2017 Aug

The place I originally posted my sketchbook pages on, Permanoobs, is dead.

I don’t remember the name, but I remember reading on /ic/ one day about one guy who posted his progress every day from absolute beginner to absolute professional on a sketchbook thread on ConceptArt.org, and I found that really inspiring. I thought I’d give it a shot too, optimistically maybe become the second guy ever to do such a thing, realistically just to force myself to do stuff regularly instead of just whenever. Which it didn’t, because that sort of logic never actually pans out. A thing without a motivated person behind it will never actually force you to do it. Eventually though for a completely different reason I did end up drawing regularly, and then, the viewcounts did motivate me a little bit. Every once in a while it’d be the little extra nudge i needed to start things rolling. I get basically no feedback, much less useful feedback, here or on facebook, so it was nice to see the ticker numbers show 50+ every post and have a useful or at least apparently informed comment every once in a while.

Someone’s set up a direct replacement forum, but I don’t think I’ll be joining it for the time being. I need to figure out solutions to certain problems and they don’t seem to be solvable through simply “more work”. At least, not my understanding of “more work”, which is grinding more iterations of torsos and faces, which by repetition I’ve also associated with the idea of posting sketchbook pages to a public forum. Recently I’ve gained more insight by slowing down in some ways and asking specific questions of specific people, so I think I’ll stay on that path for a bit.

No one reads this though so I don’t mind posting here.

These are some of the things I did this month. There’s five other pages which I won’t be posting because there’s things I’d have to crop out. Like some of the pages here I was trying out various things to remove myself from a “grinding”/”perfectionism” mentality. Some of it was pretty neat; I found out I could actually learn the basics of proportions for a tank and a fighter jet in only a few hours each.

The word “perfectionism” isn’t a good way to think about it, I think. If you tell people not to be perfectionist, you’re basically telling them that perfection is bad. All the arguments ala “perfect is the enemy of good” are great for preaching to the choir, but in terms of helping those actually in trouble it’s not so stellar. There’s a phrase on /ic/ which I think describes perfectionism, from the perspective of a perfectionist, pretty well:

“Don’t polish a turd.”

The frame of the world is very different when fecal matter is involved. A much more down-to-earth thought that can be talked through. Rather than having someone first imagine perfection, goodness, all that is holy, and then tell them that they shouldn’t want it, the only thing in the frame is a piece of shit.

“Polishing turds” isn’t too far from how I got myself past an initial hump way back when. These days basically all I can draw is women, but once upon a time it was spaceships in bad isometric, and all my people looked like crap. I looked at, watched, and thought about how other people could draw such beauties, and decided on an axiom: “every drawing is just a collection of lines”. So I drew lines and tried to make them look like faces, rather than draw faces and hope lines didn’t start sticking out everywhere.

If that’s not “polishing” I don’t know what is. And I’ve learned a lot more and gone a lot further with “polishing” than I have “doing it right”, so it should be clear to me which one I should follow.

I wonder how much of the problem is also just the circumstances of how I’ve been drawing. It is vastly more important to get the foundations right on paper because erasing is a pain, and at the size I’m drawing at, placing an eye slightly too far to the right can happen in one or two millimeters. Not so much on a digital canvas where things can be resized, transformed, warped, marqueed, and all the other possibilities.

These are the sorts of things I need to spend more time with.

But it’s not as fun drawing on a tablet as it is on paper.

C 17_08_16+26

after D/8_13 i was really wondering what was “the essence” behind rendering. one of the replies i got on the /ic/ discord was “form change = value change”, and after browsing through robertson’s rendering book i thought i’d do values by line boundaries instead, just to cut the “blob question” out of the picture.

the first two curved panels, the two below that, and the three spheres enlightened me quite a bit.

an object has a certain topology, and how to shade something is the interaction between that topology and the light source. directly facing light is brightest, sharper corners means sharper transitions…

not that this tells me how much lighter or how much darker something should be. didn’t get any good answers on that one, just that ‘accuracy isn’t the right way to think about things’ and ‘the important thing to get right are the value relationships’.

for 8/26 i wanted to try and make my stuff look not so boring, and i remembered hands were really expressive. and hair is pretty important to a character’s design. so are their expressions. all things which, being focused on the nude figure and having the “don’t polish a turd” mentality, i never thought much about. i was aware that eyes, nose, and mouth aren’t things you just haphazardly slap onto a face after it’s done, but i wasn’t aware that the same sort of effects extended to all the other things i was ignoring.

