taking some extra anatomy classes this year, here are some of my notes in case they could help someone. should be updated every weekend (aside from october 28th and november 4th which are free days) with the following lesson's notes. (further explanations at the end)
anyway. here goes:
SCENE 0-1: LEARNING HOW TO LOOK/OBSERVE
when drawing, we each more or less have our own methods when approaching certain subjects, with multiple tools at our disposal in order to achieve the desired results.
but generally, when drawing a model (or most things from life, actually) we can in some sort of way define a general order as to when to draw what:
Looking / Observing
Blocking In
Correcting
Details
for today i’ll focus on the first one of the list, looking / observing.
the existing nuance between “seeing” and “looking” exists in the sense that “seeing” is more passive than “looking”. when you say “i can see a cat”, you aren’t paying too much attention to the cat. but when you say “i am looking at a cat’, you are actively paying attention to the cat and what they’re doing.
(given the class is in French, the nuance was similar, using the words “voir” and “regarder”. but due to French not having a close equivalent to “watch” i cannot make more parallels about this, as my knowledge of English and French-to-English translation is still fairly limited)
when looking at a subject, the primary objective should be to understand what you’re looking at. you can look at a subject (or the world as a whole) under multiple filters: values, hues, proportions, in 2D or 3D, and so on. you need to define how you want to look at a subject following these filters of vision. what do you want to look at first? what do you want the viewer to look at first? this is important to define before you put your tool to your support.
generally when drawing from life, it’s a bit reckless to rush to draw the model without actually observing them a minimum. you should take the time to observe, you are allowed to take your time to observe. no amount of limited time should paralyze you from examining the model the best you can before you put your tool to use.
getting this more precise vision of your model can give you a better vision of their body, which is often hidden under detail. when drawing them, you should ask yourself “how is the model posing?”
why look/observe? (probably like the most given piece of advice by pros and art youtubers who aren’t pros but still get called pros cause they have 1 million subscribers on youtube)
this question is very easily asked but also very easily answered:
to know how and what you’re going to draw
to time yourself correctly and have a good time management (drawing a pose in 2 minutes is completely different to drawing a 10 minutes one), thus,
to avoid rushing to draw the subject. as said previously, take your time. start slow, but stay accurate to the model. (teacher compared it to a musician rehearsing a piece, first slowly, then speeding it up progressively as he gets to know the piece itself better and better. unfortunately as someone who is as farthest from a musician as can be, i cannot honestly attest to if this is accurate).
but really, there is actually no such thing as a “finished” drawing. a graphite drawing could always have color added afterwards, a painting could always get more and more detailed. a piece is “finished” only when you deem it is finished. the French Académie des Beaux Arts didn’t like the Impressionists because to them, what the impressionists were doing were half assed jobs, since the idea of “transmitting a vague feeling, or an emotion through a specific style of very visible strokes” was absolute fuckery to them. speaking of,
to transmit an emotion, or a feeling through the posing of the model. the more technical and controlled the strokes will be, the finer the wanted sensation will be felt by the viewer. this also ties in the physical aspect of the model. ideally, in order to achieve this, you can try posing the same way the model does. it may be a bit awkward but it works (depending on your learning type, of course.)
to understand how the whole “body system” works. “i know the rules of the human body, therefore i make little to no mistakes.”
adding a whole context to the pose helps: adding a situation in which the pose could work in gives some meaning to your drawing, as well as helping you remember it better. it also adds a narrative element to your drawing(s), which are absolutely always a plus. (memorization is also an important tool!)
now let me play devil’s advocate and ask: why not look/observe?
well, uh, there are two reasons my teach told us:
to let your instinct and imagination go wild and free, trust your gut and have fun!!
and, tying back,
to let yourself be surprised by what you’ve done.
form synthesis (or just different types of approaches to draw form)
when drawing a model, there’s a few things that can be mentioned:
multiple types of lines exist with different purposes within the drawing: the action line(s), structural lines, and contour lines.
action lines define the overall movement of the pose. the principal one is the one you see when giving a better look at how dynamic the pose is. the secondary ones are the ones you can find in secondary rhythms when examining the pose a little longer.
