#tried a more cartoon like style without being chibi not sure about it yet | Explore Tumblr posts and blogs

comicaurora · 2 years ago

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Sorry if this is a weird question but how long did it take for you to start making art you felt was good enough, at least at the time? I have a lot of ideas for projects I want to make but I'm slowed down by not quite being at a level I'm happy with for professional endeavours. Wondering if I should quit while I'm ahead and just hire an artist I like.

Hoo. Good question.

It's hard to keep track of, honestly. I think every artist is going to feel a degree of "this could be better" about anything they make, and if that's all you're keeping track of it can feel like no progress is being made - but in hindsight, I think "this could be better" means a lot of different things, and what it means for my work has changed over time.

One of my earliest art-related memories is having a very clear image in my head of a pencil sketch I wanted to make (a family portrait of some wizards, a mom and dad flanking a young daughter) and then being immensely frustrated that what I produced was a pale, inexpert shadow of that image. The starting point I was at was "this doesn't look right and I don't know why," and I stayed there for a long time, even as I got overall better.

The first time I remember trying and failing to emulate a specific cartoon style, it was the manga Steam Detectives - I'd mostly been exposed to newspaper comics and scientific illustration, so I had never seen that sharp-angled straight-lined manga style before. There was a liveliness to it I couldn't capture, and that frustrated me. At this point I could see what was wrong, but couldn't yet correct it - my unconfident pencil sketching wasn't going to produce the same kind of three-dimensionality and flow as the brush strokes used in the, in the same way that a traced figure can look strangely odd and off-balance because it's only mimicking the outlines. At this point I'd hit "this doesn't look right and I know why, but I'm not sure how to fix it."

At that point, practice was kind of the only solution - unconfident linework can only be improved by honing the muscle memory and confidence of the artist, which I didn't know at the time or do on purpose but ended up happening anyway, especially once I got going on the channel and was regularly doing dozens to hundreds of drawings per project.

I do remember the first time I thought "oh, that's actually better than I expected" - I had broken my clavicle and my right arm was in a sling, and my art teacher encouraged me to try drawing something with my left instead. I am very much not ambidextrous and my lines were spidery and shaky, but when I stepped back at the end, the thing I'd tried to sketch - a portrait of a regal-looking elf man - actually wasn't too bad. The muscle memory in my right hand was completely absent from my left, but apparently my basic understanding of shapes and shadows had come through and made something that got across the gist of what I wanted. That was the first time I felt "this doesn't look right, but I already knew that, and what it does do is actually pretty solid."

At some point in the process of cranking out channel illustrations, and later chibi character commissions, without even noticing I hit a baseline level of confidence in what I was doing. Certain things got easier because I was doing them a lot more. I stopped thinking about whether a facial expression was communicating exactly what I wanted it to, stopped spending long stretches of time trying to refine poses - because in those specific areas I was no longer experiencing "this doesn't look right and I don't know why." I'd draw a face, realize it could look angrier, redraw the eyes and brows to be angrier, then move on. I'd block out a pose, decide the leg didn't look right, redraw it, line it and move on. It wasn't that I was nailing everything first try, it's that I'd had enough time and practice to quickly diagnose what wasn't working and quickly try something else to correct it.

Instead, I was thinking "this doesn't look right and I don't know why" about other things. Trees, buildings, figure shading, fire, water, metal textures. I still didn't feel ready to do the comic in earnest, but I'd started doing digital illustrations of the characters and mock-up pages/covers, and I kept finding problems in the composition. It didn't look right and I didn't know why. If I didn't know why, I couldn't fix it. A lot of that process boiled down to redrawing stuff until it managed to look right, then trying to reverse-engineer what had worked about that. I'd accidentally draw the most perfect torso and try to figure out what magic combination of lines had made that work. And again, it was a slow process, almost unnoticeable from my perspective, because I just gradually stopped worrying so much about unsolvable artistic problems because the solutions had just arisen with practice and experience. The background looks wack - it's probably under-shaded, darken some corners to make it match the foreground. This texture looks off - probably needs some particle effects to help give it detail. Etc etc.

At present, I very rarely think "this doesn't look right and I don't know why." I still have moments of "this doesn't look right" - almost constantly, probably - but they aren't noteworthy because I've had enough practice improvising solutions that it turns into a brief experimental phase before I fix whatever was bugging me and move on. It doesn't mean it's perfect, it just means whatever problems or places it could be improved are either subjective choices that are fine either way, or small mistakes I don't notice at the time. The process of error-correction and bug-fixing becomes quick and painless enough that I hardly think about how I used to spend ages agonizing over something that was wrong that I couldn't make look right.

The point I eventually got to could probably be best described as "I could make this better if I wanted - do I want to do that?"

Making a comic like this, it's very important for me to consider the value of pouring too much into any one page. If I vastly overdesign anything, I'm going to need to keep up that level of design every time it shows up. If I drew every forest shot by hand-drawing every single tree I'd never get anything done. If something looks off and I know the solution would be more detailing and more texturing, sometimes I'll do that - filigree and particles and all that good sauce - but sometimes I'll just try a few things until I find a shortcut that makes it look fine to my eyes. Art can always be more polished, so that's not really a metric for completeness or ready-ness - I really do think the most helpful metric is whether you're regularly struggling because you can see something is wrong but you can't figure out what. If you consistently know what's wrong - or, more accurately and less judgmentally, what could be polished if you wanted to polish it - you're probably in a pretty good spot.

#asks #aurora #art stuff

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