Sketching with Sketchup

Ever heard of the free 3D program SketchUp? A couple of months ago, I came across the term in a DeviantArt description, which sparked my curiosity and led me to the SketchUp blog. Apparently, illustrators are catching onto it like wildfire. The GS blog recently featured a prominent illustrator, Harold Belker, who described how he uses the program to aid in creating his jaw-dropping work. He states, “I literally use SketchUp the way I used to sketch with a pencil.” When I read that, I thought to myself—could working in 3D really be faster than working traditionally? Any tool that can increase my productivity is worth trying. And free too? Sold.

Images Created Using Sketchup:

• Raven by KaranaK on DeviantArt
  Vulture by KaranaK on DeviantArt

Not bad, eh?

The Benefits of Sketchup

Now, I’m no 3D expert, but even I can work my way around this program. The software isn’t bloated, and the tutorials are easy to follow. I can mock something up quickly and use it as an outlined perspective reference instead of relying on it to do all the work for me like other programs. After all, as a concept artist, there’s a limit to how much work I should be doing in 3D when the whole point of a 2D concept is to guide the 3D artist. Otherwise, why not just be the 3D artist? Am I right?

SketchUp’s greatest advantage—it’s an excellent time saver. Back in my college days, we had to draw everything by hand using the see-through construction drawing method. Those drawings took precious time, especially when facing a deadline.

Did I mention we had to do these with no rulers? Brutal. So when I had the chance to mock up a lovely tank for a book cover I jumped on it. I was able to move to the painting stage much faster. Now I still have a lot to learn about Google SketchUp but once I get past the learning stage this program will become an even greater efficiency booster.

Sketchup in Action

Remember my article about DAZ? Since then, I’ve improved every time I open the program. Except for its massively high crash rate (save frequently, folks), it does a fair job of capturing great angles I couldn’t otherwise achieve. And now, I’ve learned how to put GS models into DAZ and incorporate them into scenes. Not bad, huh?

A Word of Caution

So far, I prefer using these tools as a means to an end—in other words, I’m not jumping into 3D work anytime soon. I prefer 2D and drawing things by hand. I don’t mind occasionally painting over SketchUp mock-ups because I build the shapes myself from the ground up, keeping them unshaded and in simple outlines. However, I don’t overpaint DAZ figures. That would limit the gesture and grace in my work, and I don’t want my skills to go dull. So yes, I recommend these programs—but with some fine print attached.

Don’t let any artistic tool become a crutch.

I firmly believe that every artist should gain a strong foundation in traditional skills before taking shortcuts. That’s why, when people ask me how to learn to draw, I always suggest starting from the ground up with traditional mediums. First, learn the principles and elements of design, then perspective by doing construction line drawings. Next, study value and light-sourcing by drawing spheres, cones, blocks, and eggs. Then, move on to objects from life, faces, and figures. Once you’ve mastered those, progress to painting still life and landscapes, then faces, figures, and illustrative scenes. Only then should you transition to digital media.

I highly recommend art school for anyone serious about becoming a professional artist. The time, dedication, and guidance required to develop a professional-level portfolio are nearly impossible to attain alone in the same timeframe. Yes, there are many self-taught artists who do well, but they will always be limited by what they don’t know. A landscape artist may struggle to paint a realistic figure with accurate proportions, while a portrait artist may find creating an imaginative scene difficult. These artists thrive when they stay in their comfort zones, but commercial artists must be able to draw anything from nothing. You don’t have to be limited. Recognize your weaknesses and work to overcome them.

I’ve found that most people who ask me how to draw don’t really want the truth—they’re looking for a quick and easy path to becoming a professional. There isn’t one. The portfolio speaks for itself.

So while I advocate for DAZ Studio and Google SketchUp, they should never replace the valuable process of learning construction drawing and figure drawing. Instead, they should serve as tools to enhance what you already know.

What programs and tools do you use to help your art?