>>3206 Good point, though it's more of a self consciousness thing. Yes I'm embarrassed for drawing like a low level Anime Convention Catalog Cover Artist® (if not a bit worse) but not because of what others may think for the most part, rather because these less than stellar results leave me feeling unsatisfied and defeated. It makes me feel like what work I have done has been a waste even if, evidently, it wasn't. Not entirely anyway. I'm in a weird headspace and I'll be the first to admit it doesn't make a ton of sense. The fact I can draw to any rudimentary level is proof of concept for all those materials to which I'd been exposed and which among them I'd truly acted on with any sincerity, but every time I'm confronted with a blank canvas it feels like the logical conclusion of my endeavors in art is a one way ticket to Cope Town. An overwhelming sense of histrionic despair sets in even though it's mostly unwarranted.

>>3207 >Yes I'm embarrassed for drawing like a low level Anime Convention Catalog Cover Artist® (if not a bit worse) but not because of what others may think for the most part, rather because these less than stellar results leave me feeling unsatisfied and defeated Okay good, one step forward. You feel "defeated" which means you have some sense of "victory". From the way you talk, you don't seem to have a standard you need to reach. What arbitrary goal do you have to hit that tells you "I am ready to start releasing my projects"? Is it a certain speed of production? Quality of work?

>>3208 It's hard to pin down, there are plenty of artists I could point to where I could say: "If only I could do 'that' maybe I wouldn't want to rope myself every time I sit down and draw". If I was faster and better in general that would be a good first start, but my bizarrely visceral psychological aversion to the unsightly fruit of my own labor makes it a struggle to make any headway

>>3212 >It's hard to pin down Start simple then, the simplest most basic statement. >there are plenty of artists I could point to where I could say: "If only I could do 'that' maybe I wouldn't want to rope myself every time I sit down and draw". If I was faster and better in general that would be a good first start, but my bizarrely visceral psychological aversion to the unsightly fruit of my own labor makes it a struggle to make any headway You're in luck, pinning down what exact goal you want to reach should also (on average) help you stop averting from your own work. Right now you're in a nebulous consistent state of failure because your sense of victory is also nebulous and vague at best. This is helpful to a certain extent, if you don't know what standard you need to reach, you can't miss and reflect on how poorly you measure up to it. The problem it creates though is that it's impossible to gauge whether or not you are closer to it, and your mind will refuse to tell you that you don't have a goal, because you wouldn't be doing art if you didn't have one. Choose one small thing, choose one damn thing to fit to an arbitrary standard to start progressing towards and realizing what you're failing at, in at least one way concrete way, which means you might be able to succeed in one small concrete way.

>>146 I feel motivated to seriously draw after seeing a 16 year old on twitter artist make amazing artwork. How does a person get good at drawing at least to the level of a decent webcomic artist.

>>3218 I would call it decent but I can't even tell what's going on.

>>3220 It's just random pannels https://www.twitter.com/zooo_frog/status/1408939130747301889

>>3220 I think those are just random panels anon has assembled together >>3218 >that dialog >muh mysterious gender On a more serious note, these drawings have a familiarity to them to the point I'm given the immediate impression this artwork is heavily referenced from other pre-existing work. Using reference isn't bad at all for the record, to some degree even from other art, and further I could be mistaken: there's literally nothing about these benign panels specifically that suggests the artist couldn't possibly be 16 or something like that so don't get the wrong impression there-but I'll tell you why I think these drawings are inspired by the drawings of stronger artists, not on the pretense that using reference is wrong, but because they're fundamental flaws that would improve the appearance of the panels with their correction. >the strange design choice of an alternative, almost ms-paint like calligraphy brush for the sloppy black dark spots on the main character's hair, and the fact these spots follow no consistent logic in their shape or direction (this contrast draws attention away from more important things) >the use of the magic wand + expand selection tool to outline the autogynepheliac in the foreground in the fourth panel without any touch-up even in places where it's obviously unnecessary and/or off-putting >the rudimentary brushwork where no care is given to embellish the software brush's circular shape in a manner complementary to the surface being colored >the fact the eyes and ears of the main character and the eyes of the secondary character in the first panel are copy-pasted or mirrored rather than drawn individually >the 90 degree angle lollipop neck in that last panel >the third panel or whatever you'd call it is the worst offender; I'm guessing the outfit of the reference in this instance was much different than the character the artist is portraying, but they liked the pose and action so much they tried it anyway and this is the essentially inscrutable result When I look at that guy's artwork on twitter I see a wild inconsistency but at the same time a familiarity and it makes me wonder if I'm really looking at "Bandit Boy" or if I'm looking at a bunch of disjointed panels from My Hero Academia, Tokyo Ghoul, Mob Psycho, Psycho Pass or any other contemporary weeaboo shit of the 2010s. Despite what I said earlier you might think I'm trying to shame this kid, but actually I feel that he is doing something that comes natural to young men and women his age that are fascinated by art. Assuming my hunch is correct and he is only redrawing, altering, embellishing and editing panels from established comics, he is still learning something in the process even if he's being a little shit in obfuscating that from others. Many good artists did this sort of thing when they were kids/young adults and the only reason we don't think of them as being obnoxious "art thieves" was because they weren't on Twitter making a spectacle of themselves 24 hours a day, and I can almost guarantee more than a few of them would have been if they had the opportunity. tl;dr: to answer your question "How does a person get good at drawing at least to the level of a decent webcomic artist." I would say: "Do lots of 'master studies :)'" and I'd mean that unironically, but I'd also suggest immersing yourself in the fundamentals as well so you could find your own artistic voice eventually, of course.

