I thought I’d pontificate a bit more about working (drawing, painting) from life, and express what it’s like (and why it’s important) on an emotional level.
Working from life (having a model sit in front of you) is “harder” (you have to be quicker, you have to transfer the 3-D model to the 2-D canvas or paper). But it’s also more real. There’s a connection with your model and your surroundings that isn’t there when you work from a photo.
Yeah, I have a lengthy, windbaggy post about tracing and grids on my main site (here).
I stumbled upon some other blogs which talk about this, and thought I’d bang out a bit more about this topic on my blog. Just because I feel like it.
As I say on my main tutorial site, getting into the habit of tracing photos (instead of getting proficient in freehand drawing) can be something that an artist can regret later. Or, they’ll always feel a bit on the defensive about it. It’s controversial. Each time I see a debate online about it, we have some purse-swinging, butthurt, argumentative people, on both sides of the aisle.
Why is that? Well, I think a few reasons.
First, I believe that there is an ingrained instinct in many of us to dislike a faker, a poser, someone who is passing themselves off as something they’re not. And whether it’s intentional or not, that’s what a lot of “tracers” seem to be doing. They show some artwork with beautiful accuracy, and onlookers are so impressed and call the artist “talented,” and exclaim, “I could never draw like that!” But the artist didn’t draw it! They may have shaded it, colored it, and those things are worthy of admiration too. But they didn’t get the proportions accurate themselves. But they never admit that, and keep on letting everyone gush to them about how well they “drew” it. Continue reading More thoughts about drawing, tracing, grids