(here's a better example, actually:)
structural lines are pretty much the “stickman skeleton” you sometimes see in certain how to draw books (specifically the more advanced manga themed ones).
contour lines surround the form in a way as to draw all of the outer body without using inside shapes or lines. (it is also the basis for the Bargue method which will be slightly discussed below. there unfortunately won’t be any talk about cross-contour lines, as it hasn’t been talked about in class (yet?))
generally, lines take either an I shape, a C shape or an S shape. (teach said it’s preferable to mostly use I and C type lines when drawing live models. probably due to the fact that S shapes are much trickier to use “effectively” within a piece (effectively not meaning much in this context, if nothing at all. again, have fun.)). using these lines tell a lot about the model and the pose, telling a sort of dynamic storytelling which varies depending on what type of line you choose to represent your model.
we can mostly talk about 2D shapes when three or more points have been linked by lines. sometimes, lines can skip articulations for the sake of dynamism. shapes should be thought about in their entirety, the difficulty that can be encountered usually being remaining vague but accurate with your form.
now, a quick word about:
the Bargue method (or, the fuck do you mean the Americans used it in art schools before us, Bargue was literally born in Paris, i fucking hate the Académie des Beaux-Arts)
the Bargue method is probably fairly well known among certain art schools or artistic communities. if i do recall correctly; it originated with Bargue noticing the low level of the students of the Académie des Beaux-Arts de Paris (or some other place basing itself solely on academic style art and paintings located in the city of Paris in the country of France on the continent of Europe) and devising a simple way to learn how to draw accurately from life (or plaster casts, depending on what you prefer). it solely based itself on straight, contour lines, forming a base around which to slowly add details to. apparently, a lot of art schools in america base their teaching of life drawing on this method, but given i do not feel like getting over $200k in debt without even mentioning living and travel costs, i cannot say if that is actually true.
here's an example of it:
it’s pretty much basing yourself on simplifications of the form to attain absolute accuracy. no curves here to distract you, only straights. somehow, when pulled off correctly, it gives a very neat impression of realism.
anyway, that’s all i wrote down. hope teach won’t see this anytime soon, and hope this kinda helped a little bit. next week’s notes should be about blocking in shapes, so we’re starting to be a little more concrete with the actual drawing process.
these classes were taught by Mr Francis Buchet at a class given at the Académie de la Grande Chaumière, so most of the things i’m saying here are taken from him and his class. if you live in/close to Paris and are interested in learning artistic anatomy, i suggest you look up where he is giving public classes, since they’re infinitely more engaging than these notes. his instagram is be linked below. (hoping he doesn’t get mad at me for sharing these notes… in any case i will use my own example sheets to avoid getting in any more trouble.)
and, may i remind you: these notes are only here to showcase one approach among many others, so they don’t mean much in the grand scheme of things. i myself am in absolutely no way a professional, so please, take all of this with a grain of salt (or a spoonful, even). draw how you enjoy drawing, and find happiness in the way you want to draw.
Francis Buchet's instagram: x
so, seeyou next weekend! (or earlier, if i draw something i want to show here.)
