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INTP artists process.

Turniphead

Death is coming
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So... I'm interested in how other INTPs go about creating images.

Something I have been struggling with lately is trying to find a process for doing my art that let's me:

-enjoy the process
-work relatively fast
-get quality results

Usually it seems like I can only do 1, occasionally 2, out of those 3 things at once.


This is a quote from George Pratt that I find Interesting.
Most of the professional artists I have been exposed to, usually have a very methodical process(at least in the illustration field). So it's interesting when I come across people who do things differently.

I wrote in the first entry about discovery and how it plays an important part in everything I do: writing, drawing and painting, making music — everything. I do very little sketching before diving into a painting or a drawing. I have found over the years that, for me, if I put in a lot of time in trying to figure everything out beforehand, the actual process of working on the finished piece is diminished emotionally for me. I lose interest quickly because I feel I've already been there. At that point I'm just painting by numbers. Not good.

So I do very abstract thumbnails and then go directly to the painting or drawing from there. The thumbnail might have a simple value scale figured out and that's about it. This lets me see into the finish and enjoy the physical and mental act of drawing and painting. I love dipping my brush into the oil and then drawing very quickly on the white linen. Attacking the emptiness and revealing the image within. It's a lot of fun.

Fun is high on my list, too. I like to have fun. It's work, to be sure, painting. But it's also fun or I don't think I'd enjoy doing it as much. There has to be a balance there, I think.
 

Da Blob

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I use vacation snapshots and existing images as my artistic media. I'll will put an image into photoshop and transform it into something else. I have worked with some professional photographers who complain about needing to be objectively perfect and are quite pleased when I can 'editorialize' one of their pictures of objects and turn it into a subjective POV.

It is a fun and fast process and most of the detail work is already done for me...

My latest effort...

https://www.facebook.com/media/set/?set=a.3324616799809.2134497.1400040230&type=3&l=8c325dc396



an example: I saw a Mermaid's Home in the original, but since there was no mermaid at home in the original, I added one...

attachment.php
 

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nanook

a scream in a vortex
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it starts with an obsession with a motive. from cowboy over swordfighters, over sci-fy stuff over hugging streetpunks - my youth was full of obsessions with literal motives.

i haven't had such motives on my mind for years, because the themes that fascinate me now are either so that they can't be symbolized visually (like psychology) or doing so would be beyond my capacity (visionary stuff).

i would exercise and thus roughly repeat those motives, but never intentionally make a scetch before a real thing. every scribble has always been the real thing to me. (i don't understand artist who are into perfectionism, competition, and copyright - they are a different type.) usually i would rather paint on top of it, to improve it, then to do it again. my drawing style is intentionally dirty. i paint lines over each other to find the one that looks best. the process guides me to the result, meaning i don't even start out with a fixed idea on what exactly i want to paint.

but when i achieved an exceptional motive, i would sometimes copy it very closely, to improve the technique or alter some aspects, to shed a different light on the same motive, artistically. that decision cames when it cames, never before hand.

today i suck at art, not only because i don't find visual motives, but because my mind is in future-oriented problem solving mode - lost all playfulness :(
 

Architect

Professional INTP
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I do photography, and at this point in my development it is a process of finding the photograph in the situation. I don't restrict my photography to any genre, I will do candids, street, landscape, portraits, vacations, ocean, panos, and so on. Basically wherever I am I try to find a picture in it worth taking and then get it.

My hit rate of good photos is probably less than 10%, but I'm working at it. This does take a lot of gear, but I try to keep it relatively compact. So I have a portrait setup (soft boxes, multiple flashes, stands, umbrellas, gels, grids, flags, etc), landscape work (wide angles, filters), travel (pancake lenses), various telephotos, computer lightroom, etc.
 

Polaris

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Just splashing away on canvas has never been something that has produced much result or significant joy, and certainly short-lived joy if that was the case. I have had to pull myself together and think about how I would like to achieve the end result. I usually have a vision in my mind already, so it is quite frustrating if I get off on a start that wasn't too well thought through.

