Mertyn's Mind

My inspiration blog... for my art go to m3rtyn.tumblr.com

grizandnorm:

Tuesday Tips - SHORTHANDS

It’s crucial to find ways to draw characters clearly and fast when storyboarding. Line mileage alone can become an impossible mountain to climb if you don’t simplify the way you draw characters. Leave all details aside and find the essence of a character. Shorthands are the gesture drawings of storyboarding. Specific characters have specific attributes that make them stand out. Sometimes it’s just the way they stand. Sometimes their hairstyle is unconventional. Find what’s key about a character and get rid of what’s common.

Norm

grizandnorm:

Tuesday Tips - FOLDSMore on folds today. I will eventually cover all types of folds but today is about simple folds on everyday clothes (t-shirt, jeans). The key is to know what to expect and then applying what you know to simplify what you see in front of you (when life drawing). A lot of the folds dynamics on shirts and jeans come from the “memory” of the fabric itself. Denim is thick and is likely to keep some form of wrinkles or folds around certain areas (knees). A lot of zig-zag patterns around the knee is very likely. When pushed down on the feet, the denim fabric will bunch up and combine with the zig-zag pattern. Shirts and t-shirts will react to the twist and pull of the arms and torso. Identify where the pull (or tension) is coming from and work from it. I tend to draw the seams because they clearly express the volumes underneath.Norm

grizandnorm:

Tuesday Tips - FOLDS

More on folds today. I will eventually cover all types of folds but today is about simple folds on everyday clothes (t-shirt, jeans). The key is to know what to expect and then applying what you know to simplify what you see in front of you (when life drawing). A lot of the folds dynamics on shirts and jeans come from the “memory” of the fabric itself. Denim is thick and is likely to keep some form of wrinkles or folds around certain areas (knees). A lot of zig-zag patterns around the knee is very likely. When pushed down on the feet, the denim fabric will bunch up and combine with the zig-zag pattern. Shirts and t-shirts will react to the twist and pull of the arms and torso. Identify where the pull (or tension) is coming from and work from it. I tend to draw the seams because they clearly express the volumes underneath.

Norm

grizandnorm:

Tuesday Tips - Life Drawing Exercise: CONTOUR LINEOne of the most straight forward tip I have about Life Drawing. It kind of goes against what most life drawing instructors will tell you. The first thing you’ll hear is “Draw from the inside.” A contour line on a figure drawing is about the most superficial way to approach it BUT, it will help you tremendously at finding a clear silhouette. By the way, no one says you can’t slightly alter the silhouette you are looking at. If there’s a way to make it clearer or make a better statement, go for it. Drawing is about making decisions, not just copying what you’re seeing. The same way other techniques will help understand how the body functions, using a contour line as an exercise will help you find proportions, angles of the body and general appeal in your posing.Normand

grizandnorm:

Tuesday Tips - Life Drawing Exercise: CONTOUR LINE

One of the most straight forward tip I have about Life Drawing. It kind of goes against what most life drawing instructors will tell you. The first thing you’ll hear is “Draw from the inside.” A contour line on a figure drawing is about the most superficial way to approach it BUT, it will help you tremendously at finding a clear silhouette. By the way, no one says you can’t slightly alter the silhouette you are looking at. If there’s a way to make it clearer or make a better statement, go for it. Drawing is about making decisions, not just copying what you’re seeing. The same way other techniques will help understand how the body functions, using a contour line as an exercise will help you find proportions, angles of the body and general appeal in your posing.

Normand

spx:

Here’s the thing!

spx:

CHRIST! SCHWEITZER JUST WHIPPED OUT THE GODDAMN ROSETTA STONE, Y’ALL!

fauxboy:

schweizercomics:

Cleaning out my filing cabinet, I found this handout that I made for my mini-comics class. Hope it’s helpful! Remember, it ain’t only for comics. Self-publish short stories, collections of drawings or sketches, or blank for journals/sketchbooks, etc.

