i guess i just want you to give yourself permission to make a mess so, you can use whatever yopu want. just like in any painting class the instructor will tell you to put down the sables and pick up the number 12 hogs hair. i don't advocate blocking in and then cleaning up but, as is evident in this drawing you're clearly having a big response to shape so, maybe you should do some drawings for which you only permit yourself 10 seconds to execute. How much info can you get so that later in the studio you can "finish" the drawing.
i like this drawing and it's one of those things you do where you show enormous potential but, for me still only scratching the surface. it's clear it's in you pete, i'm trying to nudge you. how do the shape and direction of mouth, brow, nose, collar, pattern on shirt support the big idea (which to me, is the hourglass shape)?
brushpens are great. broad tipped markers are good. try a yellow ochre to rough in the overall shapes and then return with a black pen or prismacolor pencils.
try something i learned from harvey kurtzman. he would block in his comics with a yellow felt tip marker. then go over it in orange to tighten it up, move stuff around, play with it a bit more. then green then blue then finally black. you can't make perfect art this way and it forces you to think more about the forest and not so much the trees.
this is why i keep a loose leaf binder as a sketchbook. keep it fast and loose and allow yourself to screw it up. the hand leather bound-hand made paper sketchbooks from italy are beautiful but, who wants to screw up in one of those?
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i guess i just want you to give yourself permission to make a mess so, you can use whatever yopu want. just like in any painting class the instructor will tell you to put down the sables and pick up the number 12 hogs hair.
i don't advocate blocking in and then cleaning up but, as is evident in this drawing you're clearly having a big response to shape so, maybe you should do some drawings for which you only permit yourself 10 seconds to execute. How much info can you get so that later in the studio you can "finish" the drawing.
i like this drawing and it's one of those things you do where you show enormous potential but, for me still only scratching the surface. it's clear it's in you pete, i'm trying to nudge you. how do the shape and direction of mouth, brow, nose, collar, pattern on shirt support the big idea (which to me, is the hourglass shape)?
brushpens are great. broad tipped markers are good. try a yellow ochre to rough in the overall shapes and then return with a black pen or prismacolor pencils.
try something i learned from harvey kurtzman. he would block in his comics with a yellow felt tip marker. then go over it in orange to tighten it up, move stuff around, play with it a bit more. then green then blue then finally black. you can't make perfect art this way and it forces you to think more about the forest and not so much the trees.
this is why i keep a loose leaf binder as a sketchbook. keep it fast and loose and allow yourself to screw it up. the hand leather bound-hand made paper sketchbooks from italy are beautiful but, who wants to screw up in one of those?
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