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YAY a tutorial! I don't normally do these, but I've been asked before - and since I'm currently working on so many pieces of art, I figured I might as well do some tutorials at the same time :D

Character portrayed is (c) Copyright :iconbratkitty:. I'm making a full color picture of her as a free-sketch even prize for *bratkitty, so this is the process I used to draw up her sketch :)

More tutorials to come!
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The first part of tutorial series.

I'll start explaining how I see the world around me. While it may be a bit boring, otherworldly and not really telling you how to draw, it may help you to understand the concepts behind my drawings. Also, I'm not master of drawing myself yet, so this is not absolutely correct all the time.

These things are in very conceptual level at this point, but when I get to draw human characters, you will see how useful they are. These things will have a lot to do with the perspective drawing, which I'll cover later.

Nothing is as it seems...
The funniest thing about drawing is that we already have all the reference we possibly need around us and still we fail at drawing. How is this even possible?

It has mostly do with our brains, because our brains intentionally filter a lot of information away. The eyes gather simply too much information that it's no point using so much processing power, when certain reactions, habits and learnt knowledge will get the job done. For example, a leaf in shadow looks like it has the same color as one in light. Also, a person far away still look human sized. We can see several sides of a box, but it doesn't look skewed to us.

That said, while this kind of learnt knowledge is very useful, it's a real hindrance for an artist in training. An artist needs to learn seeing all the things our brains have filtered and then transfer that true visual data to the canvas. I believe that the power of art lies in illusion. For example, we know that our skin color is a bit yellowish. However, if our average Joe would paint the skin yellowish, it would look terrible. That's because our skin isn't really yellowish, but that's what we think it is. When an artist paints skin, she uses very different colors and for some reasons, the skin looks exactly like it should and we think it looks! How is this possible?

It's really fascinating how artists can make their paintings or drawings even more realistic than reality itself. I call this an illusion: something looks like A but it's actually B. So like in my previous example, a skin looks yellowish, but it's actually mix of purple, orange, red, green, blue and etc. The same principle of illusion can be seen almost anywhere.

To summarize, you need to draw the things very differently than you would think they. The table example is something I came up while playing piano. The effect is more evident there. Also, artists in training: read your assignments carefully. :)

Field of vision
Should be quite self-explanatory. You can see a lot of the surroundings around you. I recommend trying to look around your room with your peripheral vision, just like with the table. Sense the space around you. You should get this spatial feeling in your drawings too.

Scale and proportions
This may sound like an architects point of view, but these are the most common rules you will be dabble with. If you can see the proportions, you should be able to get most of your anatomical mistakes fixed. Of course, you will need to know what are the desirable proportions before you can fix the issues. I'll cover human character proportions in detail later.

But as a principle, I always try to find references from the elements in my drawing. If I know that a box A has certain proportions, I'll try to use a previously drawn box as a reference to get the proportions right. At the same time, I use other drawn elements in my drawing to determine the angle of new objects so that they look right from the beholders point of view.

Sometimes elements have the same proportions, but they are in different scale. For example, one cube may be smaller than another, but their proportions are still same. The bigger cube is just scaled up version of the smaller one. Then there is this case where two objects have the same proportions and scaling, but they still appear visually different in size. I call this distance scaling which takes place in perspective drawings. So in order to understand perspective, you will need to be able to see the proportions of the objects and their relation to each other and to the beholder.

If you didn't get anything at all, don't worry. You will understand it eventually if you keep practicing. The moment you understand them, I don't have much to teach you anymore.
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EDIT: The date is wrong, it should read 4.1.2015 ^^'
12th installment in "Nsio Explains" tutorial series delves deeper into the world of dynamism. Although I already have done a tutorial about dynamism, I felt it was necessary to explain dynamism in greater detail. 

Magic of Dynamism
You may already have heard about dynamism and line of action, but how much do you really understand what they are and how they work? For long I haven't been able to explain them very well for myself either. I just knew that some lines, poses and compositions just look dynamic and other don't. Maybe you will find this useful as well.

The main job of dynamism is to make your drawings look natural. However, dynamism isn't synonym for natural. It just makes the drawing feel natural, because it helps to justify your artistic actions. The reason for this is that humans just find dynamic flow very captivating. Composition is just about guiding the beholders eyes across the canvas and also persuades him/her to keep looking at the art. That said, your drawings don't have to be entirely realistic, or even possible if you just can justify your actions.

Although dynamism itself is basically just one phenomenon or concept, it can be broken down into several sub-types. These include, but aren't limited to, dynamism of line, perception, depth, repetition, gesture, action and view. I'll try to explain the ones I mentioned briefly.

Dynamism of Line
I have already explained this mostly in Line Dynamics tutorial. However, this is important to know, because every form of dynamism can be thought as a flowing line. It's also very concrete and easy to understand, which makes it that much easier to understand the concepts of dynamism better.

Dynamism of Perception
Now that you know that dynamism can be thought as a flowing, it's time to move on conceptual thinking. Most of the time, dynamism isn't blatantly visible, but is hidden behind visual cues the artist has carefully planned and laid on the canvas. These visual cues causes us to perceive hidden lines or paths if the artist has been successful. 

In fact, you could say that dynamism is just something you want to see when looking at art. Good artists just know how human perception generally works and offers visual cues to manipulate the viewer to see things like depth that doesn't really exist, on canvas that is. Although you may not be aware of it, you already know how things should look. That's why artists need to be careful not to make visual cues that confuse the viewer, because this will break the illusion. The more realistic look you aim for, the more unforgiving art is.