>>3218 >>3223 ok yeah i'm tardo i'm fairly certain their main inspo is chainsaw man. Reading back through their twitter it also seems like this comic hasn't actually been done as of yet (going back only a few days, he said he'd just started the script) and these are test panels. So there isn't anything out there right now to say if it'll be good. Comics test every facet of your skills in writing and art and most tend to fail in either one, the other, or both. And it might not be beneficial to gush over a kid, he's good for someone who's 16, but not someone in their mid 20's or later. If you want to be good at comics, do those "master studies" and read the best comics so you know why they're good and what worked for them.

>>3218 >How does a person get good at drawing at least to the level of a decent webcomic artist. To be an "okay" webcomic artist, all you need is consistency. Doesn't have to be good anatomy, doesn't have to be good coloring, doesn't even have to be good framing, just be consistent with forms across panels and you can carry a narrative. That's all it is. Now, having good anatomy and perpsective and framing would help, but at the end of the day, comics just rely on consistency.

>>3223 >I would say: "Do lots of 'master studies :)' I am an absolute pleb? What do you mean by ‘master study’

>>3239 Try to make a perfect copy of a master-level artist's work. Is there anyone in art you idolize?

>>3242 Mostly 19th Century realism like the Hudson River School painters, such as Frederic Edwin Church. Some more stylized stuff like impressionism is pretty cool too.

I just figured out the reason I've had art anxiety for a long time. I'm fucking afraid of being one-upped by someone who's better than me because this scenario has happened THREE SEPARATE OCCASIONS: >Post art or some kind of in-progress art. >Either by sheer coincidence or because some asshole went out of his way to be a cunt, I get one-upped by someone that took or did something similar to my concept and did it better. >at worst, a dude went and completely redrew and recolored a sprite I was showcasing for a fan-game. Why the fuck do people do this shit? So what that I suck now? Why do I need to be put-down because some asshole can feel good about being a cunt? It's fucking bullshit is what it is.

>>3754 >Why the fuck do people do this shit? So what that I suck now? Why do I need to be put-down because some asshole can feel good about being a cunt? Because they are narcissistic, insecure assholes in most cases. They want to feel better than others and preserve their status (real or imagined), and putting others down is the easiest path to feeling superior. When they see a potential threat to their position, these people will do what they can to surpass it. Either by putting that person down and affirming superiority, or by resorting to crab bucket tactics. There is no solution to this that I know of. I accept that a portion of people I will encounter will be assholes and that there will always be someone who is more skilled. Dealing with assholes like that is not worth it in most cases. If they are better than I am, I just focus on learning from their work to improve my own.

>>3754 People are assholes. Fuck em. Just walk away.

>>3754 > Why the fuck do people do this shit? So what that I suck now? Why do I need to be put-down because some asshole can feel good about being a cunt? Fact is that you can't know the intentions of the other guy. Maybe he just liked your concept. > It's fucking bullshit is what it is. It don't think thinking like that will help you in any substantial way. The "I don't give a fuck" attitude is not easily incorporated by most people, but it's what frees you to create the art you really want to.

>>3754 While it's certainly shitty to feel one upped, I'm a bit confused, are you doing this because you want to be recognized for how good you are at it, because you intrinsically enjoy the activity (hobby) or because you want to push the field forward?

>>3761 >The "I don't give a fuck" attitude is not easily incorporated by most people, but it's what frees you to create the art you really want to. I don't know if that's the right name for it, people who give zero fucks about anything at all are just kind of lazy pieces of shit. There has to be another term for this.

