Making Mistakes and Sketch a Day| Doggie Stories – Why do I like drawing 2?

PREVIOUS ARTICLE: the answer is in the line

So, last Wednesday, I was just sketching and seeing how much I could do.

I am well reminded that the time and patience is necessary to provide a good work. Also, I am guilty for now. However, immense detail wasn’t the goal as it was quick sketches and the use of mostly a mechanical pencil. I was a little surprised at the differences that each drawing attempt made. Or rather, I was surprised at the occasional improvements. I would say, “That looked better than before”.

Despite that, I was still a little disappointed. Strange to be disappointed and approving in what I do at the same time. “I want to make something fascinating” I told myself. I guess I felt the pressure of time.

Practice and experiment.

I like the word “diligence” but the dislike the word “practice” since it needs “patience”. Will more “practice” make me faster? Or is being analytical and prudent a beginner’s fault? Was doing 2-hour sketches a wrong approach? Will it all be worth it? Were musicians and artists “geniuses” after all? Those questions kept entering my head.

So, I looked and searched over and over.

Shamus Culhane, a pioneering animator and character designer of Disney (among other such as Betty Boop and Woody Woodpecker), bless his soul, would just drawing unconsciously when he entered a creativity block. Apparently, one of the pre-modern masters Leonardo Da Vinci did various studies and sketches, probably ranging in the thousands.

Talking Animals and Other People/the Autobiography of One of Animation’s Legendary Figures

Even for studies, they all look pretty darn good and real.

If anything, I think fiction (or imagination/creavitity) reflects real life closely. Even in a cartoon. The shadows in the eyes and around the nose, under the nose and the mouth; even cartoons have muscles.

SKETCH RUN (August 2)
It basically began with some lines, shapes, and pencil tests, then it became gestures, practice in proportions, trees and houses. So I told myself that the same techniques should work properly with everyone.

The flow of the hand and the change of the angle can creature an elegant flow of a line. It can be curved or straight, in a circle or maybe some kind of Immelmann.

Pressing on the point or relaxing it can change the value of the graphite.
A flicker of the wrist can make dots, sharp tacks, or little teardrop swirls (or tomoe).

Hatching should be close together and short strokes, parallel. In many cases, this happens, thinking I should cover space and call it “shading”:


Smoothing out lines: smoothing.jpg


To relax, just make shapes and work on shade and proportion. Matter of fact, try to make a human body using only abstract shapes and imagine a light shining on them.

One thing I’ve acknowledged is that I have to work on my anatomy. The majority of these sketches share the same pattern, but are gradually improving.


Going to have to work on it if I want to draw a TITAN.

Perspective is an important factor. It helps with shapes at the basic level, and going higher, there is structures and environment.


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