The reason many sketches look more interesting than finished pieces is the fact that the artist has left so much up to the viewer to imagine. Sketches offer just the crucial visual cues needed to understand the piece. For example, I believe that you likely see that arm I drew bending. Fully rendered drawings, especially with very photo-realistic execution, leave no room for imagination. That makes the viewer think there is nothing more in the drawing. Sketches, however, engage the viewer so much that they come up with the content on their own. To continue with the arm example, you may even imagine a foxy lady sitting on cozy chair.

Dynamism of Depth
While perspective is a concept for simulating depth, dynamism of depth is an idea which guides the beholder deep into the canvas, greatly emphasizing visual depth perceptions (I have few examples of this later). Although depth perception can be induced fairly easily with things like overlapping and size difference (distance scaling), dynamism of depth needs a path, preferably a dynamic one, from point A to B to make the feel of depth obvious.

If I should explain dynamism of depth with a concrete example, I would draw two arcs, one with fixed and the other with varying line weight. The one with fixed line weight would look as if it was literally on the canvas (dynamism of plane). The other one, however, would look like the other end of the line was farther away. For another example, I would draw several circles, starting with a large one and then gradually drawing smaller ones. Although I have clearly drawn different sized circles, you are more likely to perceive as if the circles were equal in size and forming a path in to the depths of the canvas.

Dynamism of plane isn't all that bad though, it just has its own uses.

Dynamism of Repetition
I found this quite interesting form of dynamism.

Drawings often have elements or patterns that repeat. However, the question is what kind of repetition is appropriate: absolute, varying or full random? In order to choose the right method, you need to understand the nature of the elements and repetition taking place because their execution affects overall dynamism of your drawing.

Absolute repetition often has to do with artificial things, such as mechanical stuff, decals, structures, tiling etc. Absolute repetition may not have any real dynamism in itself, so dynamism needs to be achieved by other means. For example, by drawing repetition in perspective it's possible to distort the strict order into more flowing form and still fool beholder's perception. The problem occurs when you fail to convey the feel of absolute repetition by offering visual cues that makes it look varying or full random.

Varying repetition has very loose definition, but I find it's important to make clear difference between absolute and full random. I explain this as having specific rules for the repetition, although the repeating elements don't have to look exactly the same. These kind of things could include draping of clothing and hair for instance. The important thing is just to avoid clear, repetitive patterns (funny when it's repetition we are talking!).

Full random is, at least for me, quite hard to achieve. I have noticed this when drawing starry sky: those little dots always seem to form clear patterns. I think full random is just about disguising varying repetition. I put things like grass, natural textures and other seemingly random occurrences in this category. Just like with varying repetition, clear patterns means game over.

Dynamism of Gesture
This is dynamism of living things. To draw dynamic characters (or animals, creatures, etc), you just need understanding about the characteristics that make them feel living beings. If we are talking about humans, that means understanding things like human physiology, psychology and body language. I generally think dynamism of gesture as "twist". We aren't static beings, we can take numerous poses, including all subtle variances (by twist I usually mean how torso seem to "twist"). Gesture drawing is a good way of grasping the general dynamism of gesture. If the posture should be simplified into one line, this is the primary line of action behind the pose (have a look at my original Dynamism tutorial). Poses aren't by no means limited into one action line, ideally whole body is engaged with multiple line of actions.

The more you apply dynamism in your drawing, the more you will understand how it works. The more you understand, the better you will be at determining what's causing problems in your art and take proper actions. Once you get general look in place, you will notice how much easier it is to add more realistic details on your drawings. Dynamism just sort of guides you.

Dynamism of Action
Dynamism of action literally explains the action that's taking place in your drawings. Things like who/what induces the action, in which the action is directed, what the action causes on the target etc. Although anything can happen in art, bounding the action on dynamic path will greatly intensify the action. Your goal as an artist is to probed such visual experience so that the viewer can feel the action.

Choosing just the right timing is also a crucial decision: do you choose the moment prior the action, the moment action is taking place, it's immediate results or the aftermath? In my example, I used my original character Sayaka. She was running on slippery surface and thus slipped. Check Nsio Pose Practice 7: Travelling Sayaka Tsuchimiya for original picture.

Dynamism of View
The chosen viewing angle can greatly add sense of dynamism in your drawing, even if it doesn't have real dynamism in itself (this just allows other forms of dynamism). One thing I have come to realize is the usage of viewing angles that slightly deviate from common angles. That said, front views aren't quite from the front for example. This is of course not always necessary. Choosing fitting viewing angle depends a lot on the situation. However, avoiding viewing angles that require absolute symmetry can make some situations much easier. Front views are really hard to draw very dynamic, but even slight deviation from that can do the trick.

Dynamism of view is a great tool at achieving the feel of immersion. Since I'm an architect, I find that drawings should offer strong spatial experience for the viewers. It's important that they feel as if they were part of the art, looking around a space instead of a canvas. I'm doing this by thinking how I would see the environment around me and distort the perspective accordingly. I used my ink drawing as an example here. I drew it while I was travelling in Alaska. You can find the original drawing here

This is all I got this time around, quite a lot of stuff! Anyway, hopefully you will find some use for this :D
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11th tutorial in my "Nsio explains" tutorial series. It's been a while from my last tutorials hasn't it? It took me quite some time to come up with a subject for a tutorial, then figure out how to tackle with it.

