Think I’ll do his eye separately so I can work on the details better.
ANYWAY, I’ll post headshot step-by-steps of this, so, sketch > lineart > flat colour > full colour > details. Something like that. If I feel like it (and my computer doesn’t fuck up), I might either livestream or record when I do the colouring.
Uh, yeah, just tell me if anyone’s interested in a livestream. It’d be a big help if people gave me their timezones and best time for them to watch then. Y’all already know I’m up all night anyway so whatever floats yer boat.
BUT NO in all seriousness, thank you! You’re a sweetheart! ;O; Proportions are pretty awful to get down when you’re just starting out, and while there are a bunch of ways you can start practicing with it, it’ll be difficult to be absolutely precise. I still struggle with proportions occasionally. Fun fact: I don’t post all of my work. I only post the work that turned out okay aHA. So basically don’t be frustrated when every single piece doesn’t turn out. Here are a few tips.
Let’s use this picture of Laurence and Hugh because why not.
They’ve both got eyes, a nose, and a mouth, so why do they look different?
These lines are the generic way of mapping out where to put things together. I used this when I was starting out and it’s a helpful way of getting your hand and wrist to work together. At this point they both nearly look the same. I say this a lot, but I think it’s important: shape is what puts a drawing together.
Compare features of the face to help you figure out placement.
The bottom of his ear lines up right to the middle of his nostril. His tear ducts line up right at the corners of his mouth. Then you can get super technical and say, oh, the outer corner of his eye lines up with that fold in his collar and then from there you can see other things like the approximate distance from the edge of his mouth to that connecting line from the eye to the collar. They don’t meet so his mouth is smaller than the width of his eyes, etc, etc. Whatever works, man.
This is a favorite technique of mine so lemme use another example:
Eventually you get to the point where most of your proportional accuracy will come from just looking. You will eventually adjust your eye to see what makes a person who they are by the shape of their features.
Laurence has narrow, oval shaped eyes, while Hugh has more of a diamond shape. Not everyone has perfect almond shaped eyes. You can capture an entire character personality through their eyes alone, so shaping them out is extremely important.
The way you draw your lines is also important. Sharp and smooth lines will give your drawing personality. Reveals the character, in a sense.
Other things to consider: the shape of the nose.
Mads’ is flat and goes down in a steady slope, while Hugh’s juts out in a smooth, almost concave curve.
SHAPES SHAPES SHAPES. Use shapes and structure to find proportion.
I did a lot more than I anticipated omg. Oh gosh and I have a feeling I kinda just rambled and didn’T MAKE ANY SENSE AH. Let me know if you need more help or if I was speaking gibberish I am so bad at putting my thoughts into words aHHHH. But gosh I hope this was at least vaguely helpful. You’re a darling and thank you for your kind words!
Good luck on your artistic endeavors! /hugs
ho-ho-holy crap Lauren this is *amazing*. I thank the anon for asking this because I have the same problem and this is SO HELPFUL OuO
FAVING AND SAVING THIS FOREVER BECAUSE WOWEE.
lmao @ jack the art guru
Just an easy trick I learned a few years ago that I thought I’d share. May not work 100% all the time, but works well for simple hand/arm placement.
MY FACE LITERALLY DROPPED THIS IS FUCKING PERFECT
Have Pico in the mean-time.
Have a floating Serek-head.
Lazy colouring ‘cause I’m sleepy and wanna go to bed.
Rules when trying out new chibi styles: If I can draw Serek with it, then it’s approved.
Just doodling chibi heads until I find something I like, I kinda like this one (better than what I had before), but the hair takes some planning to make. But it’s actually pretty good practice.
Anyway, feedback is appreciated! I want to know if people like or dislike new styles that I try out. ♥ / ^\
Read the captions for more info! =)
This is so hard.
Hair in general is hard, but mohawks are like, superhard.
That is, hardcore!
Okay I’ll shut up now.
