Hey everyone yesterday we got a great demo from Peter Hahn on how he draws from imagination
This is part 2. Let's get right into it
Let's go to another piece. Let's use this same content though. Maybe I'll be the boring to change the angle of view this time
Let's go this way. How about let's bring the head up forward
Let's bring that us up I am with at us to be bigger this time
I feel like what I play with was saved, so I kind of when I like to play with it
Let's add like double tusks and stuff that's s coming out of this snout
I'm kind of reminded of animals I've seen
Obviously warthogs and Razorbacks are great and some of the one of the ugliest pigs I've ever seen as the Papa Russo in Indonesia
That thing has a crazy horn that comes up around and it actually will grow a curl around to its cranium
Some will actually even pierce our skull
Now that I have that in its place
It's kind of wrap some harnessing around it
The gears are little sharp things with the strong horsehair and it comes out
And again, I could have built this with construction
But I don't need to I have a general idea what I want which is him standing towards the camera
I'm putting maybe the figure of the dwarf in the back
Things like the anatomy because I've studied animals similar to it. I know where to place the information
And of course if you guys have watched I'm sure you have a propos lessons a lot of the stuff on YouTube
the fundamental practice of building a portion of some form
That is areas of where you should begin
proportion is the number one key thing because
In drawing if it's miss proportion any elements of rendered detail sitting on top will not save it. It's still a bad drawing
Let's put a mouse going this way on top let's put some like gear satchel stuff behind them
Tote sandbags and whatnot building the shapes
After doing 20 years of this a lot of you guys will think man how much time will I need?
To get to a level where I feel confident enough to also
Execute the information that I want. There's no judgment of time when people ask me if I spent two years drawing
Will it get good? Yeah, but watch out for your expectation
Will you read me?
You know match that more than likely not unfortunately because there's no true answer to it and I tell people this all the time
You're more than likely not really going to get what you want out of the time you're spending because there's no way to judge it
The only thing that you have to rely upon is then how much true passion you're putting behind it because then the time doesn't matter
Okay, it might take you two years to get a certain point but guaranteed am I taking more?
Are you gonna be willing to commit even if it took you ten years?
is now you're trying to consume artists that you're seeing around here in life box have twenty thirty years of experience and
Cramming it into the field. It's impossible
So how long have I been drawing since his age?
Ten, you know, maybe since like my first memory of drawing is like five maybe
Professionally, how long have a drawing since 2005?
How long have you been drawing in this method ten years?
straight on
So it's taken that long for me
And so that's why when people come up to me. I need the answers tell me how to actually get there. There are none
The question is how committed and passionate are you because it takes just that one element that
Person next to you may have fully committed 100% of their life into it
If you haven't if you're still dabbling not gonna make it it's got to be to the level where you're literally waking up every day
Sleeping thinking about this as I am. And even then there are people out there that are a hundred times better than me
And that's crazy
But that's also great
because it shows you that there are other people out there that are selling and that's a goal that I can match up to and
I want to now be better. It may not happen, but I'm definitely gonna shoot for it
guys like Coco over here
Constantly pushing constantly stressing using all this time and effort every single day into it. It's just that it consistently to work
You know that side of heart and hunger and then you know
the distant one of it is unfortunately something that cannot be taught, but it can be sparked and
That's why you're here. And that's the first right step. I
Never get tired can show some stuff like this, you know people ask me like how do you maintain the energy?
keep going all day and everyday and
Honestly, I'm actually more of an introvert when I was in college at schools. I
Sat in a room by myself and drew everyday I had a small core group of friends
I never liked going out. I never went out the bars didn't drink never did anything
I was so focused on just drawing every single day to the point where my hair literally was crooked. I
Would have neck pains coming at Art Center visiting hospitals because I was physically hurting from drawing
Was that the best thing to do?