C 17_08_27-29

8/27 and /28 take up the ~25% column to the left.

i can see that most of /29 was grinding in retrospect, but it’s difficult to tell in the moment. at that point in time given the past several pages of doing whatever and learning the basics of jets and tanks in half a day each, i was pretty confident in my ability to basically “set up” anything. and the crotch section / leg spread was something i was interested in solving, even though it felt like i’d been there several times before. maybe the idea with projects determining what to grind is actually set up some creative idea, and then stop in the middle to grind out whatever problem you have? i can accept that there’ll always be something you’d probably want to stop and practice a bit before putting it in the big one, but it feels like that shouldn’t account for more than 5~10% of any problem.

C 17_08_29-30

copied a bunch of blouses/skirts from some book to try and get an idea for the basics of clothing design. some of them have folds as part of the design, whether they manually set up the frills themselves or not.

made me realize basically even t-shirts have folds incorporated into the design – you’re never going to see a t-shirt on a person and have it be fold-free. if you saw such a thing you’d wonder if you were dreaming or looking at a picture; there’s always going to be folds at the armpit/shoulder, and probably around the waist. this is a very different way of thinking about folds than when i was reading hogarth, where the idea is almost “all folds are unintentional and only exist due to physics”. which is a little bit silly and is borne out by his examples. it’s not so much that physics doesn’t play a part, but folds by physics alone have a different meaning than folds which look like they were put there intentionally.

i didn’t think this stuff consciously while i was doing it.

bottom right i put a bunch of things together because it was the end of the day and i wasn’t about to spend an hour or two filling it up. wanted to see if i’d sufficiently addressed the problem from a few days ago, namely whether i’d succeeded at making my women look not boring.

and i did. she doesn’t look boring at all.

she looks like a slut. and her arms are wrong, her neck is too long, and something else looks off about the orientation, with the shoulders being almost flat and the ribcage being pointed toward the left.

but this is probably closer to what i need to be doing. the magnitude of the error isn’t terrible and could be sufficiently compensated with decent enough lighting.

D 17_08_05

i don’t remember what i was thinking. but i stopped because on one hand i didn’t want to recreate the same aesthetic from 7/21, and on the other anything i was doing just felt like aimless blobbing. i’d watched a few artists process videos off of patreon, but it didn’t really clear anything up for me at the time.

D 17_08_10

no idea what i was doing.

D 17_08_13

still no idea what i was doing, but i needed to do it. maybe i’d learn something if i stumbled upon it.

D 17_08_21

so after C/8_16, reciting “form change = value change” a few times, i managed to get the idea of “blobbing” out of my head for a bit and try to think of how the form was changing rather than how the value was changing. the other problem though was what exactly the value range should be. robertson had one guide in his book, something about “halfway to black”, but said the logic only worked if it was midday sun on a cloudless day, or something. that with the ‘accuracy isn’t the right way to think about values’ led me basically back to where i started: what am i supposed to do with values?

all the top objects have the same mid value and all the bottom objects have the same mid values. second row has the same value range as the second object in the first row. top and bottom rows are basically value range tests and the middle row is basically edge softness tests.

i didn’t learn anything. i probably could figure out something looking at it right now, but even that wouldn’t really be learning; i’d be describing without internalizing.

D 17_08_31

tried to simplify the slut from C/8_30, and succeeded, but she just looks boring now. There’s not enough detail. and a big part of it is because of the linework. it’s too smooth. her right armpit and right jawline has a bit of life in it but everything else is dull. part of the problem is that my line thickness is way too high for the given size of things i’m drawing at, but that’s not as big a deal as this. my lines are basically as bad as if it was vector art. the stabilization is too high.

i don’t understand how inking works if it isn’t high stablization, but i’m gonna have to find out, because it’s really clear that the completely fluid and even strokes kills life in a drawing.


