# What, in your opinion, is the best way to start out a piece of art?



## NinaxPanther (Jul 15, 2010)

And then continue to the end?

 I personally like to start with the basic stick figure approach with the circles where the joints are. and then end with the faces
That's just how I roll, and it helspps me get the body into better proportion.
But I know that's not the only way. Some people like to work on faces first before attending to the rest of the drawing.
What are your ways of starting/


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## Arshes Nei (Jul 15, 2010)

I draw a box around what I expect to draw. This then let's me thumbnail the proportions to avoid that stupid "whoops ran out of space at the thighs" thing I see so many people do. Though you can resize canvas if digital or get another piece of paper.

However thumbs have been more helpful because they make me think story and scene (as someone so aptly put on CA). I need to think what my piece is trying to tell.

I do not do stick figures anymore because they look stiff, I use gesture, then flesh it out.


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## Willow (Jul 15, 2010)

I have trouble using skeletons when I draw, so I usually start with the head and build off of that


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## SwingandaMiss (Jul 15, 2010)

A low opacity brush, either black or the darkest color I want to use, then instead of really doing stick figures I use motions, curves, etc to get the sort of movement or lines of the character. Then proceed to select midtones and highlights and lighting angle and all that and sort of "Flesh it out."


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## Jw (Jul 15, 2010)

Arshes Nei said:


> I draw a box around what I expect to draw. This then let's me thumbnail the proportions to avoid that stupid "whoops ran out of space at the thighs" thing I see so many people do. Though you can resize canvas if digital or get another piece of paper.
> 
> [snip]


I do this any time I'm not sketching for the heck of it. I like having my composition decided before it's down on paper. Plus, it keeps me from running off the paper like I usually do. 

As far as how I work on figures, I lock in the torso/pelvis first, then add the legs, then arms, and finally head (weird order I know) in my gestures. The torso is first because it's the biggest chunk of the body. Legs are next largest. They move some, but you need them to counter gravity's effects on the floating torso. Then the arms-- they are a little freer than the legs which are in charge of keeping the body up. Then the head comes last because it can be placed in many positions and it will look fine. I'm flexible with this rule from time to time, but I like to work large to small.

After that, I work adding details little by little over the entire composition. That way I don't spend a horrendous amount of time on one detail before drawing anything else and finding out I would need to erase it anyway. 

The best thing you can do for yourself is to clear out some distractions when you really want to draw seriously. If you know you'll hop on the laptop, unplug it and put it in a case. Turn the cellphone on silent for your drawing time. Get a workspace that's comfortable for you (quiet, loud, bright, dark, with music, with the television making noise in the background... you know how you work best). Then, make sure you have enough time to draw what you want. If you feel like you're having to force yourself to draw, take a breather, do something else, then attack again. Then, when you finish, you can step back in the real world again.

 It's kind of like the idea of martial artists bowing to each other before a fight-- they're entering a different world. They bow out, and they're back with the rest of humanity. It makes art really relaxing and helps get your mind off of things. 

However, don't scare yourself into thinking whatever you're making has to get done in one setting. That's not really practical sometimes. Enjoy your work, and you'll be rewarded.


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## Fay V (Jul 15, 2010)

i usually start with skeletons of basic lines and bubbles to get a pose in a light blue, then I normally use reddish over it to get details. 

If i'm doing super toony i'll use big round bubbles for the head and body to get the proportions to be more fluffy and toony. 

sometimes I'll just draw it straight off head when I am just sketching.


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## Deo (Jul 16, 2010)

sketch the composition to get balance, form, and flow.


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## Runefox (Jul 16, 2010)

Arshes Nei said:


> I do not do stick figures anymore because they look stiff, I use *gesture*, then flesh it out.



Not to hijack the thread, but out of curiosity, do you happen to know of any good examples or tutorials of this kind of thing? I think I understand the general idea, but I'd be interested in trying it out and I'm not too sure how to execute it.


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## SwingandaMiss (Jul 16, 2010)

Runefox said:


> Not to hijack the thread, but out of curiosity, do you happen to know of any good examples or tutorials of this kind of thing? I think I understand the general idea, but I'd be interested in trying it out and I'm not too sure how to execute it.


 
Check Hogarth's dynamics. Unlike Loomis, Hogarth used a lot more curves.


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## Jw (Jul 16, 2010)

SwingandaMiss said:


> Check Hogarth's dynamics. Unlike Loomis, Hogarth used a lot more curves.


