This article describes the nine most common mistakes an artist made when drawing from a model. It took me more than 25 years to draw this number, which helped me define some common mistakes. The art process is fluid and cannot be determined by rules, but if you want more convincing life paintings, then these ideas will certainly help achieve this goal. Here are nine errors and their solutions:
Error #1 starts drawing without first considering what you want to achieve. Often, people start sketching right away, instead of first building some kind of intent in their minds. Well thought out drawings have more focus and reading than undesigned drawings. From the beginning, the mentality set the tone for the rest of the drawing, and did not leave the aesthetic basis for the construction.
The solution is to pause for a while before starting the drawing to see what you are looking at. Keep your thoughts open, then pay attention to the ideas that pop up - the moment of rest allows undiscovered ideas to show you to yourself, which is where things start to become more creative.
Error #2 is the position where the complete graphic could not be determined on the page, resulting in a drawing in which the head, arms or feet were eventually unintentionally cut because the artist had run out of space on the paper.
The solution is to first place the underlying structure line and place the subtable. Make sure to include the top and bottom of the head and the extra space of the margins in the initial rendering. It sounds simple but surprisingly how many people will forget to do so.
Error #3 is an unintentional angle straightening on the model [angles are important because they show how much the model is tilted]. This is what we unconsciously accomplish and must be constantly compensated. Because most people are unaware of this trend, the problem has never been resolved in their drawings, and the result is that the model looks stiff.
The solution is to start drawing angles, just as you see them, and then further exaggerate the angles to make up for your natural corrections. The effect is that your drawing looks more accurate. You have to get out of your comfort zone and force it a bit, but for the audience, the painting will look more credible.
Error #4 is the equilibrium of the proportions on the human body, and the irregular proportion is actually the normal state. Nothing in nature is equal or symmetrical, even if it looks at first glance.
The solution is to look closer and you will see many uneven proportions that you won't see for the first time. Just realize that this trend has taken a step in the right direction and will help improve the quality of the drawing. Another way is to measure the length of the various anatomical scales on the model and compare them to what you draw - you will inevitably find the area where you have "balanced" measurements. These irregularities make painting interesting and show the artist's ability to observe closely. Nature and life are full of surprises, so your paintings should also contain some.
Error #5 does not consider the environment around the graph, causing the inadvertent graphics to be cut or "floated" in space.
The solution is to include some environment in the drawing. It can be the smallest line, but it helps the graphics look firmer and more justified. For example, add a small horizontal line next to the heel to suggest the floor, or make a smudge outside the graphic to represent the space - it's as simple as that, just like a charm! Old masters have done a lot, and you may want to refer to their methods to integrate the environment and numbers.
Error #6 will continue to process the details until a larger form is created. It's easy to get lost in the details, but unless you have the proper basic form, all the work will be wasted. The temptation is to "complete" too quickly from the drawing, causing some beautiful rendering areas to be erased later.
The solution is to draw the drawing correctly from the start, always remembering the work from big to small. The main form is first entered, then placed in a sub-form, the details can be considered a icing on the cake.
Error #7 expects the model to look or take a "just right" posture. It's okay if they move a bit, give you a posture that's hard to shorten, or don't have the look you want. Your painting success has nothing to do with everything about models and artists. Your job is to bring beauty, proportions and interests to this situation, not the other way around. Picasso is a good example of an artist who can use ordinary models and turn her into a compelling work of art.
The solution is to call your power the artist and bring beauty, elegance and dignity [or whatever you are looking for] to the model. You can create a model based on your own ideas, but if you think you have to rely on the model for inspiration, then you won't be able to adapt to it and do it. In other words, some models do have a special quality that can be so wonderful, you can't help but make one of your best drawings. But you shouldn't rely on getting a perfect model to successfully draw - no matter what you see in front of you, you can do it.
Error #8 is a very professional drawing, except that the hands and/or feet are not doing well, and are inconsistent with the rest of the drawing. Many beginners and professional artists are having trouble in this area, but if you spend extra time keeping the hands and feet conceptually consistent with the rest of the drawing and not fabricating or trying to cover up - then you are in the top ten%!
The solution is to thoroughly study the hands and feet. Drawing inspiration from the old master [providing many solutions] will help. Also, draw and redraw your hands and feet until they look easy to complete - it takes time, but it's worth the extra effort, because great works of art are like a chain - it's only the weakest link, so if you "tighten" "A part [ie, hands and feet] that will weaken the entire work.
Error #9 is that you have learned enough and you are finally "coming." In art and life, thought develops as you progress, and ultimately it is more about the creative process than the end result. As Picasso once said, "Success is dangerous. It is more dangerous for a person to copy himself and copy himself than to copy others. It can lead to infertility."
The solution is to make a decision that keeps you open, so you can set new and amazing ideas for the stage and let you show yourself gently. Keeping "right" is the biggest obstacle to open thinking - don't take the time to do it, but try to get yourself open to new possibilities.
The ideas presented should improve the quality of the drawings. If you find that you have not improved, you may want to consider finding a drawing teacher or attending a painting workshop. Life painting [which requires a lot of discipline] is usually more successful when done in a group. One reason is that your thoughts are usually triggered by other artists, and secondly your overall performance will be better in the group case [similar to the gym in this regard]. When you bring mistakes to the light and remove them, the purely creative experience becomes more visible in your work - your life paintings are becoming a work of art.
Orignal From: How to draw a graph - 9 common mistakes
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