2017 July (Perfectionism)

I don’t really have anything to show this month.

Spent all the hours instead on watching anime, playing videogames, and appreciating all their flaws.

Coming from having only schooling and testing and going to 4chan’s /a/, /v/, and more recently /ic/, I’ve only ever looked for how things are wrong. These are all places that pride themselves on having high quality insights and tastes, and it’s enforced: the smallest thing can bring you down. In school an insignificant trivia point can be the difference between one letter grade and another, a feature of the system that only becomes more prominent as you go from 10 questions on a test, 1 test a week, for ~30 weeks, that count for 33% of your grade in public school, to college, where there’s 4 questions on a test, 2 tests ever, and count for everything. On 4chan it doesn’t matter how popular or appealing anything is, there’s something wrong with it. And if there is something wrong with it, no matter how prominent that thing actually is, it’ll be given the spotlight over everything else, and anyone who disagrees has “shit taste”.

It’s with this sort of mindset that I approached drawing. For the anatomy grinding that I was doing, it served its purpose well. There really was always some other little thing to work on. But, just like how my good grades in class prevented me from thinking about communication and life skills, my grinding relieved me from worrying about my complete lack of ability to put together anything the common man would be interested in looking at. /ic/ always criticized how these proportions were unrealistic or that muscle insertion was wrong – I wanted my works to be free from the types of criticisms that I saw. In the process I “lost” the larger picture and didn’t see that I wasn’t making any works at all.

“Lost” because I vaguely know what it should be, but haven’t had it myself for a very long time.

I started drawing a couple of years ago because I had just graduated college with muh stem degree, couldn’t get a job, and after half a year wanted to have something to show for with my life. I didn’t actually start off grinding feminine body parts, that only happened after visiting /ic/. They had resources on how to draw figures and not much else, a lot of its discussion revolved around anatomy correctness, and I didn’t really know where to start or what to do. I had my own specific disagreements, but the scope of thought was basically the same: I didn’t pay any attention to anything except line drawings focused on anatomical correctness. Coming out of college having no more classes to study for, my bar of productivity was simply “do something that amounts to more than a winrate in a videogame”.

Drawing was “something to do”. Not “something I want to do”. Like probably many other young men it was a great attraction to be able to create my own fap material to specifically cater to my own tastes, but other than that, I didn’t “want” to draw. I didn’t have anything I “wanted” to draw. I needed “something to do”, something that was “productive”, and something “that could be successful”… and drawing fit the bill. Or I should say: I made drawing fit the bill.

It doesn’t fit the bill anymore.

But the bill was wrong too.

I wanted to “succeed” at drawing: specifially, I wanted to “not fail” at drawing, failing being anything that either looks bad or is anatomically incorrect. The idea of failure and success motivated me more than any idea of being able to create beautiful women with my own hands. As long as I kept putting in the hours, as long as those hours showed some improvement, as long as they didn’t fail… it was okay. “Okay” – i.e., “not a failure”.

The moment I start really thinking about something I’m doing it becomes a matter of success or failure. School wasn’t about this or that subject, it was about the grade; making art wasn’t about fun and viewing art wasn’t about appeal, it was about realism. To a lesser extent anime and videogames too, but all the same: something is only good when it overwhelms and leaves me with absolutely nothing to say. Having some modicum of intelligence and being trained to complain, this leaves me with “good taste”. But it also cripples me from doing or exploring. What I spend time with needs to “not fail” in the ten thousand ways i invariably and passively come up with.

