Jack: You mention perspective and
things like that, but of course
one major thing about comics is anatomy
and getting characters from
different perspectives, with different
postures and movements Emma: Yeah, yeah.
Jack: Was that something that took
a while to get used to as well?
Emma: Yeah, I'm still learning it.
Like I dont think I know a single
artist friend who would say
"I've nailed it, I never have to think about it again."
Because there's always going to be
something else comes up.
Or some days
and thank goodness for things
Twitter and the Internet because we can share these feelings.
Sometimes you might be a professional artist
who's been doing it professionally for eleven years
and one day you get up and
you just can't draw.
And you sit there and you try to draw
something you've drawn a billion times before.
A person looking sad,
and it just doesn't come out
and you don't understand why.
There's no explanation for why,
it just happens sometimes.
So yeah, things like anatomy
yeah particularly
especially having multiple characters in a panel
and how they interact with each other.
It takes a while,
it definitely takes a while
and I think I always
as guilty as anyone else
that my first early sketchbooks
obviously before I was doing it for a job.
But my first early sketchbooks
there were lots of people with
their hands behind their back,
or their hands in their pocket,
or their hair over one eye.
Anything I could do, to not have
to draw certain parts of a figure
which then obviously as you get older
you start to realise "yeah, you can't do that."
It's no good trying to shortcut it.
But again,
if you're willing to do the research
there are so many great
resources now for learning
anatomy and perspective
Whilst also remembering that art
is your own, it has to be your own.
When I do workshops or books
I've worked on for how to draw
Sweatdrop did a couple of how to draw books,
and we were always keen
all the way through them
to never say, draw like us.
Because that's no fun,
you don't want to draw like us.
What you can do, is learn the rules,
so that you can bend the rules.
So the way I approach teaching
comic art, is the idea that
what you're putting on paper
is a 2D representation,
your representation – your interpretation,
of something that you're seeing
in a 3D environment.
So it's about taking
what you see around you
especially people,
taking what you see
breaking it down into basic, basic shapes
and then building it back up.
But someone can teach you how to
break it down into the shapes,
but you're the one who has to learn
– you learn how to build it back up.
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