Joseph's shiny new sketchbook

[darktiste]

I was listening to Steven Zapata and he talk about how he was doing long piece and how by not working on the necessarly fun aspect of the drawing you would build anticipation to work on the detail further down the line he talk about how leaving the head for the end help build anticipation.He also in a sense talk about how working in multiple pass you can avoid going into having area with more detail than other which can create impatience. Small decision are much harder than big decision it specially true in fundamental such as proportion. Place an eye wrong and any train artist can tell. But if your loosing patience is either your eye is catching more error than and they slowly pill up because your not being decieve enough about your priority perhaps or you forget that the cake as to be bake before you can put in the fun stuff which mean are trying to go faster than your hand can go it normal sometime that we catch more error as were eye get better at find error.But you can't get impatience just because you see them pile up or you don't have the mileage to be up to speed to your expectation.

You might actually be seeing more error because you make less of them i know it paradoxal but since there less error they can be more significative.Let me give you an example if you meet 100 person and you have to remember there name you will remember maybe 15 name let say but if you make the same experience with let say 10 people you get more of a chance at remembering them i would argue.It not a perfect example but it just illustrate that smaller sample tend to have bigger impact in one memory and that is short term memory let say we do this 2 experience over time you would retain more of those people name and the result would improve.That long term memory.You cannot expect the new concept your learn to be strong right away but that i tell that because it part of what at the core of impatience you expect thing to be a certain way but when it doesn't it disappointement and frustration and the more you push the more the quality goes out of the window as the fake like to say just do it and believe that you are going to suceed .The artist journey can be compare to a baby making there first step it doesn't start to walk right away there is alot of small step and this process we need to be willing to take them one at a time to infom us about were we are heading.

So if you catch one error but your already doing something you might be tempted to correct it right way but the question is do you need to correct it right away or is it just occupying your mind more than it should because everything else is where it should be.I say that most of the thing you cannot ignore are error in perspective and proportion value is a much more forgiving fundamental in contrast.With a strong block-in ability you eliminate a large portion of the mistake that could break a piece before it really even had the chance to go anywhere.

What i suggest is to try to fight frustration by implementing change inside the vocabulary you use and to make small shift in mind set be happy with error like bob ross. Instead of perhaps making those academic drawing do gesture for a while feel more energic in the way you draw and the advantage of gesture is that if you do shorter session between let say 30 sec to 15min your creating alot of mileage specially when it come to describing your outline you also have opportunity to develop speed of excusion and have more freedom to experiment with short rendering technic you also build more intuition in the choose you make and instead of second doubt you have a clear approch or atleast you have multiple approch to deal with certain problem.

The problem with doing drawing session without much variety in it quality and lenght that you don't find out which exercise and time frame is best to improve which fundamental.

Trying to hard to rely on the rule create frustration and boundary i think it at the opposite of what artist should strive to be.Artist are actually trying to get away with bending rule not representing thing as they are but how they could be.

Draw for fun sometime or just go out and observe the outside world.You also gotta do thing that make you want to sit those long session and get excited.I am not sure if your satisfied creatively speaking or if you even care about that. Perhaps your more interested in having an eye that capture thing they way they are. In that case you should be studying how the people live, how they move, there expression,there occupation.There more to an individual than the appearance being able to somewhat transfer this life into the drawing make it a bit less of a chore because you have a story to tell it less about the detail and it now about the bigger picture.

I read back a few page back that you see the skill as more of the main quest in your art journey than the imaginative aspect. But i would argue to express what we know we need to get excited creatively first because no amount of drawing ability will make lifeless drawing take a life of there own. For thing to fall in line the essence of what we see need to be capture it start before anything is on the page so the creative process isn't at it core a drawing ability but one of observation and translation of the unseen everything as a story to tell but which element become the focus of attention is up to the artist. But beyond the apparence of thing there is character that need to be felt.It sure is a hard task to communicate someone character when you take off all there cloth but to you it might be the most rewarding thing just to be able to capture someone essense in the nude form in a sense letting the body speak. Perhaps i am just really not a fan of nude and feel they are vulgar parody of everyday life which leak facial expression and element to support the content but they are good for one certain thing which i won't enter into detail.

It make me curious about the thing you like to draw because it for me hard to comprehend your artistic personality because i find it doesn't necessarly transpire even after 10 page.

It so easy to get stuck drawing the same subject over and over again not drawing to know what we have to say but for the sake of drawing to find what we have to say... if you know what you want to draw atleast you know you need to build the patience to get there of course now it more frustating because you know what you want but if you don't find out what you want to draw you get impatient because you were drawing in the first place to express something you never take the time to express at least it can appear like so to other because lot of the artistic work can be occulted to them. This leak of focus make impatience likely as we set wereself to wait for the answers to fall from the sky instead of being proactive about what we want to express. Lot of the sucess of any activity depend on the intent being set before they are set into motion.


Why do we draw why do we do it? Why do you not draw? This is important to know and to let it transpire to set yourself apart from other artist specially if your into branding yourself.


here the video i was refering to earlier if you want to watch it will drawing or just for curiosity.

https://www.youtube.com/watch?v=s3lNxV99734&t=7337s