E14: Don't Wait To Start Your Art Master Work!
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- Опубліковано 23 сер 2024
- This is The Fourteenth Episode of the Visual Scholar Podcast - With Tim Mcburnie.
In this Episode I Discuss the Challenges of Starting an Art Project (In my case this is mostly comics or Graphic Novels... but it could be anything from an art book, a sketchbook, a video game.. a series of 3D figures or Toys).
This is mostly in response to a comment that mentioned how challenging it is to follow the general advice of 'just start'.
Let me know if you have any thoughts in the comments below!
This Podcast is designed to help you demystify the world of Art, Productivity, and Creativity. So you can get better faster, and enjoy your Art Journey. We discuss Drawing, Painting, Illustration and Entertainment Design. Along with Productivity and Career Advice.
The Visual Scholar Podcast is designed to help you demystify the world of Art, Productivity, and Creativity. So you can get better faster, and enjoy your Art Journey.
We discuss Drawing, Painting, Illustration and Entertainment Design. Along with Productivity and Career Advice.
Find Visual Scholar as an Audio Podcast Here:
Apple: podcasts.apple...
Spotify: open.spotify.com/show/6VbdwbiZqy8nqb90ruKQCX?si=21b9c1d02c85419f
Show homepage on The Drawing Codex:
www.thedrawingcodex.com/podcasts/the-visual-scholar
Learn more about Tim Mcburnie:
Learn Drawing and Illustration at The Drawing Codex: www.thedrawingcodex.com
Check out The Drawing Codex UA-cam Channel:
/ @thedrawingcodex
Portfolio: www.timmcburnie.com
www.artstation.com/tim-mcburnie
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This podcast is actually healing!!! Thank you for your service, Tim. As a young artist who decided to take this path seriously after quiting my Architecture career, having kind souls like you to guide us is a true Godsend 🙏
Thanks Tim..........I needed this🙏
Wow. This video is so spot-on for me that I almost wonder if the comment you were responding to was something I left in an altered fugue state. Ha ha. Nearly eerie. Thank you, Tim: )
Gonna watch this one over coffee and warm up sketching :)) ☕️
It's incredible to have someone like you, Tim. An Artist that actually wants to see the other side of the wall, that understands that people are different, and don't to put everyone in boxes with the same cookie-cutter ''advice''. I appreciate all the effort you put into everything, sir!
Thank you for being a guiding light for us, mate! :)
Have this problem as I have my artistic interests between doing illustration, traditional painting and drafting, video games and comics.
Yeah that's a lot! :)
I cannot believe you give us these videos for free, Tim.
The art career advice is alright, but Tim really needs to reveal the secrets of his hair routine.
In all honesty though, much appreciation for all the advice you put out.
A big part of todays episode I relate to is find a plan and commit to it, and if goes wrong make another one, but you’ll have learned more along the way than if you didn’t.
Another awesome video to draw to, thanks Tim.
Thanks so much for your insights! When starting it s hard to start without knowing the qhape of what would be, but I think you re right, need to start as first step :)
This is really great advice, Tim. Often times, whatever art piece one works on, it can be added onto, edited, or changed at some point in the future. Just look at all the early access games for example. Especially the ones that have been out for years. Over time they arguably get better even if the middle to end product strayed from its beginning. It's just the process of creation rly.
Absolutely! Yeah games are a good example of seeing the process over time.
“It’s not getting rid of fear, it’s learning to live with it.
The emotion exists, it’s our relationship to it that matters”
Oh yes. Oh my yes. Love it!!!
This podcast was great, with it I’ve been drawing lots of parallels to other crafts and my own thoughts :)
I think a lot of learning is just finding *where* to put resistance! Like you say, projects are hard, but they’re a good kind of hard, where you trade energy for valuable experience!
I actually like that when you can see an artist getting better while making the thing in the thing :)
Tim, I thank God for you today because you have touched on exactly what’s been holding me back . I needed this instruction more than anything. I’m going to process this (deeply if I can) and utilize it.
Then, you go on to give me two more points I needed, a third of the way through the video. This is great!
Wow thanks for letting me know this one helped out!! Much appreciated!
Have you read the manga Tokyo Ghoul? That is also an example of manga art which improved massively as the series went on.
Hey Tim!
I haven't had time to watch this episode just yet, but I'd like to give you the heads up that the Thumbnail says E13 and not E14.
