submitted by musicalmeme
Posts tagged submission.
Lighting can be tricky- reblogging a few tutorials for reference.
Jeanette from Finland. EU size 44. 163cm/86kg. LOVING MYSELF!
Thanks to cuteweirdawesome.
His leg indeed. I’ll talk about that first.
- Well first of all it’s super curved.
- second of all , the spot where the knee bends makes no sense; I drew here showing how the muscle in the back of the thigh insert into the back of the knee, and the muscles of the calf are fastened to the knee on top of that. The knee is a really complicated area and this is an extreme simplification.
- also when you’re deciding where to draw the crease that forms when you bend your knee remember to leave enough room for all the inner workings of the knee. and square it off a bit.
Next that foot:
- feet are also one of those things that we all think “why do these exist” every once in a while. In another extreme simplification I drew an approximation of the bones in the foot (in green). See the heel sticks out, and in the top left drawing the blue represents your achilles tendon, which goes from your calf and attaches to the bone in your heel to shape the back of the foot that we see from the outside. so, when you point your toe like a ballerina, you can STILL see the heel.
- on the right side of this image I drew up the difference between the inside-side of the foot and the outside. the whole edge of the outside touches the ground, but not all of the inside does; that’s the arch of your foot.
And lastly let us zoom in and appreciate this hand
Hey I don’t think I can bear to talk about the anatomy here, it’s all so subtle I can’t pick out one thing to focus on. Take it as practice and use all your knowledge to analyze it yourself.
I can, however, share a useful photoshop technique for an easy 2 point perspective grid!
I’m using CS4 but I’m pretty sure this should work the same way in most versions
First make sure Rulers are on, under View>Rulers. Your first step is to drag a line from the TOP ruler to where your horizon line is. I’m just gonna make an educated guess.
Next, on a new layer, take the line tool and draw a bunch of lines horizontally while HOLDING DOWN SHIFT. I generally make them pretty close together for reasons. It doesn’t matter if they’re an equal distance apart or not, it only matters that they are all perfectly straight and on the same layer (holding down shift the whole time solves both these problems)
(Yes make sure the lines are raster and not vector or this step would be more annoying and complicated) Ok. Next duplicate that layer with the lines and change their color via Image>Adjustments>Hue/Saturation or whatever you want to make them a clearly different color. Yay now you have 2 sets of lines. hide one of them, we’ll deal with it later. Now you gotta get the move tool (keyboard shortcut V) and make sure “show transform tools” is checked. If it is you’ll see a center crosshair in the middle of your lines (if you do it on this picture it ends up right on sasuke’s junk). hold shift again and drag your lines until the crosshair snaps onto your horizon line, and then drop it. This is the MOST IMPORTANT STEP. DOn’t MISS THIS STEP
Ok, next go to Edit>Transform>Perspective. holding down shift again (IMPORTANT), drag and of the corners vertically and observe the effect. What you’re doing is making it look like those lines are converging to a vanishing point like you’d draw if you were doing this out on paper with a ruler, except you don’t have to draw it! :O
You can make the vanishing point appear very close to the picture plane, making a very dramatic perspective, or make it appear very far away by not changing it very much:
Anyway, when you’re satisfied, hide that layer and do the same with the other set of lines, except make the vanishing point on the other side. There’s no way to make the grid match this picture because it’s wrong, but here’s what I have:
You can then use this grid to fix the picture. Or just start over entirely.
P.S. if it were me and I was gonna draw a scene with a big object like a bed that was gonna be cropped, I’d draw it all out un-cropped first because otherwise you’re more likely to mess up bed-to-person size relationship. that happened to me here, it looks too short because I wasn’t paying attention and I hit the edges of the canvas
pps use a wide canvas to draw wide things
ppps is it a canon detail that the uchiha crest thing is on the wall above sasuke’s childhood bed? that seems like tasteless decorating to me
I’ll address the 2 most obvious things. first off the head, when estimated in red lines, yields this:
mmmmhm. this is why you draw through the other guy’s head to make sure it all checks out, or sketch two heads on separate layers and fit them together later or something.
Second, and what I am going to put all my energy into explaining, is that hand:
- diagram 1: the artist was so inspecific about the joints in that hand that I could reasonably argue that our nekomimi boy is starting to melt from the heat of their passionate love. But I’m not going to and I will instead work on the assumption that this person was not looking at any hands while drawing this.
- diagram 2: here’s some things about hand proportions. generally, the length of a finger is the same as the length of the palm area below it (meaning each finger divides its part of the hand in half). that’s not counting the thumb of course. that’s the orange line here in diagram #2
- diagram 2: every finger has 3 joints and therefore 3 bones. make it look so on your drawing! count them all twice if you must. Even the thumb has 3 joints, though people often say it has just 2. Joint 1 is just hiding down at the bottom of the palm; really it’s the most important joint in your hand because it’s the most articulated; it can not only move the thumb up and down like the rest of the fingers, but it has a large range sideways, allowing you to reach across your palm with your thumb, which means if you evolve it as a monkey you can pick up a stick and beat a rock with it and then evolve into a human and use it to hold a remote control and fap.