I will ponder for days, perhaps draw a few highly rudimentary sketches. Then I start thinking about colours, how will I blend them, what is the main colour theme? Then I think about how I'm going to build the picture in order achieve depth. I'm sort of obsessed with depth and 3D effects, so this probably takes up most of my thinking time.

In the end I would have laid out the whole process in my mind, step-by-step (yes, perhaps un-INTP'ish, but as I said, the haphazard and impulsive method doesn't work for me anymore. Then again, building up a picture is a bit like deconstructing something in order to understand it's essence, and I guess I want to capture that essence. From that one can build a system of reproducing that image. A bit like breaking a code, or deductive problem-solving applied to art), and I will be quite excited now as I know exactly what to do and in what order; and most importantly: it will work.

Initially, upon deciding to be more structured I was very hesitant, but I discovered I could actually paint if I just thought it through first. I'm self-taught, so I guess that was the "schooling" I had to go through in order to move to the next level. And I was bored within my limitations.

But I agree that this process can be off-putting, and "kill" the emotional benefit somewhat. Then again, I totally lose myself in the process once I get started. I particularly enjoy the part where I've succeeded in building the painting to a point where you can start to play around with nuances and effects. I would say this is the part where I add my "interpretations", and I have the luxury to allow for the subjective, if that makes sense...

If the process drags out too long, I will lose interest and abandon the project, so it has to happen relatively quickly, the moving on from one step to the next.

There have been times where I have dragged the whole thing out too long because I didn't plan it properly to begin with. The process has then been so aggravating that in the end, when I finally finished the project it had become a bit like the child that one didn't want. You look at the finished product, and don't recognise it as your own. You distance yourself from it.

Actually that is something that has applied to most paintings I've done. Once it is done, I sort of reject it.

That thing has nothing to do with me....did I really do that?

Is this common, or am I weird?

:confused:
 

miggslives

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If I am copying something, like say drawing somebody or drawing a photograph, I do pretty well. It's like solving a little puzzle about sizes and what fits where to make it look exactly as the real thing.

When it come to being original, I can sit in front of a paper for two hours and have nothing come to mind. Then other times I can sit at a paper for 2 seconds, and and two hours later bust out with an amazing piece of fucking paper.

But I am very picky with my art process. If I feel it is not perfect or the way I want it the first time I drew it, i will immediately erase it or just scrap the whole project.

What really gets me motivated to work is when someone specifically comes to me and asks me to draw them something or do a photoshoot. Then I will want to give them only the best that I have. If I drew them a whole piece and ended up not liking it myself, I'll just tell them I haven't drawn it yet. But definitely all my best work was done for someone else. Something about it being for someone make me want to do better.

One thing I noticed as a kid was I had to rush an art project. I had to be finished in one session. If it was something where I had to come back to it at a later day, chances are I would never come back to it. So thats why there would be nights where I would start a drawing at midnight right before I went to sleep, then be up till 4am just finishing the piece. Then the funny thing that always happens is I will wake up the next day and not like what I drew.

But my peers always tell me I have some skill so I guess I gotta trust them. But in my mind I am always thinking, "damn there is someone so much better than me, how could I possibly be that good?" They always explain to me, "you're so much better than so many other people though." And I'll just say, "so what? the art world is the best of the best."

and chance for a plug? check my art/photo :D
www.miggslives-sf.tumblr.com
 

xbox

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today i suck at art, not only because i don't find visual motives, but because my mind is in future-oriented problem solving mode - lost all playfulness :(

damn, you said it. this is my problem today. just dealing with real world problems has put me into art block mode. my mind is fuzzy and im just sitting in front of my canvas wondering what to do. AUGH
 

quantumaddiction

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I usually begin after seeing or feeling something inspiring. After this, images start going through my brain, which I commit to memory.

Then I create a series of like themed images, and try to vary their composition which I roughly sketch for a few minutes. I think of each element of the work and wonder what kind of texture I should apply, and often research images similar to what I'll have to represent. I recreate these textures multiple times, in various compositions, nothing big.

