Drawing Advice for Students – Asking Pros

Four questions? Four questions. They’re all art related, but they’re for our
beginners. I don’t think I pressed record on it. That would be bad. What mistakes do you constantly see people
making in drawing? Rushing. When I see people drawing… I’ve been teaching eight years now and I’ve
seen so many different kinds of exercises, sketches and drawings and there is a difference
between speed and rushing. Rushing is when they’re doing it not for themselves. They’re sketching and drawing for someone
else and it’s structured, the homework. But if you’re drawing for you, you’re going
to put the time and the focus and the energy into it. But, “Oh my God, my homework is due tomorrow,”
they’ll stay up for hours and they’ll try to bust it out as fast as they can. And so they’re rushing now. And the rushing, you’re not going to really
learn from it. You’re not going to really add any kind of
memory to it as well and the experience is also not as fun. So, over time, that can be very jading as an experience and it has a long-term effect. So that problem of rushing is a part of also
time management as well. So being able to take your time in the moment,
to really invest, to get as much as possible out of it. Not about how good or bad it is, but making
sure the experience is as fun. I saw a wonderful artist’s work just yesterday
that I was giving feedback on. And it is the most common thing, is specializing
in horses, specializing in human bodies, specializing in anything like that and not knowing what
they’re made of. That is the most common one, is that if you’re
going to do a body, it helps to know the anatomy. In fact, it’s almost crucial if you’re going
to try to get any kind of illusion of reality. And the classic craft seems like the kind of
things people want to jump over because they see the finished work. They say, “I think I can do that finished
work.” So they go for the finished work and they
didn’t do all of the work that it takes to make it so that it has authority to it. What mistakes do you constantly see people
make in their drawings? People don’t really do live drawing enough
and study. Studying is important no matter where you
are in your career. It’s like eating your veggies, and that’s
one thing I actually wasn’t doing when I was younger. And now I am paying the price. I’m like, “Okay, I have to go back.” I don’t know about that. Those are great. Oh, thank you. Okay. Yeah, I know the mistakes. I know where all the mistakes are, but that’s
usually what I notice is people don’t have good foundation and they make excuses for
it by saying, “Oh, that’s just my style.” I can tell when somebody genuinely has a style
or they’re trying to cover something up. Yeah. I love that. That’s like my favorite one. “That’s my style.” It’s like, “Cool. Good luck with that style.” I mean, nothing wrong with it but if it’s
not genuine and I can tell that that’s not what it is, you’re trying to lie to me, and
your work is saying something else. Well, I think, most of the time, they’re lying
to themselves. They actually believe. They want to believe that it’s their style,
right? Yeah. Yeah. What mistakes do you see artists make in their
drawings? The most obvious thing is probably
anatomy, but that’s an ongoing process anyway, right? But if you can kind of break it down to something
even more rudimentary or whatever it is, I think the way that they go about starting
their drawings. They start out with this really clean, pristine,
straight and nervous line is what I called it instead of being loose and free and confident. That is always the issue and that the minute
that they don’t get it exactly right, they erase. So instead of just moving through a drawing,
they stop before they even start because they’re not confident. It’s already up here. So that’s the most common mistake is this
where they’re at up here, is that their insecurities and feeling is not right. And, you know, you have to deal with that
even as a seasoned artist, but even more so at the beginning. So I think that’s a big issue. What’s the biggest drawing mistake you see
students making? In drawing, the biggest mistake I see is not
paying attention to how things are connected to one another. So every single thing, like my shirt, even
these seams, there’s all this stitchwork in there. My belts has, like…I actually don’t have
my belt on, but my belt has… You are not wearing any pants under… Yeah, no. I’m just completely pantless. No, there’s all these seams and like everything
has volume to it. So like even the edges on a belt has that
silhouette edge and then the contour line, and everybody seems to just flatten it out
so it looks like a piece of paper. And then the other thing is just ellipsis. Everybody has trouble with the ellipsis. It’s the bane of existence. I think people should just start by making
cylinders over and over again and then when they’re comfortable doing that, move on. But that’s my own philosophy and my students
get very frustrated by that. What mistakes do you constantly see artists
make in drawings? In drawings? Yeah. I think anatomy. I mean, you know that better than me. They’re rushing. For me, as an inker, I have to fix it every
now and then. Even as the inker? Yeah. You fix the drawer… Yeah, because you have to draw too in order
to be a good inker. Some of the new guys, they don’t do a lot
of perspective, like backgrounds. So the old school guys, they know the good
school, which is like do all perspective by hand because that’s the hard way to learn
it. And now they have the programs. Oh, so, artists are using 3D software now? Some of them. Do you feel like that makes it a little too
stiff? Yes. It does? Yes. So, it’s better to know your perspective and
then draw it? Uh-huh, because even if you build like straight
lines with the ruler, you can go in and do it freehand, and that will give you more organic
feel. And it’s like if you see the backgrounds in
real life, you don’t see perfect lines way in the back. It’s kind of like foggy. So it gives more realistic light, you know? So, yeah. The thing that I find commonly is that when
a student is learning how to draw, their habits get in the way the most. If they learned manga before they learned
how to draw the figure, they try to draw the figure with manga eyeballs and manga proportions,
thinking that that’s figure drawing because that’s all they know the figure to be. So it gets really difficult for them to understand
traditional proportions and foundation principles because they want to attach it to this other
thing that they’ve learned as they were growing up. And it’s really hard. It’s like stopping or quitting smoking cigarettes
to try to break the habit of all of those manga traditions. Be more receptive to learning everything and
try not to think that those tools that you’ve already done are the tools you’re always going
to be using. Those were the tools that got you started. Now learn the rest of the tools because it’s