I’ve been trying to remedy that by spending a lot of time with things I’d normally call “average” or “sub-par”, and things I’d normally not care about. There’s some truth to the criticism rebuttal of “well you do better then” and this is what I think that truth is. There’s the timeless masterpieces, there’s the lacking me, and there’s all the completed moderate quality works inbetween. The flaws in masterpieces are too obvious because of the contrast, the flaws in garbage are too obvious because there’s nothing else to look at, but for average “pretty good” no-name things I’ll probably forget soon enough, there’s no real concept of failure or success. Here’s a piece of entertainment, which people put many hours into making, with its own successes and failures, and it doesn’t really matter in the end because no one’s heard of it and no one will really remember it.

Recently I read a manga called “Gunsmith Cats”. I wouldn’t say it was a waste of my time. It wasn’t amazing either. It wasn’t my favorite style of art but it did its job. It was basically a slice of life with mostly static main characters, one of which i had trouble remembering the name of even at the end. But it was enjoyable. It was fun. And it must’ve been at least okay because the series ran for about 6 years. And for all of the things it did right and things it did wrong it doesn’t matter because no one mentions it either way these days and it’s been 20 years since it finished. “It has its good points and it has its bad points”. It was a thing. And that’s all there was to it.

This sort of idea seems like it should be self-evident to someone who cranks out a hundred iterations of anything in a week and has trouble remembering what happened two days ago, but there’s clearly some domain dependence thing going on. It’s not that I don’t “know” that it doesn’t matter what I do. It’s not that I don’t “know” that no one starts off perfect and even masters don’t make great things all the time. But I forget or ignore it when the time comes, and it only ever really matters what you can think of in time.

I took a couple of stabs at it.

A guy called Robert Stark who runs a podcast-show interviewed me on my BART/suburbia complaints. I didn’t think I had much to say or was at all a good choice for a show, but I gave it a shot.

In the few pages I did fill this month I thought one of the things looked nice and wanted to make it a bit bigger, with a few more details and some values. So I did that.

Will I care about the quality of these even three months from now? I don’t care much about the whole “the internet is forever, the media will dig everything bad on you in the future” thing, so discounting that – the answer is no.

But remembering and believing that is another story.

A story I’m not sure can be taught or learned through words.

2017 Jun 16 ~ 28

Discussed with a kind stranger on an /ic/ discord my progress; “i need to somehow change my mentality from grinding tiny anatomy insertions and proportions to learning how to draw and color and all the other things…“. They gave me a project, saying projects are how the majority of progression should happen (2:1::project:study), and emphasized that completion was more important than anything else.

I didn’t complete it.

I said last time that last year’s Oct 30 ~ Nov 07 was my gold standard; now I know why that is. I really have been approaching things wrong this whole time. Not so much that studying is bad, but that studying isn’t the most important thing, and the right ground can’t really be covered just through studying anyways. I’m not sure what the project:study ratio should be, but it’s certainly closer to 2:1 than 1:10,000.

you master your waifu anatomy and your hair styles
i tell you to draw me a waifu riding with a pack of elephants
what do you do for the elephants

I faced the same problem again in learning coding. I wanted to do something specific, spent hours looking through reference material, front to back, looking through documentation of all possible syntax, picking up nothing because it didn’t mean anything… then out of frustration I went to google, and it was the first result. I learned what I needed, I implemented what I wanted – what would be the alternative? Memorize the entirety of javascript first? Ludicrous. Yet that’s basically how I’ve approached drawing up until now.

I need to rethink how I think. “More hours” isn’t going to get me out of this one…

A 17_06_16-18

Tried out a few different things in implementing legs into initial layout. Attempting to use “gesture” lines and not shape ran into the same old problem

B 17_06_21-22

I feel like there’s some other guiding principle that I’ve been misled about. Hogarth’s examples of drapery all look silly anyways; no one would actually want to draw clothing like he does. His words look good, his demonstrations don’t, which means there’s some other way to think about it…

A bunch of “before-after” because it feels like I learn things this way.

Butts and thigh range of movement.

B 17_06_21-22

I feel like there’s some other guiding principle that I’ve been misled about. Hogarth’s examples of drapery all look silly anyways; no one would actually want to draw clothing like he does. His words look good, his demonstrations don’t, which means there’s some other way to think about it…

A bunch of “before-after” because it feels like I learn things this way.