Although I have already drawn tutorials both for perspective and foreshortening, I felt that those weren't quite enough. Or rather, they didn't really explain the concepts deeply enough. That's why I wanted to compile this tutorial. I though noticed that I have rather vague understanding about my own way of seeing thins. Coming up with any definite rules instead of just random examples proved to be harder that I had anticipated. Thus, this tutorial is more like a small sample of my mind instead of a complete tutorial. Although there are many rules out there, one should be able to figure them out just with common sense. You don't need to know the name of the rule if you can effectively use it.

1. We aren't drawing 2D objects
Given that we are drawing things that present our reality that is. Anyway, with this part I just wanted to stress that although the canvas we are drawing on is two dimensional, our reality isn't. I always think like I was drawing three dimensional things. I'm not just drawing some lines, I'm drawing the shape of the subject. I don't know, maybe this has become too obvious for me after all these years of practicing.

2. You already know
I find this very interesting part. Because if you think about it, we are hardly ever confused about what we see in front of us. We can tell the shape of the box with one quick glance on it. We can identify human face from any viewing angle. There are tons of things we already know, but probably just don't realize. I guess it's just a matter of learning how to visualize the reality in our mind clearly and then have our hand to draw the image on a canvas.

3. Illusion of depth
As I said in previous part, we aren't confused about things we see. I believe that's because there are just so many visual cues out there that leave no room for confusion. We have grown in this three dimensional world after all, so we can read it really well. So the problem lies on the two dimensional canvas. If the illusion of depth is bad or inconsistent, our brains just don't understand what we are looking at. On the other hand, if we work too long on a drawing, our brains get too tired to care about what it's seeing.

Anyway, you just gotta use common sense here. You need to pay close attention on every little fact of the subject you are drawing. What is its orientation and position in space? What kind of surface does it have? Things like that. Not only you need to get the general shape right, you also need to consider every object that are related to it. Obviously, if you move your arm, the sleeve will follow accordingly. A tennis ball has a spherical form and the details on its surface follow the shape of the sphere. Similarly, if you draw tattoos, they follow the shape of the skin. If you fail to get these small visual cues right the illusion of depth is broken.

4. Overlapping
This is also about the illusion of depth. If you draw two circles overlapping, our brains automatically tries to figure out which of the circle is above and which is below. At least mine does, my view of the circles keep jumping constantly between the two options. Overlapping is one great way of adding sense of depth your drawing. Also, if you construct your drawings with basic shapes, it should be easier to see the depth. Once you understand how basic shapes work in space, you can spice up things with some more complex overlapping forms.

5. Limitations
Although there are nearly infinite possibilities how to draw things, there are certain limitations that stem from our reality. For example, objects can never go trough other objects. An object that's coming towards us can't go behind an object that is behind it. If we are drawing humans, our skeleton and joints set restrictions to our poses. If you don't respect these limitations, you will end up drawing things that make no sense to the viewer (abstract and psychedelic art is whole different thing). Again, our brains already know the things. Especially with human drawings, we are very delicate about how they look.

6. Plane Facing
The key of understanding complex shapes is to break them into simpler shapes such as cubes, because it's easier to read the planes. This is why you should learn drawing basic shapes by heart. You need to know where the surface of the object is facing namely for shading and highlighting. You can also read the orientation of the object when you understand where the planes are facing.

Smooth curved surfaces aren't really different from blocky surfaces. You could say that the resolution is just higher. If you know how to draw basic shapes, you can draw more complex surfaces even if you don't construct them with basics shapes. I myself kind of skipped boxes and it took me really long to figure out to understand the shapes because of it. Once I did some box practicing, I learned to see the planes and shapes very clearly, which then made it possible for me to learn drawing more complex forms such as human bodies without studying the actual anatomy thoroughly.

7. Finding the form
Many things about drawing just needs to be learned trough trial and error. In fact, it's required because you need to program your hand to follow your mind. Even if you know how cube looks, your hand doesn't know how to do it. You will need to put a lot of conscious effort in learning to draw even this basic shape correctly. That's why you need to do self-analysis constantly as you draw. If you work hard, you can slowly steer your drawing towards what is considered right. And as you practice more, you will eventually start to make so decent guesses that you get the drawings right on first try.

You just need to allow you to make mistakes and analyse what went wrong. Try doing the extremes. Is the shape too tall? Try drawing it too short. Is the shape too wide? Try drawing too narrow. Drawing the extremes will help you to evaluate the direction you need to take.

8. Mass and volume
Ideally, anything you draw should convey the feel of mass and volume. These will greatly add the sense of depth. Note that shading is a secondary way of doing that, at least in my opinion (one can argue if adding black areas is about shading or not). The lines themselves should speak on their behalf. Everything should be drawn in such way that the shape can be read just from the visual cues the lines offer. Like I said on first part, I'm drawing shapes instead of lines. It's just that I use lines to represent the shape (sounds weird I know). I have put a lot of effort in my studies on mass and volume, which shows in my female characters.

9. Amodal completion
This is pretty funny thing in my opinion. Our brains actually have the ability to "see" things that are partially hidden by other objects, given that there are enough visual cues. This ability is pretty lame though, as our mind is rather simple when it constructs the missing parts. The brains just prefer seeing things in certain way. For example, I once saw a picture about some women in bikinis and then the same pic partially covered so that the women were seen trough circular holes and all the clothing was hidden. Naturally, my brains told me they were plain naked, even if the uncovered picture was just next to it.

