"You can’t be more horrific than life itself."
Francis Bacon, after being described by British Prime Minister Margaret Thatcher as “that man who paints those dreadful pictures”. (via tierradentro)
Hello. sorry to bother you again but I had an art related question. Is it bad trying to teach yourself to draw by copying an artist you really love? I’m not tracing, instead I study how they draw eyes and bodies etc and then try to draw the same thing on paper. So as far as trying to get better, is this a good way to learn or am I doing it wrong?
Anonymous by request (and I wasn’t going to include the user anyway. In your message you wrote about being ashamed about copying, so here’s my thoughts on that:)
MAKING ART IS A GAME! IT’S A SANITY MECHANISM!
A lot of the time I think about drawing/sketching like playing, say, guitar when no one is around to hear it. It’s totally for my own pleasure, from dumb, straight-up playing other people’s riffs, to aping 80’s hair-metal horrible techniques, to making abstract shitty ambient noise. It’s for me and it makes me feel better. Eventually I might get the conceit that someone might like to hear a thing I did — and it’s the same with the drawing.
Copy whoever it is you dig. Copy Liefeld, copy Otomo, copy Kirby, copy Moebius, copy Morris, copy Carl Barks, copy Jim Lee, copy from fashion magazines, copy from outside, copy Caniff, copy from yourself. Copy Copy Copy copy copy — if you say it enough times, it loses meaning. It’s a bullshit sound that doesn’t mean anything.
That’s how copying artists you like works, too — copy everybody, consciously, having fun, in response to things they did, eventually it loses all meaning — you learn from them and distill the things they know into your own. (IT’S A LONG PROCESS)
You might look at the scores of artists copying Kirby (or Mignola or Pope, who in turn took so many cool things from Kirby) and snicker — too bad, they made a drawing and you didn’t. And look at early Mignola — a lot of it sucks. Look at early Otomo, that sucks too, compared to the level they got to later.
You learn by drawing, you draw by copying, you copy by looking. Look at everything , even the stuff you don’t like. Maybe it’s not true, but I like the idea that everybody is working their asses off, even the guys we hate, and they have something in their art that we can absorb and learn from.
Copying an artist is like slowly and methodically decapitating a Highlander dude. It’s a painful, dangerous process where you can potentially come out on the other side triumphant, absorbing their powers. (or you can end up with your head chopped off).
So yes, you’re doing it right. Just copy a lot of different stuff, keep your mind open, screw anybody who’ll shame you.
The manga itself is worth the buy, but Hideaki Anno’s afterward is a great plus.
My wife can’t glamorize herself. She looks at us with a critical eye. This is a good thing, but also a bad thing. If the characters can’t plunge into their self-absorbed world, they can’t be catalysts for the reader’s narcissism.
Never change, Anno. Never change.
I really love what he said about otaku, the industry, and Moyoco.
What’s amazing about my wife’s manga is that she doesn’t create any “out” from reality. Most manga these days are no more than a device to provide readers with a refuge from reality to satisfy them out there. The bigger the fans they are, the more likely they’ll become one with the fantasy and have difficulty accepting anything else.
My wife’s manga leaves a bit of energy to readers as they return to the real world. Instead of making you want to dwell in yourself, her manga makes you want to go outside and do something, it emboldens you. It’s a manga for tackling reality and living among others. My wife lives like that and I think that’s why she can write like that.
Her manga accomplished what I couldn’t do in Eva to the end. It was a big shock to me, really.
I don’t want to spoil (and type) everything, but the rest is really sweet. He talks about how his marriage to Moyoco has impacted his life positively, about accepting himself as an otaku but also coming to love other things, and just generally being a great husband.
It was really empowering and heartwarming to read.
"Frankly, 20 years from now I hope people say it’s the best Western of the 21st century. You know? We’ll see… The real test is not the Friday it opens. The real test is down the line. How is the film thought of 10 years from now? How is it thought of 20 years from now? How is it thought of 50 years from now? How is it thought of after I’m dead?"
—Quentin Tarantino on Django Unchained & filmmaking
I believe that art will yield no more “classics”, there is no more time left in Civilization as we know it to have more Emersons or Kubricks or Picassos, but I think this is still the way to look at it
"Matsumoto: Who do the two of you see as rivals within your own generations?
Shinzou: Tsuchika Nishimura for me.
Asano: [You and Nishimura] seem more like comrades than anything to me. (laugh) Out of Big Comic Spirits artists, I’d say Kengo Hanazawa.
Matsumoto: Seiki Tsuchida was a big one…
Takashi Ito (via ellipsis11)
I’ve entered a phase of novel-writing which partly resembles novel-writing and partly resembles something else—something furtive, like low-level espionage, or a secret drug addiction.
For the past two months or so I was writing full time, flat-out, or as flat-out as you can get in this age of modern distractions like Twitter and Kingdom Rush and babies-who-for-some-reason-don’t-feed-themselves. Now I’m back at work.
But when you’ve got enough momentum going with a novel, and you’ve got a bunch of deadlines for that novel that you’ve agreed to, in writing, you can’t just stop. So you don’t stop.
Instead you go dark.
For example: in the mornings I work from home for an hour or two before I go into the office. Not because there’s any particular reason for me to do that, except that by the time I hit the subway rush hour is over, which means I can probably get a seat, and if I get a seat I can crack open my MacBook Air and steal 20-25 minutes of writing time.
I’m always on the lookout for little gaps like that in my schedule: anytime I can get a block of 10 minutes or more, I take it. I write in waiting rooms. I write in cars while other people are driving (this is very boring for them, but I do it anyway). I write while pasta is boiling.
Sometimes when I’m taking care of my kids they fall asleep, or lose consciousness for other reasons. The second they do I’m at my keyboard. Ninja writer strikes! Then I go back to changing diapers.
It’s not ideal. It’s tough to keep your concentration, with your time chopped up like that. But on the plus side you tend to come at your writing from new angles, freshly, the way you would somebody else’s book. And there’s plenty of time for your subconscious to process things and toss out ideas while you’re distracted by other things. I get my best ideas 10 minutes after I’ve stopped writing and gone on to something else.
And since you’re writing in the spaces in between work, your brain automatically categorizes writing time as play. Which is as it should be.
But it means leading a bit of a double life. I don’t always feel great about it. I don’t know who said, ‘books are written with time stolen from other people’ (Paolo Bacigalupi? Anyway I heard it from him), but it’s true. I’m engaging in petty time-thievery, all day, every day.
If nothing else, it motivates you. What you’re writing had damn well better be worth it.
"I do not relate to things such as popularity. It is completely vague and unknown to me what it means. I still live basically the same life. I do not have and I do not need material things. My material world is extremely small and limited. …
I own one single suit that I’m wearing right now and in the last 25 years I’ve never had another suit. And the shoes that I’m wearing I’ve been wearing for 3 years and they are my only pair of shoes. I need to replace them because they are starting to come apart. …
I have a car that I’ve had for 12 years. It’s fine, I enjoy life and things are very basic. I don’t have social networks in the Internet for example. I don’t even have a cell phone.”