In the first Part to this brand new Tutorial series from http://www.howtodrawcomics.net/ you’ll learn how to construct the underlying framework that holds a drawing together. You’ll also discover how to:
1. Come up with personality exuding poses that emote and connect with your audience
2. Define shape to create easily recognizable silhouettes that keep your drawings vividly readable.
3. Create story enriched backgrounds that suck you’re audience into deeper levels of immersion
4. Deal with mistakes and the tricky challenges you’ll inevitably face in every drawing you create.
As always, enjoy.
Tuesday Tip —- The Nose
Here’s the way I approach the nose. For my taste, the simpler, the better. But it’s always good to know what you’re working with.
nidotortle said:tips on drawing from different perspectives or trying to draw specific poses? I need help pls ;-;
when it comes to specific poses I try to first draw the most basic shapes and movement lines and then gradually go into more and more details, like so:
if you have difficulties with perspective, try drawing a perspective grid first:
it’s nothing different than tips from other artists, but I hope it helped a little ;u;
felt like doing a tutorial thingy (what should I call these??) again! I think I’ll make a tag for these in case I do more. This time I’m gonna talk a little about how angles affect how clothing falls aaaand stuff. here we go…
Given: The first drawing of these three is how the clothing naturally wants to fall, how it is made to be shaped. Or, whichever pose you could take that will give the garment the least amount of creases.
- I’ll actually talk about the green first; this is a representation of the hip box, which itself is a representation/simplification of your whole pelvis area. You see how your legs and hip box oppose angles here. in almost all poses except standing straight, your hip box and legs will create a bent angle, which affects how clothes fall.
- The red/blue is the skirt (obvs), the red specifically is the ellipses of the top and bottom openings of the skirt. This skirt is very stiff material for the sake of this example, so notice how the two ellipses always match eachother. the top ellipse is where the skirt is actually attached to the body, so it’s the boss; the bottom ellipse will more or less do exactly what the top one does.
- here’s where the fact that the legs and hip box are at different angles becomes important. The top of the skirt is attached to the hip box, but the bottom ellipse is in the realm of the legs. The orange lampshade shape diagram there is a simplification of this. It is very much like if you were to tilt a lampshade. The side you are bending towards will hug the body and create creases. The side you are bending away from will fall off the body in a straight line.
It even works with pants, though as the bottom ellipse(s) gets farther away from the top there’s more room for the garment to get distorted by gravity, perspective, and bent knees and such. But with this last example you can really see how the side touching the legs really hugs the body underneath, whereas the other side hangs off of it in a straighter, crease-less line.
Dresses are a little different because their top ellipse is attached to your torso/ribcage mass rather than the hip box.
Much of the time you get the same result as with a skirt. However if the hip box and ribcage mass are opposed sideways rather than forward or backward, it becomes a little tougher:
You can see in the third drawing how a shirt and a skirt together would fall in opposite ways if your body is bent sideways. If the shirt is long, just like I mentioned above about the long pants, there is more distortion of this effect.
I’ll take what I said above, “The side you are bending away from will fall off the body in a straight line”, and add a bit to the end: “… until it hits something.” In the fourth drawing above, the garment is falling off the body in a straight line on the right side. If you lengthen the garment:
The straight side continues down as normal until it hits the leg and becomes the body-hugging side. in response to that, the body-hugging side from farther up becomes the straight side when it falls off the hip.
Aaand with that I think I’ll stop lol. I hope that wasn’t hard to understand. It’s easy to do yourself, just wear a skirt or some loose pajama pants and take hula poses in the mirror lol.
For all of you who have been longing for ME to make a tutorial about clothes, I truly recommend you to read this post. Since it covers the area in clothing that many other tutorials never mention, clothing is more than just “drawing folds and wrinkles”, it’s about knowing how the design and the behavior of our bodies affect it.
Read this. Please. It’s so easy explained.
rebloging for future reffs
misterloki asked: Typically, how many pages are you able to draw in a good week? I know every artist is different, though! I am trying to gauge an appropriate number I should shoot for, while still giving myself appropriate breaks for sanity's sake. Thank you for taking your time to look at my question!
Well, I draw comics full time, so my answer will probably not be feasible for most people who maybe have regular jobs/school. I work about 12 hours a day (with a break for supper), six days a week (I take Saturday off) and my quota is 2 pages a day for pencils, 3 pages a day for inks. It varies with each project, though. That’s my quota for The Nameless City, and it’s a hard one to keep up. I usually need most of my 12 hours.
