the muscle forms, origins and insertions,and finally the expression and movement of it. This wont happen overnight,it takes many years.
Here most of us agree in acquiring the Loomis books.http://www.fineart.sk/index.php?cat=1
Succesful drawing and drawing the figure are the ones you need to study (study means read and draw!)..take it step by step..
the other book i recomend is the American Drawing book, so you can do some of the exercises in it as well.
ALSO, apart from Anatomy (for mastering the human form),Perspective (to help with space)must be study as hard as anatomy, and the third subject is geometry (in the chapman book there is a chapter that explains this) which will help you on being orderly and having lots of patience,plus will make you sensitive to duh..geometry which is the root of all the concepts that lie in it.
Anyways lets get to our first exercise..since i assume you know nothing or at least something..
Most past artists started copying engravings..why because it helps you in mastering line, and start thinking of line going over form..regardless of wether you know the form or not. You can look for any engraving,but i rather select the best when it comes to being precise.. you have two masters Durer and Goltzius, again here we are not concerned with looseness, for it i would pick Rembrandt or even Frazetta,but those will teach you other tipe of lessons.
So pick up a piece of paper and a ball point pen (try to get a black one)
draw as you naturally draw..or with the techniques you have learnT
this is done free hand, have the image in front of you,or if you prefer ,print it out.
get a pencil, do a prestudy,this means draw it small,why?so we learn to see the whole before the parts,also to get a "feel for what we draw" before we do the big job, to sort of experience the subject. a sort of warm up...after that,get your piece of white paper, use a pencil to do a quick lay in, then start your drawing as you normally do. Use of course Pen, this will force you to SLOW DOWN AND THINK BEFORE YOU PUT, NO ERASER HEHE, try to be as accurate as you can, try to copy him exactly, it does not matter how it turns out, it will probably suck,but hey is the first time you are "doing it" hehe..this as any skill takes practice..Have fun!!
Oh by the way this is the Fall of Icarus, do research to find out who he was>>
WARNING : PLEASE THIS THREAD IS FOR CONTRIBUTING, ABOUT EXERCISES IN ART, OR IF YOU WANT TO SHARE A TECHNIQUE IN PAINTING,DRAWING,ANATOMY,PERSPECTIVE,GEOMETRY OR ANY USEFUL TIP SUCH AS TACKLING EDGES,FEATURES,SHADING EXERCISES, ETC
THIS IS NOT FOR POSTING YOUR DRAWINGS OR ANY OF THE EXERCISES YOU DO FROM THIS THREAD, FOR THAT YOU POST IN YOUR OWN THREAD TO GET FEEDBACK..THANKS
Last edited by the_allejo05; August 22nd, 2008 at 04:43 PM.
Hide this ad by registering as a memberAugust 22nd, 2008 #2
hey good thread here, hopefully this will answer some people's questions. I'll try to add some more things later on, as I have time, for now I just wanted to add one tip, especially since you mentioned drawing in pen (although it also applies to any media).
When drawing, most of us can't wait to put the pencil/pen/brush down and start making marks, hoping that something worthwhile will result from it. This approach is rather like shooting in the dark, especially if you have a specific objective in mind, like copying an engraving. Think about it, if you're going to your friend's house, you don't just start going through random streets hoping to get there eventually by sheer good luck, right?
In order to gain more confidence in your work (or at least to make it look that way), you should look at your subject and practice the mark you are going to make slightly above your surface without touching it. I've heard that Sargent sometimes did this for painting, and I've seen Vilppu doing it many times. Once you feel confident with the mark you intend to make, strike! Muscle memory takes care of the rest.
This is a great way to avoid chicken-scratches, etc or messy sketches, since you're doing your preliminary, or "searching" lines in mid air. It also works well with perspective, so you don't have to explicitly draw lines going back to the VP. Another thing you can do is give yourself somewhere to start and somewhere to go...this can be done by placing dots at each end of your intended stroke and then "attacking"..like a more refined version of "connect the dots". Of course these approaches are very helpful with media that don't allow easy erasing, but they also work with other media.
This thread has great potential, hope to see more contributions soon!