When it comes to actually doing the work, I normally lock myself into the room and just let it go. Almost everything is on-the-spot. I try to trace the lines from my mind, and try to get the textures, values, and proportions just right.

It's difficult for me to call it a process really, it's almost always much more chaotic than this, but I still get a lot of decent work done.
 

addictedartist

-Ephesians4;20
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self loathing then drugs, rediscovery of love for life. drawing from experience and experimenting with inspirations.
 

Abe

So many witty things to say, so few people to tell
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Hmm lets see... I usually get an idea in my head.( not an image, more like... A general feeling) then I take the feeling and start throwing around colors that I think represent that. Then I see how that turns out and I keep adding to it until it portrays the idea that was in my head. Usually my paintings turn out better than expected.

If I copy something ( like starry night because I'm a bit obsessed with it) I never draw first. I just start.

Generally my art process is very feeler-like. I feel more like an INFP when I paint than a confirmed INTP.
 

Wolf18

a who
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I always draw with pencil and I rarely use colours. I usually listen to music when I draw – it helps motivate me. I take some paper, turn on the radio, and sketch in details as I draw, as opposed to making an outline and then filling it in with details. I usually draw vehicles, or landscapes, and like drawing them as exactly as possible. For example, I will put a toy car on my desk and using either a ruler or my eyes, scale it up to the size I want. I will usually start with the tyres, then do the chassis, and do the hubcaps last. I will finish by drawing a background.

SW
 

Brontosaurie

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i start with a comprehensive vision which has been accumulated through my experience. this vision is not concrete - in fact it can be more accurately described as a systematic code designed to avoid the concrete, informed by previously encountered problems. so it's sort of a set of principles for movement, composition, texture and lines which theoretically enables me to draw free of figurative or symbolic constraints, i.e. free of external influence, free of values and motives and other conservative forces in a state of disinterest (kant or friedrich schiller for more on that), a kind of playful exploratory joy, a curiosity which shows in universality of form, as evidenced by lack of meaning. i'm not sure i would call this system axiomatic internally, but it pervades my approach to the visual so much that its function is decidedly axiomatic.

however, there's also the phenomenal practical hands-on domain. here i am almost completely subconscious. usually my active mind is busy making aesthetic considerations, making sure to perceive as many flighty intuitive readings of visual cues as possible and storing them in the continuing drawing process. it's an exponential, iterative, layered process yet results in a flat output; clear dimensionality would compromise the abstraction and also i can't draw perspective for shit.


QnJqaZe.jpg


0xweMxx.jpg


ikslqRi.jpg
 

JimJambones

sPaCe CaDeT
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I've been drawing since I was three or four and everyone who sees my work says I have a gift. When I was a kid I would draw scenes of nature, trees, houses, and toys. I would also create my own heroes and villains, draw them out, and make stories revolving around these characters. I was good at creating things with my imagination and producing realistic drawings. I was really into horror films as a child and some of the stuff I would create and draw probably scared my teachers and parents half to death, but that was a relatively short phase in my life. Right about the time I was a teenager I started excelling at drawing portraits of people and made some money doing them for people. To this day I draw with graphite(charcoal frustrates me) and draw portraits of people for other people. I like drawing my kids from time to time. Currently, I'm drawing a picture of a couple for a friend of mine. She wants to give it to them as a gift.

Anyways, now to my drawing process. When I draw, I start by drawing a light sketch of the head. I then try to sketch one of the eyes. I then check the width of the head to see how many eyes are needed to fill the width of the head. Once that ratio is set, I draw the other eye, which is usually one eye width away from the eye I sketched out. I then use various ratios to draw the nose, mouth, and then the rest of the head. For instance, once the eyes are drawn, I'll look at the picture I'm drawing from and notice the the length of the nose may roughly be the distance between certain features of the eyes. So I measure those points on my drawing and then proceed to draw the nose to that length. Then, after the face is mapped out I begin to draw darker edges where there are shaded areas to better define the face. The next step is the shading, which I build up in layers until I create the depth I desire. I have various blending tools and pencils to accomplish this. I usually draw the hair last.

