Tuesday, September 20, 2011

No Redos

More work doodles, this time with some notes on conversations Ryan and I have been having about the state of mainstream comics and comic retail. Ryan encouraged me to post my thoughts on these topics but I haven't gathered up the courage yet. I felt a lot more in my element writing about games.

While thumbing through artist sketchbooks Ryan has bought over the years, I was enjoying me some Wendling and I read that she doesn't like to erase when she draws, preferring instead to doodle the same pose over and over. I believe the thought behind it is that there are positive elements in art that come from not retracting that can be disrupted when erasing to achieve something else -- as though twisting the arm of a drawing can hurt it. It was an interesting notion, so I started doodling without erasing to see what it might look like -- the drawings numbered 1-3.

At work, after reading some Joe the Barbarian, I wondered if mice / rats would be good for my game and I fiddled around with them without getting much traction. Also, on the lower-left is a guy with his hands gesturing. He was my attempt at drawing someone that gestures like I do. I don't think I got the effect quite right, as my hands flop around a lot while I talk.

At draw night it was time for lots of random stuff. The thought occurred to me that I don't draw tattoo'd people that often, and apparently I'm not that good at it when I do. The most fun on the page, I think, is the soldier on the bottom of the page. I wanted to give him a name but have no idea how that one popped in my head.

3 comments:

arnie said...

here's a thought. what is your process on drawing women's hips? they give me so much trouble. i can't quite piece together a reasonable shape to start with.

peace out

Alan Tew said...

It's really difficult to describe in text something that will help, but try this exercise: feel around for the corners of your hips -- where there is the least amount of flesh between the skin and the bone. Draw some women from a 3/4 view and try to pose them in a way that makes that stick out as much as possible. Draw a line from the upper body turning sharply on the pelvis point down the pelvis, and again where the top of the legs jut out. Doing so really forces you to confront the idea that there really is this big wedge of bone in there, and helps you think about it more when you draw the female form. For myself, it took awhile to realize how much that big block of bone informs how women stand, walk, etc., and how it makes a lot of things that guys like, like that happy little gap between the legs beneath the pelvis when women stand straight with their legs together (because lots of guys are subconsciously looking for evidence of wide hips). As always, practice, practice.

Jose Rivolta said...

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