Good notes!

grizandnorm:

Tuesday Tips - Life Drawing Exercise: All Straight LinesWithout proper instructions or guidelines, life drawing sessions can easily become boring and repetitive, with little to no progress in understanding the process. Once in a while, I try to apply some techniques learned along the way. This is one of them. The last time I applied the technique was through instructor Paul Wee at LAAFA. A great life drawing teacher from the world of animation. It is as simple as it sounds. Only allow yourself to draw with straight lines. I know, I know, i dedicated an entire post to “No Straight Lines”. I mean “kinda straight” here. It’ll help you tremendously in finding angles and planes throughout the body. Curves and shading can easily muddle a drawing and make it too tentative. Lines and angles have a strong opinion about them. They are very definitive. Your confidence will only grow once you go back to “full” life drawing. Have fun!Norm

grizandnorm:

Tuesday Tips - Life Drawing Exercise: All Straight Lines

Without proper instructions or guidelines, life drawing sessions can easily become boring and repetitive, with little to no progress in understanding the process. Once in a while, I try to apply some techniques learned along the way. This is one of them. The last time I applied the technique was through instructor Paul Wee at LAAFA. A great life drawing teacher from the world of animation. 

It is as simple as it sounds. Only allow yourself to draw with straight lines. I know, I know, i dedicated an entire post to “No Straight Lines”. I mean “kinda straight” here. It’ll help you tremendously in finding angles and planes throughout the body. Curves and shading can easily muddle a drawing and make it too tentative. Lines and angles have a strong opinion about them. They are very definitive. Your confidence will only grow once you go back to “full” life drawing. 

Have fun!
Norm

grizandnorm:

Throwback Thursday on Tuesday tips — My favorite Photoshop brush to sketch and paint

I like brushes that have jagged edge.  It makes it look a little bit more organic and less computer-like, which is the look that I prefer.  Don’t get me wrong.  I love the perfect computer look if it’s done right.  ie. if it’s done in perfect Illustrator straight lines.  Otherwise, it just doesn’t look that good.  So for sketching and painting, I use a jagged organic brush that I simply make in CS.  Nothing fancy, just use one that already comes in CS and I just change the setting of “Shape Dynamics” and “Scattering”.

This is the one that I use the most.
Also remember to save it in your TOOL PRESETS, so you don’t have to keep adjusting the setting as you change brush.
Griz
grizandnorm:

Tuesday Tips - LINE OF ACTION
The line of action doesn’t necessarily need to be drawn in. As long as you think about it while drawing, your gesture or posing will be stronger. It gives a direction to the pose, a force that runs though, or simply a visual pathways to guide your audience. Use it always!Norm

grizandnorm:

Tuesday Tips - LINE OF ACTION

The line of action doesn’t necessarily need to be drawn in. As long as you think about it while drawing, your gesture or posing will be stronger. It gives a direction to the pose, a force that runs though, or simply a visual pathways to guide your audience. Use it always!

Norm

(via ktshy)

gawki:

This is a pretty basic one, but that doesn’t make it any less important to know! I hope it helps.  …

(via edniz)

grizandnorm:

My Life Drawing Set-Up

I’m trying to put back life drawing sessions into my weekly routine. I’ve been digging up my old anatomy reference books. My favorite ones were always the George B. Bridgman books. Especially the one called “Constructive Anatomy”. Full of great tips on “how” the different body parts interact with each other. Amazing.

So, for today, I thought I’d share my basic set-up when I go to life drawing. For a while, I was just using Sharpie on Newsprint but I decided to go back to basics recently. Basics for me means using a Conte Stick and holding it more like a paintbrush than a pencil, allowing to draw more from the shoulder than from the wrist. It makes it easier to draw boldly, with more confidence, and it just creates a better “flow” to my drawings. It’s also possible to draw and shade using the same tool. Priceless.

I hope you enjoy it.

Norm

grizandnorm:

Tuesday Tips - STRAIGHT against CURVESThis principle really helps to create shapes and characters with “points of interest”. The straights move the eye towards the areas of curves, bumps and details. I mostly focused on the silhouettes of the shapes/characters, but the same principles should also be applied to shapes and volumes inside the main shape/volume.Norm

grizandnorm:

Tuesday Tips - STRAIGHT against CURVES

This principle really helps to create shapes and characters with “points of interest”. The straights move the eye towards the areas of curves, bumps and details. I mostly focused on the silhouettes of the shapes/characters, but the same principles should also be applied to shapes and volumes inside the main shape/volume.