As far as I know, UA-cam creators can chance the thumbnails after publishing the video without having to reupload the video and lose vew number, so It might be something to look into just for cosistency sake.
Well Spotted!! Thanks so much. Yes it's easy to change it :)
As someone with several ideas that have been in my head for years now, this was a good episode to receive.
I have 2 minds about this. I’ve seen some indie comic book creators who solely spend all their time on making their comics/manga and the quality still appears amateurish to me, even for the creators who have spent years doing this. Perhaps the best method if you want to focus on quality level, is to spend equal time studying and working on your project?
Yeah for sure. There is a definite need to do some form of study and have a part of your process where you can explore and play around. Serious focus on fundamentals is key. But a big part of my overall thesis is that you need to apply fundamentals quickly to see how they actually work with your style and process. A small regular study of art principals will go a long way. And I think artists need to want to achieve a high level of technical ability for it to happen.
I've been wanting to ask, regarding the characters with the troll monsters and sort of goat/horse riders that you use in your intro and in the line and color quickstart guide imagery, are they part of a book or series you've done? If so, I'd be curious to know what it is. I think it seems like a pretty cool story setting!
Brief note on life expectancy:
I don't think we're going to live just to 150. I expect aging to be abolished in the upcoming decades, along with infectious diseases, leaving only accidents and other more abrupt forms of death. Some of us are likely to live tens of thousands of years. Unless the machines kill us all.
Thanks for the video Tim ! I've been meaning to watch it since it came out but better late than never, right ? ^^
Now there is some stuff I'm having a hard time understanding if you don't mind ?
1/ At roughly 12:00, you say to "Trust yourself and trust the decision that you're making" which is something that I often hear and always bring the same question to me : on what basis ? Like... why should I trust myself or my decision ? What do you mean by "trusting yourself and your decision" ?
2/ At roughly 37:30 you say that we don't need to have a perfect deck of skills, to have all the perfection solution and perfect craft, that we can find solutions by changing... But shouldn't we have some cards in our deck before starting ? At what point can we consider that we have "enough cards" or should we just start no matter what, even if let's say I don't know anything about anatomy and facial expression, and just learn on the way ?
Like.... I can start my comic right now. I have the first draft of the script, I could start the storyboard right away. But I know that the first page I want to make an exposition shot of the islands where the story takes place and right off the bat I know I can't draw that properly so I'm hitting a problem on the litteral first panel
Hey! Yes better late that never :) same goes for my reply hopefully!
1- Regarding Trust: I guess what I am saying here is to make sure that you trust the vision you have. That there is a story and something good there. And once you commit to it... you have to trust your past self and the decision to commit.
Often what happens with these larger projects is people get part way in and start to second guess themselves. They can change the brief half way through. You might get negative feedback... there are many reasons you might want to second guess the project.
The key I am getting at is that it's often easy to have a good idea you are passionate about and then not do it... Learning when to trust yourself is half the battle I think. And committing to a project and facing the fears is a good way for you to learn when to trust your instincts and when not to... Apologies if that is somewhat vague and Zen.
The feelings you have when creating an important work for yourself are part of the battle and in many ways they can only be mastered and understood by actually beginning work. Trust that your idea is good, and trust that you will make good decisions to make it good if it goes astray. Then focus on actually making it and trying to make it as good as you can.
2 - Regarding skills: Ideally you would have all the skills. But you rarely will have them all :) So the trick is always... when do you start. What I can say from experience is that no matter how your skill stack grows you will probably still feel like you just need to work on your skills more before you start. This sort of judgment is also part of trusting that you will figure it out and focusing on how to make something look good or tell a story.
Even if you get one page into a comic (for example) and then realise you have no idea how to draw a particular panel... you then have a number of choices that are informed by jumping in. You have a better idea about what you need to learn. You could also strategize over how to tell the same story with a different/simpler shot or angle. Can you make all of the drawing simpler? Can you skip the backgrounds? What can you do to still tell the story... These skills and this thinking are going to be useful no mater how much skill you have.
Looking at your first panel with an establishing shot of islands as an example... can you get some reference? Can you draw it simpler? Look at how people have handled the same scene and copy that formula.
It's also important to have a really solid construction phase if you are chasing a high level of polish. Make sure you have time to sketch out the idea... refine the drawing, do multiple passes. Plan the tonal composition. etc etc.
Let me know if that helps.
dawg why the fundamentals so goddamn hard to grasp