A sketchbook is a sketchbook; I’m still stuck in the initial idea stage. I can’t point to which days I’ve did these and how long they took.
Touch-on experience, the subjective word called “truth”, what others say, and influences can bring about conflict. It’s one of the worse things about [freelance] writing as data is reiterated and proliferated across the net and literacy media. You’ll have to be considerate and push for accuracy into your work. Critique is a necessity.
Days ago, I was having one of those common moods where I need to tell myself to “keep going” and “I am not capable”. What brought it up was that I was worried about my well-being, and I am easily an envious person.
One passion is drawing. When I was a child, I wanted to draw characters, either it be for comics, cartoons/animation (Note: Cartoon, by its etymology, means its on paper. I am a believer that Japanese anime is the same thing.) or video games. I haven’t accomplished such a goal, and kept writing/drawing as a hobby. So now, I have the habit of getting upset easily and want things to come to me quickly, including finance. Feeling unfulfilled is the worst. It’s a story for another time.
Couple things that should be respected in life is mentoring and patience.
Disney character designer Chris Oatley explains the importance of concept art in “Monster of Paris”, one of his favorite films:
Bibo [Director Bibo Bergeron] says that the designs for most of the main cast developed quickly (note that, in animation, “quickly” could mean an entire year) but the design of the monster was more of a struggle.
My point is that though sometimes they come together quickly (and “quickly” is subjective), a good character design takes time.
I addition to this, concept art is rarely finalize the first try. Putting it vaguely, the production process goes through various changes.
While drawing something myself, I understood and had to tell myself that it was OK. I could draw after all, I just had to learn detailed rendering, and be patient as it will all come together one day. And this is truly the truth (and I meant to phrase it that way): Practice, practice, practice. It is tiresome but it is highly effective.
Here’s an interview about Bergeron and his vision/ambition for the film Monster in Paris. (fun fact: I have a DVD of Monster House).
Here’s what I’ve been up to aside from homework:
I’m still having trouble with drawing clear hands. Drawing realism entirely. I have a class on figure fundamentals so I’ve been hard on myself for years about drawing realistically and remembering anatomy. No matter what, I still stick with general shapes. It’s simple before detail. Still, the hand remains difficult.
I had a rest day, watched the final of 91Days, and the first episode of Monster Hunter RIDE ON. I need to talk about both, along with the new chapter of Brave Frontier and my new summons. Plus, good Arena units.
My first impressions of Mario Kart 7 and MonHun U4.
New Gundam Orphans!
Despite looking over tutorials and studies for light and shadow, I can’t seem to understand armor reflection. The basic of it all is that the metal reflections many things that surround it, and there is a lot of contrast, and the blending of compatible colors. One small thing I don’t like about professional tutorials is that even if you follow directions, the result won’t turn out the way exactly as explained. It is already imbued into their physical memory. Little mistakes will be made, so it all depends on your constant practice. Not to mention we won’t always draw the same. So, what I do like to see is my own progress.
Tips for guidelines and basic techniques are helpful however..
Anyways, since I’m so adamant about Saint Seiya, I’m trying to go for the shiny look to the characters’ various armors, especially the Gold Saints. Fantasy armor in general. How can I draw fighters for fantasy or sci-fi games if I can’t figure this out?
Still want to draw a paladin
One thing I’ve noticed is that the light-middle-dark (sometimes highlight to middle shade) seems to go a particular direction. Also, many artists image an area as a “plane”.
Anyways, back to color. As this is a SaD (Sketch a Day), I wasn’t trying particularly hard with the armor’s shape here. I went with a cute SD look, thus the big head. I just made something simple to start with. Ginga has returned.
I tried different pencils to start with. Obviously, this didn’t take 3-5 minutes as this was a shading experiment. I’ll put it in the SaD list anyways; the dimensional effect is a bit subtle?
The “buttons” on the shoulders are important – it’s where the “stoles” hang
For the first time, I paid a DA Artist (?) for a commission because I was enjoying her Brave Frontier art. So, I thought “Why not? Let’s try it out and see how it comes out”. I didn’t know who to request for at first. Few ideas came to mind, such as a story OC or a NARUTO character.
Then, the decision came to Narcoleptic unit Hermes.
What impressed me the most is that I showed XENON my terrible sketches (old and new) for references and a description. I never drew the spirit raptors, and they turned out impressive here! There’s even the belt pouch and the shoulder armor. It’s near perfect. Thank you so much XENON. I want to repay you one day.
Through Twitter, DA and Pixiv, I found other interesting pieces. I think I’ll do this more, maybe three or four per entry. Today, I’ll do five as a starter.
ZENON again, drawing one of my favorite units: Zephyr of the 12 Guardians.
Hyrchurn again, but I couldn’t get over this cute Shida. Baruira’s most dangerous scientist isn’t very threatening.
