Posts tagged digital
Posts tagged digital
In this Citizen tutorial we go step by step through the process on drawing realistic looking blood: http://cgcookie.com/concept/2013/10/18/drawing-blood-tutorial/
Let me know if you have questions!!!
the process of my elf piece
Little nugget of advice that really changed the way I approached painting. When I started blending like this it was a real turning point for my art quality.
Forgot to add that lighting conditions and other variables in a piece make the hardness you want to choose somewhat variable. Drawing things like skin is more of a hardness range than it is a hard rule.
Eheh…get it? Hard rule? (aaaaaaaaaand i’m done).
Haa thanks, I can’t even put into words how unappealing the overuse of a soft brush is when rendering. There have even been otherwise expertly painted images that were (in my opinion) ruined by that overly soft ‘airbrush’-y look that soft edged brushes give off.
I mean, I just really hate soft edged brush in most cases. It’s definitely the fact that you can’t read any real confidence in the brush strokes of a soft edged brush. It makes it really difficult to nail down any solid shapes or forms in your painting. Weak vagueness both in brush strokes and with shape and form is generally not a good thing when painting.
If I can tell a soft edge brush was used (a lot) in an image, I probably won’t like how it’s been applied.
Dunno if anyone’s interested in these, but this was my latest assignment for CGMA’s Art of Color and Light class- this past week focused on how light interacts with different materials.
It’d be cool to try some different skin tones, I just used my own pasty hand for reference. Maybe even an alien species with non-red blood, so the occlusion shadow glows a different color where light passes through? Would it be purple for Namekians and green for Vulcans? (ﾉ◕ヮ◕)ﾉ*:・ﾟ✧ possibilities
Also, the iridescent pearl wasn’t a requirement, but I enjoy Sailor Moon and suffering. If anyone’s got pointers on iridescence, I am all ears over here, because I clawed my way through that one screaming
Alright, here’s a quick tutorial about color I promised to a friend. It’s not definitive but this is pretty much what I know of color , basic stuffand tips, so hope it can help some of you folks.
So like first of all you gotta know your color wheel, which is essentially the main colors of the visible spectrum to the human eye. It’s divided intro three primary colors and three secondary colors.
You get the secondary colors from mixing the colors in between the primary colors, and they are usually arranged in a Y manner. It’s the basics, red and yellow makes orange, red and blue makes purple, blue and yellow makes green. This is something we call Hue. You also get your color schemes with some basic arrangements such as mono (using the same color with different tones),complement (using a color and its opposite), triad (three colors arranged from each other in a triangle form), tetrad (arranged in an X or cross form), analogic (a main color and two nearby colors), and accented analogic (an analogic scheme with the main color’s complement)
(image from http://colorschemedesigner.com/ )
Along with that we have two other things we call Chroma and Value. If you use a drawing program you pretty much know about it.
Chroma is how much saturation your color has ( or, how close to white it is) while value is how much of light your color has or rather, how intense your color is (or, how close to black it is). These two are pretty much the secret to cool drawings: the value of your colors in greyscale. Having them distinguishable with your values in greyscale is the key to make anything look good no matter what crazy colors you use. Value helps distinguish an object from another and makes things easily recognizable.
You can barely distinguish the foreground from the background, you can barely tell there’s a temple on the background. No matter how different your colors look, the key is to make sure the greyscale looks distinguishable.
That’s…better but it could still use some improvement.
Ah, much better! You don’t force your eye to distinguish things and it really helps in the composition.
So yeah you can also use colors too to help the ambiance, or rather harmony. The mood of the drawing should influence all other colors so that they unify and create an impact on your drawing.
In here it’s, well, boring and jarring. the brown feels it contrast too much with the greens and feels like a kindergarden painting. But if you modifiy the values and chromas so that they harmonize it will end up looking much better.
Now, the following isn’t obligatory, but it is something that can really help boost your grasp of color and make for some interesting drawingA very good tip is to choose a color in general and stick with it, making other colors work with the main one. how?
Let’s say you choose red as the main color and you fi canvas with it. Starting from that point, you should use a defined percentage of the value and chroma of other colors according to the distance said color is from the main one. Like this.
Hope it’s clear. No matter if you use a red as a main color and you have to end up using a washed blue that’s almost grey, because it is surrounded by that color the human eye will perceive that greyish color as the opposite color and make it work. Try it for yourself!
From here you can take out pretty much your colors for your drawings. Always remember too that a primary color is the complement of the secondary color opposite to it in a color wheel. A complement is a color which makes the other pop out from itself, useful for compositions.