Norm

royalboiler:

Xurxo sent a revised version of the"Brief Manual for Cartoonists" by Moebius" Xurxo’s Tumbr here
I reviewed this thing and re translated a lot of it as well as corrected stuff from the auto correct and my own rushed mistakes.some points are more clear now and some remain ambiguous, they also are unclear on the spanish version. it’d be great to listen to how he actually said all these things, as some of them have clearly a colloquial humour element, for the crowd; like the stuff about editor demanding higher body counts, readers not buying books with poorly drawn women, grinning superheroes, aikido or jodorowsky’s dead horse allegation … which is something he did often speaking in public. "Brief Manual for Cartoonists" by Moebius
1. When drawing (by drawing), one must cleanse oneself of profound feelings; hate, happiness, ambition, etc.
2. It’s important to educate the hand, attain obedience, to fulfil our ideas; But we must be careful with perfection. To much perfection and too much speed, as well as their opposites are dangerous. 
When there is to much ease (looseness, fluidity), as on instant drawings, aside from there being mistakes, there’s no will of the spirit but only the body.
3. Perspective is of sum importance, it is a law of manipulation in the good sense of the word, to hypnotise the reader. 
It’s recommended to work on real spaces (directly from reality), more that with photographs, to exercise our reading of perspective.
4. Another thing to be learnt with affection is the study of the human body, the positions, the types, the expressions, the architecture of bodies, the difference between people. 
Drawing is very different when it comes to a male or a female; because in the male you can change the lines a little, there are some imprecisions that it can support to have. But with the female precision must be perfect, if not it may become ugly or look upset. then they wont buy our book! 
For the reader to believe the story, the characters must have life and a personality of their own, gestures that come from their character, from their diseases (illnesses); 
The body transforms with life and there’s a message within the structure, in the distribution of fat, in every muscle, in every crease of the face and the body. 
It is a study of life.
5. When a story is being made one can start without knowing everything, but making annotations (in the actual story) about the particular world of that story. That way the reader recognises himself and becomes interested (invested). 
When a character dies in a cartoon, and such character does not have a story drawn in his face, in his body, in his attire, the reader does not care, there’s no emotion; Then the editors say: ”Your story is worthless! There’s only one dead guy and I need 20 or 30 dead guys for it to work!”. But that is not true, if the dead, or the wounded or the ill or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). 
In these studies an attention for others is also developed, a compassion and a love for humanity (mankind).
It is very important for the development of an artist; If he wants to be a mirror, he must contain inside its consciousness the whole world, a mirror that sees (looks at) everything.
6. Jodorowsky says that I don’t like to draw dead horses. It’s very difficult. It’s very difficult to draw a body that sleeps, that’s abandoned, because in comics action is always being studied. it’s easier to draw people fighting, thats why Americans draw superheroes. 
It’s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for (costs) more, because it requires a love, an attention to the other, to the little things that speak about personality, about life. 
The superheroes have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
7. Equally important is the clothing of the characters, the state they’re in, the materials and the textures are a vision of their experiences, of their lives, of their situation within the adventure, that can say a lot with out words. 
In a dress there are a thousand folds;  2 or 3 must be chosen, but the good ones.
8. The style, the stylistic continuity of an artist is symbolic, it can be read like the tarot. 
I chose, as a joke, the name Moebius, when I was 22, but in truth (in reality) there is a significance to that. If you bring a t-shirt with a Don Quixote, that speaks to me of who you are. 
In my case, I give importance to a type of drawing of relative simplicity, in this way subtle indications can be made.
9. When an artist, a drawing artist goes out on the street, he does not see the same things other people see (normal people). What he sees is documentation about the way of life, about the people.
10. Another important element is composition. Composition on our stories must be studied, because a page or a painting, is a face that looks towards (faces) the reader and that tells him something. It’s not a succession of panels with out meaning. 
There are full panels and empty ones, others that have a vertical dynamism or a horizontal one and in all of that there is an intention. The vertical excites (cheers); the horizontal calms, an oblique to the right , for us westerners (western readers), represents the action that heads towards the future; an oblique to the left directs the action toward the past. Points (points of attention) represent a dispersion of energy. Something placed in the middle focalises the energy and the attention, it concentrates.
These are basic symbols for reading, that exert a fascination, a hypnosis (over the reader). 
A awareness must be had about rhythm; set a trap for the reader to fall into and he falls, gets lost and moves inside it with pleasure, because there’s life (inside the trap). 
The great painters must be studied, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen (studied) with that preoccupation for physical composition, but also emotional. In what way the combination of lines by that artist touches us directly in the heart.
11. Narration must harmonise with the drawing. There must be a visual rhythm even from the placement of words, plot must correctly manoeuvre cadence (tone), to compress or expand time. 
Must be careful with the election (casting) and the direction of characters. Utilise them as a film director and study all the different takes.
12. Careful with the devastating influence of north american comics in Mexico, because they only study a little anatomy, dynamic composition, the monsters, the fights, the screams and teeth (grin). 
I like them as well, but there are many other possibilities that must be explored.
13. There’s a connection between music and drawing. But that depends also on the personality and the moment. 
For around 10 years I’ve been working in silence, and for me the music is rhythm of the lines (the music he listens to).
To draw is sometimes to hunt for findings; an exact (fair, just) line is an orgasm!
14. Color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. There’s objective and subjective color, the emotional states (moods) of the characters influence the coloring and lighting can change from one panel to the next, depending on the space being represented and the time of the day. 
The language of color must be studied with attention.
15. At the beginning of a career, specially, one should attempt to create short stories but of a very high quality. There’s a better chance to finish them successfully and place them on books (anthologies) or with editors.
16. There are times when knowingly we head to failure, we choose a theme (subject), an extension (page length), a technique that does not suit us (convene). 
Must not complain afterwards.
17. When new pages are sent to the editors and are rejected, we should ask for the reasons. This reasons for failure must be studied and learn. 
It’s not about the struggle, with our limitations or with public or the publishers. It’s more about treating it like in aikido; the strength (power) of who charges is used to knock him with a minimum effort.
18. Now it is possible to find readers in any part of the planet. We must have this present. 
To begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in his own bubble; it’s communication with the beings closest to us, with oneself, but also with unknown people. 
Drawing is a medium to communicate with the great family that we have not met, the public, the world.
Mexico, August 18th 1996 compiled by Perez Ruizlink to the original article in spanishhttp://www.jornada.unam.mx/1996/08/18/sem-moebius.html