C 17_06_20-21

Grinded various things out of nowhere out of anger and impotence.

C 17_06_21-22

Huge tits with waist means long ribcage.

Sizing. Only four things to keep track of, but I’d never done it before.
Perspective/Shot. A table of X size can only appear in a certain way to someone of Y height.

C 17_06_28

scratchwork for D of same date.

Sizing. Only four things to keep track of, but I’d never done it before.
Perspective/Shot. A table of X size can only appear in a certain way to someone of Y height.

D 17_06_20

Thought about copying reference but decided it would be easier on paper, both because of hand-eye coordination problems, and because there’s something in holding a sketchbook at arm’s length that can’t be reproduced by zooming out.

D 17_06_28

Was given a project after some discussion about progress with a stranger: make a comic out of Chapter 15 of The Count of Monte Cristo. After reading it I decided on about half of it, and felt out how things should be split up per page/panel… but this was as far as I got before the anxiety set in.

2017 Jun 06 ~ 16

I feel like I’m getting nothing done these days. Hair definitely took more mental energy per unit area than anything I’ve done up till this point, and I think I made decent progress on it, but it doesn’t feel like two week’s worth. Just did a little bit and then stopped for the day. The Oct 30 ~ Nov 7 period is probably my gold standard: spent a lot of time every day, filled a lot of space, and learned a bit of a lot of things. Then again I also didn’t learn anything that stuck other than “man I suck at everything”.

Part of it is I probably like clean work paths too much. I’ve been thinking about starting work on drawing nonhumans/objects for a while, but where would I put them? Here I’m working on limbs and foreshortening, there I’m working on hair… it’d be messy if I just started putting in random things! And if I can be bothered to draw tools and vehicles, why not just draw something I’m already working on instead?

Maybe I need a third sketchbook. Or one that I don’t upload.

Or maybe I should just do work. I’m not going to be able to make even lineart pinups by the end of the year at the rate I’m going.

B 17_05_08+06_01+06_09-14

Was attempting to copy a hairstyle when I noticed my understanding of how to put hair on a head prevented me from doing it, so I went back to paper and figured it out.

Bottom half was mostly filling up the page. I did learn that my pencil skills aren’t so amazing and hair is actually better with digital stabilizers after setting up a scratchwork layer beforehand, but everything else is still easier on paper. At least for now.

D 17_06_06-08

More hair.

Considered trying out blobs for masses of hair rather than just outlines. Decided against because I don’t know how to control blobs and have no experience how to interpret them as a construction method.

D 17_06_06-08

More hair. Stopped after the first one to work on paper. The rest was just grinding from imagination to demonstrate that I understood what I learned.

Which I didn’t, the final one didn’t look any significantly better than what I was able to do 4/30. I just put a bunch more lines that looked like a mess and felt like a mess. I knew what the problems were – initial shape needed more breakups, overall lock size needed to decrease, detailing needed to go from top to bottom so locks have clear starting points…

D 17_06_16

…I think it turned out better. The hair, anyways.

Tried to put a face on it after all the hair and it didn’t really work out. It’s passable but only barely; become obvious once it’s flipped. Couldn’t put in eyes. Couldn’t put a body on it either because I didn’t plan for it and the hair couldn’t suddenly be made to flow around something rather than being flat.

I’ve seen video processes of some artists drawing and redrawing and warping/transforming facial features after the fact… but it’s really uncomfortable to watch. Even just marqueeing and moving feels weird. I can sort of imagine how it might work, and I can see how it’s a useful skill to have, but I don’t think I’ll have it for a while.

2017 May 08 ~ Jun 02

Didn’t upload a batch for first half of May because I spent every waking hour playing Persona 5. I wouldn’t recommend it.

After basically a straight month of a bunch of videogames, I feel kind of lost and not particularly motivated with drawing. In a sense it’s useful, it was much easier to convince myself to do some copies of values and hair, and to stop focusing on even more head-ribcage combinations. But it feels like I’m not doing enough, and I’m only doing it because I feel like “I have to draw”.