Like this, for example. If you have a drawing in which its main color is purple and you want to make a character or object the center of attention, making it its complement will make the eye focus on it because it looks intense and the eye will be drawn to it. alternatively you can always use other matching colors to help you, like these for example
From here on, the colors you use for a drawing and how they match really depends on what you want your drawing to communicate, and you can use color meanings for that. For example, red means vigor, energy and love or being alert. green means life, renewal, nature, lush, serenity, etc. purple means mystery, contemplation, thoughtfulness etc. There are many things one can portray with color but that’s a whole different subject really. Many books about color or even google can help you develop and understand the meaning of colors, and help you create a better grasp of message conveyance in a drawing just by color itself. (like for example, green and purple can help denote something unnatural and mysterious adrift, blue and brown can help convey a message of something classy, solid and elegant, pink and orange can help show something rather exotic and vibrant)
Investigate many books on the subject, analyze other artist’s drawings, but most important of all, EXPERIMENT! it does not matter if you fail, you learn from those mistakes, so try many different colors and see what comes out. play with the grayscale, the color wheel tool, blending, the hue & saturation tools, etc. hope this helps! if I missed something or have any question about this, let me know!
Sure. 8) BTW, I’m gonna use “you” in the general sense— not you in particular. Not targeting you or anything. :)
First of all, let’s get this out of the way, though: When somebody asks me for something art-based, “really quick,” it is the first indication that they don’t know enough and need help. And that’s fine! Just be aware of this. There aren’t many things about learning art (or most things) that come “really quick,” which is why it’s not quick to talk about, unless we’re all in a hurry to suck at it.
I know other people can make step by steps on how they draw certain things, but I can’t. I don’t always draw eyes the same way. Not all lighting/angle/narrative situations are the same. Because of that I have a problem with step by step art tutorials in general (ignoring exceptions). They teach people to copy things as symbols, without really thinking about the fact that you’re drawing objects that interact with other objects. If you copy a symbol from a step by step, your learning is limited, you’re usually at the mercy of whatever angles the tutorial gives you, and you don’t know how to change a pose or vary your art. Booooooring!
Look, all I’m saying is that it’s a crappy feeling when all of a sudden you want to draw your OTP kissing and you’re not sure how to draw in 3/4 view or profile, or if you’ve gotta turn someone’s head up at an angle, etc. (because IMO the hotter kissing is when they start turning their heads and really getting into it), so boooo~
Sorry if none of this is what anyone wants to hear, but hey— ask me how I do a thing, and I’m gonna tell you how I learned it, no bullshit. Don’t worry, don’t be intimidated, and know you can always have drawing skills if you’re willing to put the work in. I don’t care who you are, that’s how it always works. 8) That being said, let’s talk about eyes:
1. WARMUP FROM LIFE.
Oh shit, did I go there? I bet that makes people roll their eyes, but this is how I learned— by tons of hours spent drawing naked people in front of my face, or drawing my own face. If you want something else, go ask someone who learned by copying tutorials. I’m not that person.
So. As a warm up, before actually going into whatever final drawing or final style you’re gonna work in for the main picture, spend some time drawing your own eyes from a mirror (you are your cheapest, most available life model). DRAW. WHAT. YOU. SEE. Don’t worry about the end product, warm ups are NOT finished work. If you don’t have the patience to warm up before a drawing (“eww, this is hard!”), I don’t know what to tell you.
Warmups are good— they get your eyes and hand active, and there’s no pressure to be perfect, and it feels natural when you go into your main drawing. I warm up before drawing, just like I would before exercising. Don’t use your final art to warm up on and make mistakes all over; it messes with your head. Start with fifteen minutes of this, though, and when your skill goes up, you can make it ten, I guess.
Hey, the more you put in, the more you’re gonna get. When will you be tired of sucking and start working away from that— next year? ;) Anyway…
If you wanna try other angles that you can’t do in your mirror, there’s always Google images, or stock photography sites if you can’t get a friend to sit (seriously, though, that’s better to do). Just go draw some eyes, already, and don’t worry about the anatomy in your warmups, yet.
2. MY GENERAL PRINCIPLES
I won’t go into an anatomy lesson, because people write books about that stuff (Burne Hogarth’s Dynamic Anatomy has some eye info), but here’s what I think about when drawing eyes:
When the eye is placed right, you can have lots of different shapes (even dots for eyes!).
There’s a boundary on the human head where eyes sit, and it’s defined by the height of your ears. The tops of the ears match up with the browline (at rest), and the bottom matches up with where the nose is fused to the face. (And all of these things line up along an arc— not a straight line, because the head’s not flat). Eyes are aligned along this space, and they’re roughly sitting one eye width apart from each other.