August 27th, 2008 #3
well guys lets try to get this thread going!!
anyways we keep with some of our exercises..still with pen..first look at this other artist ,Durer..very well known for his precision..Look at this pillow, see how he has treated the countours, and the lines that go over the form..look at this drawing, if you want you can copy it,but since is an easy subject you might just study it..and afterwards..get a pillow from your bed and try to imitate these same studies..trying to see the lines and the way he approaches drawing in this way, also is best if you get a lamp and set it up..so you get only one light source..to create shadows and see the forms going in and out..try to think of the creases of cloth as having dimension, of being mountains ,It is best if you do, a quick underdrawing with pencil then go over with ink.."a drawing a second time becomes more correct than the first"
To keep you busy for a while, we get to another copy..this time Dore.
this looks pretty simple ,but contains invaluable lessons..
trying to see form in simple geometric solids is key
so..notice how on the base of the bust..he is treated his lines following the curve of it, how on the shoulder base..were we see the thickness of the bust, he has used strait lines to show a flat surface, how on the hair, he shows three cilinders by going over the curvature again. the side of the nose..a flat surface, the curve under the jaw..the forehead again is curved following the surface of the skull..YOU MUST LEARN TO DISTINGUISHED THIS SIMPLE SURFACES, FLAT AND CURVED AND VARIATONS OF IT.
OUR THIRD EXERCISE WILL BE TO MASTER THE SQUARE AND THE CIRCLE
reasons we master the square, for perspective,for griding (blowing up),for learning to do straight lines,to love the square,
reasons we master the circles, because is the toughest geometrical shape to draw
so get a piece of ruled paper..those with square grids you use for your math classes..
is good first that you draw an accurate model to refer to, and to memorize..
so on another good sheet of paper that you intend to keep ,draw a perfect square ,refer to this instructions on how to http://aleph0.clarku.edu/~djoyce/jav...I/propI46.html Yes! i know you now how to draw a square,but this is the proper way, Euclid has invaluable lessons that were taught to students of Disegno, so just be patient,read and do an easy square,
then we draw a Circle..
FORGET A TEMPLATE, if you dont have a compass, get it (come on! they are cheap plastic ones nowadays!),so draw a big circle with your compass.
Once you have your models done perfectly..put it on a wall /or your easeal or somewhere you can easily see them..they must be perpendicular to your line of sight (meaning vertical ,so i guess on a wall is fine)..
Then you get your ruled paper, and by looking at the models you begin..free hand, always refering back to your two models, you can start with drawing circles, then squares,then combining them, make it fun!! after a few ,you begin to see progress ,the idea is to get you started on geometry, and on imprinting in your brain those geometric shapes. Afterwards you might try do in it the mechanical way..get your ruler and follow Euclid directions, or if you want come up with your own way of constructing the square, it is fine, "we use math as well as science to help us in art, not to hinder Us" ,also get your compass and try drawing circles in different sizes...
Last edited by the_allejo05; August 27th, 2008 at 10:52 PM.
August 28th, 2008 #4
September 1st, 2008 #5
The Importance of assimilating a language of forms
So, lets look at how an artist acquires a language of art. Like a musician he must learn the fundamentals perspective,anatomy,light and shade,color, (learn them very well so it becomes almost subcouncious!!)then handling of mediums and techniques. (the two books mentioned are a great source of study)while looking and study other master artists and finally create one's on music using the language and tools he has acquired thru the years.
Right now as a beginner, it is better if one concentrates on acquiring those ABC's of the figure, while studying the other subjects
What are the ABC?..well first lets look at the tipical stick figure..
the simplest abstraction of a human figure there is ..YOUR GOAL to make that stick figure in your mind transform into this much advanced figure or something very close to it:
Learning a simple manikin and eventually developing it into a much more sophistaced one, Lets first master a basic one,with basic volumes and eventually by the study of more complex anatomical forms this guy becomes in our mind a much believable figure.
so a good exercise is to learn this figure,to try to move it in space, it is a tough order of business, because this maniquin is first composed of egg shapes, cilinders, spheres and cubes..so if you have not learnt those volumes very well you will have difficulty doing an entire figure..hmm..so PRACTICE DRAWINGS THIS FIRST, KNOW THEM VERY WELL..Like our previous lessons having a physical model is the best, or a good drawing of each correct form can guide you too.
Dont worry about shading this figures just learn their volume..remember we master the circle so we could draw a sphere..the same goes with the others, like a triangle to cone, etc.
U must also develop a way of looking at objects in all is 3d aspects..meaning drawing a front view, a side view, a top view, much like an architect would draw a plan
so try to do the same with your simple geometrical volumes, put your cylinder and draw its front view,side and top..try to think always like that, ..expending your time being accurate and technical will make your hand sketching much more accurate,so dont be afraid of using a straight edge, triangle or compass
Now, after doing those , sketch your volumes freely..shade them if you want ,if you know how to..,then we must tackle the figure...
so first set up a sort of plan, a front view just like this: (do research, and look for a standard size proportions, Dr.Paul Ritcher established a good propotional one, and loomis has also this plate,you must draw this and memorize them by heart,its front view,side and back, it wont happen overnight,you might end up doing many of those..here's an example of a fashion designer proportions)
At the end your own aesthetic sense will end up sticking to your own imaginary figure and proportions,that you like ,that work well for you,but is good that at the start you learn a standard.
