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  • Hey guys I'm Stan Prokopenko, welcome to Proko.

  • My last video on the Top 5 Shading Mistakes was really well received, so I'm back with

  • another, Top 5 Drawing Mistakes.

  • Shading is part of drawing, but I'm excluding that from this video, because...

  • I already covered it.

  • So watch and see if you're making any of these mistakes.

  • Statistically, you probably are.

  • But it's all good.

  • Learning from your mistakes is what makes you a better artist.

  • Before we jump in, I want to quickly mention that I'm working on a drawing basics course.

  • It's meant to be a new artist's first course.

  • Get you started doing the right things and hit the ground running.

  • If you don't want to miss it when it comes out, get on the newsletter at proko.com/subscribe.

  • So, here are 5 drawing mistakes you're probably making, and how to fix them.

  • #5 - No continuity

  • When I say there's no continuity, I'm talking about stuff like the edge of a table that

  • changes levels every time it disappears behind an object, the limbs don't line up, the hilt

  • of a sword that changes angles or thickness as it comes out of a hand... stuff like that.

  • This mistake can be fixed by using your artistic superpower, X-RAY VISION!

  • I'm talking about drawing through your forms.

  • Use light lines to draw through objects to make sure everything is the right size and

  • in the right place.

  • Maybe some of this information and some of these lines won't make it to the final drawing,

  • but as the creator of this world you need to understand more than you show.

  • Starting the drawing with x-ray vision allows you to define those things that are behind

  • other things and not lose continuity.

  • #4 - Avoiding Weaknesses

  • The next mistake is avoiding drawing things just because you don't know how to draw them.

  • Everyone's done this at least once, me included.

  • It looks like this.

  • Can't draw hands?

  • Put them in pockets, or gloves, or just crop them out.

  • Can't draw feet?

  • Isn't that why they invented shoes?

  • I'll just make this grass patch a little taller.

  • I know some landscape artists that paint only landscapes because they're not good at painting

  • people.

  • These are professional landscape painters.

  • They show and sell their work in galleries.

  • There's nothing wrong with landscapes.

  • They're beautiful.

  • But personally, I would feel very limited if I always had to remove

  • people from my landscape paintings.

  • Or only paint them from the back.

  • Imagine James Gurney's paintings without people or animals.

  • They would be so much more lonely..

  • Still beautiful, but aren't you glad that James learned how to paint anything he wanted?

  • Don't you want to be able to paint anything you want?

  • Avoiding your weakness becomes a pattern.

  • A habit.

  • You can get away with this for a while, but really you're just stumping your own growth.

  • Why limit yourself?

  • And artist to artist, it's super obvious what you're doing.

  • Yeah, I see you.

  • Instead, face them head on.

  • Be determined to make your weaknesses into your strengths.

  • And be confident enough in yourself to believe that you can turn weaknesses into strengths.

  • A great man once said: You're not defined by your problems, but by your response to them.

  • #3 - Messy lines

  • I make my own share of messy drawings.

  • Messy lines are fun.

  • Making messy lines frees you up from not making any lines at all for fear of making them messy.

  • So go ahead.

  • Have fun.

  • Make a mess.

  • But don't call it mastery.

  • Masters get wild by choice, not by lack of skill.

  • And please don't call it your style.

  • A lack of skill is an embarrassing style.

  • Let's look at an example of a messy drawing.

  • Too many lines make this drawing unclear.

  • Drawing is communication, and unclear drawing is just muttering.

  • If you need 6 lines to indicate the contour of an object, is it because you just love

  • that six-line look, or because you don't know which line is right?

  • Or because you were rushing or nervous?

  • Are you proud of the fuzziness?

  • How would I check my proportions on this arm?

  • Like this?

  • Or like this?

  • It's like a map that says "I dunno, it's around here somewhere."

  • Is this actually the shape of the hips?

  • Or you just didn't spend the time to define it?

  • Is this leg really covered with fur?

  • Or you just can't pull one long fluid line?

  • It's probably because you're using your wrist and fingers to draw long lines instead of

  • your elbow and shoulder.

  • Train yourself to be able to draw long fluid strokes from your shoulder and short detailed

  • strokes with your wrist.

  • And slow down to think about your lines.

  • Replace your sloppy habit with deliberate masterful dexterity.

  • It'll take time, a lot of time.

  • But the longer you wait, the stronger the bad habit becomes.

  • Here are some examples of masters getting wild by choice.

  • Nicolai Fechin,

  • Harry Carmean,

  • Heinrich Kley,

  • Joseph Clement Coll,

  • Daumier,

  • Rembrandt..

  • Their lines look messy.

  • But it works.

  • Why?

  • In this drawing, Steve Huston uses many lines to create an energy or feeling of motion.

  • He's not "searching".

  • He knows exactly where the arm is and where every muscle on the arm attaches to the bones.

  • The 'messiness', if you can even call it that, is intentional.

  • There are plenty of examples where messiness is good.

  • Be honest.

