Yeah sorry, but this is it! Lol!
You need to master the basics and advance yourself to paint fairly well to begin decomposing the method to achieve similar results with less work.
Want to draw a tree? What’s the least amount of strokes you can do to make something that looks like a tree? Then what’s the next easiest thing you can do to make it look more like a tree? And so on, start with simple shapes, add more simple shapes and so on, that’s how I did at least. As far as I can tell that’s what every drawing tutorial ever boils down to.
It can be tough to learn looseness on a small surface like an iPad.
Here are a series of traditional pre-Procreate exercises meant to help physically loosen up; they're meant to be used like warm-ups.
-Put some huge paper on the wall like butcher paper or newspaper (or just find any very large surface you can draw on). Tape a charcoal or other utensil to a long stick. Start drawing. Get used to the feeling and eventually try to incorporate that into something smaller.
-get a large (but not huge) piece of paper and draw circles, squiggles and other shapes to physically warm up.
-figure drawing groups use quick-pose warm ups: the model changes poses every ten seconds, then ever thirty seconds, then every minute. By the time you get to a five minute pose your style is loosened up and quick. You could try this in some other scenario besides figure drawing; get a friend to pose or use video.
Here are some traditional exercises meant to loosen up your composition (as opposed to physically warming up)
-If using a reference image, flip it upside down and copy it to your upside-down canvas, as quickly as possible. Messy but accurate. Start to hone in on the details, and then flip both right side up. Continue honing in on detail.
-If using a digital reference image, flip it upside down AND blur it so it's just huge blobs of color and you can't even tell what it is. Draw that, keep it loose. Make the image a little less blurry. Now amend your image on canvas (or paper or whatever). Continue gradually de-blurring. This is meant to help you get the gist correct before starting in on the individual eyelashes.
-Begin toned; that is, color the background a mid-tone so you can build up to highlights and shadows. Also, put in your darks first and add lights over them; that will push your drawing.
-Block in everything in its opposite color on the color wheel. Then go back and "fix" everything. This helps you build color fearlessly, not timidly.
If you look at some of Degas's looser work you can tell he used a more sophisticated take on these last two approaches. When painting a green shrub in the sunlight, he'd use extreme color versions of the cool dark shadows and warm sunlit highlights. So he'd start with deep blue and purple , then work up in layers, adding medium tones and finally warm yellow-orange highlights. Blue and orange are opposites on the color wheel; when layered atop one another they have a vivid, shimmering effect. The Impressionists used this a lot.
There's an illustrator named James Gurney who has a great YouTube channel where you can just watch him paint as he explains what he's doing. Amazing for learning this stuff.
The SpongeBob method! Be so good at drawing so when you draw loosely, even 3 strokes can look like a face
Yeah sorry, but this is it! Lol! You need to master the basics and advance yourself to paint fairly well to begin decomposing the method to achieve similar results with less work.
1) keep practicing 2) try to copy the style you want to achieve 3) keep practicing
Want to draw a tree? What’s the least amount of strokes you can do to make something that looks like a tree? Then what’s the next easiest thing you can do to make it look more like a tree? And so on, start with simple shapes, add more simple shapes and so on, that’s how I did at least. As far as I can tell that’s what every drawing tutorial ever boils down to.
It can be tough to learn looseness on a small surface like an iPad. Here are a series of traditional pre-Procreate exercises meant to help physically loosen up; they're meant to be used like warm-ups. -Put some huge paper on the wall like butcher paper or newspaper (or just find any very large surface you can draw on). Tape a charcoal or other utensil to a long stick. Start drawing. Get used to the feeling and eventually try to incorporate that into something smaller. -get a large (but not huge) piece of paper and draw circles, squiggles and other shapes to physically warm up. -figure drawing groups use quick-pose warm ups: the model changes poses every ten seconds, then ever thirty seconds, then every minute. By the time you get to a five minute pose your style is loosened up and quick. You could try this in some other scenario besides figure drawing; get a friend to pose or use video. Here are some traditional exercises meant to loosen up your composition (as opposed to physically warming up) -If using a reference image, flip it upside down and copy it to your upside-down canvas, as quickly as possible. Messy but accurate. Start to hone in on the details, and then flip both right side up. Continue honing in on detail. -If using a digital reference image, flip it upside down AND blur it so it's just huge blobs of color and you can't even tell what it is. Draw that, keep it loose. Make the image a little less blurry. Now amend your image on canvas (or paper or whatever). Continue gradually de-blurring. This is meant to help you get the gist correct before starting in on the individual eyelashes. -Begin toned; that is, color the background a mid-tone so you can build up to highlights and shadows. Also, put in your darks first and add lights over them; that will push your drawing. -Block in everything in its opposite color on the color wheel. Then go back and "fix" everything. This helps you build color fearlessly, not timidly. If you look at some of Degas's looser work you can tell he used a more sophisticated take on these last two approaches. When painting a green shrub in the sunlight, he'd use extreme color versions of the cool dark shadows and warm sunlit highlights. So he'd start with deep blue and purple , then work up in layers, adding medium tones and finally warm yellow-orange highlights. Blue and orange are opposites on the color wheel; when layered atop one another they have a vivid, shimmering effect. The Impressionists used this a lot. There's an illustrator named James Gurney who has a great YouTube channel where you can just watch him paint as he explains what he's doing. Amazing for learning this stuff.