Anyway, the point is that you shouldn't confuse the brains of the viewer. Everything needs to make sense. For example, if you draw a character with a tail and it's partially behind the character, you need to draw it so that our brains can read the tail as a continuous object. Dynamism is a great tool to make sure there is no confusion.

Some perception practice...
Perception is your best asset to study things. I drew few exercises for you to tackle in order to train your perception. The first exercise is about drawing projections of the three dimensional object(s). Drawing projections is beneficial with more complex subjects as well, because you can then use them as a reference for constructing more advanced viewing angles. I drew these free hand, so treat the cubes as if their dimensions were equal. To get an idea what kind of projections you need to draw, see the second exercise for reference.

The second exercise is about drawing three dimensional object from two dimensional projections. The first exercise serves as a reference, but you may draw the view from any other angle you see fit.
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Seventh tutorial in my Nsio explains series. I'm finally talking a little about the infamous perspective. You can't really get away from it.

Consider this as my Christmas present to the dA community! :D

Isometric vs. perspective, 2D vs. 3D:
I guess everyone knows how to draw a cube at least to some extent. The question is whether that cube has successful depiction of three dimensional illusion.

I, for one, drew a lot of cubes in isometric projection and I thought it was three dimensional. But it's not. In fact, it looks very weird, if you think about it. You may look at this example as well: dsearls.org/courses/C122CompSc… . In orthogonal projections, the sides of the cube are always parallel. And in a sense, it's right, the sides of the cube needs to be parallel so that it would be a cube. However, the sides aren't parallel at all in perspective drawing. The cube is skewed, but for us, it looks even more like a cube than before. 

Our brains won't bother processing this skewed look around us, because it doesn't have to. You simply know that thing which actually looks skewed is a cube with right angles and straight sides. That said, you don't probably even realize how weird and distorted the world looks around yourself. And when you attempt to draw a cube, you might draw an isometric projection of it and call it 3D, because that's how it really is right? Well, while it's true, it's not what we actually see when we look at a cube in three dimensional space. So in order to draw a successful illusion of three dimensions, you have to draw the cube "wrong" in order to make it look like how we would see it in reality.

I understand the difference between 2D and 3D as I have drawn in my examples. If the cube drawing is truly 3D, there shouldn't be any doubt about the orientation of it's faces. However, if you draw and isometric cube, there are two possibilities: there is either normal cube or inverted cube. The faces of the cube can either face outwards or inwards. You can force your mind to see an inverted image of three dimensional cube, but if you can do that, you will see something totally weird and your brains can't probably comprehend what it is seeing. When I do this, I see the cube "inflating" back to normal the moment I see it inverted.

As a big fan of optical illusions, I suggest looking at this illusion too: www.lhup.edu/~dsimanek/3d/stai… . Pay attention how the guy is sitting on the stairs.

Why things look small at distance?
Because they are far away? True, but I have a bit different way to approach this question. I understand this phenomenon trough field of vision. You see, you could consider that our eyes are the point of a hollow cone and the field of vision expands as the cone gets larger. When you look very far, the cone has extended very far too. Now, if you place a wall right in front of you, your field of vision can't accommodate that wall, so it appears very large and you can't see anything else. If you step back, you eventually begin to see the surroundings around the wall. The wall appears to have shrunk before your eyes. If you keep walking backwards, the portion of the surrounding get larger in comparison to the wall. Finally, the difference between the surroundings and the wall that fill your field of vision is so great, that the wall basically disappears from your view. And despite becoming so small that it's hardly visible, it's size is still the same.

They Eye-level:
(You may know the term of horizon. It's good to note that when we talk about horizon in perspective, it's not necessarily the same as the physical horizon!)

When you are about to draw a perspective, you need to decide where the intended beholder is located and where she is looking at. The horizon of the perspective determines the eye-level. Then the position of the objects in relation to the horizon determine how the beholder sees the scene. For example, if the beholder's eyes are close to the ground, the objects dominate the topside of the horizon and usually the horizon is placed rather low on the canvas (the position of the horizon on the canvas doesn't really matter, but if you are going to draw a lot of sky, you will want to draw it rather low to actually be able to show the sky).

It's good to note that when a person (or any object) farther away and a person (or any object) with same height are seen at the same time, the horizon cross them exactly at the same place. That said, if you draw a person so that the horizon line crosses him around the chest, then all persons with the same height farther away also have the horizon line around their chest.  When you have persons with different heights, then it will get a bit trickier, but it's still can be done by following the same principles. Be careful when you place people in perspective. Failing to follow the rules will result in rather interesting effects. The same person may appear as a dwarf or a giant depending on how you draw him in relation to the horizon!

Drawing Perspective:
In order to draw a successful perspective, you will need to know how the things get skewed according the perspective. For that, you will need to know how to use the horizon, vanishing point(s) and perspective guidelines. When you are drawing perspective, you will use these tools to construct convincing perspective. (Note, I'm not going to explain how to actually construct a perspective, but rather explain the idea behind the perspective).