  • Is your messiness intentional?

  • Or is it a bad habit?

  • #2 - Proportions

  • Set yourself up for success by making sure you have enough room on the page

  • for the whole thing you wanna draw.

  • It sounds silly, but people mess it up all the time, so get your scale right.

  • As you start the drawing, skip around from place to place or start with a large envelope

  • around the whole thing and then break it down into smaller and smaller pieces.

  • Students sometimes make proportion mistakes because they got stuck in tunnel vision, drawing

  • from top down and then realizing everything got bigger and bigger as they went down the page.

  • Or that they didn't leave enough room at the bottom for the legs, so they make the legs

  • shorter to fit the figure on the page.

  • Take a step back, look at the whole picture, and think ahead.

  • You've got to have good proportions, or your drawings just won't be believable.

  • That means drawing accurately from a reference.

  • Or stylizing and exaggerating in a balanced way, that looks cool even though it's not

  • perfectly accurate.

  • Either way, you need to be in control of your proportions.

  • To do that you have to train your eye to see accurately.

  • The way to train your eye is to check and double check your work.

  • Measuring with a tool, like your pencil, trains you to eventually be able to measure with

  • just your eyes.

  • If you're spending more than 10 minutes on a drawing, you should be using measuring techniques

  • to check and correct your proportions.

  • It's that simple.

  • Checking proportions can be kind of time-consuming or boring at first, but with practice you'll

  • get really fast at it.

  • For me, it's basically a subconscious thing now, and it takes no time at all.

  • My proportions are not perfect.

  • I make mistakes all the time.

  • But the process of measuring and getting my drawing to an accurate point, isn't difficult anymore.

  • If you need a refresher on human proportions or measuring correctly, I've got lessons in

  • my figure fundamentals course.

  • So, get on it.

  • It's important!

  • Finally, the #1 most common drawing mistake I see is...

  • #1 - Symbols

  • We all start drawing this way.

  • Ask a child to draw a face, she'll draw an emoji of a face.

  • As her to draw a house, she'll draw the universal symbol for house.

  • Even as adults, our minds are full of symbols.

  • Bathroom.

  • Walk.

  • Batman.

  • Heart.

  • I'm sure you know a heart doesn't actually look like that...

  • And an eye doesn't actually look like this.

  • It's closer to an eye than this is to a heart, but still, it's a simplified symbol.

  • We recognize symbols quickly because we've seen them before.

  • But when we want to draw something new - something we haven't seen before and that looks like

  • the real thing, we need more than symbols.

  • I see two solutions to this.

  • An easier more beginner solution.

  • And an advanced solution that takes longer to learn.

  • The beginner solution is to learn how to see like an artist.

  • Be able to observe your reference as it actually is.

  • To see the true shapes as they appear from a specific perspective.

  • The eyelid is not an almond shape - it's more three-dimensional.

  • The curve appears differently from different angles.

  • It takes serious observation to look at an eye as if for the first time.

  • Some artists get past symbols by drawing with their eyes squinted to notice the actual shapes.

  • Or by drawing upside-down...

  • ...the reference upside down.

  • This allows you to see the reference fresh, in a way you haven't seen it before, forcing

  • you to observe the actual shapes.

  • Personally, I don't like to draw upside-down.

  • I avoid symbols by paying close attention to the subject in front of me.

  • But it takes more than just looking closely if you want to edit or invent.

  • The advanced solution is to learn the anatomy and the forms of the things you draw.

  • An eye has anatomy and form.

  • The lid wraps around the eyeball, opens and closes on it, and this cornea creates an extra

  • bulge.

  • The lids have thickness, revealed by their top and bottom planes.

  • That's anatomy.

  • That's form!

  • To observe, trust your eyes.

  • "Draw what you see, not what you think you see."

  • To understand what you see, learn anatomy, and you'll see more than what meets the eye.

  • To invent, learn the forms from their varying angles.

  • That way you can draw what you see in your imagination.

  • But what about cartoons?

  • Is it wrong to simplify and draw symbols in a cartoon?

  • No!

  • Cartoons are not real.

  • They are simplified animated symbols.

  • Unless you're thinking of a cartoon like this.

  • These are not symbols, they're a lot closer to reality.

  • Intent is important.

  • If you're going for realism, avoid symbols.

  • If you're trying to draw a realistic portrait and you're popping Egyptian hieroglyphs for

  • facial features, I will find you, and I will teach you to draw.

  • And that's it!

  • Did any of them feel a little too familiar?

  • Let me know in the comments.

  • Which of these mistakes do you make?

  • Again, if you want to participate in the Drawing Basics course, make sure you're subscribed.

  • And if you have a few seconds, do me favor.

  • If you have any friends or classmates that make some of these mistakes, save them!

  • Tell them about this video.

Hey guys I'm Stan Prokopenko, welcome to Proko.

字幕と単語

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Top 5 Drawing Mistakes

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    qqqzero1   に公開 2019 年 10 月 16 日
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