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Anonymous asked you:
Cake or pie?

Ahhh I can’t have either, my teeth scream in pain whenever I eat something too sugary.

im-in-control-now asked you:
I meant the new npc’s sorry D: the extra ones that never shown up

Oh I’m not sure! All the sketches came to me numbered. But the Hammerhead guy I made I call ” Hammerhead Joe” he looks like a Joe.


gunkiss asked you:
Thanks for following me! You’ve many interesting-awesome things on you tumblr so I’m following back! =). Also, this is weird, I was just watching that Neil Gaiman video haha


Oh wow thank you so much I am so honored! Your work is just so utterly gorgeous. Niel Gaiman is such a beautiful person isn’t he?


hyamei asked you:
(sorry I accidentally put anon in my question!) hello eyecager! great blog! I’d like to ask for an advice, I’ve recently been trying to be more serious in art by doing more drawing studies but right now I’m all over the place studying environment one day, drapery the next, then gestures, sometimes colors/values . I’m slightly frustrated on where exactly I should start. is there a optimized way/steps to study these things?


Well at first it can be a little bit daunting to study. A lot of people say there is no one path to get good which is true. But thinking about it we tend to learn chronologically, I mean we don’t jump in and do algebra first then do simple math after. So I tried applying that theory to art. 

Now with math there is only one solution, where as art their are multiple solutions to a problem. And there will be always things you can work on. But what helped me the most was having others look at my work and point out what problems stick out the most and usually it came down to, Form, Lighting, Anatomy, Perspective/Depth, Colors, Composition, Rhythm. This narrowed it down for me some and focused my studies more on grinding my levels towards these base skills. Though all of these you can opt to exaggerate, toy around and accentuate to get a much more stylized picture.

Out of all of these so far learning form and perspective have helped me the most. When you learn how to draw and render the basic building blocks ( cube, cylinder, sphere, and cone) you start breaking down everything into these simple objects. And it makes problem solving sooooo much more successful. Then you start throwing them in perspective and giving them depth and oh man what a joy! Your objects have dimensionality to them. Then I started working up to more complex objects and challenging myself more. It really works like learning math.

Now be sure to do work for yourself while studying, just pure studying you’ll burn yourself out quick. But doing other work in your spare time to help show yourself hey! Your improving! Really helps motivate you along and pushes you to get better. Sadly I work 9+ hours a day so that’s my personal drawing time eaten up.

I also write things in a pocket-sized moleskine and review over these helpful notes whenever I have some downtime like traveling in a trolley or waiting somewhere. Here’s some quotes that helped me!

From the Famous Artist Course-

Philosphy ” See-Observe- Remember” if you really under the meaning of these words and learn to apply them you will have accomplished a great deal toward becoming a good artist. It enables you to recognize and select the little things that are really the big things.

You learn to draw by drawing.

Form is shape and structure. First concern- Breaking down basic forms of objects. Form is the shape and structure of anything, as distinguised from the material of which it’s made. Form has three dimensions, height, width and depth. It has structure and occupies space. It is so apparent you can even “feel it before you touch it.”
  
When you reach for an apply, you instinctively know your hand must go AROUND it’s form in order to pick it up. You don’t have to pick up a box to know it has sides, a bottom and a top. Form is something you see and feel, it is the same in pictures. Any picture you make of an object must be a convincing illusion of real form. You must draw an object so that the person looking at it sense that there is more there then meets the eye.

Draw objects solid as if they existed.

Your paper is a flat 2d object. However the real things that you want to picture on your paper have another dimension. Depth. They go back in space and must have room to exist in space. When you draw these objects, you have to draw their three dimensions on a two dimensional surface. In other words you have to show depth on a drawing surface that have so depth of it’s own. To draw depth you must feel depth. Suppose for example, you want to make a drawing of a teelevision set you must suggest this form extending back into the space of your picture. You don’t draw a flat outline, but a convincing illusion of real form in depth. Beneath the shading and texture of all good texture of all good pictures lies form in depth.

True it is sometimes hard to see because when we are beginners we tend to concentrate on the obvious, we respond to quickly to surface appearances, the smoothness and roughness of things; the light and the darks. But all of these are only part of the final stages of picture making. Before these details can be put down on paper correctly, the basic form of the objects themselves must be felt and drawn in depth.”

The Famous artist course has tons of gold like this so here are some other quotes.

I forgot where i got this one, it might of been from an American Artist magazine I own or off the net but-
 
” The more you know, the more you discover you don’t know, and the more you will want to know. But unless you are investigating anatomy as an end in itself, remember why you are studying the subject. It’s a tool to enhance your awareness of visual subtley and structure of the human form.”


 But I hope this helps!

Anonymous I’m really struggling with drawing heads. I’m a very experienced illustrator but for some reason my ability to construct heads has gone out the window. Do you have any advice? I have been studying various things, including Loomis. I have a lot of trouble with positioning all the features on the faces, even if I follow guidelines they end up looking weirdly disproportionate… particularly the nose ends up looking huge.

Reilly and watching your proportions might help with that. But noses are quite often huge when you relate them to the eyes or the mouth. In most cases they take up one-third of the face!

But here’s the link to some Reilly tips, try drawing them over photos of faces and you’ll see how helpful those abstractions are when constructing the face. They really help line things up.

 
http://eyecager.tumblr.com/post/11452484355/drawing-the-head-with-planes-reilly-method-and
 
More then anything else just studying real people will help the most.



emilywalus asked you:
Hi! I just wanted to give you a huge THANK YOU for posting such great stuff! All your tutorial links, book scans/samples, and art advice are absolutely great.

Thanks so much I am so glad people can benefit from them as much as I do.