To put it short:
1)The horizon line determines the eye-level
2)The vanishing point is located on the horizon line (as the name suggest, things disappear at the vanishing points, just like I told about the field of vision earlier).
3)The guidelines meet at the vanishing point (These determine the direction towards the vanishing points, so that you know how to skew your drawing).

one-point-perspective:
As the name suggests, there is only one vanishing point in this perspective. It's most often located directly in front of the beholder. This kind of perspective suits mostly on indoor corridors or in some street views. But in general, this perspective is rather limited: the farther you go from the vanishing point in any direction, the perspective becomes distorted. Note, that all vertical and horizontal lines are parallel, only the lines going towards the vanishing points aren't.

two-point-perspective:
This perspective kind of fixes the issue mentioned in one-point-perspective. Now there are two vanishing points and only vertical lines are parallel. This kind of perspective is pretty useful for many scenes already. The higher or lower you go from the horizon, the more distorted the drawing becomes.

Placing the vanishing points too close to each other is the most common perspective mistake. If you are drawing a house on A4 paper, the vanishing points are far outside the paper boundaries. If you draw the vanishing point within the paper, you respectively need to draw the object in perspective smaller.

three-point-perspective:
Third vanishing point isn't added on the horizon, but above or below instead. Now none of the lines are parallel. This eliminates the distortion in vertical axis to some extent. This perspective allows the beholder gaze up to the sky or downwards. Note that you can't get both, because the perspective guidelines will cause the tremendous distortion the farther you go from the third vanishing point.

The third vanishing point is often placed very far from the horizon. The farther it is from the horizon, the more subtle the vertical skewing is.

The Fisheye perspective:
All the three methods thus far make use of straight lines. When fourth and fifth vanishing points are introduced, there are no longer straight lines. This is due to fisheye effect taking place which causes all the lines curve. This is pretty tricky to construct, but that's very close to how we actually see the things around us (www.2d-digital-art-guide.com/m… this is where I grabbed the spherical perspective grid).

The problem with perspective drawing is the fact that you can only draw what's in front of you. In perspective drawings, the beholders view is sort of "locked" so you can't look what's on the left or right . There is six-point perspective, where the sixth vanishing point is located behind the beholder and it's possible to draw 360 degree view of the scene. This is already getting so ridiculous, that it's not really worth the trouble. Besides, I believe it's possible to draw perspective close enough without  constructing the perspective. Even though I'm saying this, it's still crucial to know how the things I have explained work in order to draw the perspective right.

When I draw perspective, I rarely really construct them. Instead, I'm imagining how I would see the scene around me if I was to look around. Remember, that you can't draw the guidelines randomly in any perspective. You will still need to know how the objects looks from certain point of view. That said, I'm trusting more my own eyes and use the guidelines only when I really need them. 

So to get started with a perspective drawing, I usually draw some sort of reference object first. I'm not really thinking the angle at this point, I'm just drawing an object that looks three dimensional. When I have drawn this object, I will begin to "look around" the canvas. I'm trying to see the "where" I had drawn the reference object in relation to the beholder. And that's how I keep working on the drawing, finding the relations between the elements according to the reference object and the beholder. I may still use the guidelines every now and then, but mostly I'm just trying trust my understanding of how I will see the objects around me.

Same goes with basically anything I draw. When I draw human characters, I usually draw them as if they were rather close to the beholder. That's why the feet are seen from above. And if they eye-level is around the waist, then the head is seen from below. It's also good way to show the height of the character in relation to the beholder, as shorter characters need to look upwards and taller characters downwards in order to look the beholder's face. This then can be used in manga to help the reader feel like she was part of the story.

Foreshortening has a lot to do with the perspective, but I decided to leave it out for now.
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Tutorials
:iconhollow-nobody:
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I still learn about anatomy too.

but this tutorial will show you how I draw male anatomy.

So almost of this pic is inorrect from real anatomy. ; v ;

For Blue line, it is a guide line to guess body section.

okay I hope this tutorial is useful and understandable.

And so sorry for my bad english. Thank you
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Thought I might as well share this with those who might need it. This would double as a reference sheet for clothing and folds/wrinkles. I varied body types a little too.

Edit: Changed the title. "Random men's clothes refs" looked a bit too messy after a while. :lol:
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This is a tutorial on how I draw the female body. It's just how the female body is drawn in my style along with some tips on how I deal with it. This is by no means the only way to draw female anatomy or the absolute correct way to draw it. I myself am still learning and correcting my anatomy skills. Thank you.

Female counterpart to the male reference I did. Not as lenghty as the male reference either.

Ugh I hate drawing boobs. I'd rather draw men.
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contains 30 Nature textures

do not redistribute

from ig? tag #fromtexturous or texturous to credit us

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  • contains 30 overlays including constellations etc
  • do not redistribute
  • from instagram? credit @.texturous and/or #fromtexturous
  • comments & favourites are appreciated

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fav tutorials
:iconmarshallina:
Collection by
Last week I was asked to do a tutorial on my hairstyles. It's my first tutorial, so enjoy.

If you want to know how I draw, colored, and texture my drawings check out my tutorials.

I'm debating on making another hair tutorial with other hairstyles that I draw.

If I should leave a comment
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So I've not been around much recently. This my apology of sorts.

Tho i dunno if there's a lot of typos...i tend to make quite a few X'''DD and I managed to catch my finger in the door the other day (not my drawing hand so no worries) but it doesn't like bending or applying pressure so i mess up with typing haha

Any questions feel free to ask and i'll help how i can <3


There's other tutorials in my gallery...somewhere...I should make a folder for them...
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:star: ALL artwork in my gallery is Đ to me, Meagan McCoy (SKTAF). do not use, reproduce, redistribute or modify my work or literature in any way without my written permission.