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high school timber is all about repression!!!
it's about bernard desperately trying to prove to himself and his parents that he's straight!! because his parents already don't like him and he cannot be gay. not now not ever!!!! so he puts up this front of a ladies man and he picks a girl he cant ever get together with and maybe he kisses like 3/4 of the female population at grieves and gains a reputation but hey! at least he's not gay! but he's so caught up in making sure his eyes don't to stick too long on tyrone's face or michael-from-biology's eyes or kabir-from-study-hall's thick thighs that even his attraction to women is under a filter. and it's not that he doesn't like women, he does! very much so!! but it's that he's soo caught on not being perceived as gay that he cant show his attraction to women the way he'd like to. it's all under this filter of what he thinks Real Men who are attracted to women act like so it's this brash, loud, crass, thing and it's not him at all. it's "ooh tim, ms. winters is soooo hot!" or "hey kayla, why don't you and i get to know each other a little better, if you know what i mean?" or "god her tits are soo big. she's so fucking hot!" and all this other shit when he really means, "tim, why the fuck does your stepmom have such a pretty smile?" or "kayla, you said you liked yugioh? i'd love to hear more about it!" or "god fuck, that girl has such pretty hands. i think if i held them i'd combust." but none of that is how a Real Man likes women so he shuts that shit down before it even has a chance to come up. it's fine, he's fine. so what if no one ever holds him like he holds those girls? it's fine. he'll take the manwhore label and the fuckboy title and he'll give out as many kisses as those girls want and if sometimes when he's kissing a girl he wonders what it'd be like to sit on kabir's thighs or if tyrone's lips really are as soft as they look, that's just the devil speaking. and if sometimes when he walks back into the cafeteria at lunch, lipstick still smudged on the corner of his mouth, after making out with a girl and his eyes skirt over tim's lithe body and he wonders what it'd be like to draw out the same sounds he's heard girls make when he kisses them, or what it'd be like to brush his thumb over tim's hands, or what it'd be like to hold tim or press a kiss to his shoulder, or a million and one other things, well that'll just have to be another one his secrets.
and it's about tim who's in a relationship with stephanie and his dad knows he's robin and he doesn't have time to figure out why his mouth goes dry when the light hits bernard's hair just right. he's too busy trying to figure out a way back to his nightlife. and so what if bernard has pretty pink lips that look very plush? so what if he's looked at some of his teammates and thought they were handsome? he's not blind!!! he has a girlfriend! and he loves her! and so what if his hand brushes bear's during fourth-period bio? so what if the tingles last all day? it was just some static! and it doesn't matter that when bear laughs his eyes get squinty and they water over -- cause bear always laughs so hard he almost cries -- and it sounds like bells. and it doesn't even matter, that sometimes when bernard walks back into the lunchroom, 10 minutes before the bell rings, lipstick smeared across the corner of his mouth, lips tilted up in the most charming smirk he's ever seen, that his chest fills with jealousy. it doesn't matter that his hands clench into fists so hard that his nails leave crescents marks all day. it doesn't matter that he wants to be bear's flavor of the day, week, month, whatever. he wants to leave the lipstick marks!! he wants to know if bear really is as good as he hears the girls speak about!!! he wants to know "that thing bernard does with his tongue!" is! he wants to drape himself over bear the same way he sees those girls do! he wants to know what bear's hands feel like gripping his waist. he wants, wants, wants!!! but it doesn't matter. it doesn't. he's got a girlfriend, her name is stephanie, she's gorgeous and, most importantly he loves her. he's too busy for bernard anyway.
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"Silk Flowers grow in pairs on small red bushes"
Other archon having twins
Zhobgli is suspicious
(Plus the god of eternity saying his story is not yet over)
“~twin where have you been~”
it’s still pretty interesting that Zhongli doesn’t have a ‘twin’
it is very clear one of the main themes of genshin is family especially between that of siblings (twins)
the traveler is the twin and all of the archons -the main characters of their respective regions have “twins”.
Venti has the nameless bard, Ei and Makoto, Nahida and Rukkhadevata, Furina and Focalors. These are characters that look identical but live very different lives.
A core part of each archon is their relationship with their respective twin. Ei struggled to move on after Makoto died, Rukkha was everything Nahida dreamed of being, Focalors made Furina play a part for 500 years. I am unsure of the dynamic of Venti and his bard but it’s pretty easy to assume he gave his life great meaning and considering he looks just like him he never could move or wanted to forget what he looked like.
