Hey man, thanks for the feedback. I'm very glad you're enjoying my articles. My response is below; I've also posted it at my website, in case visitors there find it useful.
I don't think it's ever too late to learn to draw. The biggest obstacle adult students face isn't the learning itself, but rather carving time in their schedules for art. Most people who take up art in adulthood will fail at it -- not because they can't grasp the information, but because patterns of how they spend time are hard to change. They practice art regularly for awhile, but eventually their old lifestyle asserts itself, their art is pushed aside, and their skills never improve. If you can overcome that problem, and fit some hours of drawing into your weekly schedule for the next few years, you'll do fine. (Artist Harley Brown tells of a lady he once met who drew so well that he assumed she must have studied art from early childhood. To his surprise, she revealed that she had only been drawing for a few years. Her secret: she'd practiced for several hours a day. Few have THAT much free time, but the point is that age doesn't matter.) Pick some activity that currently takes up a few hours of your weekly schedule, kiss it goodbye, and replace it with art.
Another common myth is that cartoonists must master draftsmanship (anatomy, perspective, shading, etc) before they can draw comics. So, students get bogged down with learning how to shade spheres and memorize bones and plot vanishing points, when they should really just be cartooning. Those other skills may be necessary to move on to the more ambitious levels of cartooning, but they aren't primary. At its foundation, cartooning is about picking the right objects in the right moments, and drawing those -- even if only badly. That's how cartoonists like Cathy Guisewite, Chris Onstad, and Scott Adams are able to craft effective comics without drawing well. They aren't draftsmen; they are object-and-moment-choosers. Cartoonist John Campbell takes this to its extreme: Pictures for Sad Children
You should be able to follow his lead and begin cartooning your story ideas immediately. Just divide your written scenes into the fewest essential moments (panels), and ask yourself which characters, body parts, and props ABSOLUTELY need to be in each panel. Then draw only those, as simply and clearly as you can. (continued...)
Of course, to increase the appeal and nuance of your stories, you'll want to layer in more detail as your skills allow it. A good "first steps" book to study is DRAW 50 FAMOUS CARTOON CHARACTERS
, by Lee J. Ames. Ames's books show how to draw characters beginning with simple shapes and adding more complex details. This book in particular is useful because the characters are familiar and they range from the simple (The Little King, Felix the Cat) to the complex (Blondie, Flash Gordon). After working through these, you could move on to designing and drawing cartoon characters of your own.
From there, the next step would be realistic draftsmanship. The best book to start with here is DRAWING ON THE RIGHT SIDE OF THE BRAIN
, by Betty Edwards. Edwards teaches techniques that artists use for overcoming the mental obstacles to realistic drawing. I plan to cover this in a future Toth article, but for now, in brief: the system our brains use to handle imagery is good for storing and recalling ideas, but bad for drawing. It's like a biological version of the the difference between hi-res jpegs and low-res bitmaps. Typical thinking works best with "lo-res," but realistic drawing requires "hi-res," so artists must use certain thought tricks to switch their thought mode over to the "hi-res" way of thinking. This may sound complicated and Jedi-like, but Edwards explains it well, and it's frankly crucial to realistic drawing. You can see the effectiveness of her techniques in this "before and after" gallery
of her students' work, spanning a five-day period. Using Edwards's techniques, you can begin drawing by observation (drawing objects you see before you, or in photos), which is every artist's most valuable calisthenic.
After working through those books, you'll be in a good position to absorb what Loomis has to offer. His books (especially FIGURE DRAWING FOR ALL IT'S WORTH [anatomy], SUCCESSFUL DRAWING [perspective], and CREATIVE ILLUSTRATION [the best one, about picture-making in general]) are great (and back in print!) and should provide a sound foundation for everything else your comics might need. If he's still a bit beyond your grasp, I recommend any of Jack Hamm's excellent how-to books, which are simpler but top-notch, and cover similar ground.
But above all, keep cartooning. Pick the crucial story moments, pick the props and body parts that illustrate them, and jot those down.
Wow Jesse, just wow! I was not expecting a reply so soon, and certainly not a reply like this: this is a great gift. Thanks for the recommendation and the encouragement!
2013-06-20 11:30 pm (UTC)
Loomis was terrific, but I warn my students that his anatomy from the middle of the shins down to the feet is absolutely wrong in FIGURE DRAWING FOR ALL ITS WORTH. He does not draw the tibialis anticus ending on the side of the big toe, or the deep tendon of the extensor hallucis longus (which operates the big toe) correctly, nor does he properly distinguish the peroneus longus, peroneus brevis, and peroneus tertius/extensor digitorum longus one from another. Still, a great picture maker, and a finely encouraging book. Much else is useful in it! Dr. Paul Richer (for whom the band of Richer above the knees was named) put together a fine anatomy book about a century ago.
Thanks for the warning, Alec. Yeah, Loomis's approach to anatomy is skewed toward beauty ideals of 1940s advertising, and isn't strictly accurate, though I think it provides a good foundation for students who aren't ready to jump into the deep end of real-life life drawing. Ultimately, after absorbing what Loomis or Jack Hamm have to offer, I'd recommend that the student spend as much time as possible drawing from life and from photos of actual people.