Check my journal 'Use of Artwork' terms. If you wish to contact me, note me. :star:

==============================

YOUTUBE VIDEO ADDED links below.

i have no words. i spent aobut hmm i dont know 4 HOURS ON THIS THING...... RIDICULOUS.....
and i wasted time trying to find a way to put buttons on it so you could interact with it -___- didn't work out for me as you see...

sorry if you can't read it. just squint or zoom your browser in :P

SKTAF
Artwork (c) copyright- SKTAF and all that bollocks.


Since this gets so many faves/views- check out these other people's awesome tutorials-
pearl- syoshiko.deviantart.com/art/Ea…
bubble- apofiss.deviantart.com/art/MAG…
gems- liiga.deviantart.com/art/Gemst…


ALSO CHECK OUT MY OTHER TUTORIALS-

YOUTUBE VIDEO TUTORIAL-
Part 1- www.youtube.com/watch?v=IGIq2V…
Part 2- www.youtube.com/watch?v=8lGFS4…

face- fav.me/d6zu4l8
eyes- fav.me/d58d0zf
lips- fav.me/d47ag0w
foliage- fav.me/d5wjmbz
Feather- step-by-step- fav.me/d6tdfrs
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:iconjinzouki: hope this helps with eyes :D

mirrors are useful when learning to draw expressions and how the eyebrows effect the eyes :D
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Hey! I got one up! Nothing fancy, but I started basic. I had to figure how exactly to MAKE a tutorial. XD It looks so fancyyy~~ *ish proud of self*

Made With:
- SAI Painter
- Photoshop (for text & arranging)
- Pen Tablet (Graphire 4)

SAI Painter is a gorgeous program that's simple, yet beautiful. You can look it up and try out the trial version, then buy it if you really like it! Mine is bought, and I don't regret a single bit of it. It truly is masterful for linearts and is wonderful for coloring.

But this tutorial should work for any coloring program, as long as you can know your way around your brushes.

-----

Feel free to ask any questions regarding the tutorial, and I'll hopefully be able to help you with any confusion. :3 Comments are grandly appreciated, and if you use this tutorial in the making of your art, link it! I'd love to see anything you've done! <3

Hope it's useful! (in all its silliness >_>...)

~Hamano Ayumi

(PS: DOWNLOAD FOR FULL/GIANT VERSION. IT'S HUUUGE. 8D)
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Tutorials
:iconreveven:
Collection by
Face Book llOnline Store ll Tumblr ll Help support me on Patreon and get special perks<3llArtstation

This tutorial was made possible by my patrons on patreon! The full package of this tutorial including psd, video tutorial,  high res jpg will be available through www.patreon.com/creation?hid=1…  : )


Program recommended: photoshop

Patreon reward archive ( see what rewards you can get by helping support me !)
Thank you for your interest!

This term (1-17th Dec) tutorial pack include these and one more voice over workshop on portrait !
Nose tutorial by sakimichanCleavge step by step tutorial by sakimichan
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PLEASE READ!!!

Amazing tutorial on bounced light and color by *TastesLikeAnya!


Finished art: [link]

Here you go guys. The long awaited coloring tutorial I always said I would get to but never really did. <3

I'm horrible at explaining things..so I hope this helps a little. LMAO. And I hope you can read my handwriting. x____x
This was done on livestream, and my photoshop refuses to work properly when livestream is doing its job.

If you have any questions, feel free to leave a comment.

I WOULD LOVE TO SEE WHAT YOU GUYS PRODUCE WITH THIS TUTORIAL! Link me here! (:
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Yeah, it's a crappy flash-thingy, sorry for that. And thanks to *trenchmaker for trying to help me with that.

That's the Copic marker Tutorial I wrote a while back. It's pretty basic, but that's usually the way I work with Copics.

Cloud Strife Ccopyright Square Enix

Edit

For those, who can't view the file:

Don't download it. It's a flash-file, so you need a flash-plugin to view that file.

It seems you have to wait a bit until the file fully loads. Sorry for that, next time I won't make a flashmovie, but an HTML-zip. :)
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Oh gosh this took me forever... but hope this can be a succeful tutorial for you guys! since a lot of people wanna know how to draw Ventus (or that's what I think...I guess) here is it!

Vanitas is the second part and since he is special (lol yes, his hair) I'll take my time to make his tutorial for now enjoy this one xD.

Read left to the right
I always, always start from the face, ironic because I had a weird complex to start with the hair (and when I was little from the...feet, lolwut, WELL, I WAS A SWEET INNOCENT GIRL WITH ZERO LOGIC) but okay let's begin!

:bulletblue: Face

I really don't make a round blank face and I start filling it because I'm used to draw eyes, nose and mouth directly but if you aren't used I recommend you to start using circles + lines to add properly the eyes, nose and mouth (I draw it in that order, is not necessary that way though)

The eyes can be simple to draw, I often draw them with more lights than shades but you can use your own way to do that after all, Ventus' eyes are blue, the blue color looks great if you don't add shades or shadows since it's a bright color you.

His eyes change (for me) in a different situation, I tend to use two ways to make his expressions fit to every situation (I didn't draw it, maybe another time I'll draw his expressions so you will get it better)

Isn't really difficult to draw his eyes, I have to admit that his eyes are easier than Vanitas' eyes.

:bulletorange: Face Side

You can see that I use the same to draw Tsuna's face, like I said before, since Ventus is young his profile looks this way. His nose is small and you can draw his lips parted or not, you can decided which is easier for you and which one looks better for you, both are okay but I think the detail on his lips are great. You can also add a detail on his nose but that's up to you.