Now, from this point on all the studies you do, copy and look, and draw to establish your visual library, you must decide and look for good examples of designed figures..also drawing from life is obviously the best source,but unless you can draw from reality well enough is best if you stick to flat work for now..
much artists from the past liked to draw and acquire the language of the greeks because its high aesthetics,their clear geometrical forms and simplicity
Michelangelo learnt so much from the antique that you can see greek forms here..again,you must be a good drauftsman before you tackle this elegant forms from life,but if you want go visit a museum!! and draw a few sculptures to acquire some of the monumentality in them...
Burne hogarth in his books, broke down,in a sort of easier way for us, how to see the forms of the body in a much more geometrical way..notice that still is the same maniquin..just adding anatomical and more complex forms,learn to see this way when you look at a person..
You can see this forms in other older artists as well,a titian head
A great example of a modern arstist, Marko Djurdjevic, you can read Hogarth all over his imaginary figures, which in turn Hogarth learnt from the master Rubens and sculptures (Rubens learnt from Michelangelo,Raphael,Leonardo,etc), which in turn this Reinassance masters learnt from the antique..the antique learnt from nature..then obviusly your own experience and personality changes this standard forms..
This not only applies to figures..but to drapery,plants, animals etc..it is best to focus on the figure,because is the toughest to draw and paint..mainly the male figure.
Last edited by the_allejo05; September 1st, 2008 at 09:25 AM.
September 1st, 2008 #6
I posted this in another thread..for anyone looking for PERSPECTIVE BOOKS
xinleh..Perspective is a must, but i think it should be tackle later on..because first you must learn to draw structurally..meaning seing basic volumes..not shapes..shape is flat like a circle..a volume is a sphere...the way cartooning or animation students approach drawing is a good start..
this is a good example of what i mean..by luca cambiaso..
I like what villpu does to his beginner students,but yet again..perspective is more sophisticated than what you usually see in cartooning or animation..
You must learn to see things in simple volumes because a cube is a cube regardless of its point of view..to be able to rotate that cube in any angle will help you tons..then you capture in your mind how it looks..then perspective will help you correct those other elements you see in your mind and make them work together as a whole..hard to explain hehe..
Xinleh this is one of the best perspective books..when it comes to understanding this concept..
a more practical book ,visual would be
, because is more about step by step..which many books on perspective lack..
have many other perspective books..hehe i collect just about any of them..il love the subject..you even have a couple of good perspective videos out there..
from the gnomonworkshop.com and draw123.com which is seeing somebody actually doing this..
for lessons on shading geo solids..this is a good start..there isnt much talk about the perspective of shadows or projecting..is all about observing natural facts, this book is practical too,so you get to do the theory you learn from perspective,and see it in reality..
this will force you to actually study the models from life and light them yourself..
is a good book on tone..too..but again, master line..structural thinking first..geometry geometry geometry..damn is so hard..
September 2nd, 2008 #7Registered User
- Join Date
- Feb 2007
- Thanked 3 Times in 3 Posts
hi the allejo05 ,realy helpful it's make some organizations W i spouse to know in first step as abeginner . must try cope this soon , thanx for that i'll waiting more
September 3rd, 2008 #8
September 3rd, 2008 #9
September 3rd, 2008 #10
You have posted some really great info in this thread. I think though, for the absolute very beginner "person", who wants to be an artist. Someone who does not even know how to draw a flat circle, some of this (in this thread) may seem a bit challenging. But it is something to look at a little later on.
The way I learned to draw was just by copying photographs. Now I understand this may be very challenging to the very beginner, but that is the point. I suggest grabbing a photograph, it doesn't matter what, but maybe something with more lines then values. Then, just try and copy it, keep on doing this, over and over, until you see yourself improving, even just by a bit. The point of this is, you learn by yourself by trial and error, no rules, just drawing freely. You start to see things with you own eye. You get the feel of putting your pencil to paper. Take your time and don't rush it. The more time you take looking and trying to put down precise shapes and lines etc, the faster you will get later on. If you feel comfortable with your lines, try to add in your own shading (values) tones, etc...
You will come out with really bad drawings, bad drawings, and sometimes good drawings, eventually, you will start to notice your drawing is getting better, things are getting easier to see. Then, you will have an understanding of how to draw on paper and you can move onto the rest of things suggested in this thread.