- diagram 3: it’s important to visualize the joints as being just below the surface of the back side of the hand, meaning all the fat and padding and thickness is on the palm side. So, the joints make bony bumps on the back of your hand and fingers, and the padding on the palm side makes creases and soft forms.
- diagram 4 (oops I forgot to number it): the way this person drew the hand originally is physically impossible. the fingers will not stay straight and be able to reach the bottom of your palm. instead they will curl up as I’ve drawn.
So, other glaring anatomy problems aside… how do muscles in the torso work?
Ah, a very good question. This isn’t really yaoi but I’ll do it anyway since it’s such a good question. to be frank I’m not really an expert on the muscles specifically since I tend to focus more on the overall shape than interior detail things (plus I like drawing skinny guys so the my treatment of muscle is usually really subtle) so I’ll just show how I organize the male torso:
I break it into groups. Green is the pectorals, which sit on top of the ribcage (in red), which transitions into the abdominals (blue) aaaand yellow is kinda just “everything else”. oh and the blue dots are there to point out a subcutaneous landmark (meaning “below the skin”, a place where the bone comes very close to the surface that is good to help navigate the body) of the Iliac crest on the pelvis, just because I love that landmark it’s so useful. I googled “male torso” and did the same to a sculpture I found so you can, like, see it in action or something
it’s IMPORTANT to realize that the pectorals are on top of the ribcage. see on the line drawing on the left, the area around the left armpit, see how everything layers. there’s an overlapping indicated where the ribcage swells forward from underneath the thickness of the pectoral. emphasizing this line really pushes the skinniness of the body, though it is still good to put it there on guys who work out more (it keeps a rounder, bigger, pec from looking like a boob)
next, keep in mind that the torso has thickness as well as width:
it varies from person to person but I find it generally ideal to have the bellybutton here:
Also something I see a LOT in yaoi manga is people outlining all these muscles with solid lines; no :( Well I guess it’s kind of unavoidable if you’ve only got black and white to work with, so if you need to put lines on the interior, make sure they 1) don’t outline things and instead are placeholders for where a shadow would be, and 2) aren’t drawn with the same line quality/thickness as the outlines of the body. the point is to make soft contours look like soft contours with a softer line, right?
Honestly I’d avoid putting any lines to indicate abs altogether unless I was drawing the Hulk or something, but I wanted to see if I could do it in an acceptable way so I drew this. it looks fine I think. if it’s in a black and white line drawing sure, but if I were doing full color and shading on it then I would never leave those lines in, and instead let my rendering tell the viewer that there are abs there. I attempted to do that to the submitted drawing (it’s low res so it didn’t work out as well as it could have, but you can get the idea)
I tried my best :|;;;
anyway since the torso and shoulders are connected I have this post as suggested reading
OP… THANK YOU… SO MUCH…
Oh hey guys, remember the lightning cheat sheet?
How about one with 5 degree increments using a 3d model in Blender? more downloads here!
This morning I logged onto my Youtube account and saw what was probably the harshest critique I’ve ever experienced. He then stated that he could do better. My very first reaction was simply “Who the fuck is this guy?” I was pretty angry. I clicked on his username and he had never uploaded a single video and didn’t even have a website for me to look up his work.
After a few seconds of fuming, I stopped and looked back at the video. He was right. I think that’s what upset me more than anything else. I knew that he was telling the truth. He told it to me in the most assholish way possible, but he told me.
Sometimes as artists we get caught up in comfort zones. Most people can’t draw. It’s easy to take advantage of that. Anything you draw will automatically be considered pretty good by a layman’s standards. After getting all of the compliments and accolades, you might find yourself thinking “Shit, maybe I am really good.” This can hurt you. You’ll get comfortable not being told the truth, and you won’t be any different from a pretty girl who has received nothing but compliments and free dinners all her life.
You and I need to take what we do seriously, as often as possible. Take it seriously and be honest with yourself. You may find yourself in a place where none of your friends, coworkers, or colleagues can draw (or not as well as you). Try and change that. Meet people who’ll help you to get better. I feel like it’s a good thing to surround yourself with artists who are better than you. If you have the tiniest bit of competition in you, you’ll end up improving exponentially faster than you would if you got nothing but praise and “I could never do that”s from your friend.
In hindsight, I think the way the words were said was what bothered me the most. It came from a condescending place, and I still feel a little bitter about it. But I’m glad that he exposed me to these feelings, and I will think about this the next time I draw. I know exactly what I need to improve on, and now it’s only a matter of doing it.
When you’re critiquing people, don’t be an asshole. You shouldn’t sugarcoat what you’re saying, but don’t put it in a way that’ll make them hate you. Burning bridges is not good. Even if John Singer Sargent himself had said all of that stuff to me, I would have been upset. Grateful, but upset.
Don’t ever give up if you receive a harsh critique. Ultimately, this is about your self improvement. May your skin be resilient.