Tutorial of the Day
Posts tagged tutorial.
And I found this very helpful just by looking at it. I was never good at coloring gold.
Gold is tough. This is awesome.
(Straight off, I want you to bear with me if the quality of the drawing is a bit different than my usual—I usually draw things with a paper and pencil and then scan it in, which personally gives me a better level of control on my lines, but it would’ve been a hassle to have to scan and rescan everything over and over. So, I’m doing it digitally! But what I’m going to show here should work regardless of medium.)
Now that we have everything planned out, we can go to the next phase - the actual drawing.
The way I work is I start with scribbles and then I refine things. Usually this stage on paper, I would be doing a quick preliminary sketch with colored pencil, just to get the placement of everything. Don’t worry about precise perspective or exactly precise proportions for the characters just yet.
Here’s my preliminary undersketch based on the thumbnail. I shaded the foreground really quickly so that you’d be able to understand some of my lines.
The thick line that’s running horizontally across the page (and through Freya’s head) is the horizon line. It’s good to figure out where that is as early as you can—a lot of the time you can eyeball the perspective in a picture just based on where the horizon line is.
After this, I start mapping out the perspective. This is very important in creating the illusion of depth. This picture contains pretty simple 1 point perspective, with the vanishing point somewhere in Freya’s face (which is a simple, pretty-much-cliche way to compositionally push the eye towards the characters, but that’s another tutorial). So, let’s map it out:
Ignoring the fact that Freya looks like she has the universe coming out of her forehead, now we have something that we can base the perspective of the picture on. Let’s do a fuller undersketch now with these guidelines.
Let’s just focus on the environment for now and deal with the characters later.
The reason I generally deal with the environment before working with the characters is because I don’t think you should approach an illustration thinking the characters exist and you form the world around them—the world exists and the characters exist inside of it.
But as you see here I’ve drawn everything according to the perspective map. There are a couple places that might need some fixing up, and I’ve chosen a couple of places (the cards on the foreground shelf, one of the boxes on the top shelf in the background, etc) where they are tilted at a different perspective—this makes the environment slightly more believable, because not everything exists on a grid in reality either.
Now let’s continue onto the characters.
Something I notice in a lot of pictures is that even with people who understand how to create an environment with perspective, there is a disconnect between the characters and the environment because they don’t always apply the same perspective to the characters they are drawing.
DO NOT FORGET THAT CHARACTERS EXIST IN THE SAME PLANE AS THE REST OF THE PICTURE. IF YOUR ENVIRONMENT IS THREE DIMENSIONAL, YOUR CHARACTER HAS TO BE TOO, AND SO CONFORMS TO THE RULES OF PERSPECTIVE.
This isn’t as difficult as it might sound.
The left is drawn without thinking about perspective, the right was drawn in consideration of the background. You don’t have to be exact—if you know where the horizon line is, you can eyeball the perspective, but things look better and the character looks more like it belongs in the environment when you take perspective into consideration. (note the feet, the shoulders, the elbows, the knees, etc).
Let’s draw the characters.
Characters drawn in perspective!
All of these things help make the characters look like they belong in the environment. Another thing that helps is Character Interaction with the environment. Freya is sitting on the bench, Amarant has his foot on a stool. Little things like that make it so that it’s more believable that the character is IN the environment.
The next part will be coloring. I’mma ink this picture properly now, and I’ll bring you the next part of the tutorial then. I hope you all find this helpful! If you have any questions or need anything further explained, feel free to drop me a note.
How to Draw a Nose - Anatomy and Structure.
In this tutorial I cover how to draw the structure of the nose and it’s anatomy. We look at the nose in 3 groups, the bridge of the nose, ball of the nose, and wings of the nose. The nasal bone, maxilla, lateral cartilage, greater alar cartilage, alar fat, nostrils, septum, glabella.
Hackers claiming to be with Anonymous Philippines broke through the security measures of the website of the Bangko Sentral ng Pilipinas and posted on it a statement calling for the revision of the Cybercrime Prevention Act of 2012.
Composition for dummies part two: The Dead Center Focal Point!**
I have found that storyboards that use a nice mixture of the “Rule of Thirds” and “Dead Center” focal points are the most visually pleasing. Remember, SHOT VARIETY is good.
Next: Screen direction and crossing the 180!
I did some compositional how-to’s in my early weeks at Warner Bros. studios. I thought it’d be great to post a series of these on the Tumblr’s for beginning board artists.
This is the first part - the rule of thirds.