I don't regret it
But I would adjust it and I always recommend that even stepping outside
Getting out with friends enjoying those moments is a learning experience also
It does help with your drawing because it gives you stories
It gives you comparison you work with other people
Now did it help me to grow exponentially if I drew that much it did but I also burned out and all that growth
I lost just as quickly and I was a constant back and forth cycle
So take a lot of breaks
Take give yourself a moment to absorb. I was only pushing too hard and anything else what was happening was that I was treating it like a fight
And I was aggressive about it. I was stressing it and it was affecting my health. It was affecting my relationships
It's affecting my friends and families and it wasn't helpful in a long-term run
I had to let that go and now what this is is not a fight. This is a partner. This is a dance
I know that steps and I can be creative and move outside and if I want to
So then the process of doing it is the most enjoyable thing
The mental aspect how you approach it? Because I always tell the students again the same thing. I'm tell it again
I don't care how you finish this drawing or any joint that you produce or a piece painting design
I am interested in how you start
What's your mindset? What's your first beginning thought process? How did you strategize? How do you feel about it?
And if you start on the right foot at the end of it no matter how it comes out you'll appreciate that moment
You'll learn from it and you're looking and look forward to the next drawing
Then you're producing constantly you never burned out I
never hit a wall or I've burnt out in 10 years and
Stuff like this can happen I can talk and draw easily
Drawing is as easy as talking to me
The speed maintains the confidence maintains and I'm already brewing up ideas for next one the next drawing
Here's the perspective gonna go this way this direction this direction over here back over here
Horizon lines gonna be right here. I can go
Specter this direction
Back to that direction. Let's put the door over here. He's gonna be looking off into the distance as
I have this perspective going down how it's being built is here zero thin
As it wraps around volume as it goes back up
on the direction
Volume so this curve is now gonna match the curve of that ellipse on this side
So now I figured out my plane of the perspective as his crown as I've drawn from
This one is now a part of the construction that helped me with the curvature is going above the eye level
Because his hair is going around it overlapping on top
Again stuff like this can be a great guy put that in a box. There's a perspective line right here
Putting this in a box
It's like you're playing going that way
So these things I'm able to visualize in my head, but I can construct minimal things to help me understand how to apply it directly
Where it's not necessarily a construction visually for many people, but it is a construction to me
All right, I'm gonna put the arm down this direction sleeve of the shirt is
coming down closer to the horizon line the belt will be more level slight curve as
It's going down and the perspective is foot placement
Going down a little bit further possibly
Being a dwarf you want to make it a bit heavyset on the bottom the pants coming out to the boot
And now I have everything struts it in place
There's a camera and we're coming down taking this same pose now turning it in space
Stuff like this. I'm always learning from still
Every drawing I pick up something bit by bit and it's not
Any more of large leaps and bounds of understanding and growth
It's a small grinding and call and at the beginning as you guys learn methods and techniques you
Exponentially grow your understanding your worth just improves dramatically
But eventually what happens you begin to familiar get familiar with those techniques
then it's about that small grinding to hopefully get the small nuances kind of perfected or at least more familiar and confident but
the problem is a lot of students are not patient enough and you don't see a fast enough growth and you
Get disappointed. You don't like that. You can't see a return and you want that immediate satisfaction
And then people give up
Or they stop drawing or they stop doing something and they take a break and then they come back to it
Then it's starting over again at that point
Which one do I like better?
It doesn't matter the idea. Is that the process of doing it again?
What's satisfactory even if this doesn't get pushed to more finish then this one I still learn something from it
I still made a lot of mistakes, too, and that's great
Now this piece of paper with the drawing on it
Doesn't necessarily mean that it doesn't have value. But at the same time I don't hold it preciously
Right because the thing is the memory of the doing this I can recreate it instantly
So the experience is the most important part of it. The final result doesn't matter because it can always be better
The details don't determine that
It's the overall shape the primitive shapes and of course if you're talking on proportion of the individual thing
We observe the real-life stuff to give us context of it
Now of course in associations of the multiple elements within the scene I can say if I made this buffle way too big the
Functionality of that how this board would work with it may not work proportionately. What if you
With tight clothing and less wrinkles. Well, that's the surface information of the material, right?
