The 30 Percent Truth Rule
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The 30 Percent Truth Rule
courseDevelop Your Art StyleFull course (28 lessons)
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Brandon Sked
Hey y'all, I really enjoyed this lesson and got some great insights into Eliza's process! I found this exercise challenging as I approached the first and third drawings with silhouettes rather than construction line which is what I'm used to. I feel like I cheated a little as the stylized versions are pretty much how I currently draw (though the 50/50 was tricky, balancing some stylizing with keeping enough information). With each iteration I simplified features of the face and the rendering overall. Since I felt I was falling into my usual style, I added a bit of surrealism to the last drawing via the leaves housed inside the woman's head. I'd love to hear your thoughts and any ideas for how I can improve! Excited to see what everyone does!
LESSON NOTES

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Let’s talk about the 30% Truth Rule. If you are trying to push your work away from a rigid academic look to find your own aesthetic, you don't need to copy reality perfectly. As long as you keep about 30% of the drawing grounded in truth, whether that’s correct anatomy, lighting, or proportion, the result will still feel believable and appealing.

You can cartoonify, stylize, or abstract your piece as much as you want. But if you maintain that golden 30%, the viewer will still understand what they are looking at, even with very little information on the page.

The Silhouette Approach

While you can certainly start with construction lines, a silhouette is a wonderful tool for this kind of exploration. You block in the general shape first and then fill in the blanks. This creates a framework immediately. Because we are so adept at recognizing silhouettes, you can quickly tell if the proportions are "off" before you even start rendering.

When working this way, establish anchor points. For example, pay attention to the distance between the ear and the back of the head, or the ear and the eye. If you get these distances right, everything else finds its place naturally. It helps you keep control of the proportions without needing a complex underdrawing.

From Realism to Stylization

To understand this concept, imagine a spectrum of three drawings based on the same reference:

  • The Academic Pass: This is grounded in reality. You are chasing accurate proportions, subtle mid-tones, and complex layering. You are drawing the variations within the shadows.
  • The Halfway Point (70%): Here, you start grouping shadows. You simplify the complex muscle variations into solid shapes. You might push the angles of the jaw or the volume of the hair to make them more dynamic.
  • The Stylized Pass (30%): The reference becomes just a launching point. You might keep the ear realistic to ground the image in 3D space, but let the rest of the face dissolve into design and confident lines.

Simplification and Design

Realism often relies on capturing every subtle shift in value. Stylization relies on simplification.

When you move away from the reference, you are essentially squinting at reality and peeling away layers of detail. You are looking for the "essence" of the pose. You might decide to omit the highlights or turn a complex area of the face into a single, flat mid-tone. This leaves a little mystery for the viewer.

This is where you get to make artistic choices. You can treat the drawing like a sculpture, letting the form emerge from the white of the paper. You can combine a highly rendered feature (like a nose or ear) with loose, abstract sketch lines. That contrast is often more evocative than a photo-realistic copy.

Anatomy and Confidence

There is a trap here: Stylization is not a cover-up for a lack of skill.

If you skip the fundamentals and go straight to abstracting shapes, your lines will lack confidence. Viewers are very good at spotting the difference between an intentional artistic choice and a mistake. To keep things "wacky" but grounded, you need strong anatomy knowledge. You need to know where the muscles are before you can decide to exaggerate or ignore them.

Confident lines complement the structure. If you are a "so-so" draftsman trying to claim a messy drawing is just "your style," it usually communicates a lack of understanding. But if you push your shapes with intention and knowledge, you can get away with almost anything.