UPDATE: For photoshop users. Use the LAB-sliders in order to get the right value for the colors;
I think I’ve done something like this long ago, but that tutorial is not really up to date since I didn’t 100% understood this technique back then.
But tonight, I finally understand how it’s done.
And I know that some people out there might be laughing or be surprised that I didn’t know this before, but hey - they never really brought up this subject in my art school (which also was aimed at comics and not really at digital art eheh.)
This method should work in any digital art software that has layer functions, the blending mode “Overlay”, “Multiply”, “Saturation” and a filter/mode that can turn the picture into grayscale.
First, I’ll begin with showing how saturation can fool your eye to believe it’s “lighter” than the midtone.
Here we have two blue eggs, or something. They almost look like having the same color on the highlighted part.
But if we turn the picture to grayscale, we can clearly see that the right egg has a lighter value than the left egg.
The colors are different on the eggs highlighted areas. The left one has a much more saturated color. While the other one simply has a lighter value.
However, this is more visible to the human eye if we turn it into grayscale! The contrast is much more visible in grayscale!
What I learned from this is that more or less ALL 100% saturated colors share the same value!
Here’s another example:
The warm colors in this picture all have the same value.
We can see this when we switch over to grayscale.
Having a good and wide range of values (light and darkness) in a painting, is what makes it pleasing for the human eye. This is why black and white photography i still very popular for example.
That said, with a good set of values in the composition, you can make ANY kind of artwork in ANY kind of style give 10x more impact on the viewer.
So, how do we use this knowledge when we wanna color a grayscale value painting?
Well, first off you should take a look at how the color wheel works.
Or more like… color triangle!
Now, this is how the color wheel looks in Corel Painter. I removed some of the color wheel here because of reasons.
I DO NOT know if you can get the color wheel like this in Paint Tool Sai. I know that Photoshop use a square instead (that more or less works the same way).
The important thing here to keep in mind is that along the line where you can read “Saturation”, no matter how high or low the saturation is, it can still have the exactly same VALUE.
Now, let’s continue to the painting.
Here’s the value painting that I did in grayscale.
In order to color this, I’ll add a Overlay-layer above it.
Now this is some funky colors!
However, what we should keep in mind here is that ALL the colors on the overlay-layer has the exact same value. And that value would more or less be 50% gray. (Meaning, in the middle of the value-range from black to white).
Now, the purple and orange color in the background has both the same value (“lightness/darkness”). So this would mean that if we turned the painting to grayscale, the stripes should barely be visible…
Okay, the reason why the striped still are visible, is because I used a brush that is slightly blending the colors, so the outline of the strokes turn out a bit lighter.
However, this still proves what I told earlier.
So, if you just make sure that the colors on the overlay layer all has the same value. You should be able to color the painting in any kind of color, but still have the same values when turned into grayscale.
And this is why it’s so popular among Concept artists to work in grayscale when they for example do character/monster design; they can do several different versions of one monster with different colors but still keep the same values.
Here’s a Note to Self (I’ll write it down here in case you can’t see the picture):
- Let the value painting) control the values - NOT the color-layer.
- All the colors on the Overlay layer should ALL have the same value. Vary the tones by the amount of saturation instead. (The amount of saturation should not affect the values.)
The left one is more or less the finished result. By lowering the saturation, I managed to give the skin different skintones. The one to the right is more or less the value-painting before I added color. Now let’s do a last test and check if I have messed up the values on the colored version…
Aaaaaand as you can see, it’s more or less the same values! Yes, there’s some small areas where it’ a bit darker, I discovered that some colors do affect the values even if it’s *supposed* to have the same value. However, the difference they do is very subtle and isn’t really a major problem.
I srsly feel so happy to finally understand how the heck this method works. This is more or less that part I never get to hear about in all those tutorials in value-painting.
NOW GO PRACTICE VALUE PAINTING! >:D
How to Draw the Head from Any Angle Part 2 - Front View Created by Stanislav Prokopenko
AK’s Guide to Suits
An introduction to the finer details of menswear, and how to get them right in your… aw, hell, why am I describing it here? Read the intro!
Hello! This is a quick process/tutorial on how I paint hair on one layer. I don’t.. really know how to make a tutorial so I more or less explained my messy process …. I hope it is helpful even if a little. If anything is confusing, just ask!
I use PAINTTOOL SAI and the main brushes I use are the basic pen tool, for blocking in big shapes of colour, or light shading. And a custom pen brush, in which has more of a pen pressure to it; I use this one for highlights, detailing, and strong shading. NOTE: I also use a different stabilizer when I shade. I lower the stabilizer with the basic pen brush because I want an even tone when I shade large areas as opposed to detailed areas where I might need a steadier hand and a more fine bold line; thus, with the custom brush, I up the stabilizer. These are the settings I’m most used to. Feel free to experiment however!