 
@Runefox

Just a word of caution: Hogarth is pretty hard to understand unless you have the basics of anatomy down. As long as you understand the names of several muscles, bones and are prepared to think about what you're reading, you will get a lot out of Hogarth. At first, he is fairly hard to understand, so I would take a look at it in-store somewhere before you buy it to see if you think you'll get anything out of it. I highly recommend this book for any serious drawer, though.




This book in particular is probably the best for gesture drawings. Pic is clicky.

Robert Barret is another extremely talented artist you might want to check out. He's good at simplifying things to layman's terms. He doesn't go into quite as much detail, but his drawings are very "flowy" also. If you want something that covers gestures in some easier language, check out this book:




Both artists/authors are very talented, and I have learned an incredible deal from them and their advice. They are in many ways opposites, but they play really well off of each other. As far as getting yourself to draw loosely, try drawing from your elbow and wrist a lot. You'll get curves to come rather easy, but it will take a good deal of practice to develop control. Don't be afraid of being messy at first.


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## Arshes Nei (Jul 16, 2010)

Runefox said:


> Not to hijack the thread, but out of curiosity, do you happen to know of any good examples or tutorials of this kind of thing? I think I understand the general idea, but I'd be interested in trying it out and I'm not too sure how to execute it.


 
Yeah there's the the Drawing the Natural way. Bridgman's Life drawing (his green book). I think the best one is Hampton's

http://www.figuredrawing.info/ - He has a book and samples of the book on his site. I own the physical book and I also have an ebook version on my ipod Touch.

http://www.conceptart.org/forums/showthread.php?t=14035

http://www.oinkfrog.com/2008/05/imaginefx-june08-and-reilly-method.html Ron Lemen on Reilly's approach (I also like this approach).

This is a PDF from the ImagineFX article on this http://mos.futurenet.com/pdf/computerarts/CAP113_tut_bodies.pdf

Concept Art's discussion http://www.conceptart.org/forums/showthread.php?t=52023

Also Mentler is a great instructor, there's a lot you can learn from him, see his current sketchbook and I'm sure you'll find a lot of gestures - http://www.conceptart.org/forums/showthread.php?t=72362

Though not on Gesture drawing itself Good blogs to visit art related

http://www.linesandcolors.com

http://gurneyjourney.blogspot.com/


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## KashakuTatsu (Jul 17, 2010)

My pieces often come in multiple redraws and layers. First I'll start with concepts of some small sketches of poses or composition ideas. I'll pic one or two of them then draw them using a cone-like skeleton in a larger size and pic the one I like the best. Then I'll work in loose details making a rough. Once the rough passes approval (mine or clients) I'll trace the image over with a light board (to reduce extraneous pencil lines) and add in the full details. Usually followed by a layer of ink then a layer of colour (carbon, coloured pencils, etc). 

Anatomy-wise once the skeleton is done I'll work on the torso and legs first, arms, head then appendages.


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## Deo (Jul 17, 2010)

background to foreground, light to dark.

I do a quick composition sketch using flowy curved lines (which I may harden later to stylize.) Then I work like I paint. Ofcus on basic shapes of shadows and colors, block in large areas, go back in with details.


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## LizStaley (Jul 17, 2010)

I start with basic shapes and composition (especially if it's something more than just a character. Like if it's a character and a background I'll start off with the big bits of the background first, even if it's only some basic blocks), then do quick loose stick figures, build up the basic body shapes, then add clothes, then add hair and facial features. If I'm doing a comic page I'll do a thumbnail on paper before I lay the page out.


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## Zenia (Jul 17, 2010)

I start with a quick stickman drawing. Well, slightly more advanced than a regular stickman. I begin with the head always. I think I did a progress animation type thing once.... bah. I couldn't find the GIF... but I have lots of screen recordings on YouTube. clicky


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## Jw (Jul 17, 2010)

Bookmarking this page-- I get a kick out of hearing other people's drawing habits, plus there's a few good tips here too. 

Oh, forgot to mention this earlier-- I like listening to a playlist on my music player or a favorite CD. Sometimes I can draw through 3 songs, sometimes 30 songs. Just get in your grove and don't give a crap about impressing anyone other than yourself. Unless you're doing commissions, then you might have to worry a little bit, hahaha.


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## NinaxPanther (Jul 17, 2010)

wow. These are all great ways and pointers. I mighthave to try some of these techniques out


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## FireFeathers (Jul 31, 2010)

Thumbnails; adjusting the concept, playing around with different angles, sketching, fixing, painting, fixing, painting, flipping, re-adjusting, painting, done.


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