royalboiler:

Xurxo sent a revised version of the"Brief Manual for Cartoonists" by Moebius" Xurxo’s Tumbr here

  • I reviewed this thing and re translated a lot of it as well as corrected stuff from the auto correct and my own rushed mistakes.
    some points are more clear now and some remain ambiguous, they also are unclear on the spanish version. 
    it’d be great to listen to how he actually said all these things, as some of them have clearly a colloquial humour element, for the crowd; like the stuff about editor demanding higher body counts, readers not buying books with poorly drawn women, grinning superheroes, aikido or jodorowsky’s dead horse allegation … which is something he did often speaking in public. 

    "Brief Manual for Cartoonists" by Moebius
  • 1. When drawing (by drawing), one must cleanse oneself of profound feelings; hate, happiness, ambition, etc.
  • 2. It’s important to educate the hand, attain obedience, to fulfil our ideas; But we must be careful with perfection. To much perfection and too much speed, as well as their opposites are dangerous. 
  • When there is to much ease (looseness, fluidity), as on instant drawings, aside from there being mistakes, there’s no will of the spirit but only the body.
  • 3. Perspective is of sum importance, it is a law of manipulation in the good sense of the word, to hypnotise the reader. 
  • It’s recommended to work on real spaces (directly from reality), more that with photographs, to exercise our reading of perspective.
  • 4. Another thing to be learnt with affection is the study of the human body, the positions, the types, the expressions, the architecture of bodies, the difference between people. 
  • Drawing is very different when it comes to a male or a female; because in the male you can change the lines a little, there are some imprecisions that it can support to have. But with the female precision must be perfect, if not it may become ugly or look upset. then they wont buy our book! 
  • For the reader to believe the story, the characters must have life and a personality of their own, gestures that come from their character, from their diseases (illnesses); 
  • The body transforms with life and there’s a message within the structure, in the distribution of fat, in every muscle, in every crease of the face and the body. 
  • It is a study of life.
  • 5. When a story is being made one can start without knowing everything, but making annotations (in the actual story) about the particular world of that story. That way the reader recognises himself and becomes interested (invested). 
  • When a character dies in a cartoon, and such character does not have a story drawn in his face, in his body, in his attire, the reader does not care, there’s no emotion; Then the editors say: ”Your story is worthless! There’s only one dead guy and I need 20 or 30 dead guys for it to work!”. But that is not true, if the dead, or the wounded or the ill or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). 
  • In these studies an attention for others is also developed, a compassion and a love for humanity (mankind).
  • It is very important for the development of an artist; If he wants to be a mirror, he must contain inside its consciousness the whole world, a mirror that sees (looks at) everything.
  • 6. Jodorowsky says that I don’t like to draw dead horses. It’s very difficult. It’s very difficult to draw a body that sleeps, that’s abandoned, because in comics action is always being studied. it’s easier to draw people fighting, thats why Americans draw superheroes. 
  • It’s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for (costs) more, because it requires a love, an attention to the other, to the little things that speak about personality, about life. 
  • The superheroes have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
  • 7. Equally important is the clothing of the characters, the state they’re in, the materials and the textures are a vision of their experiences, of their lives, of their situation within the adventure, that can say a lot with out words. 
  • In a dress there are a thousand folds;  2 or 3 must be chosen, but the good ones.
  • 8. The style, the stylistic continuity of an artist is symbolic, it can be read like the tarot. 
  • I chose, as a joke, the name Moebius, when I was 22, but in truth (in reality) there is a significance to that. If you bring a t-shirt with a Don Quixote, that speaks to me of who you are. 
