The Creative Process

My creative process after an assignment is handed to me changes from time to time. Shaped by my teachers over the years, I try to start off with some research, since even fiction is grounded in fact. I'll use a painting I did to illustrate my particular method of madness.



After I get a vague idea of what I want, I look at a bit of visual reference. For this painting, I knew that I wanted to make a Japanese-influenced image to sell in the annual Holiday Bazaar, so I looked at Japanese prints. My main source is the internet, though I also have a few books of my own and access to the MCA library. Memory has a big part in this, as well.

If I can't come up with a vague idea, I start thumbnailing, a process we've used in all of my illustration classes. Basically, I crank out as many small stick-person sketches as I possibly can, then select the best one to develop into something good.



My next step is to make a full-size, loose sketch resembling a stick person (or object) which I go back and refine. I then use graphite paper to lightly transfer the refined image onto the surface I plan to use for the final product.



Finally, I employ the media I choose. Depending on the needs of the project, there are sometimes color studies that happen before this phase, but not always.

My creative process could probably benefit from more sketching before I make the full-sized stick-person. I'm thinking anatomical studies, like da Vinci, or a more detailed, smaller stick drawing to come before the full-sized. I guess what I'm getting at is that there should be more drawings and sketches to warm up to the final drawing. Skills are always more productive after a little warm-up and practice.



http://www.dilbert.com/blog/entry/the_creative_process/

I like what Dilbert creator Scott Adams has to say about his creative process: When speaking about how he comes up with his ideas, he likens himself to a grizzly bear trying to catch a salmon. If the bear misses, he just waits for the next fish; he doesn't dwell on the one that got away. In 19 years of strips, that's a lot of salmon!

A Dilbert strip doesn't materialize instantly; Adams sketches the first panel and the next and the next, letting his brain figure out the details during the initial drawing. Then, he goes back to finalize the wording and refine the drawings.

Neat to know that everything doesn't need to be neat at first.