>>3765 Confidence

>>3764 I feel like it's both that part of me wants to be recognized for skill, and because I enjoy the hobby. It's just that dealing with emotional scars from a lifetime of being raised by perfectionist parents (and not even asian-tier-perfectionists), on top of shit like one-upping faggots is ripping me apart emotionally. >>3761 >>3765 >>3766 The difference between confidence an arrogance, is that the confident man has awareness within and without to be honest about his insecurities. The arrogant man tries to hide his insecurity with bravado, and doesn't always have the awareness the confident man has. Of course the "Not giving a fuck" part, that's tricky to actually achieve, because in my experience with people, you can't "fake it until you make it" with a not-give-a-fuck attitude, else every big-city-CEO, or movie director would have zero things that piss them off instead of a thousand things that piss them off. A spiritual guru has more of a true "not giving a fuck" attitude than a chad does.

>buy a color theory book from an Indian printshop >it's been printed black & white

>>3769 I repeatedly blew air out of my nose. You improved an anons morning a little. At least that's something, right?

>>3768 >Of course the "Not giving a fuck" part, that's tricky to actually achieve, because in my experience with people, you can't "fake it until you make it" with a not-give-a-fuck attitude, else every big-city-CEO, or movie director would have zero things that piss them off instead of a thousand things that piss them off. A spiritual guru has more of a true "not giving a fuck" attitude than a chad does. Not getting angry isn't a sign of being self-confident, plenty of self-confident people get angry in response to very specific things.

I am such a fucking retard, holy shit.

>>3772 You and me both anon.

I think a lot of us have "information overload" when it comes to art - and this can hinder our progress when we're trying to develop our own themes, narratives, and style(s). This overload for me is a type of "pollution," from too much easy access to media. Almost like how some people obverse all television shows and YA fiction are the same now, I really want to avoid that. Lately I've had to unfollow a bunch of artists on pixiv and delete a number of images I've had because I felt it was overwhelming to have so many influences tell me to go in so many directions. One artist will render skin a certain way that is very appealing - while another will have a specific moe style that's also very aesthetically nice to look at. But when there's so much great art to look at I feel like I lose my sense of vision and drown myself out in all the noise. This became apparent when I started to paint less and adopt a more "moe" style (lineart, cel-shading, the whole thing). I'm narrowing my influences down to at least five or six artists that really hit me a certain way. Artists that have 1) really captured a painting approach that made them standout and that I will always admire and 2) artists that reflect some of the themes I want to create in my own art. This might be weird or autistic or whatever, I really don't know - but this so far has been helping me.

>>3796 I deleted my Twitter after realizing I was following like a thousand porn artists for much the same reason.

Working from home ends this week. I have to go back next week. No more lazing around at home doing nothing. Commuting alone takes 2 hours so I will have less free time than before. Makes me wish a new covid variant would pop up and trigger another lockdown. I initially planned to use all of my newly found free time to focus on drawing and after almost 2 years of wfh I did not improve that much. I wasted most of my time doing nothing. On the bright side I am getting a steady source of passive income from algorithmic trading. Rate.

>>3821 Draw on copy paper with a clipboard. Just mind your subject matter. >rate I'm thinking it's based

>>3823 For some reason I assumed you were taking a train to commute (I guess because of the amount of time it takes), obviously if you're not on a bus or a train you can't draw one way or another, tho.

So I wanted to add some thoughts quickly before I leave for church >>3796 Probably my biggest struggle I'm now learning to overcome is finding that happy middleground between traditional drawing and inking versus the digital medium. I find looking at process videos from different artists and older painters has really helped me identify what issues I face and how I can overcome them. This video for example has helped me a lot with the "lineart" problem. https://www.youtube.com/watch?v=ikCg4YkfYdw It's not that I hate extremely clean, overly refined lineart - it's the process of creating it digitally that I hate. And the way most people have to resort to vector layers, create a stroke, Ctrl+Z, repeat. So learning that I can just paint lineart, or use my sketch as my lineart has done wonders for me. However the benefit of the digital medium is I can create my lineart however I want, so if I just want to tighten up my loose sketch and paint on top of it I can easily do that, too. I just think it's important that we find some happy medium between digital and traditional methods rather than being stuck between one of the other.

I don't know if /loomis/ is purely digital but I just started with oil paint (i mean absolute utter shit tier novice) after sticking to dry techniques all my life. Anyone got any advice because so far its really fucking hard for me.

>>3835 If you're a super novice, but used to dry mediums, you'd probably immensely benefit from learning basic underpainting/overpainting techniques. There are a bunch of schools for how to actually underpaint and what that does, but at the end of the day >the underpaint provides a guide for the overpaint >you should never have to fight the underpaint Once you have a strong underpainting basis you can experiment with one oil painting for indefinite amount of time until it is "right".

>>3837 Honestly these obvious revelations I'm going through right now. I mean, its honestly very fun, but I feel like there is more learning than actual creating and my canvas looks like a shitpickle. Maybe My initial concept is way ahead of my skill level but I want to see it through and a learning experience.