don’t worry, your english turned out fine, dude.
as a foreword of warning,
it is best that you don’t use this post as a standalone tutorial,
instead, try to use it as a study aid to help you make sense of real-life references.
(same applies for any decent “art tutorial” out there, really. :p)
bolded numbers correspond to the numbers on this post’s pictures.
if someone sends like £5 to email@example.com
I’ll draw you a sketch/flat colored fullbody
or anything you want
I seriously need to eat I haven’t ate for almost a week and my stomach has been eating itself
part 1 of my answer ! I dunno, I hope this is some help or whatever, or at least a goof startpoint for people to debate over the differences between comics and animation ? :) it’s still a good time for you to go check out my comics wwebsite haha
Reblogging, because very very close to my own experience.
The 115 Citizen Hand Photos for References are up and ready for you guys to download! Check them out here:http://cgcookie.com/concept/2013/02/28/concept-cookie-resources-photo-references/
The getting Started Course is here, go check it out here: http://cgcookie.com/concept/cgc-courses/getting-started-in-digital-art/
No problem. Maybe play with your pressure settings some. I usually keep my opacity low when I’m erasing light or shadow in and build up.
Usually I just start two values and start branching on my tones from there.
You can find your two values the long way with shadow plotting. Which takes forever. I make it mandatory for me to take a perspective class every year so I get a lot of practice with this.
Or buy these airbrush them white and observe from life, which I have and it’s amazing for quick studies. Or find some images on google. This is if your a stickler for accuracy and if your doing studies you kind of want to be.
I just learned how to organize my values and question if this is a dark tone sphere, medium tone sphere or a light tone sphere then question what the value range for it would be. Limitations help with subtle tones. Also keep in mind how fast your fall-off rate is with your tones in accordance to what material it is. The more matte it is the less radical in tone shifts. What helps a lot is just getting a sphere object, studying it and thinking about how you would paint it and pretend your explaining to someone else while your painting it. Helps consolidate your process some.
These are good videos to start with learning about these kinds of things.
Is pretty much how I approach things, break it in it’s simplest values then build up.
Good things to think about.
I just kept redrawing spheres until I got it. I would spend days on my Sam Nielson assignments until I got it to an acceptable point. I pushed myself hard and was constantly frustrated. I kept watching the videos over and over and over then staring at my geometric wood blocks until it started clicking. I remember even buying sculpey and sculpting the shapes I had to paint then taking a lamp and moving the light on it to understand form and shadows. When I was doing Sam Nielson’s classes I was also watching and doing Scott Robertsons Rendering Matte Gnomon series alongside it. I did those all traditionally as well. If I messed up a study I would keep redoing it until I got it right. I learned how to use copics markers/charcoal powder that way.
Body Language Secrets Everyone Must Know
by Aldis Kalnins
For the person who sent me a message about body language the other day.
I still have to look up some good/easy to find books for you but I shall message you/publish them (as others might find them useful) as soon as I have a good list going!
This is a great introduction into reading body language though!
Sphinx for Girls Make Games! This time with process screenshots, including bonus dragon and cerberus exploration sketches!
The dragon was the first monster I designed, and I had a much clearer concept for the sphinx in comparison. Because the deadline came up so fast (I came on later than the rest of the art team), I didn’t get to tweak these as much as I usually might, but I think it worked out pretty well!
Still mega proud of Fire Skulls Cerberus. SHREDDING GUITAR SOLO!!!!
sorry, i don’t have any tips or guides!! but here is a .gif of me drawing scout’s tiny little head, if that is any help (probably not but yeah sorry)
I don’t mean to interrupt, but I’ve got some tips! Or maybe gentle guidelines :P
Scout’s the youngest member of the team, so his youth is mostly displayed in his softer jawline (compared to the others who have angular jaws and jutting chins (even underbites). The contrast helps bring note to his age. (explained in the pic below; notice scout on the bottom left)
One of Scout’s other major defining features is his nose, and that picture is also a good way to examine it. The bridge is slightly concave, with the end extending slightly (I’ve seen his nose exaggerated to varying degrees by artists [i.e. length], but most if not all have been successful).
Finally, though imo not quite as important, are his teeth. Fun fact: all the mercs have unique sets of teeth! Scout’s front teeth are a bit larger (and yellower from drinking soda) than the other mercs’ chompers. (the pic below is a portion of a full lineup of the mercs showing off their teeth; for size’s sake I’ve cropped it to just Scout)
Bonus features, though not always necessary: hat, dog tags, obnoxious expression.
I know you were only interested in heads, but I feel it’s important to note that a vital rule of character design is silhouette (i.e. the silhouette of their whole body is recognizable and unique from the silhouettes of other characters from that piece of media and other pieces of media). All the mercs have unique silhouettes—study Scout’s body as well!
So to wrap it up. If you lock onto these features, your drawing of Scout will be INSTANTLY recognizable. Study the characters and remember: practice practice practice! Good luck and share your drawings :)
there ya go anon,