Also, you’ve gotta check the height/alignment of each eye along this axis, because this is where lots of people screw up. (if you’re scared, you can also align the pupils/irises) Otherwise, you get that weird, floating eye. Check to see if it’s there by viewing your image backwards:
(Cool, we’re doing okay. What about the next sketch?)Hm, let’s flip it:
EWW STARFIRE YOU LOOK LIKE SOME WEIRD ALIEN and I mean that in a derogatory sense! My poor bby…
When you watch the alignment and placement, it lets you use just about any shape you want for eyes (even dots!). Speaking of that:
Drawing eyes is usually just drawing how skin and muscle flaps will cover an eyeball that’s sitting in a socket on someone’s head. Even though they work the same, on an individual basis and especially in stylization they tend to have different shapes. How you draw that is sorta up to you (and should be informed by your observations from life and what your hand naturally does. Remember those warm ups). They’re not perfectly symmetrical, but for many creatures from Earth (or Tamaran. Or Azarath!) you want consistent forms in both eye shapes, as they sit across the face:
What I did in blue is draw the basic form of Raven’s left eye (our right), and placed it on top of a small grid. Important “checkpoints” were dotted in pink, and those are mostly what I use to make sure the shapes look consistent.
After that, I literally copied/pasted this shape, flipped it backwards, and shrunk the width in Photoshop to show what her right eye should look like at a 3/4 view. I don’t actually do that before drawing out a face, but I’ve done it here just to show what to look for. Just make notes of important parts of that eye shape and make sure it’s consistent, and make sure they align over the arc across the face, just like before (these align on a straighter axis, because those eyes are eye-level with the viewer).
Placement, alignment and form are the most important things to me.
3. DETAIL AND SHADING
…is secondary. IT IS. Pwitty highlights and nice gradations are pointless when the figure’s right eye is floating off of the face and lopsided because you didn’t check your forms and alignment. You can add textures and highlights/details later— just look in the mirror or look at photos for reference. Lots of beginners use excessive shading to hide bad form.
…But I can see it. And others will, too. 8)
No, seriously, that explains why all of these are effective pics (to some degree).
(Starfire’s eyes are just really quick lines and Red X’s eyes are just quick scratch marks, but they’re in the right place.)
(These actually are a little misaligned but the forms are consistent and strong enough to get by. Light detail, what’s that?)
(Shading? Not really. Pupils? Nope. Not even a fun little accent highlight, because her face is in shadow here and that bright green is quite enough of an accent.)
(Okay, I know that’s not fair because I use pupils and highlights, but they’re considered. Here, it’s important to put at least a little detail in her eyes because we’re looking for her expression. Again, though— worthless without consistent form and alignment. Um, the little highlight dots are coming from the direction the light’s coming from? It’s barely an issue here.)(What the fully rendered nonsense is this?? I know there’s a Starfire up there with no pupils and no highlights, but here we see them because they’re in the dark with a cell phone, but also because those highlights become a little romantic, like the atmosphere in this picture.)
- Final Size
Considering that picture up there, though, I want you to notice something:
high detail is lost in the picture’s final size. This is another reason why detail and shading are often secondary.
If you’re really concerned about how these eyes were painted, though… I mean, after getting my forms worked out, I paint from “big to small” (talked about in this “tutorial”), and “back to front*.”
* (Back to front is pretty simple— paint what’s behind first, and then get better edges when moving onto objects closer to the foreground later on. The eyeballs here, are considered what’s “back” because they’re under the eyelashes. I paint the full circle shape of those irises first (they come out rounder/more consistent) before painting the flesh and eyelashes on top of it.)ANYWAY there are detailed shapes in the eye and they’re nice to have, but if you plan to have them go to print or be displayed on a site, what’s more important is your final size. How the viewer is going to primarily experience your work, that’s key to what you put into the picture. This is one of the things that’s being nailed into us at the moment in art school (I’m going through a pretty boss illustration program). Do things because they make the final version look good. Nobody, including you, should be pressing their eyeballs to the screen to view some microscopic corner that doesn’t take the entire image into consideration. Look at Dick’s eyes up there— the one in shadow has way less detail, because it’s receding anyway. Detail while being extremely zoomed in doesn’t matter. Case in point:
This is the largest size in which viewers are meant to see this image. If I were to add highlights like I had so often done in the past, they would just awkwardly wash out some weird part of the eye after resizing.
I think that’s about it— please take this info into consideration instead of worrying about “draw an o-shape and add speckles” or whatever people do. Oh yeah, and of course, keep at it and practice lots! You can do it.
Tutorial of the Day