:bulletred: Hair

(on construction)
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Tutorials
:iconsariausagi:
Collection by

Edit: W-wow.... Thanks everybody for all the feedback! I'm really happy you guys find this helpful ;AA; You don't have to credit me if you use the tutorial though -chuckle- Though I'd love to see the results!
Thanks again! ♥


Finally done. Damn, this took me a long while! ; A ;

"Hair" was the most popular option in the poll I made last mont, although, honestly, I don't know why you'd want a hair tutorial by me, but here you go guys~

I hope it's easy to follow ; ___ ;
Don't hesitate to ask if you have any questions!

Eye coloring tutorial:


Finished picture:


Art Đ Me
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I hope this can be helpful to anyone ^^'' Please forgive any mistakes on the text OTL

Two extra notes:

:bulletpink:VECTOR PEN

I would have liked to explain more about this tool but I think that experimenting yourself is much better. Although I would like to remark that this is really useful to draw objects or symmetric stuff. Also, I use both the brush and the vector pen to do the lineart on this video [link], in case you're interested.

:bulletpink: HIGH PASS

There's a very useful tutorial by ~hannahjenny about this filter



Thank you for reading!
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this is mah second tutorial x3 hope you like it


finish art : [link]
tool: paint tool sai
tutorial by yen/me
level: easy
gumi megpoid by yamaha v2 and v3
hair style by yen/me
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I recieved a request on Tumblr for a tutorial on how I animate things with a program called Imageready. Imageready comes packaged with earlier versions of Photoshop (I use 7.0).

Although this tutorial was written for Imageready most steps can easily apply to newer versions of Photoshop as well which have Animation capabilities built right in (Window>Animation)

:iconleftlacedivplz::iconpinkbowdivplz::iconpinkbowdivplz::iconpinkbowdivplz::iconpinkbowdivplz::iconpinkbowdivplz::iconrightlacedivplz:

Unfortunately I cannot instruct you on how to Animate in any other programs, I'm sorry! :(

:iconleftlacedivplz::iconpinkbowdivplz::iconpinkbowdivplz::iconpinkbowdivplz::iconpinkbowdivplz::iconpinkbowdivplz::iconrightlacedivplz:


Here is the finished example GIF!

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Featured
:iconmimi-squirrel:
Collection by
This was made half-assed to teach a friend of mine how to effectively draw megaman style robots and MMX Reploids. It's basic, probably not all that great, but essentially accurate. I'm tossing it up here so he can save it and use it if he needs it. Here's to you, Erico!
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Practicing Animation using ToonBoom. I really love the software I just need to keep practicing techniques though. I had to upload a smaller resolution than previously SWF file because it was too wide to put up so just deal with the size for now Until I can get it straightened out. Hope you guys enjoy
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:bulletblue:This is my style for the eyes, you can try if your want or maybe take tips perhaps?
:bulletblue:I don't know if it's helpful or not, I'm not the best when comes to tutorials or explain. I don't like explaining wrong ;w; I'm bad at explaining and writing all those long descriptions
:bulletblue:So if you have any questions or found any mistakes, I will edit or add things.

:bulletred: The [RED] shows the way of tutorials
:bulletgreen: The [GREEN] is the Tips or additional Information
:bulletblue: The [BLUE] well just random or idk

:bulletred: Use Folders, it's much more organise, don't forget to rename the folders and layer so it'll be easier

I apologise for the crappy tutorial ;w;
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Finally! ))
I hope it will come handy ^^

also you can ask me anything on tumblr: jellyfishthefanarter.tumblr.co… Tutorial stuff or not I'll try to respond ^^
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Fanart of Xion from Kingdom Hearts 358/2 Days.
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I hope this is actually what KH3 is like

Journal Entry: Mon Nov 24, 2014, 11:43 AM



This is an old video but I forgot all about it. Please watch it.
Also they beat me to all my "obscure movies that could be in Kingdom Hearts because they are Disney" jokes, damnit.

I actually found this while searching for "other games IGN rated lower than 7.8 but no one gave a shit about their opinion then because it wasn't about Pokemon".
Also I've been saying R/S had too much water in it for fucking 10 years and no one made a meme for *me*. >:[



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We had a BLAST at Metrocon, this year! Colt-kun and I have never gotten so many pictures taken before. @_@ We attended a few different panels, including one on Special FX make-up. Hopefully, we can apply some of what we learned to our future cosplays. (:

Johar was such a cute Kairi, and Colt looked so perfect as Sora! /gushgush :heart:

Sora - Colt-kun 
Kairi - white-johar 
Riku - me

photo taken by Ryn/bladedcrow @ tumblr
location - Metrocon 2014
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My girl (the cosplayer) said: This Cosplay is more than 6 years old (and Iīm very surprised, that it still fits Oo ) and itīs not really good. But I found it a few weeks ago and realized, that I donīt have even one good picture of it. I only wore it at a Convention and itīs so uncomfortable to wear, that it immediately got stored up in my cellar XD
Poor one ;_;
The patterns are blue fabric, painted with a special light reflecting paint (but it doesnīt really work that well >_<° ) BUT at least one part in the helmet is really glowing ( You canīt see it in this picture, but more pictures will follow ^_- )
The Kingdom Key is my old Keyblade from our KH Musicals, but maaayybeeeee Iīll have some more soon o*0*o



Kingdom Hearts 2 - Space Paranoids

@ Disney / Square Enix

Sora: :iconevil-uke-sora:

Photography and Edit: :iconrotemamba: (me)

More:
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Good day my Lords and Ladies!