So the fact Zhongli doesn’t have anybody with that kind of connection is really odd lol. I've complained so many times like “Zhongli!! where is your silly clone!” and he refuses to answer my calls. Rex Lapis is represented by silk flowers but they grow in pairs but where is Rex Lapis’ pair? Where is the moon to his beautiful sun???
Some people argue a more metaphorical twin for Zhongli is Rex Lapis/the Exuvia. The point of the Liyue archon quest was Zhongli stepping down from a role he has had for thousands of years and considering the way he talks about Rex Lapis/geo archon (he always refers to him in third person) I believe Zhongli sees him as a separate person entirely. So losing Rex Lapis was like losing his twin. Casting his exuvia aka body double on a crowd of people and burying Rex Lapis was Zhongli’s conclusion with his “twin”. He ended his reign and made peace with his life.
But at the same time I feel that interpretation is so ehhhh. Like all of the twins we’ve seen were their own person with their own thoughts and feelings. Like yeah furina and focalors were once the same person but that was no longer the case when focalors brought out the scissors and said act woman.
Let’s get venti and zhongli out of the way cause they are a little weird from the rest of the seven but we’ve never met “Rex Lapis” and then he doesn’t have a human form like the rest of them. We have talked or at least heard the voices of the “other twin” . We met rukkha, we heard makoto and neuvi let us see focalors.
A big part of the archons is their relationship with their other half but Zhongli’s stories most always focus on someone else-a different god a different entity there is just so little of what we know about him comes from his own mouth.
Besides when you look at the visual symbolism then all the archons are represented by the moon and shadows. They live in the shadows of the "twin" if almost haunted by them. They cannot live up to their glory or they are forced to be someone they are not. These 'twins' are the reason for our archon's (hell even the traveler's) existence and journey, it is why they continue forward until they eventually find new meaning in life.
However Morax is always represented by the sun and light, and you could argue that Zhongli is the moon to Rex Lapis’ sun but if you look as his symbols -his golden eyes, the golden light he uses to save xiao and his interactions with the people of Liyue he still holds that warmth.
Next the big revelation for Zhongli was his relationship with Liyue itself, not himself. We could argue that the existence of "Rex Lapis, The Geo Archon" was intertwined with that relationship but Zhongli's narrative is stepping down and taking his hands off Liyue not any personal struggle. If Liyue had failed his test he would've remained the geo archon for the foreseeable future.
That means, Liyue itself is more of his twin, it is something that plays a huge role in his identity and leaving it behind and moving forward is the core of his arc. It is Liyue that made Zhongli play the part of the geo archon, it is Liyue that made him turn on friend or foe if they were are threat, Liyue and its people are the motivation for everything Rex Lapis did. Morax’s love for his people defined every action that he did as the geo archon.
Long story short ehh if push comes to shove I can accept Zhongli's dragon clone as his twin but I would also argue against it because it doesn’t hold thematic weight that the other twins do!
In the end, we can still safely assume that zhongli’s twin has gone awol but then who are they!!! Each archon has a pair that is meant to parallel the relationship between our travelers Aether and Lumine but where is such a twin???
I've talked so much about Zhongli about everything but Ei mentions in her voice lines that she believes his story isn't anywhere finished. She even talks about him in Zhongli's teaser way back in 2020, "in his long life he has met countless people and shall meet countless more still. As they say: waters change course but mountains move not". Its kind of neat the god of eternity says your story isn't over
I may be a delusional zhongli stan but I don't think it is farfetched to say he is veryyy suspicious. We don't know his true form, we don't know the truth of his contracts, we don't know if he's hiding a twin, and the goddess of eternity herself believes his journey will continue forward.
Could he be missing a twin because he's not from Teyvat? What if he lost his counterpart a long time ago? What if we have simply not met Zhongli's twin and the two of them are separated from each other much like the traveler? I always believed Zhongli kind of crashed into Teyvat like a meteor or shooting star and that's why he's kind of weird but it could be possible that Zhongli's counterpart is just not here either long dead or with a different destiny.
