I Don't wanna end up like Proko

[Anonymous No.3891758]

how do you break away from Reference ? do keep going to it but do mostly imagination ?

do you think in the art i posted reference is used ? or is it skill after years of imagination drawing/ sculpting (with anatomy learning, and life study here and there)
i just can't seem to be comfortable with a process, i try from imagination, but it sucks so back to ref, and so on.

[Anonymous No.3891762]

>>3891758
Vilppu

[Anonymous No.3891765]

>>3891758
>how do you break away from Reference
By interpreting it rather than copying it.
Can you look at a picture and draw it from a different angle? Do you understand the subject you're looking at? Eg. you wanna draw a girl holding a sword and you can't for the life of god visualize how the hands and fingers are wrapped around the handle, which leg is in front etc., so you pull up a ref, observe it, draw it from two different angles.. then you go back to your drawing and blast that sword grip as if you've been fencing your whole life.

It's actually logical and super simple, you just have to get good enough where you no longer have to consciously think about stuff like line, shape, form or perspective. Then you have full brain capacity available to focus on the actual subject you're drawing.

[Anonymous No.3891768]

do your studies from reference or life, and do pieces from imagination the same way renaissance artists worked

[Anonymous No.3891771]

[Anonymous No.3891780]

just photo bash

[Anonymous No.3891786]

>>3891758
I got to an acceptable place looking at reference only before starting the drawing, or simply having to alt-tab for it in the worst case scenario. In general, when I look at reference I set the drawing aside, I never copy directly (regardless of construction), unless I'm copying something like a specific face with the intent of likeness.
Of course my drawings aren't very accurate but I can draw pretty freely without ref. You can always tighten a drawing afterwards using reference more closely.

[Anonymous No.3891855]

>>3891771
poor kangaroo +_+

[Anonymous No.3891862]

>>3891765
>you just have to get good enough where you no longer have to consciously think about stuff like line, shape, form or perspective
this. and you can only get to that level through a lot of time and practice.

[Anonymous No.3891868]

I don't think reference is bad, especially if you're trying to do stuff that leans closer to realism, tons of really good artist use reference. Norman Rockwell painted from pictures. I think the main thing is that you don't become overly dependent on it. Like you can paint without the ref and interpret from life, but it's there to speed things up. Like the other anon said you have to understand what's going on it. As someone else suggested, drawing stuff from different angles is a good idea. It helps you really visualize the thing sitting in a 3D space. Another thing that helps is drawing from the reference, then putting the reference away, flipping the paper, and attempting to draw it from memory. You can then take note about what is off and correct accordingly. Slowly your drawings from memory will get closer and closer to the reference.

[Anonymous No.3892093]

>>3891765
Best post.
It all comes down to critical thinking, something that is becoming a rarity now. You need to UNDERSTAND what you reference and practice, and APPLY it in different ways. And think in 3D. If you can't draw something in multiple angles, it means you don't know its form. And that means you practice it, which is fine.

Proko and the other guys can't draw accurately without reference or tracing because they're essentially glorified observation drawers. They can render well or whatever but they need something else to handle the underlying structure and anatomy for them because they don't know it well enough themselves.

[Anonymous No.3892133]

>>3892093

They can't FEEEEEEEEEEEEEEEEEEEL. You must FEEEEEEEEEEEL the form FEEEEEEEEEEEL the gesture. FEEEEEEEEEEEEEEL the FEEEEEEEEEEL.

[Anonymous No.3892137]

>>3892093
this

[Anonymous No.3892145]

>>3892137
Here's a better example of the exercise

[Anonymous No.3892154]

>>3891758
using what anons have said so far. try to draw this from 3 diferent, distinct angles

[Anonymous No.3892170]

>>3891758
>>3891758
>>3891758
>>3891758
Howdy, could it be you struggle visualizing things? And thus rely on references. Also really understanding what you are drawing. It is like how animators learn to "see". So they can animate properly. You must "see".

[Anonymous No.3892570]

>>3892145
I really love that last dynamic one. Damn

[Anonymous No.3892573]

>>3891758
>years

[Anonymous No.3894197]

>>3892093
This. Copying and learning anatomy, shadows, etc. Is the asier part and that impress more normies.
Creating good art, good designs, movement, - creating from imagination, basically - is the hardest part and what artists struggle most with.

[Anonymous No.3894574]

>>3891758
Who did this work?

[Anonymous No.3894851]

>>3891758
Use reference as a vague guide, not a map to a destination.

Need to know how a pose should look? draw your own pose and then glance at your reference to see if anything is blatantly wrong, fix those things without trying to make your pose be the same as that pose. Stop when it looks right, not when it looks the same.

[Anonymous No.3894855]

>>3891758
>I don't want to end up like Proko
Idk senpai, Proko is pretty damn successful and doesn't need a reference every time, contrary to what people believe after the kangaroo mishap.

Have you tried being less retarded and more open to using effective tools?

[Anonymous No.3894876]

>>3894574
valerie hadida

[Anonymous No.3894877]

>>3894855
It's OK Proko you lost your credibility but you still have a nice portfolio and income

[Anonymous No.3894880]

>>3891758
thats a weird question

have you ever made something original?

then youd encounter problems like not knowing how elbows lay this way or how certain perspectives look etc

then look it up. and finish your artwork. and next time you will be prepared