I guess it’s better than feeling “I don’t have to draw”.

A 17_05_08-09+22-23

First half more ado about necks. Second half more ado about nothing.

Two-week gap of Persona 5.

A 17_05_28-31

Didn’t know what to do again so just threw around some things from the 4/29 list. Wanted to work on arms and foreshortening, there were some diameter problems with forearms, but what bugged me the most was the line transitions/insertions at the armpit so I revisited that.

A 17_05_31-06_01

Armpits in tension make a lot of sense, in compression not so sure. Seems to be true in general; nice shapes on body parts usually don’t appear when it’s in compression.

I don’t know how much emphasis I should be putting on the forward/bent-over positions. It’s definitely something that’s fairly common in regular human activity, but it’s also definitely something I’ve never seen in pinups. A friend told me I should probably get to basic competency the other important things first, which to me is hair, clothing, and color. It feels bad to leave these around though.

D 17_05_24-26

Trying to force some rendering time. All the introduction books to rendering talk about concepts like terminator or midtones and what is effectively a bunch of other unusable fluff words, so I just tried messing around for a bit, because the important question for me was “How do I control all these stupid blobs to make them do what I want?”.

Most of my learning in drawing so far has just been copying pictures I like. Maybe it’ll be the same with rendering. Above anything else it’ll be several hundreds of attempts before I get anywhere decent, and there’s nothing out there with that many exercises.

D 17_06_01-02

Stopped the first one because the overall proportions were too wrong. I probably could’ve continued filling in the inner details in a distorted way, but I wanted to try and understand how each line contributed to the whole and the final product, and it felt like at that point it was already a shit cake.

2017 Apr 23 ~ May 06

A rather long two weeks. Watched Kemono Friends (fabulous), Gabriel DropOut (barely not worth the time), played more Automata, partly to get screencaps and a second look for the review, partly for the DLC (it’s poop), and then basically a week of Total Shogun 2 to celebrate a friend’s graduation. It was nice. Not so nice for progress in drawing, but oh well. Such a cluster of things isn’t gonna happen again anytime soon.

Digital though had two unplanned uptake breakthroughs:

  1. I watched an old Ilya Kuvshinov I had and it completely changed my understanding on how to line. My understanding was /ic/’s, which was CtrlPaint’s: draw a line quick, starting before your intended initial point and ending after your final point, then erase the ends afterwards. Ilya seems to emphasize doing fewer lines, using pressure to control weight inbetween. In the end this appears to be a faster process. My interpretation of what I saw changed lining time of a face from ~1hr to ~5min. Marginally less clean results, but pretty great for a magnitude of increase in speed.
  2. Taping paper on top of the tablet. The problem wasn’t so much that the tablet was too smooth, it was that it was smooth for the stylus and not smooth for my arm. Oil or something had built up and couldn’t be cleaned off, and oil caused the material to change into something with very high friction, resulting in lack of control any time movement wasn’t from the wrist. Making paper the contact surface solved this and added a comfortable and familiar stabilization. There’s still some hand-eye coordination problems, but everything feels much better now.

Also finally saw the true advantage of digital: not Ctrl+Z, but Ctrl+H.

Need to be careful using it though, some really beautiful things aren’t supposed to work when flipped (e.g. hair parted left vs hair parted right).

A 17_04_29-30
Last time I had decided to try and put hands into everything, but it became obvious quickly that my understanding of hands was limiting enough that there weren’t many positions where I could expand much at all past a stick figure. So I explored hands a bit more.

A 17_05_01-06
Then I lost sight of what I was doing.

But I learned some things I’d been wondering about for a while in a pretty short timeframe, so I guess it was okay.

Long timelapse more because I was playing a weeklong session of Total Shogun with a friend.

B 17_04_24-25
More hair and drapery drilling from imagination.

Hair shape language/constraints don’t entirely make sense. Doing too few drapery folds.

D 17_04_23
I was told that I needed to do a bunch of lines and curves through points, so that’s what I did.