Fun fact to add to Zhongli’s weirdness; Did you know Zhongli and Neuvillette are the only playable characters whose constellations are different from their character quest? Zhongli's constellation is Lapis Dei but his story quest is Historia Antiqua, much like Neuvillette's constellation is Leviathan Judicator but his story quest is called Diluvies. Which is weird cause Venti has the same constellation as Zhongli (Carmen Dei) but Venti's quests line up. Like is it a dragon thing but why?
Then most of the original archons croaked during the cataclysm and Venti went into a coma. How did Zhongli get out of the damn thing unscathed? Why didn't he lose his twin or die and shit?
I know in my soul Zhongli is hiding the secrets of the world in that pretty little head of his. He's just a bum and refuses to share it with the crowd.
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this is a genuine question not at all meant as a rude gotcha, but I feel like I've seen lots of people cite the relatively low barrier of entry as a huge advantage of podcasts as a medium, "if you have access to decent audio tech you can make a podcast" etc etc. So where does the need to sell a script come in? Is it a financial thing, and IP thing, something else?
this doesn't read like a rude gotcha at all, it's a really good question! there is a much lower barrier to entry when it comes to podcasts compared to tv, film, theater, etc. (though not as low as writing a book if we're talking about hard resources - you can technically write a book with just a laptop and a dream and then self publish! though as a writer who has written a lot of scripts and four books (3 published) writing a book is a much bigger psychological burden imo lol).
the need to sell a script, for me, is entirely a financial thing. if I had the money to produce podcasts at the level I want to entirely independently, I would! I know how to do it! but, unfortunately, I really only have the funds to produce something like @breakerwhiskey - a single narrator daily podcast that I make entirely on my own.
and that show is actually a great example of just how low the barrier is: I actually record the whole thing on a CB radio I got off of ebay for 30 bucks, my editing software is $50/month (I do a lot of editing, so this is an expense that isn't just for that show) and there are no hosting costs for it. the only thing it truly costs me is time and effort.
not every show I want to make is single narrator. a lot of the shows I've made involve large casts, full sound design, other writers, studio recording, scoring, and sometimes full cast albums (my first show, The Bright Sessions had all of those). I've worked on shows that have had budgets of 100 dollars and worked on shows that cost nearly half a million dollars. if anyone is curious about the nitty gritty of budgets, I made a huge amount of public, free resources about making audio drama earlier this year that has example budgets in these ranges!
back in the beginning of my career, I asked actors to work for free or sound designers to work for a tiny fee, because I was doing it all for free and we were all starting out. I don't like doing that anymore. so even if I'm making a show with only a few actors and a single sound designer...well, if you want an experienced sound designer and to pay everyone fairly (which I do!), it's going to cost you at least a few thousand dollars. when you're already writing something for free, it can be hard to justify spending that kind of money. I've sound designed in the past - and will be doing so again in the near future for another indie show of mine - but I'm not very good at it. that's usually the biggest expense that I want to have covered by an outside budget.
but if I'm being really honest, I want to be paid to write! while I do a lot of things - direct, produce, act, consult, etc. - writing is my main love and I want it to be the majority of my income. I'm really fortunate to be a full-time creative and I still do a lot of work independently for no money, but when I have a show that would be too expensive to produce on my own, ideally I want someone else footing the bill and paying me to write the scripts.
I love that audio fiction has the low barrier to entry it does, because I think hobbyists are incredible - it is a beautiful and generous thing to provide your labor freely to something creative and then share it with the world - but the barrier to being a professional audio drama writer is certainly higher. I'm very lucky to already be there, but, as every creative will tell you, even after you've had several successes and established yourself in the field, it can still be hard to make a living!
anyway, I hope this answers your question! I love talking about this stuff, so if anyone else is curious about this kind of thing, please ask away.
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