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11:35 PM, Monday December 12th 2022

When it comes to going back over drawings (in the sense of starting with pencil and inking them, or taking a rough sketch and cleaning it up), this is something I struggled with a great deal when I was younger, and I ended up shying away from lineart as a whole as a result, gravitating more towards painting instead. As I've been teaching Drawabox however, the reasoning for why it didn't feel right became fairly clear.

It comes down tracing as a process. Tracing requires us to focus entirely on the lines we're trying to recreate, which in turn makes us pay attention to them only as lines on a flat page. Two dimensional things, without flow or fluidity - just stiff, lifeless things. And so, we may be working off a lively, energetic sketch, but the end result lacks those positive qualities.

The solution is not to shift back to drawing from your wrist because that is the only way to maintain accuracy, and that is for the exact same reason that we stress the confidence of our strokes as our main priority in this course as well. Sacrificing confidence for accuracy simply won't give you the results you want.

Prioritizing a confident execution helps a great deal in pushing us to think about each stroke as the edge it is meant to represent in 3D space, and to think about how it actually moves through that space instead of focusing on them as static, stiff marks on a flat page.

Now of course, continuing to draw with confidence and accepting that your accuracy is going to suffer won't result in pretty drawings, and will likely result in plenty of smaller mistakes - but that's what practice is for. Continue investing your time in the planning and preparation phases of the ghosting method, so that you can reinforce your eventual confident execution with everything you can to increase your chances of executing the stroke you want, and as your experience and mileage increases, you'll find those chances naturally increasing as well - but only as long as you apply that process.

That said, I should reiterate that what we do here in Drawabox is intended to provide you with plenty of mileage and experience to have those principles sink in deeply, to the point that you end up employing them in your own work whether you mean to or not (assuming you are at least being mindful of their use as you work through the course material) - but of course, you mentioned that you're almost finished with Lesson 2. That's good progress, but you're still closer to the beginning of the course than the end, and will have plenty of additional such mileage of using the ghosting method for each and every one of your freehanded marks ahead of you.

10:49 AM, Wednesday December 14th 2022

Wow Uncomfortable, thanks so much for sharing your experience with this and recommitting me to the proper path! I think I was stuck because I kept vacillating. Now it's clear continuing to do the turtle with tremors thing isn't going to get better.

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The Art of Blizzard Entertainment

The Art of Blizzard Entertainment

While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.

The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.

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