like those are the beginner tools, now level up to the more advanced tools. And that’ll get you anywhere you want to go. Those tools are very limited where the advanced
ones get you the broader range in the industry. What mistakes do you constantly see beginner
artists make in their drawings? One thing I was kind of messing up with a
lot is like anatomy. So one thing that I like to do is a lot of
figure drawing where you would go and like try to draw people live. Definitely drawing the body, drawing the hands,
drawing the feet, you know, it’s important. A lot of people like to focus on the face
or just the eyes, but it’s important to, even like for background, things that aren’t as
much fun to draw, it’s important to practice those things too. He’s brilliant. You’ve been doing this for years? You know your shit and I love it. What mistakes do you constantly see people
making? I see mostly anatomy. Anatomy is really hard. It’s like the number one thing people say. Yeah, because I think it’s really hard for
people to get it. I think another one is gesture. I think people give up really fast on those. Like, “Oh, it’s really hard to control this. Okay. I’m not going to do that.” Okay. What mistakes do you constantly see artists
making in their drawings? In their drawing. I feel like there is not enough drawing. Like… What? No, hold on. Let me rephrase that better! So they just don’t draw enough? Yes, they don’t draw enough. I feel like the foundation, usually, it can
be improved on because a lot of people try to jump into style and painting. But without the drawing foundation, you know,
your painting is gonna look a little wobbly or weak. So I would say practice more and draw from
life more, and I feel like you’re painting will look better. Second question, what booth are you at? My booth is 2046. Okay. That was for my wife actually. Oh, okay. Cool. Sorry. She’s texting me while I’m interviewing. No, it’s all good. I’m a professional. I’m a professional. You’re the best professional. What mistakes do you constantly see artists
make in their drawings? The biggest one is overdetailing and really
getting into the details without understanding what makes the details work, what makes everything
come together. So a lot of it comes back to the foundations. And everyone says, “Oh, the foundation,” but
it’s true. If you don’t know your foundation is all the
stuff you put on top, it’s like, “Oh, that’s a beautiful eye. But why is it three degrees over there and
this one’s three degrees down here?” Or usually it’s something more subtle like
it’s slightly tilted the other way or something. No, no, no. It’s really that far off. Oh, really? Yeah. Or it could be that far off. Oh, wow. Okay. Maybe not actually, but it was like, “Wow,
that’s… Okay, let’s go to the next person,” type of
thing. But, no, I think it’s the details, like just
really rendering and getting into all that because you love to do it, which is great,
but it’s just overdone. What’s the biggest mistake you see people
making in their drawings? Structure, generally, is a huge one. You know, there’s a lot of really quick kind
of paintings nowadays, where it’s kind of like concept art, but it’s not really a concept
for anything because they can’t finish a painting because they lack structure. Bad anatomy and bad inking. Bank inking, do you mean like sloppy? Sloppy, yeah. They just practice making lines. And even though a lot of guys go digitally
today, it’s good to learn how to master how using a brush so that you’re doing it subconsciously
so that you’re not even thinking about it. It just requires practice. The number one mistake I see people using
in their drawings all the time is jumping to details too quickly. They’re getting a little impatient with themselves
and they tend to want to finish the drawing as quickly as they can. But, in doing so, they tend to confuse economy
with structure. They think that they can, by jumping into
the detail stage of a drawing, that they’re finished, when, in fact, they’re really just
putting the cart before the horse. You still need to follow the same form. You still need to follow the same sort of
strategy, the same plan of attack, and I see it all the time, drawings that don’t have
solid value structure, drawings that are very, very detailed, but there’s nothing anchoring
it so that it doesn’t look like it’s actually telling a story. Innumerable examples of that, especially in
school. What are the most common mistakes you see
people making in their drawings? Probably the biggest one is just a lack of
structure. I see a lot, especially digital artists, I
see a lot of beautiful compositions and beautiful color palettes and beautiful everything. And you zoom in a bit closer and you look
at someone’s face and it’s just flat, and it’s really disappointing because so much
work I see that, you know, first glance is great. Second glance is just kind of a letdown. So I wish people would just learn how to get
a bit more of a sculptural feel of their work. Don’t even take a lot, just a bit more, a
bit less smudgy digital work or even smudgy painter work, or smudgy charcoal work and
a bit more structure. Planar? Planar, three dimensional, you know. You don’t have to go full Frazetta or Bridgman. Just a bit more. What mistakes do you constantly see artists
make in their drawings? Most of the time it’s just basic anatomy things,
like knowing the anatomy and then breaking it to bend it to like making more stuff. Like what I do, a lot of the anatomy doesn’t
make sense, man. It’s intentional Yeah. It’s because I’m stretching the anatomy to
exaggerate my characters, you know. But knowing, like going through that process
of learning it properly first to be able to bend and shape it where it still looks right
afterwards is one of the main things I think. Awesome. What’s the biggest mistake you see artists
make in their drawings? The biggest mistake I feel is like just rushing
too much to the details. They just kind of want to rush to the finish
and I can see that and I see that they’re missing the story. They’re missing the feeling. They’re missing the gesture, and over and
over again. That’s why I see just a lot of dead drawings. They’re just missing the life and the energy
because of the lack of sometimes just really observing and looking at people all the time
and paying attention and drawing when you’re not drawing so that you’re… “Hey, wow. Look at that person’s mannerism.” Looks at posture and put it back into that
artwork. But that’s the biggest thing, the mistake
that I see over and over is trying to get to the details too quickly. Yeah. Cool. Hey, guys. In the comments, let me know what you think
are the biggest drawing mistakes you’re making now and what you’re going to do to fix it. You can comment below, get the discussion
going. And stick around. I’ve got two more Asking Pros videos coming
soon. Should I say subscribe? They got to be dumb to not know how to subscribe. We’ll put that in there.


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