  • In my case, I give importance to a type of drawing of relative simplicity, in this way subtle indications can be made.
  • 9. When an artist, a drawing artist goes out on the street, he does not see the same things other people see (normal people). What he sees is documentation about the way of life, about the people.
  • 10. Another important element is composition. Composition on our stories must be studied, because a page or a painting, is a face that looks towards (faces) the reader and that tells him something. It’s not a succession of panels with out meaning. 
  • There are full panels and empty ones, others that have a vertical dynamism or a horizontal one and in all of that there is an intention. The vertical excites (cheers); the horizontal calms, an oblique to the right , for us westerners (western readers), represents the action that heads towards the future; an oblique to the left directs the action toward the past. Points (points of attention) represent a dispersion of energy. Something placed in the middle focalises the energy and the attention, it concentrates.
  • These are basic symbols for reading, that exert a fascination, a hypnosis (over the reader). 
  • A awareness must be had about rhythm; set a trap for the reader to fall into and he falls, gets lost and moves inside it with pleasure, because there’s life (inside the trap). 
  • The great painters must be studied, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen (studied) with that preoccupation for physical composition, but also emotional. In what way the combination of lines by that artist touches us directly in the heart.
  • 11. Narration must harmonise with the drawing. There must be a visual rhythm even from the placement of words, plot must correctly manoeuvre cadence (tone), to compress or expand time. 
  • Must be careful with the election (casting) and the direction of characters. Utilise them as a film director and study all the different takes.
  • 12. Careful with the devastating influence of north american comics in Mexico, because they only study a little anatomy, dynamic composition, the monsters, the fights, the screams and teeth (grin). 
  • I like them as well, but there are many other possibilities that must be explored.
  • 13. There’s a connection between music and drawing. But that depends also on the personality and the moment. 
  • For around 10 years I’ve been working in silence, and for me the music is rhythm of the lines (the music he listens to).
  • To draw is sometimes to hunt for findings; an exact (fair, just) line is an orgasm!
  • 14. Color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. There’s objective and subjective color, the emotional states (moods) of the characters influence the coloring and lighting can change from one panel to the next, depending on the space being represented and the time of the day. 
  • The language of color must be studied with attention.
  • 15. At the beginning of a career, specially, one should attempt to create short stories but of a very high quality. There’s a better chance to finish them successfully and place them on books (anthologies) or with editors.
  • 16. There are times when knowingly we head to failure, we choose a theme (subject), an extension (page length), a technique that does not suit us (convene). 
  • Must not complain afterwards.
  • 17. When new pages are sent to the editors and are rejected, we should ask for the reasons. This reasons for failure must be studied and learn. 
  • It’s not about the struggle, with our limitations or with public or the publishers. It’s more about treating it like in aikido; the strength (power) of who charges is used to knock him with a minimum effort.
  • 18. Now it is possible to find readers in any part of the planet. We must have this present. 
  • To begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in his own bubble; it’s communication with the beings closest to us, with oneself, but also with unknown people. 
  • Drawing is a medium to communicate with the great family that we have not met, the public, the world.
  • Mexico, August 18th 1996 compiled by Perez Ruiz


    link to the original article in spanish
    http://www.jornada.unam.mx/1996/08/18/sem-moebius.html

(via spx)

fulifuli:

A few people asked me to make a pixel art tutorial, so here it is! It’s not much and very basic, but I hope you will find it helpful. :)

In full and in HD here!