What do you need to learn and in what order do you want to draw?
And is there any difference in learning to draw digital? If you can recommend manuals, websites, etc., I will be infinitely grateful
Categories
- Art (356)
- Other (3,632)
- Philosophy (2,814)
- Psychology (4,018)
- Society (1,010)
Recent Questions
- Why did everyone start to hate the Russians if the U.S. did the same thing in Afghanistan, Iraq?
- What needs to be corrected in the management of Russia first?
- Why did Blaise Pascal become a religious man at the end of his life?
- How do I know if a guy likes you?
- When they say "one generation", how many do they mean?
You can learn drawing in one way, the classic manual way. I have described it below. Now I will say that the classic way to get students into educational institutions is to take them on the basis of a creative test, which consists of manual drawing. That is, to master digital drawing, you first need to learn manual drawing. Thinking is done through the hands. A computer is a tool. If there is nothing in your head, then the computer will not add anything. I don't know the specifics of teaching digital art, and I don't practice it. And about manual I will write like this…
This is, of course, a very long question, it is easier for you to download a working program from the Internet on drawing, painting and composition and follow them, but I will still describe the main milestones.
The drawing should go ahead. It is important to first understand the tone, and then add color to it. I remember old Soviet publications with expensive color printing in small quantities and with paintings by great artists in black and white. So everything was clearly arranged in their tone: main and secondary, light, dark, medium-gray.
In the first pairs, you should form basic concepts: drawing in directions from point to point; point, line, spot (drawing with a line), tone, tonal relations (usually draw a flat ornament in a square in dark, light, and medium tones), proportions (simple objects frontally with the study of height and width relations), hatching and shading (an exercise in academic hatching and stretching). It is advisable to do this on a planar image. Then you need to move into the volume and form an idea of the observational Italian perspective, both linear and tonal, starting with simple examples (a chessboard in a straight perspective or a “bookcase”). Then you need to move on to the ideal shapes-geometric bodies and form an idea of modeling colors: glare, light, partial shade, shadow, reflex. Along the way, you can connect exercises with watercolors for washing: uniform fill, with a gradient (or transition). Be sure to learn that there are spectral colors, primary and secondary colors, and warm and cold colors (using the color wheel image as an example). Then it is important to understand what a natural color is, its difference from a spectral one, and learn how to mix a complex natural color on the palette. Classically, this is done using the example of copying autumn leaves or a piece of cloth (also a plane). The very first stage is well covered on my YouTube channel: https://www.youtube.com/channel/UCv9aMUJqN9nHnFj-tdLlK5g/videos). I haven't covered the rest yet. I'll do everything in time, but for now I'm writing here. Then there are different methods. The first is when the section of geometric bodies is studied, then they move on to everyday objects, and so on. And there is also a second one, when you can draw household objects that are similar in shape to geometric objects in parallel with geometric bodies. For example, in drawing, a cylinder is studied, and in painting, a can is drawn, etc. Basically, all knowledge is formed at the first stage, then learning goes along the path of complicating the form and understanding how to apply basic concepts to it. After geometric bodies, you need to move on to everyday still lifes. It is desirable to get an idea of two visualization models: linear-constructive and tonal. When studying a tonal model, you should start by drawing a still life of dark objects on a light background and light objects on a dark background. This will give you an idea of the object-background relationship. Next, you need to gradually introduce tasks for materiality, and then for displaying the character of the owner of objects (“thematic still lifes”). In painting, color is also introduced gradually from gray-brown-goat))) grayish objects to colored ones. For example, a still life of light objects that are calm in color on a dark grayish background, and vice versa, as in the drawing. Or use an earthy palette or grisaille. Then gradually enter the color: colored objects on a grayish background. gray objects on a colored background. Form the following concepts: color tone, local color, color perspective, planning, coloristic environment or color environment, heat and cold. Then you can go through the quarters of the color wheel to understand that there are different red shades, different blue, green and yellow. So you can put a still life only of objects of various red shades, then “blue-green still life”, then “yellow”. Also, gradually introduce glass and tasks for displaying materiality, and then thematic still lifes.
After household items, there is a large section of plaster ornaments (baseboards with petals and flowers) and capitals. They are usually drawn to teach drafters to accurately find the key points of objects through which faces will pass, accurately transfer angles and proportions. By and large, this is a drill on a very complex form. Another advantage here is the ability to show depth in a small space with a tone. All this should give results when drawing the head. By the way, I forgot to write about sketches of a person that can be drawn immediately, from the very beginning. Crooked-oblique – it doesn't matter at all. It is important to learn to immediately grasp the proportions, movement and characteristic features of nature.
The head begins to be studied with a skull, an ecorche by Gudon, moving from casts to a live model. And the head should first be old, read, with a developed anatomy, then young (as they say, blood with milk or stretched, like a baby's ass), when the anatomy is less visible, and you have to work on knowledge. Then draw characteristic faces, with an expression of emotions on the face. For example, Socrates, Antinous (or Apollo), and Colleoni (Gattamilata). After the head, the nude and clothed should follow. When drawing a person, it is important to work on the basis of anatomical knowledge and be able to show/let the viewer feel that your person in the picture has a skeleton (bone base), it has muscles, the muscles are covered with skin and clothes are put on the skin. “Aerobatics” for the artist, when the viewer feels all the anatomical fidelity of the image under the depicted clothes on the figure.
The composition. It's important. This is the only section of visual literacy that teaches you to express the author's thoughts. Roughly speaking, drawing and painting teach analytical modeling of form in order to apply it later in the composed pictures. It is best to first make compositional sketches of everyday scenes (from life). This exercise is called “my day”: every day its brightest event is sketched. Always use a tone, not a line. And then you can go to your family and friends and test whether they will recognize the plot, will be able to understand you adequately or not.
This is a very exaggerated, averaged scheme. It may vary depending on the student's abilities. In any case, without an experienced mentor, this knowledge is dead.
Well, in general.. Initially, I learned how to draw anime.. It was popular at the time, but.. For each one in a different way, what you like best, then draw.. Do you want to draw people?.. Study anatomy or references.. Фур Furry? Any animals at all? Or nature?.. To draw it, you need to start with something easy.. As you think, choose something 1. If you start learning everything at once, you won't be able to do it right away, and it's difficult.. An app that can help for aspiring artists or for ideas is :