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COMMENTS
Eliza Ivanova
You only need 30% truth to reality for a drawing to feel believable. Sticking too close to a reference often results in a stiff academic look. If you keep the proportions accurate, you can simplify shadows or push shapes to create a unique aesthetic. This balance gives you the freedom to design your work while keeping it grounded.
Brandon Sked
Hey y'all, I really enjoyed this lesson and got some great insights into Eliza's process! I found this exercise challenging as I approached the first and third drawings with silhouettes rather than construction line which is what I'm used to. I feel like I cheated a little as the stylized versions are pretty much how I currently draw (though the 50/50 was tricky, balancing some stylizing with keeping enough information). With each iteration I simplified features of the face and the rendering overall. Since I felt I was falling into my usual style, I added a bit of surrealism to the last drawing via the leaves housed inside the woman's head. I'd love to hear your thoughts and any ideas for how I can improve! Excited to see what everyone does!
Mon Barker
2mo
Posting for community feedback. First is ‘ true to reference’ attempt - blew it with the background trying to lay down large area of black with a mechanical HB pencil (what was I thinking). Second is trying to simplify based on liking the right side (subject’s right) of face. Brought in some hands too. Tried to simplify in detail and lighten tone toward the ear side…blew it again. It’s basically a redraw of first, with poor design - totally missed the point. Watched lesson video again and Eliza examples. Started to understand simplification a bit better. Rest are trying to mimic (badly) other artist styles - Eliza of course, then Dave Malan, Moebius and Sergio Toppi. Great exercise and really helped to get the brain at least starting to think through what to keep, what to indicate and what to throw away, which I’ve never really done before. I don’t know skull, muscle and fat deposit anatomy so I’m trying to mimic what I think are main plane changes from reference photo so can see the ‘trap’ - there will be a ton of errors and without that knowledge I can’t freely invent away from the reference, but that’s ok. Even without having mastered some key fundamentals, having the awareness of simplification in the back of the mind probably can’t come soon enough. Any community feedback on where things could improve and especially how to better approach this would be much appreciated 😁 Little cheat tip - I did the first lay-in from reference then went over that with ink. All of these posted images I just traced over that original lay-in giving total freedom to play around. Otherwise I’d be agonizing over lay-in accuracy each time and get nowhere with the point of this lesson!
Brandon Sked
Hey Mon Barker! Really enjoyed seeing your explorations here, sticking with graphite and trying different rendering methods like hatching and smudging. I see that you said you don't know much anatomy, and even though I'm far from an expert, I've found that learning some anatomy and looking at tools like the Asaro head help can help you draw with more confidence. I'd also say don't be afraid to push your values; for me, your last drawing is strongest in that regard. Play around with making your darks darker and your lights lighter and see what you like. I find that limiting the number of values I can include in a drawing forces me to make decisions and draw with intention and helps to avoid a drawing that looks muddy and lacks focus. I hope something in there was helpful!
Fabrice
2mo
Does it means that we should first be able to draw good academic drawing before stylizing.? Im a beginner-intermediate, should I first improve my technique for months/years before trying to styllize? Thanks
Patrick Bosworth
Hey @Fabrice It really helps to have a strong grasp of academic drawing fundamentals before leaning heavily into stylization. When you can draw with solid proportions, clear structure, and confident line quality, you gain much more freedom to push your style in the direction you want. Stylized portraits become much harder to pull off when you’re still wrestling with basics like perspective, line quality, or constructing facial features. That doesn’t mean you need to focus only on academic drawing, but the fundamentals should absolutely be a priority in your overall study plan.
www.proko.com/basics If you study expressive stylization alongside foundational skills, you’ll strike a healthy balance and likely see faster, more consistent progress toward your goals. Even experienced professional artists regularly revisit and refine the basics as their skills evolve, so putting time into fundamentals is always a worthwhile investment. Hope this helps!
Art G
2mo
How do you manage working that much with pencils and stumps without soiling your hands and therefore messing up the drawing by leaving traces everywhere ? Would very much appreciate some advices. Thanks a lot !
Patrick Bosworth
Eliza uses mostly HB lead in the .7 mechanical pencil for these demos, and as Stephen mentioned the blending stump really packs the graphite into the paper so there's less opportunity for the graphite to spread where it's not wanted. The soft 6b graphite stick is applied last on top of the drawing, so it's not being dragged around as much throughout the drawing process.
Stephen Clark
There are a couple things at work here! Though Eliza does use fairly soft lead at times, the blending stump can kind of lock it in a little more, rather than it being loose dark dust just on the surface of the page. Additionally, she uses a little wrap on the outside of the stumps. there are some other things at work here but that's a start of something that can help you. Try making a sample area you shade and then see how the blending stump changes the hold the paper has on the pencil marks. Doesn't have to be a huge pressure, but just a little can already help with that.
Corey Holt
2mo
i’ve never known how to use blending stumps correctly. In your second portrait you kind of used the loaded blending stump to lay down a “wash” to get the form of the face. It really connected with me because I love watercolors. Looking forward to testing it out in my sketchbook! thanks for the course, Eliza.
Stephen Clark
Yeah, that's one of the best things I think a lot of people see in Eliza's work. A brand new, clean and toothy blending stump is useful for some things. But a nice and seasoned one will allow you to do so much and get some interesting results!
James Guy Eccleston
The 30% truth rule lesson makes sense after seeing so much of your work. Great seeing you go "Academic" and then adjust, adapt and evolve. The notes are a really good sum up too, gonna jot a few down and try this staged approach. Thanks!
Jonathan Hernandez
Hi Eliza!! Enjoying the course so far!! Asking for the lines in middle of of bodies and faces you mark them as limit of the shadows or limit of the structure?
Stephen Clark
Can you point out a time in the video that you mean? There are a couple different ways those lines might be being used in the video.
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