Teaching Myself Life Drawing

Every week, since art school, at least once (usually) I’ve gone to life drawing class. In art school, we were taught the obsessive close focus of Cezanne was the the way to see the form and draw it. Teachers stressed, look, then respond, with some pattern fixed in your mind, patterns like three value systems, a simple line, warm and cool colors and draw the figure. Cezanne pretty much hammered out his work stroke by stroke in an obsessive pattern of look paint look paint. His style was that of a craftsman, just doing the work, a natural result of his looking.

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I’ve always had a distaste when illustrators apply their “cool” techniques to distort figures into something important. Animators can draw in “styles” based on the model sheets they are given. Comics artist work off of some kind of conceptual model sheet in their heads so “alt” cartoonists produce drawings that panel after panel after panel look the same. You lose the dialog between the figure, looking, and what is on the paper. Commercial styles present here’s shiny neat technique to make the subject “cool” and “interesting”.

In commercial art you lose the connection from viewer through the art to the creator. In comics what you lose is the discussion of the artist with the drawing. With most styles the artist becomes an inker tracing lines to make the picture of a world.
I want a balance so that I am applying “my style” from looking in life drawing class to my actual comics. Or in art school terms, defining a formal problem to explore so at the end of the month I can assess my work and it’s direction.

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Drawing sequence for figures

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OOPS! Color and line make comics sort of.

Abstract Kirby is an experiment in making all the ghosts of artists past floating in my head into one comic. It also is, panel by panel silencing of the editorial sniping, the limited view of comics as one thing the way the person-in-power likes it. Letting go of all the stupid editorial voices in my head has been a practiced almost daily ritual. Feeling comfortable with the drawing I’ve started making comics that look the way I want to enough to adding color to the work.

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A friend asked to purchase a page. So I printed a pdf from Adobe Flash. Sent it off and she picked a page from it when it came back. Except that Flash had destroyed all the line because when you treat the objects in Flash to their filters Adobe Acrobat can’t render them correctly into a PDF. She got something that looked like this.

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I quickly jiggered the process to send her the correct images. But then the flat color stuck in my head like some evil super-villain that can’t be destroyed. So now what do I do?

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Clear-line is a European style that grew out of Herge’s Tin-Tin. People were drawn in simple forms without heavy details. The spaces were drawn with correct perspective and with just enough information to tell you things where. No flashy cross hatch no dramatic lighting. Just line drawings defining what it is. One of my first teachers laid that out for me in art school. Even now the goal of that pure simple line is floating in my head.

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Fat blacks laid in over a line drawing and cross hatching for value indicate light. In abstraction, they develop and reinforce shapes making you continually question what an artist wants as shape and line in a composition. In comics the use of a brush and the line drawing was the dominant way to get the hand into the image, tracking the artist and making the artist have a feel. Walter Simonson’s line differs from Craig Russell’s differs from Jose Munoz. I’ve alway enjoyed the play of drawing as you develop layers of cross hatch on top of each other.

But now I have to figure out how to handle my oops.
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The finest comics I’ve ever done exploring the fundamental things that make comics comics. Now with fancy four colors added into the mix, the tension is can the flat hard colors defeat the evils of cross-hatch and the washes of watercolor lapping at their edges. Or some such bullshit, I like these. Please buy them here, Abstract Kirby 4 on Amazon.

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Scale make dynamics in a page

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To build a dynamic page you need contrast in the shapes between panels. Putting the same scale of shapes next to each other panel after panel leads to dull comics. Robbin’s make the Thief’s hand and gun almost exactly the same size in the first two panels. Then Batman jumps from a small figure to a full panel side head. The spatial relationship between Bats and the thief feels all screwed up in the cut between the two panels. So the large scale Batman head just feels kind of funky. Even just leaving all the blacks off the hand in the first panel would have made a difference in this shot reverse shot. (more…)

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Robbins just isn’t a brushy Kirby #2

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This is a flattened Robbins page to see if I can find the design of the page underneath it. Jack’s use of 2-d design and three-d space is what makes his work unique. Working within his grid Jack would consider the flat shape based design of the page along with the space he was creating. Kirby often seemed to set up suspense that could be carried visually in a page.
Kirby considered each page as a scene with a beginning middle and end that could be told visually.

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