My man QUAID! By Azuila.
— りゅうや＠誕生日祝い感謝♪ブレフロ絵描き (@ryuya_pzdr) September 17, 2016
Lastly, there’s Deen of the Palmyna warriors with a rabbit. I don’t remember the Japanese cultural reference of a rabbit breaking down something.
Journalist/Author Michael Gladwell stated in his book called Outliers, a non-fiction about achieving success, that “it takes ten-thousand (10,000) hours to reach a mastery level at something”. The hours are usually contributed to continuous attention (or practice) to an area, starting at young age, Gladwell citing the late programmer Bill Gates and rock band The Beatles. I don’t want to say that it’s completely accurate, the part about “x amount of hours”, but I’d say that part about “exposure” makes sense.
The number 10,000 may just be a metaphor for dedication and practice. Effort, effort, effort, and focus. And with effort comes with a lot of patience.
Sometimes I don’t have patience. I no longer have the advantage of starting early, or as Gladwell states, “start from youth”. Now I feel like I must be very compulsive to make up for lost time because I am not a pre-teen nor a teenager.
Actually, it’s a hard call. I could say that I’ve been drawing and writing “since childhood”, but I think I’m only up to a point where I am very comfortable, enjoy the hobby, and have a better idea on the techniques. However, transition from hobby to professional requires persistence in reality. Now I wonder, is it possible for me to learn quickly thanks to the interest in the past? Do I have the instinct and can fill the gap?
Drawing techniques, from Perspective to Geometry, seem sparse compared to the practice and psychology needed. I don’t think it can be “taught”. Being a novelist does require learning composition, research, and literary devices (ie: parts of speech, parts of sentence, etc), but also the instinct to write characterization, plot, tone, etc.
To me, I think what’s most important is not time, not effort, but “love”. Also, another importance is “making adjustments”.
How to practice?
When I started the article, I’m glad that I checked references — I thought it was 1,000 hours (I wish) and not 10,000, so I imagined myself practicing for five hours a day. At first, that may seem strange and too compulsive. However, small final drawings can take many many hours, and I imagined myself working long hours such as 50 a week.
- 10000 hours = 466 days roughly
- 5 hours a day = approx 35 hours a week
- Approx. 140 hours a month. 1680 a year.
It is pointless to calculate it seems, even more so if the daily hours were reduced. If it took 10,000 hours, going by the upper formula of five hours a day, it’ll take me 6 years approximately to reach the goal. Like I said before, it is a metaphor. However, there may be some truth. It is plausible to find improvement within a year.
Also, you can always improve after the first try. Like my Sketches a Day. Take a look at Mr. Game & Watch (1st, 2nd). Why is this? Because after looking at the character again, I’ve noticed mistakes and took a different approach.
Sketches of LIONET SOUMA
SAINT SEIYA TIME!
Original Lionet Souma by Umakoshi Yoshihiko. Along with photo from official profile is an anti-article, covering what watchers/fans thought were cons regarding Souma and the omega series. Examples being his overly friendly and self-centered character, and his revenge drama.
which actually resurfaces in my story Dawn of End.
So! This is Souma, I think my first one, approximately Summer of last year (2015):
— MGW (Online Author) (@mastergraywolf) June 5, 2015
July of 2015.
— MGW (Online Author) (@mastergraywolf) July 7, 2015
Sketches later, this is October 2015.
Next week is cars and planes.
Today is Work Slump Tuesday.
Like with most sketches, according to “Sketch a Day”, I don’t take them seriously and use a NO2 pencil, equivalent to a HB. My idea is to make a form for future results. Unfortunately, it leads to be being loose rather than careful, and I end up going quickly. Sometimes I use a mechanical pencil for the precision. So maybe I’m comfortable at being a drafter?
The difference between Koga and Ginga (Saint Seiya)
There might be the assumption that spiked hair isn’t too variable or “manga/anime drawing” is childish. However, the concept of the face and body is still familiar to a portrait. For Seiya, the direction of the hair, the length, and the accurate angle of the face (and the lines) can define the character.
No matter what, keep trying hard. I’m not too bothered by drawing anime, but I am worried that my style may stick as “cute” or “cartoonish”, therefore making it incredibly difficult to do realistic art or portraits. I don’t think I want to share my attempt on Abraham Lincoln.
Working religiously hard is not a bad idea. A profession or a career takes a high degree of knowledge and skill, and also patience and time to invest in it.
Taking time and patience, you become more accurate. Then, when more accuracy go by, you do it without a second’s thought. Like to eat and breathe.
Don’t get afraid of critique and don’t forget that many things, goals, don’t have a clean path.
For artists, 10,000 hours is a long way; for a novelist, you may never publish anything for several years.