A couple months ago I posted this reel highlighting Lian Cho’s Substack as a great one to follow. I still believe that! Case in point, today’s newsletter:
Lian did a Q&A and I was dellighted to learn our creative practices have something in common. From the answer to “Do you have any practical advice for being unafraid at drawing?”:
I also don’t show anyone my drawings. However, I use Maruman sketchbooks from Daiso.
And, look! Lian answered my question about preserving the life in your sketches:
Which brings me to today’s topic. How do *I* deal with preserving spontaneity? Like Lian, I try to keep my sketches loose but like Lian says, sometimes it works, sometimes it doesn’t. One place in JIM! where I feel it worked was here:
The sketch that preceded it? Regard:
Let’s see them side by side:
I wouldn’t normally move to final ink without a more complete underdrawing/sketch, but for this scene I made an exception. At this point in the story James Marshall is in the midst of an existential crisis. I felt the moment required a very loose, very energetic illustration. This would be the only drawing in the book I drew freehand, and it’s one of my favorites. Still, I know this technique won’t work for every project and I know some editors and art directors like (or need) to see tighter sketches, so what do I do about the rest?
I never went to art school so I never had a professor to drop this bit of excellent wisdom:
“At the end of the day, nobody is going to put your painting right next to the model and compare it. Nobody is going to see what you’re seeing right now so just focus on doing your best.”
It’s a reminder to me that I shouldn’t dwell on comparing the two. Sketches and finals are different creative practices with different purposes, as long as you are doing your best, it doesn’t really matter. Thank you for sharing that advice, Lian! (Also, your figure drawings are incredible.)