Oh! I’ve gotten a bit better at drawing heads from a sideview. / v\
Still gotta work on a few things, but so far I’m really pleased! > v<
Okay, done. u vu
Btw, this is concept art of the female grunts from my own Pokémon villain team for White Lie.
Yesss, mohawks. > v< ♥
The male grunts also have mohawks, but shaved on both sides. The female grunts have half-shaved flowing mohawks. Which is gonna be a bitch to draw but ahh, I’ll try.
Let’s see if anyone can guess what theme they have. u vu
I won’t give any more hints, nor correct you if you’re right lol, so you’ll have to wait until I post final concept art. o vo
But I’ll only post concept art of the grunts and admins, not the boss. Too much of a spoiler, haha. / v\
Oh, I might give this sketch digital soft colouring later, but they just have black hair in general so yeah.
They also have hats - like everyone in Pokémon do - but I’m trying to work out how they should wear them.
Anyway, that’s for later.
How do I hair step by step ~
Click for full view!
Tools: normal DIN A4 paper, alcohol markers, color pencils, black pen and white gel pen.
1- color base with alcohol markers
2- add some more colors with alcohol markers
3- blend them with a non colored alcohol marker
4- blend the colors more using pencils of the same color
5- add some different shades of the base color with pencil
6- use complementary colors to shade and add contrast
7- use black pen to outline the hair locks
8- idk more colors lmao
9- use white gel pen to add shines and contrast it more
10- congration u did it.
I shaded some parts of the skin like the neck in the Line Art phase.
I put the base colors. I also put some darker shade on their noses (I actually did this after the whole shading but anyway, it doesn’t matter because it’s all under the shading layer).
I shade everything in one layer using “Multiply”. I used two light, purplish/pinkish colors to shade them. I think this is called “Cell Shading”. I used the same method for the Akashi one before this. I’m using Paint Tool Sai so I added the “Fringe” option. Sometimes, if the Fringe isn’t enough for me, I use a Pen Tool to outline the shading.
It looks like this without Multiply. I don’t know if you can see that I used the purplish ones for the black parts of Aomine, but the pink ones for the skin. It’s because the pink one was too light for my taste. I didn’t mind for Kurokocchi’s because it’s not as dark as Aomine’s black and his skin contrasts with the dark anyway.
I think that’s it for the skin. (^w^ )b
Tuesday Tips - TEETH!
Always a good tool to have in your “drawing arsenal”. In general, less in more. The less you pay attention to the individual teeth, the better. But, sometimes, a certain character or situation will call upon your knowledge of the pearly whites.
requested!! its just some stuff ive learned idk dont trust me too much, i had the parts for this laying around for days and was too lazy to put text on it i also added a collage of some chests ive done last minute
i made a tutorial for male crotches
What am I doing with my life, LMAO.
Glen Keane’s 7 Animation Essentials
1. Make a Positive Statement
- Do not be ambiguous in your approach.
- Thumbnail until you have that clear approach and conviction.
- Be bold and decisive.
2. Animate From the Heart
- Feel your drawings.
- Let your action be an extension of how you believe the character feels.
- Put yourself in the place of the character your animating- associate.
3. Make Expressions and Attitudes Real and Living
- Focus on the eyes and eyebrows, mouth and cheeks.
- Always lead with the eyes.
- Be sure the eyes are solid and placed securely in the head.
- Study your own attitudes. Ask yourself, “Does this drawing feel the way my face feels?”
4. Draw As If You Were Sculpting
- Describe the forms in dimension.
- Understand the character design in 3D.
5. Animate the Forces
- Allow the momentum of and already animated movement to suggest the next drawing.
- Draw the leading edge of forces.
6. Visualize and Feel Dialogue
- Be sure you are truly capturing the inflection, volume and tone of the dialog with proper mouth shapes.
- What is the essence of your scene, your action, your expression — what is indispensable in communicating your thought?
Selected sketches from the “Anna hires Kristoff” sequence in Frozen. Better know as “Reindeers Are Better than People”. This was one the first sequences to go into production. More to come in the next few weeks!