ALSO…. The eyedropper (ALT KEY) IS YOUR BEST FRIEND! It is a lifesaver and really speeds up your painting process!!!
I will demonstrate how I paint hair using one layer. First, I have the sketch on Layer 1. Then I add a second layer beneath the sketch layer called “BASE COLORS.” I plan all my colours out first on this layer with the basic brush. I also plan where the light source it after determining my colours. I don’t go very detailed on this layer.
Next, there are two things you can do.
1) You may create another layer above your sketch entitled “DETAILS.” You can then start to blend and refine features of the face and the hair, etc, on this layer. If you mess up, you always have your sketch to fall back on because it is on another layer. If you are not comfortable with one layer painting, this is more recommended for now. As you go, you can also simply create new layers for different parts of the drawing like the hair, as will be demonstrated, and let’s say, clothing as well,etc.
2) Or you can merge the “BASE COLORS” and “SKETCH” layers right now as I have done in the above image. And right now, I’m directly detailing the face on one layer. I will detail a bit of the face for now before going about with the hair.
Okay, again, you can create another layer for “HAIR” or continue on one layer.For the sake of this tutorial, it’d be easier for me to show you on a different layer but it’s technically still painting the hair on one layer hehe. Here we go!
On the “HAIR LAYER,” I begin with a color that will be a dark in my palette for blonde hair. I begin to redefine the strands of hair from my initial sketch. I want the hair to part a little differently with more curve from the top of his head. Ultimately, these lines will help guide you in shading the strands of hair.
The next few steps doesn’t have a right or wrong way to finish the shading of the hair. The goal is to ultimately blend away all the initial sketch lines and the guidelines you made on the hair layer. This is done with applying highlights, midtones then darks and other shading effects to complete the look. You are always welcome to duplicate the layer you are working as you go if you are afraid you will mess up the layer. It’s also a good idea to duplicate so you can always have something to fall back on if you ever change your mind on some drastic edits! Let’s go!
Let’s start with redefining the basic colours. I have the lightest/highlight colour making its way from the topmost strand around the top of his head [A]. From there, then there are midtones flowing down to the tips and the strands that are framing the face [B]. The darkest areas are facing down or are towards the bottom near the ears and forehead. I also have darker tones on the outlying edges of the hair shape [C].
I use the custom brush on low opacity and low stability to begin blending the strands. I start with the lighter tones by drawing on top of the guidelines. I continue doing this by blending the highlights with the hair base colour and also the darker tones. Remember, the eyedropper tool really helps out with blending!!
Some techniques I like to do is creating shapes with darker tones then use a thin brush to draw strands on top with a lighter tone. It’s an easy way to create loose strands and give the character’s hair a more natural look. And in this screenshot, I’m continuing blending and redefining my shapes. Remember, you can always duplicate the layer and continue experimenting!
Another technique you can do is creating branching strands. You do the same thing again creating dark shapes from the top of the head to where you want to end it. Then overlap it with thin lines of a lighter tone. From this strand you can have other strands branching off of it.
(haha excuse me while I continue detailing the face too… eep)
Okay! Now the hair has been rendered more. Now to add some finishing touches, you can add an even lighter highlighter at the top of the head and a thin line at the ends of certain hair strands. The key is not to overdo highlights and keep the brush thin. You can do the same for darks.
And now more effects! What you can do, depending on whether you created a separate layer for the hair or kept to one layer all this time (If so, awesome!) is that you can create a clipping mask and experiment with gradients and textures.
What I like to do is to create another layer on top of my painting, and then use the basic brush at low opacity and 300 px+ to create a soft halo/gradient. You can also use this to add shadow towards the bottom of the painting. Adjust the brush and color and experiment! You can also use a clipping mask with textures. If you made a different layer for each component of your piece, this part may be easier; otherwise, do several clipping masks for your single layer and simply erase or mask certain parts!! I added a darker shading on the sides of the head for the hair!
And there you go! I hope this has been helpful even if a little! Thank you for viewing! Have fun! Good luck!
Before I start, just another reminder: I consider myself an amateur, pretty much. My years of experience is numbered in the low single digits and I make mistakes all the time. I just like to talk about lettering and I enjoy sharing what I’ve learned so far. So here I go.
Getting down to basics: Kerning is the method of adjusting the space between letters in order to make them more legible, uniform, and visually appealing. Leading is the distance that exists between several lines of type.