And so that then has to be explored through observation looking at real life things
It's studying from them knowing how the mechanics and also how fabric works around the form. How does it wrinkle?
How does it stretch if it's loose fabric or type fabric?
You know, how do you then use the lines in the shapes to express those areas properly, right?
So study base is always observation people ask me
How do I get over burnt and how do I get over information and things I don't understand look at real life
Everything I created it here for you is inspired by something that we can observe. Now. The only thing I'm doing is changing
Proportion the door is shorter stockier heavier, right that's proportionate, but he's still using the same human anatomy
based on that struggle
So anything you guys create don't think about the word of originality?
Use nature to give you something of a fresh take on it
You can mix and match it up also, but I haven't done that
I've taken things that are directly from nature in our own world and we can then alter it and that's story enhanced.
Yeah, so the question was do I work digitally with or differently with digital or traditional methods
I do actually to some degree because I use digital mainly for client work
If but if I were doing a lot of personal work the way you digital
I actually don't because a lot of the personal stuff I create are things like illustrations or comics
Print stuff and books and I like traditional mediums for those things
But if I'm working for a client, I got to get that stuff done on a deadline
But they also might want changes so digital then makes more sense because if I finished it and said no
We don't want that. We don't like this change this changes. I'm not gonna redraw the entire thing
so obviously digital has the main advantage to it, but in terms of working method of how I draw
No, it's not any different
I still construct with shapes and I can also go directly towards things knowing what I want from them
and of course if I explore in variation
I know the degree of level of finish I need to go to and I'm able to then execute as much information or variation
I need to in that amount of time
So it does difference again here was the one before obviously I was very excited to draw so I put a lot of information
This one was more explorative to think about the camera perspective the angle all those things
So my intention here was not a lot trying to finish it. I want to see how well I compose it
I want to turn him in space
So what does it all boiled back down to it starts from the very beginning what I just said?
Clear intention of what I was trying to execute knowing how much time I had
What did I want to communicate? What did I want to say with the work?
In terms of the subject matter. Yeah into the subject matter
That one is very hard to explain because it's my brain constantly spews information to me and some things are
Inspired by observation something to inspire my stories of things. I've read or seen before and there's just a backlog
a deep well of
experience of things that I've seen before and so the deeper the well the more your brain has to like pull from I just shoot
At you so why did I started decide on a dwarf in fantasy? I just felt like it
My brain said hey draw this that's cool are all that
It's just fun
Now if somebody said hey draw this for us then my brain would also do that
It would go through a Rolodex of information and pull all the things that are necessary to that subject now
This took me
Many many years to build this and I've been working professionally in the game industry for seven years in studios and at that time
My skill set was, you know good enough, but over the years. I've built it even stronger
So it's a constant growth and every year I see growth even though from the previous year's work
I actually think the drawings are great. But I've actually gotten better already and it's single year next year the work I'm doing now
I know that I can even do better
So it's been exciting because of that
So again, it's not about the present growth
It's all grind but give yourself time and patience look back in that year and you'll be like, yeah, I've grown
That creates the positivity that creates the drive that has the hunger
Anyways, I want to thank this guy over here proko and all the group. He's got an awesome very supportive
So I'm just thinking you guys so we're closing up here in a minute. Yeah. Yeah
so we did two pieces here and
If you do share anything online
Please tag proko tag me you can find my business card up here
My social media peter hart style on instagram and taking guys for joining. Thank you guys for hanging out we should
So that's it. Hope you enjoyed the demo and I hope you enjoyed this year's 12 days of proko
Thank you Peter Han for coming by our booth and doing the demo
Should I record more demos like this?
And if I do who should I invite to the proko booth at next year's lightbox Expo? All right, everyone
Enjoy your holidays