So if I’m on a penciling week, I’m drawing at least 11 pages a week (sometimes I slack a bit on Sundays, unfortunately). If I’m on an inking week, I’m inking about 16-18 pages.
This schedule is kind of hard, though. I’m really behind on my book right now, so I’m pushing myself to catch up. If you can make your deadlines while taking evenings and weekends off, I think that would be ideal.
When I was in school and doing online comics, I’d do maybe 4+ pages a week, which is still a really high number. The pages I drew back then were much smaller than the size I draw at now, and had less backgrounds. I could churn them out a lot faster. Over the five years I was in school full time and drawing online comics, I drew over 750 pages, which is nuts! I didn’t go out much. Also I was single. ;)
I think if you’re doing an online comic and maybe working a job or going to school, doing 10 pages a month is fantastic. That’s a really good pace, because then you’re drawing 120 pages over the course of a year! That’s an entire graphic novel. Even 5 pages a month will give you 60 pages in a year. It really adds up.
I’d suggest working at the speed you feel comfortable with, but always looking for ways to streamline or improve your process. As you become more accustomed to making comics, you’ll get faster and hopefully your work will become more accomplished. However, I am sad to report that despite drawing over 3,000 pages of comics, I still don’t find them easy to make. ;) I’m always struggling to do better.
untamableshipper asked: Hi! Do you have any tips on drawing body figures? Especially the length of the legs? And do you have tips on drawing hands? Thanks!
Only way to learn figures is to look at them and draw them. I’ve taken figure drawing and anatomy for artist classes in addition to drawing a lot. Take them if you can! And I fuck up legs more than anything because I don’t draw them enough. Easy springboard though is searching for Andrew Loomis books.
Same with hands, though there are some fairly easy to describe formulas for hands so I drew up a couple rq
First of all, for probably 90% of the hand poses you’re gonna draw, think fingers like the petals on a pinwheel. They all curve the same degree, in relation to the previous.
freeglassart asked: You may get asked this a lot, so please excuse my ignorance - but how do you go about constructing character expressions and body language and such? Thanks!
Besides The Basics (construction of heads and skulls and muscles and skeletons and how they move), I’ll go over some things I’ve been trying to work on myself lately:
1. Treat expressions as a single gesture of the face/head, as opposed to a head and then individual features dumped on a plate and arranged into an expression.
First, just get down the big shapes of your expression, just like you would for a pose.
So say I wanna do a low angle angry pose. I know the features are gonna be all mashed down at the bottom because of perspective.
Scribble it down
start to put on features
put on more stuff
fix stuff again
erasing and flipping and stuff a whole bunch until you are happy with it or stop caring
Whole head is a gesture!
2. Just like a facial expression, jot down where the important parts of an entire pose goes first. You can force the rest of the body to fit the pose.
So here I knew I wanted the shoulders tilted a certain direction, and te hand to be in that particular position in front of her face.
That’s the simplest explanation I got. Don’t be afraid to push and pull faces and bodies around! Worry about being “on model” last!
So, first things first. A big thank you to all those who check out and follow my blog you guys are the best. A lot has happened in this 2nd year of my blog. Finishing up my Illustration degree at University and getting a First (somehow), I made my debut Indie Comic Aurora Atlasand going to a Comic convention this weekend (13/09/2014-14/09/2014) to sell my comic and other art work along with my friend Natasha Kingham.
For the future, well apart from finding a job to pay off my 'luxury' lifestyle. I’m going to continue as normal and upload my sketches and artwork on a daily basis, I’ll take on the Inktober challenge again this year, I am currently making plans for writing some reviews/personal opinions on stuff (like graphic novels, movies, games, animation/anime, etc) and I might spend time and setup a society 6 shop or something like that.
Anyway, I got to get things ready for N.I.C.E. which should be good. I will try my best to remember to take photos of the weekend most likely use Instagram for that (If it has Wi-Fi). If you are able to come to the event at Bedford (UK), that would be awesome.
Speak to you next time…
ziggy9911 asked: Just curious on how you approach composition and perspective. I feel as if sometimes I think too hard, not really about what to draw but how to draw it and make it look interesting. The comic panels you have been doing are amazing. Any tips/references on improving my knowledge of composition and perspective? What do you think about as you lay your pencil on the drawing paper? what goes through your mind?
*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.
Only few more days till N.I.C.E. Might see you then. #illustration #sketch #doodle #event #comic #comics