Without a doubt this is the question I get asked the most, so I've decided to let her have her own journal entry. I don't mind answering this everytime I meet people at the conventions, but typing the same thing over and over gets a little tiring. So here goes my take on drawing from brain, live and photo reference, hopefully for the last time :)
I draw from 4 sources: live models, internet porn, photos I shoot myself and from memory, most drawings you've seen here or in the books have been done using any of these 4 sources, but most likely they are a combination of some or all of these. After I get a few lines down capturing the essence of the pose, that's where the fun begins for me. Unless, of course, I'm drawing a straight forward portrait of someone whose likeness has to be depicted as accurately as possible.
The following account is indicative of how I work most of the time:
While sketching the
cover for Zowie!, (from my head) I couldn't figure out the fold of her left arm holding a dagger viewed from the back at an awkward angle, I asked my daughter to pose for me holding a butter knife with her hand on her back which I then "frankensteined" to complete the
sketch.
After I was done I realized that I could have solved it by drawing it from my head and in fact, my previous sketch of that same arm would have been acceptable and believable to the viewer, but drawing the arm and hand from life gave the drawing a more credible dimension and made me learn a thing or two, that is what I'm after.
In the end none of this mattered because I opted for the hand holding the gun in front of her face ( I felt the arm/hand with the dagger, detracted from the pronounced curvature of her hips, this is where a design decision overrides content, I have no problem being a slave to design) I told this story to a friend and soon rumours started circulating that I force my children to pose for my pornographic drawings, heh, heh!!

I bought a retractable shaving mirror from Ikea, which I've attached to my drawing board, it's great for expressions, hand gestures in tough angles, I abuse that mirror to no end, I highly recommend it.
Whether drawing live in the subway, at the studio with a live model or using photographic reference at home (I'd love to bring naked women into my basement but, it's kinda cold down there), I usually get the basic gesture down, really fast and then labor intensely to give it a more dramatic, more "idealized" spin, MY spin. You can use the word "dynamic" if you must, although that reminds me of those hideous Hogarth books.
Most of the work is done without looking at the model, after I've taken what I wanted from the pose, this is not because I'm so good at drawing from my head, I do it because I'm not interested in copying the source bit by bit, in every pose there's something I like to keep and a lot that i want to change, sometimes it's the entire pose but more often than not I manipulate the elements (arms legs, direction of movement and whatever else in order to realize my perverted vision, there's got to be something of myself in there, otherwise it makes no sense to do it at all.
To draw exclusively from my head is of no importance to me whatsoever, -the more I draw from life, the better I get at recognizing shapes and learning accurate anatomy- but I know that for some reason people give great importance to something drawn from memory as if this is an astounding feat, I don't give two shits about it. Most comics are drawn from people's heads and they suck. At the last convention I attended, my friend So And So showed me a very intricate and detailed drawn comic book, I felt the work was mediocre and over-rendered and he replied " You don't understand! all of this is drawn from his head!, he uses no reference", I said "perhaps he should". The fact that some people can draw from memory means absolutely nothing to me, good art is good art and a bad drawing is just a bad drawing, period! a poor drawing from someone's head doesn't make me like it any better.
I want to base my drawings on something real, a solid structure I can't accomplish from just imagining the forms and the lighting in my head, the library of poses in my brain is very limited, maybe I'm slow or my head can't hold a lot of information. Or perhaps all twenty years of sniffing
Charpak™,
Spray Mount™,
Krylon™ and
Paper Cement™ have finally taken a toll on my neurones. (those of you outside the US, click on the links and buy some)
The goal of most cartoonists is to eventually draw everything from memory, I can see why that's useful, particularly for comics or animation where one must draw a slew of characters over and over, most of the time the only way you can tell one comic book character from another is by his/her costume, this is quite understandable as the amount of drawings (in an equally crazy amount of poses) is astonishing, there's got to be a convention, a simple abstraction, the viewer in turn, suspends his/her disbelief and makes it work. I'm neither an animator nor a comic book artist and since I don't produce sequencial "panels" I'm not bound by those conventions, what was good for the old masters is good enough for me, besides, the main reason why I draw women in the first place is because I'm obsessed with women's bodies, they're never boring to me, I always find something new, the folds of the skin, the dents and bumps created by several lumps of flesh arranged in a particular manner, etc.,
I want to be in the same room with a naked woman and breath the same air, stare at her shamelessly (preferably all day long) and turn her into my "ideal", this is also why I don't care much for comic book art, in which, diversity of form is sacrificed in behalf of storytelling, I say fuck storytelling, give me Geof Darrow and Mignola instead, to this very day I have no fucking idea as to what hellboy is and does, (no, I didn't see the movie) the premise seems pretty lame to me but those characters sure do look great posing like rock stars in every panel. I buy comics for the art, if I want to read a good story I buy a book without pictures, where my own imagination can take off. Moreover, I'm not interested in drawing from my head because no matter how much knowledge of anatomy you possess, you can't imagine every single twist of the body or nuance of light and how the environment affects the planes and forms at any given time, at one point or another your drawings will start to look the same.
This blog is full of drawings done from my head , just look around; after a little while you will be able to tell which drawings came strictly from my head and which didn't; the more "cartoony" stuff is always done without ref or models, in those, you can clearly see the restrictions posed by my limited knowledge of anatomy and my struggles with proportions and such.
I say all this because, there's a stigma out there, specially among young artists, that everything must be drawn from your head, anything other than that, is considered cheating, this is pure and unadulterated bullshit!! Now, go find yourself some porn to draw, it's OK!
Abrazos,
-Alberto