Re-uploading pony leg tutorial, since it’s been a while
so happy tumblr lets me reblog myself now
mt10:
Some times a quote speaks to you
other times it hits you like a freight train
This is the artist’s mantra. Don’t let it get to you that what you’re working on now isn’t good. Don’t get so full of yourself that what you’re working on now is the greatest. The next painting is always better.
Inspiration right here, folks.
yes, good.
Value (shading), part 1:
So someone asked about how to shade, and to be frank, there are a lot of ways to approach this.
At it’s core, the idea is about showing form through value. Form being a 3 dimensional object and value being our ability to discern different levels of light entering our eye. It’s a bit difficult to shade if you don’t know why or how something becomes shaded.
How I usually think about it is through explosions! When light radiates from something, it smashes into objects. That smashed light then disperses like an explosion in all directions. The light flying from this explosion is weaker though, because some of the energy from the initial impact was absorbed as well as it’s need to radiate from that point in all directions, spreading its energy out between more points. It continues to weaken as it smashes off of more things, throwing light in more directions, costing more and more energy as it tries to spread. If we have color, it’s color is determined by what wavelengths the object can not absorb (i.e. the color that is bounced into our eye) This is why white is the most reflective, because every single color is thrown off, only a portion of heat energy is absorbed. This also means that these little explosions carry color with them.
Though, non of this means anything if you can’t create a gradient, or value scale, and know how much pressure you need in order to get a particular value.
I just did a quick gradient and illustrated how I approach getting light and dark values with a pencil. Sorry if its hard to see, I’m partial towards the lighting side of the scale in most cases.
So apparently there’s a debate raging across the Internet. Who’s the most important in comics: writers or artists? Why don’t reviews talk about the art? Why do writers think they’re all that? How do you make a living doing this? And so on.
It may surprise those of you new to the comics scene that…
Sorry about this being late. I haven’t actually gone through answering questions that I wasn’t going to answer with a picture reply (this goes for anyone elses).
As for the pen thing; I’ll be honest, I suggested people use it simply to build confidence, not because I think it’s better. It’s a tool used for a purpose, usually for popping out finished line in graphic works.
Because it’s permanent, it’s rather difficult to feather and in turn, forces people to try and make accurate strokes instead of just being complacent with drawing and erasing over and over, because that will always be very time consuming.
It’s like using the undo button in photoshop: Yes, it’s nice and useful and there’s no reason to avoid it, but if people just keep making the wrong line because they know they can undo it over and over until they get it right, they’re not trying to get it right on the first go. Wouldn’t it be awesome if, when you drew a line, it was exactly where you wanted it to be in your head? That’s what people need, myself included. As soon as you take away the ability to undo, you’re forced to think about line placement ahead of time, and to get it down correctly if you want it to look good. This is often times why pencil is used in tangent with pen, because the pencil can be as messy as you want to establish space, shape/form, and composition within a piece, where the pen can then be applied neatly over it to complete the work. You then just erase the messy pencil, and can even go back over with the pencil to reestablish nice values.
Drawing isn’t so much about drawing, but getting an idea onto paper or a surface in a visual form. You want to break down the barriers that inhibit your ability to get what you see in your mind down on paper.
Increasing hand-eye coordination (confidence) is one of the big ones, because then when you want a specific line, you can get it without thinking so hard about it; you can then instead focus your thought power on an interesting design.
That’s why it’s generally good to understand things, like how our eyes see (perspective), or how a creature moves (anatomy), or why something is appealing to look at (composition), because it means you don’t have to think about these things as much when drawing, they just happen. You don’t have to worry about whether that hoof is in the wrong spot, or if the picture doesn’t look how you wanted, or why it never keeps your attention, because you’ll automatically do these things for whatever your drawing.
Well, that was more than I thought I was going to write. Anyways, I had made this picture a while ago when I thought I was going to have more structured tutorials. Since it fits with this perfectly, I’ll post it.
This was meant to be a little thing for building line confidence. Drawing a draw straight, curved, and circular lines in a single stroke as best you can, in varying degrees of size.
Yes, it’s boring. Yes, it’s time consuming, but this will be the fasting way to build hand-eye coordination. Even I don’t do this, but I did start this blog; guess how many circles and lines I draw a day because of it? All while enjoying it, too. :)
Oh, and about pen size, I wouldn’t say it matters. Again, it’s a tool. If you need tiny, ittsy bitsy lines, get a 0.001. If you’re just blocking in large areas, get a 10+. In the end, it’s about how you’re using them, not their size…
PS: Oh, btw, I like the last few drawings you did, Karanakia. :) As much as I like to put on a show of being a fluttershy any saying “It’s about the art!! Not me!“, I still appreciate adoration people give me. ^_^’
Edit: Someone wanted to reblog, so I just reposted it as a photo.
thank you very much for the rebloggable version ^^
Drawing two people kissing each other is hard, it’s tricky and hard and ridiculously frustrating. What I personally have the most trouble with kisses is the lips. But after practising and referencing as good as possible, I’ve found a way for me to draw that classic kiss. Or at…
MANGA to REALISTIC series by =FOERVRAENGD
It’s a fantastic tutorial, but I can never remember which part has what information, so I made a handy little Table of Contents (and a little cover image thingy):
Part One: Intro, Realistic Facial Proportions from the Front
Part Two: Head in 3D
Part Three: Simplified Shapes to Skull, Facial Features (Eyes, Nose, Mouth, Ears)
Part Four: Expressions
Part Five: Hair and Neck
Part Six: Drawing Practice
Part Seven: Age and Gender
Part Eight: Caricature and Ethnicity
Part Nine: “Hot" to “Not" (Broken Nose, Black Eye, Scars, Body Fat, Birth Defects, Cerebral Palsy, Down’s Syndrome)
Part Ten: Symbol to Object using Light and Shadow
Part Eleven: Workflow (Rhythm and Reference)
Part Twelve: Levels of Realism
Bonus: Face in Profile
Man guys all of my artist friends and anyone who draws or anything should get a wysp account
Why?
Cause its a website based around artists and not only can you post your art on it, it also has a place where you can practice!!! drawing!!
look at this shiit
heres the practice page!!!!!1!
your profile!!!!
and this!!!!!!
inspiration!!!!!
and did i mention this is all free?
ITS ALL FREE
so yeah go make an account my artist friends
BRB DOING THIS!
I STILL get notes, emails, and fanmail from people telling me about their great idea and how I can make so much money off of it because they’ll split the profit but oh they can’t pay me now as they don’t have any money at all — or worse yet, it’s a company saying it will reimburse me by letting me…
