{"id":243,"date":"2013-10-23T20:59:10","date_gmt":"2013-10-23T20:59:10","guid":{"rendered":"http:\/\/dd.salgoodsam.com\/?p=243"},"modified":"2023-09-10T17:23:00","modified_gmt":"2023-09-10T21:23:00","slug":"breakdown-images-exercises","status":"publish","type":"post","link":"https:\/\/salgoodsam.com\/dd\/breakdown-images-exercises\/","title":{"rendered":"Masters Studies and the Long Series!"},"content":{"rendered":"\n

Doing formal studies and serial studies of both live subjects and other artists work is a core learning tool! The goal is to have fun while systematically refining our skills and broadening our visual vocabulary.<\/h2>\n\n\n\n

Related: Exercises like pattern work<\/a> and gesture<\/a> studies.<\/a><\/strong><\/h3>\n\n\n\n

Subjects of study can be anything. Art by existing master’s’ compositions are a classic subject to do this with. But anything that turns you on, or challenges you is more than fair game. Yes it’s ok to copy other artists work in the name of study, just ALWAYS identify your sources when you do, don’t take credit for more than you did. Traditionally we sign this kind of work, “after” [artists name here].<\/p>\n\n\n\n

Study your own past as well out of the moment of doing<\/a>, and with time to take note of our errors and issues we wish to improve with a bit of distance on the doing. And then often repeating or re-mounting the work, making a series of it even, to improve, experiment and explore.<\/p>\n\n\n\n

Drawing things over and over for a bit, doing a series, is extremely educational and can be a lot of fun if you treat it like an exploration rather than worry too much about getting it “right”. Don’t copy each time, refine, clarify, and even be a bit fearless trying new things from time to time too.<\/p>\n\n\n\n

TIP:<\/strong> When studying your own drawings, or even while doing them, stop sometimes to look at them in a mirror to see things you will miss otherwise! After working on a piece for so long, your eyes grow accustom to your mistakes.<\/p>\n\n\n\n

Flipping it make them POP. So make it a habit to look at your piece through the mirror so you can continue with an accurate understanding of what changes could be made to improve it.<\/p>\n\n\n\n

TIP:<\/strong> I also suggest NOT erasing things you feel are a mistake first. Instead, take a lighter color pencil than the line you have been working on, and start sketching in LIGHTLY, the change you want to make from the existing line.<\/p>\n\n\n\n

If you erase it first, you’re much more likely to repeat it, than if you leave it as a guide for what you DON’T want to do. Once you have the line or form you do want roughed in on the page, then clean out the errors carefully and draw in the correction fully.<\/p>\n\n\n\n

I’ll be adding new proposals for exercise constraints here over time. A lot of professional art is built on the process mechanics we’re studying here. Like much of the work I do in making comics<\/a>, everything from illustration to concept art consists of a formalized work flow process, that at times resemble aspects of what you will find here. Many of these exercises are essentially ways of learning by reverse engineering compositions we find pleasing, looking to understand some of the things that make them work.<\/p>\n\n\n\n

Study series example:<\/strong> Read ‘Composition in Drawing: Art Technique’ by Benjamin Blankenbehler<\/a>!<\/p>\n\n\n\n

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Video of a series study based on a photo of Margie Gillis leaping.