I did some anatomy. Full view to see my tiny, tiny notes.
I did some anatomy. Full view to see my tiny, tiny notes.
As per request (thanks, singingrabbitskull!), I did a half-tutorial, half-sporadic notes on how I generally render basic expressions.
There’s already a lot of cool tutorials that exist on how to do expressions, so I tried to just look at a lot of really minor details that I’ve used but haven’t seen commonly passed down.
required disclaimer: this is just how I go about it, feel free to ignore bits, steal bits, do whatever you want with them. Hope this helps, and if you have any questions scream at my inbox!
Since all my braincells seem to be devoted to school right now and none of the asks in my inbox are jumping out at me, I thought I’d answer this one with a quick tutorial.
A groovy fuck-ton of (feminine) shoe references [part 1].
Because everyone is reblogging that black suit of armour I uploaded.
EDIT: Hey, I have a folder full of reference uploaded here.
- jfashion magazines!!! (helps out with outfits/people)
- paint online!!
- some paint tool sai brushes!!
- mypaint (its free and its kinda like photoshop its really cool!)
- firealpca (its free and its pretty much a mix between sai and photoshop!!)
- photoshop (for free! and other stuff)
- more textures
- more brushes
- bonus: a kawaii photo editor
Blue, brown, and green eye colors
on the subjects of boobs and shirts and boobs in shirts
OH GOD THANK YOU.
*STANDARD DISCLAIMER* I’m not handing down life lessons or trying to assert that there’s a ‘correct way’ to draw. I’m just trying to make perspective more approachable for thems that want to tackle it.
Okay. Let’s do this.
1. Understand what perspective is and what it’s for. Stay away from rulers while you get comfortable.
Everyone struggles with perspective because 1. it’s not well or widely taught and 2. artists tend to see linear perspective as a set of rules rather than a set of tools.
Linear perspective is a TOOL we use to create and depict SPACE. That’s it. That’s all it is. Your goal is not to draw in ‘accurate linear perspective.’ Stay away from the ruler and precision for as long as you can. Your goal is to create the illusion of three-dimensional space on a two-dimensional surface. Perspective is just a tool to help you construct and correct that space.
2. Know in your bones that you can ONLY learn to draw in perspective through physical practice. There is no other way.
Grab some paper and draw with me. If you match me drawing for drawing you will be more fluent in linear perspective and spatial drawing by the end of this post. Unfortunately if you don’t, you won’t be.
3. Sketch around in rough perspective. NO RULERS.
So let’s make some simple space. let’s start with a two dimensional surface…
K. We have a flat, 2D surface. Let’s create some depth by putting a vanishing point in the middle, and having parallel lines converge towards it. Make a gridded plane inside that space.
Good. Let’s make that space meaningful by adding a dude and a road or something. (Again, parallel ‘depth lines’ will converge into the vanishing point along the horizon)
And now we have the rough illusion of some space. I didn’t use any rulers, and it’s not perfectly accurate, but we got our depth from that vanishing point right in the middle of the page. And since we have a little dude in there, we’ve got human scale, which allows us to gauge the size of the space we’ve created. Gives it meaning.
You need people or cars or some recognizable, human-scale THING in there as a frame of reference or your space won’t mean much to your viewer. Watch. We can make that same basic space a whole lot bigger like this:
Same vanishing point in the same place, completely different scale, and a totally different feeling of space. Cool, right?
3. Sketch around in rough perspective MORE. STAY LOOSE.
See what sort of spaces and feelings you can create with vanishing points and gridded planes on a post-it or something. Super small, super rough. Feel it out. Pick a vanishing point or lay out a grid in perspective, and MAKE SOME SPACE. Do it. Draw, I don’t know, a lady and her dog in a desert. I’ll do it, too.
Good job. LOOK AT YOU creating the illusion of space! This is how you’ll thumbnail and plan anything you want to draw in space. All of my drawings start this way. I think about how I want the viewer to feel and then play around with space and composition until I find something that works.
Once you have a sketch you like, and space that you feel, THEN you can take out the ruler and make it more accurate and convincing.
4. Draw environments from life.
I cannot stress this enough. Draw the world around you, try to draw the shapes and angles as you see them, and you will ‘get’ how and why perspective is used. Use something permanent so that you’ll move fast and commit. I usually use black prismacolor pencil.
