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Thread: Guidelines not neccesary?

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    Guidelines not neccesary?

    I was having a conversation on Gaiaonline with some kids (bad idea) about the use of guidelines within their art, and a lot them seem to believe that they don't need to use guidelines to do good art.

    I kinda have the feeling that these kids are just saying that to make themselves sound like "art prodigies" or something.

    But really, I'm curious to know if it really is possible to create a gorgeous illustration without the aid of a few shapes and lines.

    If there is, how in the hell does that happen?
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    It's definately possible, (unless you're talking technical illustration).
    Usually it comes about from thousands of hours of making mistakes/ using guidlines.
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    The ability to do it is due to having an incredibly well-developed sense of proportion, which anyone can achieve. All it takes is practice. It's probably what many people are referring to when they say someone "has a good eye."
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    It's called direct drawing, basically just going right in and putting down the line or tone you need without starting with a block in. The skill to do it comes from thousands of hours of practice without using guidelines. I doubt anyone can make a really finished and detailed illustration without thumbnails, or lots of modifying of the original marks.
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    I've been meaning to ask, what exactly are thumbnails?
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    Sure, it's possible. Lots of things are possible. Is it necessary, meaningful, or desirable? Maybe, maybe not. Art is a big thing.

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    Appreciation for artistic boundaries tend to form as an artist matures a bit... at least from what I've seen. Gaiaonline hardly calls out to me on that level. There's a reason I don't mod there anymore.
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    Quote Originally Posted by Jie Kageshinzo View Post
    I've been meaning to ask, what exactly are thumbnails?
    Smaller, rough sketches where you work out ideas for the larger, final image. They're usually about the same ratio in size so you can blow them up, extemely rough, and you do more than one to find the best composition. It keeps you from spending too much time on a comp that isn't working (or that a client ends up not liking), and lets you see the overall design at a glance.

    Like....these for James Jean's cover illustrations. They're especially useful in staging comic pages.
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    There are many, many methods of drawing. Most of these rely on some sort of predrawing, but not all do. Construction is useful for a lot of things, but other methods have their place as well. Chill out, and don't submit to dogma.
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    Quote Originally Posted by Mirana View Post
    Smaller, rough sketches where you work out ideas for the larger, final image. They're usually about the same ratio in size so you can blow them up, extemely rough, and you do more than one to find the best composition. It keeps you from spending too much time on a comp that isn't working (or that a client ends up not liking), and lets you see the overall design at a glance.

    Like....these for James Jean's cover illustrations. They're especially useful in staging comic pages.
    Thanks Mirana.
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    Heh, if they think they don't need them, more power to them. Either they are really good, or they THINK they are really good and have some misguided ideas on art and "cheating". A lot of people have a LOT of crazy ideas about art. An artist shouldn't need reference, they should be able to make up a convincing image of absolutely anything, even if they've never seen it. They should be perfect and draw the right line, shape, value, and color the first time, without planning things out.

    Let them think that. In a few years they'll be drooling over your superior work and wondering why they haven't progressed as far or as fast.
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    That reminds me of this post on James Gurney's blog. Fortunino Matania was a 20th C historical illustrator. Per the post, his typical working method was to start with a blank piece of paper and, without any preliminary sketches at all, tear off these amazingly detailed tableaux.

    Scroll down to see one in progress and be thoroughly demoralized.
    I was once on the receiving end of a critique so savagely nasty, I marched straight out of class to the office and changed my major (sketchbook).
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    This post remind me of 2 things:

    1, I read about how Michelangelo approach his sculpture, while normally you would start with a general shape, and work your way in refining the details, but Michelangelo doesn't, he works in a way as if the figure "emerge" from the stone...

    2, when I was in high school, I knew this guy from China Central Academy of Fine Arts. He talked about the contests they had in school, the students would paint a life size full figure from toe up, no guide line, no blocking in the big shape first, no reference, nothing, start with the toe and goes up. and the final painting is amazing.

    My comment on the first story is: there's only ONE michelangelo; on the second story is: ......eh......what's the point for that?

    LOL, I guess my point is, yes, it is definitely possible, and yes, a lot of people can do it...after many many many years of painful hard work with reference and guidelines...
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