how do i even get this level of gesture/form it’s the dream is it gesture and form that’s doing the work here?
>>7914813>is it gesture and form that’s doing the work here?it's experience
>>7914813Is it the skill that you admire, or are you trying to get a classical drawing style? Cuz if it's the former I got nothing to say but 'git gud', but if it's the latter I can sperg out about classical drawing techniques and its historical nuances between modern cartoonists and cartoonists of the 50s-70s.
>>7914813Lot going on here. It’s extensive knowledge of anatomy, folds and proportions but minimal application. Gotta know the rules to break them
>>7914850>I can sperg out about classical drawing techniques and its historical nuances between modern cartoonists and cartoonists of the 50s-70s.NTA but feel free
what's the magic method to become as good as artists with 30+ years of experience :(
lmao yes we saw the twitter post too man
>>7914813Repetition. You only take the time to carefully design the form of a character at the beginning. Then you draw that same character again and again and again until you can quickly shit it out onto a piece of paper without even thinking about what you’re drawing. The more fluid and faster you work (fast doesn’t mean sloppy) the more natural your line work will appear.
>>7914850yes please feel free to sperg about your love of art
>>7914850The people have spoken. We wish you to sperg the fuck out, please
>>7914813draw
>>7914813autistics will analyze this for decades before drawingnormal people will draw this until they can do this well, then they analyze for mistakes
>>7914813Who's this artist? I really love the linework and the personality displayed here
>>7914879>>7914984>>7914994Drawings in the mid-century were done with an overhand grip. I've actually did an experiment sketching two comic panel roughs in the overhand and writing grip, and the stylization of the writing grip came out to be more manga-like, more accurate but stiffer flatter and choppier in my opinion. My theory is that the overhand grip makes you use the entire arm from the shoulders to "sculpt" the drawings on paper, instead of "writing" the shapes. (The bottom is the one drawn with the writing grip, and I also drew it first)
>>7915059George Bridgman's teachings emerging in the earlier part of the 20th century was actually a lot more influential than we give him credit for. You can see it in the earlier marvel comics, those comic artists using the memorized structure of body parts as shorthand for the movement of superheros, then in the 80s the new artists push that even further and get a novel sort of dynamism in their works.
>>7915062
>>7915063The 20th cartoonists and animators were all professionals hired to draw decieving simple stylizations of characters. The "meme" is true, before you can draw the scooby doo characters just like the pro in the op image does, you have to master the fundamentals of anatomy.
>>791506460s cartoon for example
>>7915065This is what people may think is the effort and skill required to draw cartoons like that above
>>7915067But upon doing a proper study of the cartoons you realize that the animators have used knowledge of anatomy and forms of clothings and hair and simplified them into barely noticeable, very subtle curves to create the illusion of life. Also, this is a cartoon of the beatles and the animators had studied the mannerisms of the beatles in especially "a hard days night" just to make sure the animation not just look like them but act like them too.
>>7915068The workflow of a professional artist in the 20th century differs in the amount of life references used. They'd tell you that if you're not using life or photo references for 95% of the time you're drawing, you're doing something wrong. Those life references are the reason they improve so fast, metaphorically, drawing from imagination is just the "final performance" of an act after months of choreograph practice.
>>7915070The intent of the final product also differs in the professionals of old days. The aim of the modern artist is to maximize the aesthetic and emotional appeal through the mechanical means of applying stylization techniques, usually the trending style. The older artists absolutely don't neglect appeal, but appeal is second to projecting qualities of life into the spirit of their works. This parallels the transition from "romantic" idealized unrealism narrative style of writing in the 18-1900s vs the post ww2 realism movement in the literary scene, but switched around.Cartoon is by Dwig.
>>7915070Btw this book is called "forty illustrators and how they work" published in 1946, as a reference of ideas for people who wanted to do commercial art at that time
>>7914813TB Choi has a lot of good material on gesture and how to push and pull forms.
>>7915147got any course recommendations from her? is this the best thing?
>>7915014Iwao Takamoto
>>7915064>I don't see why you'll play pretend with your dumb ol' tiger but not with mr. bun!she has a point
>>7915299Tigers are cool and manly, bunnies are for sissies.
>>7915072Thank you for the sperg-out anon.
>>7915292ty