You’ll learn or reinforce something with every drawing. I learned a lot about multiple vanishing points from this drawing:
Learned from the receding, winding space I tired to draw here:
Layered, interior spaces:
You get the idea.
Life drawing will also help you develop your own shorthand and language for depicting textures, materials, details, natural and architectural features, etc. Do it. Do it all the time. Go to pretty or interesting places just to draw them.
Take a second and just draw a quick sketch of whatever room you’re in.
5. Perspective in formal Illustration: apply what you’ve learned.
1. I always start with research. For this particular location I looked at Angkor Wat.
2. Once I had enough reference, I did a bunch of little thumbnail sketches with a very loose sense of space and picked the one I liked best.
3. Scanned the thumbnail and drew a little more clearly over it. Worked out the rough space before using formal perspective.
4. Reinforced the space with formal perspective. I dropped in pre-made vanishing points over my drawing. If I were drawing in real media here’s where I’d get out the ruler to sketch in some accurate space.
5. Drew the damn thing. Because I do my research, draw from life, and am comfortable drawing in perspective, I can wing it. I just sort of ‘build’ the ruins freehand in the space I’ve established, keeping it more or less accurate, experimenting and playing with details along the way. I erase a lot, too, both in PS and when drawing in pencil. Keeps it fun for me.
And that’s what I know about composition and perspective. If you want more formal instruction on perspective and it’s uses, you can use John Buscema’s How to Draw Comics the Marvel Way. Or If you want to get really intense about it, Andrew Loomis can help you
I promised that I would show a quick process of how I painted this haha. It’s not exactly a tutorial since it doesn’t really….teach anything…uhm sorry ;__;/ But yeah, I mainly just slap things on and try and blend them so they don’t look too blocky and stuff.
Sorry for my messy handwriting as well!
A quickly thrown together tutorial just to show the practical applications of Gradient Maps for painting purposes.
I would still do some paint overs or even use multiple gradient maps to get your desired colored effect. But this is a good way of quickly getting a LOT of color experimenting done in like a minute. This is about as close as Photoshop gets to a “make art” button.
I hope you folks find this helpful!
Holy dang you put that together so fast!
I just wanted to add, you can do quite a lot with Gradient Maps because they’ll behave just like any other Photoshop Layer. If you want, you can apply a layer mask so that a gradient map only works on part of your image. You can even change the layer blending mode to dramatically alter or soften the completed effect.
I essentially managed to paint a comic book set during a forest fire using primarily black and white and two gradient maps. Having figured out the gradient maps early on, I was able to apply them to the following pages and paint using only white and black on the layers below the gradient maps. After it got as far as it could at that stage, I applied a layer mask to the gradient maps to heighten or soften its effect in certain spaces, like getting shadows in trees or even introducing a deep blue gradient map to make steel armor show colder.
THE WORST PART ABOUT CONSTRUCTING YOUR OWN FICTIONAL UNIVERSE IS
Having troubles with facial angles in your drawing style?
The program is called Sculptris and is a free off-shoot program from Zbrush, that program that you keep hearing about but either takes selling your kidneys or piracy to actually use.
If you download it and sculpt out a facial model, you can have references for your own work for all of time. No more endlessly searching Google for reference materials or twisting/rotating/flipping a drawing to see if there are flaws. And you can easily edit it to create more facial types. This way, you can make character references for any and every face and facial angle that you can think of.
The program offers mirroring right from the start, so your faces will be perfectly symmetrical. You can turn off the symmetry for things like scars or otherwise.
It takes a little time. For instance, I downloaded the program on Christmas and, in my spare time, this took a few days of getting familiar with the program (first day) and then sculpting for a few minutes each day, mostly due to my perfectionist nature. And this one isn’t even done. I still have to mold the mouth, ears, and other smaller aspects before I consider it done. However, I was so giddy over the possibilities that I wanted to share this with my fellow artists.
From now on, I have reference for a face in my own style and will be able to create things so much easier in the future.
I hope that this helps you guys and that you have fun with it.
I absolutely recommend Sculptris!
A really great watered-down version of ZBrush. Perfect for people who have never used any 3D software before.