It wasn’t fun. I didn’t learn much either.

D 17_04_24
Watching an Ilya Kuvshinov video on his drawing process revealed to me that /ic/’s fawning over CtrlPaint had led me to believe the wrong thing: quick lines are NOT the holy grail, clean lines are NOT done by “temp layers”, drawing through, erasing, and they sure as hell aren’t done via vector or shape tools.

D 17_04_25
Testing out different stabilizer levels.

Difficult to control decline in pressure level across a stroke.

D 17_04_28_2-30
Not shown: tracing over a few hairstyles to get a better idea for shape language/constraints.
Also not shown: D 17_04_28_1, where I tried to draw something from reference and it went horribly wrong. When looking at reference my hand-eye coordination is on autopilot, and I really needed to calibrate it with a few faces first, faces being the best choice for calibration because they have the tightest natural tolerances.

Right before the first referenced hair, I decided to tape paper on top of my tablet.

Absolutely the best decision.

Tried out blobbing out values in the bottom right just to fill out the page. Interesting feeling, at least while adding. Not sure how to go about subtracting, or how to add lines to it.

D 17_05_02-06
Ctrl+H is God.

More faces. Feels fine now. Last one was way outside my skill range; animu faces with realistic proportions are wildly different from actual realistic faces in ways I haven’t bothered to understand.

I’m also not entirely sure when which lines should have more weight. I can figure it out if I stop and think about it, but I don’t really want to stop and think about it. They don’t feel sloppy or messy anymore, which is more important.

2017 Apr 10 ~ 21

Gonna put my drawing stuff here from now on too. Older stuff can be found here or here.

Upload schedule is other week, usually Saturday, occasionally Friday or Sunday.

Digital lines are a pain. Asked around and was told there’s no trick to it, I just have to grind a couple thousand curves through pre-established points. Which sounds about right, since the answer can’t possibly be vectors, but I still don’t like it. Means that the problem here is mostly one of mechanical finesse rather than any sort of mental refinement.

Integrating down to calves and feet, though, is. Using head length as a unit the full body is ~2 units wide and ~8 units tall, or 1:4 aspect ratio. I’ve primarily been working in 1:1 to about 1:2.5; doing something so long just feels weird. There’s also the part where if I want to make it large enough to have the most basic of details in eyes and eyebrows so that 0.5mm doesn’t trip over itself, a 1:4 means I’d need to take up ~2/3 of the page’s height.

That being said, this is also not a problem one’d naturally associate with “learning to draw”. Just as digital lining is a problem between tablet and chair, foot integration is a problem between anatomical understanding and mark-making instrument. Neither are my favorite kind of problem.

Problems, problems, problems.

A 17_04_10-13
Wasn’t too clear what I needed to be doing. Saw that pupils/irises were on my to-do list.

A 17_04_14-16
I always thought of the long eye type as simpler, but somewhere along the way the tables flipped. Not because I got particularly worse at them, but because I got better at the other type, and I started to know what to look for.

Long type is more difficult because of the nose, which has lower tolerances because it’s more realistic.

A 17_04_17
Didn’t end up being all too difficult. Just took a bit of space.

A 17_04_18
Adding the head and eyes really tightens the tolerances.

A 17_04_18-21
Had the thought of enforcing some sort of minimum level of detail; if it’s just a head it should detail hair, eyes, expressions, if it’s just a torso the hands should be there or at least some drapery. There seems to be an infinite number of things to refine and since that’s my “comfort zone” mixing them in a bit before and after bigger ones feels pretty nice.

Let’s see if I can’t make myself put more things together this time.

B 17_04_18-20
Started with looking closer at some silhouettes, then looked at motion instead.

D 17_04_21_2
Took ~10 minutes to go from nothing to final on paper.
Took ~100 minutes to go over only this much in lines digitally. Did some lines, then erased and refined, almost every line had its own layer, the jawline had four… I was originally planning to do hair but no way in hell was I going to touch it with this complete lack of speed.

Definitely missing something.