Now this may seem silly to anyone reading this, but I don't like drawing, at least not anymore. When I was younger I used to derive great pleasure from being able to draw well and to create concepts out of thin air. I only work in graphite probably because working with color frustrates me to no end. It takes an exorbitant amount of time to bring a realistic drawing of people to completion and the attention to detail required is excruciating for me. But the main reason is that art in and of itself is not fulfilling to me. I seem to enjoy art created by others very much, but I don't often enjoy creating it like I did when I was much younger. Mostly thought, art has only been one small facet of my many varied interests and not a focal point of my life I've always been more scientifically oriented and it would be safe to say that most of my life I have been concerned other interests, such as the origin of the universe, astronomy, the existence of God, the biological sciences, chemistry, physics, evolution. I majored in Biology in college(switched to studio art for a semester) and was primarily interested in scientific studies up until my junior year in college, where I developed an interest in the humanities, politics, sociology, philosophy, history, and comparative religion. I've noticed that my approach to art has had more of an intellectual bent as opposed to the more emotional, create in the moment type of art. I'm very methodical with my artistic processes.

I apologize for this lengthy response, but I am using it to illustrate a point. My point is that even deep thinkers can be into art and even be good at it, but it is not likely to be something that they will engage in as a career because ultimately it is an unfulfilling endeavor because for one, it may be so time consuming that one would be missing out on researching other areas of interests, and two, it requires an inordinate attention to sensory experiences and details that may make them feel, well quite exhausted! It can be an enjoyable hobby on the side though.
 

inhibitions

Secretly Holden Caulfield
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Now this may seem silly to anyone reading this, but I don't like drawing, at least not anymore. When I was younger I used to derive great pleasure from being able to draw well and to create concepts out of thin air.

This.

Drawing is just so laborious to me. I never remembered it being this hard when I drew as a kid. I've lost my patience.
 

Cherry Cola

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Heya Inhibitions

I agree drawing was easier as a kid, but that was probably because as a kid you don't get how much you suck and just go for it

Btw do you get to post in this thread even if you are an INFJ? :O
 

inhibitions

Secretly Holden Caulfield
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Heya Inhibitions

I agree drawing was easier as a kid, but that was probably because as a kid you don't get how much you suck and just go for it

Btw do you get to post in this thread even if you are an INFJ? :O

Probably so. Never really thought about it that much.

I say go for it. ;)
 

Happy

sorry for english
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Heya Inhibitions

I agree drawing was easier as a kid, but that was probably because as a kid you don't get how much you suck and just go for it

Btw do you get to post in this thread even if you are an INFJ? :O

I think this is interesting. Did everyone find drawing easier as a child? Is that the norm?

I ask because I was the opposite. I could not do any form of drawing or creative writing or anything when I was a child. There was something blocking me. I had the ideas but as soon as the pen would touch the paper it's like I would seize up.

Now I'm the opposite. I draw all the time. I never have a problem putting pen to paper. I don't even think about it, I just start and it keeps going.

Is this weird? Do I have some sort of Benjamin button creativity?

Or am I just another weirdo nutcase?
 

inhibitions

Secretly Holden Caulfield
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I think this is interesting. Did everyone find drawing easier as a child? Is that the norm?

I ask because I was the opposite. I could not do any form of drawing or creative writing or anything when I was a child. There was something blocking me. I had the ideas but as soon as the pen would touch the paper it's like I would seize up.

Now I'm the opposite. I draw all the time. I never have a problem putting pen to paper. I don't even think about it, I just start and it keeps going.

Is this weird? Do I have some sort of Benjamin button creativity?

Or am I just another weirdo nutcase?
:confused:

Nah, growing into it sounds ideal. I grew into music and writing essays. I don't know what to think about your predicament... Were you athletic as a child by chance? I have an athletic friend who absolutely hates artsy things for the sake of looking athletic :rolleyes: . I doubt this is the case, but children are impressionable.
 
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