is it followed based on time? so I spend 1 hour with the lessons from drawadraw abox and 1 hour on my own sketching and doodling? or is it based on the amount of work I do ? If so how should I equate it? and should my half of the 50-50 be complete and finished pieces or is it alright to just do some sketching and leave it at that?
I also wanted to know if we should do some warm up before drawabox?
thankyou.
The tl;dr version: For every minute you draw with the course, you need to spend another mintue drawing for yourself, whatever your end goal art was supposed to be- attempt it. But do so, without any fear or regard for the outcome. Destroy what you make if it pleases you, the point is mostly- to become comfortable drawing.
The 50% Rule's purpose is to help you feel comfortable drawing.
Back in school did you like doing homework? Did you get excited and think "YES- today I'm gonna do math problems?"
No- chances are- you hated it, and saw it as a grindy, awful requirement that, if given the chance, you'd never
want to do again. (If that's not true, chances are there is something mandatory that you were forced to do in life,
that you hated because-- well, you were forced to, and it was hard, and unpleasant.)
The point is--- when you treat drawing like a job, or like homework, you associate a resentment for it, and even though the "end goal" is "oh yeah me- I can draw what I want", you'll never fully get there unless:
1- You learn to play with the craft. If you can't make a game out of the skill, the skill will always be work, and you actually get better at tasks you treat like play- so disassociating the you skills you learn from "work I have to do" and turning into "play I get to do"- makes you not only better at the task- but more likely to retain your learning, and grow more easily.
2- You feel mentally well doing it. Pure grindy torture, means, you'll see drawing as pure grindy torture, and if that's all the skill is- you'll never want to stick with it. That's what the 50% rule exists to prevent. It exists to keep you in the proper mindset, and make you feel mentally at ease while you draw.
So-- long story short-
** No matter what you draw, no matter how long you draw, 50% of the time- must be for fun.
Did you draw only 32 minutes today? Was it all grind?
Tomorrow, do only 32 minutes of fun.
Did you just finish 12 minutes of lessons and want to take a break?
Take a 12 mintues break- drawing for fun.
You can structure it, anyway which kinda way- just ensure- for ever minute towards work, there is a mintue toward fun to counterbalance it.
And what you draw for fun- is whatever you want.
If you dreamed of drawing anime girls on rocket ships, do it. If you only want to do the rocketships and not finished drawings, do it.
Whatever your end goal art is supposed to be- do that today to the best of your ability, regardless of how it turns out.
If it sucks, tear it up, It doesn't matter, its fine.
If its great, tear it up, it doesn't matter, its fine.
Keep it all, ruin it all. It doesn't matter. The point was for that pen to become an extension of yourself such that you never feel fear from it ever again.
The goal was to get comfortable.
Not to finish something.
The more you do this- the more you'll naturally get acclimated to whatever it is you want to do with drawing in the first place, and the more likely you'll be to succeed- but it won't feel like effort, it will feel like fun.
Thankyou So Much ! it was just what I wanted to know.
I'd been drawing as a hobby for a solid 10 years at least before I finally had the concept of composition explained to me by a friend.
Unlike the spatial reasoning we delve into here, where it's all about understanding the relationships between things in three dimensions, composition is all about understanding what you're drawing as it exists in two dimensions. It's about the silhouettes that are used to represent objects, without concern for what those objects are. It's all just shapes, how those shapes balance against one another, and how their arrangement encourages the viewer's eye to follow a specific path. When it comes to illustration, composition is extremely important, and coming to understand it fundamentally changed how I approached my own work.
Marcos Mateu-Mestre's Framed Ink is among the best books out there on explaining composition, and how to think through the way in which you lay out your work.
Illustration is, at its core, storytelling, and understanding composition will arm you with the tools you'll need to tell stories that occur across a span of time, within the confines of a single frame.
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