The lineart of this piece is on my hard drive for some time now and I finally got my ass up to color it (After :iconhokatius: told me SEVERAL TIMES to do it) :D

Well I have so many good memories about the Kingdom Hearts games, and I just love the design of the Shadow Lurkers (Or whatever they are called in your country :D) so it was only a matter of time for me to do a fanart of them.

Feel free to comment, and as always, have a wonderful day.

Kingdom Hearts and all associated Characters are Đ by Square Enix
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Kingdom Hearts
:iconkikashadow:
Collection by
I made this long ago... Also my signature/avatar in some communities...
Download: 300x150px size.

EDIT: (1/7/08)
Votes so far:
Kairi=68
Riku=88
Both=20

I'm getting confused with the votes now!!! @-@'

EDIT2:
Now that i'm really confused, i made a poll here:
[link]
Just in case anyone's still interested... =u=

EDIT3:
Sequel: [link]
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A sequel to [link]

DOWNLOAD TO VIEW: (400x200px)
(150x75px is crap and u know that)

POLL: [link]

Edit:
Oh sh-- [link]
Thank you all!

Software used:
Adobe Photoshop CS3 (for animating)
Adobe Imageready CS2 (for gif conversion)
Mozilla Firefox 3.0 (for uploading, lol)
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Oh gosh this took me forever... but hope this can be a succeful tutorial for you guys! since a lot of people wanna know how to draw Ventus (or that's what I think...I guess) here is it!

Vanitas is the second part and since he is special (lol yes, his hair) I'll take my time to make his tutorial for now enjoy this one xD.

Read left to the right
I always, always start from the face, ironic because I had a weird complex to start with the hair (and when I was little from the...feet, lolwut, WELL, I WAS A SWEET INNOCENT GIRL WITH ZERO LOGIC) but okay let's begin!

:bulletblue: Face

I really don't make a round blank face and I start filling it because I'm used to draw eyes, nose and mouth directly but if you aren't used I recommend you to start using circles + lines to add properly the eyes, nose and mouth (I draw it in that order, is not necessary that way though)

The eyes can be simple to draw, I often draw them with more lights than shades but you can use your own way to do that after all, Ventus' eyes are blue, the blue color looks great if you don't add shades or shadows since it's a bright color you.

His eyes change (for me) in a different situation, I tend to use two ways to make his expressions fit to every situation (I didn't draw it, maybe another time I'll draw his expressions so you will get it better)

Isn't really difficult to draw his eyes, I have to admit that his eyes are easier than Vanitas' eyes.

:bulletorange: Face Side

You can see that I use the same to draw Tsuna's face, like I said before, since Ventus is young his profile looks this way. His nose is small and you can draw his lips parted or not, you can decided which is easier for you and which one looks better for you, both are okay but I think the detail on his lips are great. You can also add a detail on his nose but that's up to you.

:bulletred: Hair

(on construction)
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A reference base made in the style of the KH: 358/2 Days Menu.

FREE to use, but please CREDIT. You don't have to link back.

You don't have to use it just for Organization OC's. You can use them for whatever OC you please.

Remove the words and replace.
::TOP SCREEN::
Name = The name of your OC
Title = Like they have in the organization, e.g. The Melodious Nocturne
Weapon = An image of your weapon, preferably as a sprite.
Character Sprite = Sprite or Image of your OC
Number = Your number in the Organization e.g. Xemnas is I, Luxord is X. Leave blank if your character is not in the organization.
Description= What is your character like? What are their likes and dislikes?

:: BOTTOM SCREEN::
Name = Again, your Oc's name.
Mugshot = A closeup of their face
Gender = Boy or girl, Male or female
Age = How old they are
Element = e.g Luxord is Time, Larxene is Lightning
Power = Think of this like a Limit Break. It is what you do with your element. For example, If your element was Wood or Earth, your power could be to talk to trees or plants.
Strength = How physically strong your character is.
Magic = How strong your OC's magic is.
Defense = How protected your OC is against damage
Critical % and Crit Bonus.... I'm not too sure about. If you know, please tell me.
World logo = Image or Sprite of the world your character originated from. E.g. Sora is from Destiny Isle. Ariel is from Atlantica.
Background = Just say a little about their past. Organization members could make this an explanation about their Somebody's past.

Kingdom Hearts (c) Sqaure Enix and Disney
Base (c) Me
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Tutorials
:iconvenduckie:
Collection by
...by someone who completely sucks at explaining..
oh god
I am sorry I can't explain things good:C
I didn't mention here how to draw eyes and hair, since I have already done it..here: [link]

hope you'll find this crap at least a bit helpful..
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Oh gosh this took me forever... but hope this can be a succeful tutorial for you guys! since a lot of people wanna know how to draw Ventus (or that's what I think...I guess) here is it!

Vanitas is the second part and since he is special (lol yes, his hair) I'll take my time to make his tutorial for now enjoy this one xD.

Read left to the right
I always, always start from the face, ironic because I had a weird complex to start with the hair (and when I was little from the...feet, lolwut, WELL, I WAS A SWEET INNOCENT GIRL WITH ZERO LOGIC) but okay let's begin!

:bulletblue: Face

I really don't make a round blank face and I start filling it because I'm used to draw eyes, nose and mouth directly but if you aren't used I recommend you to start using circles + lines to add properly the eyes, nose and mouth (I draw it in that order, is not necessary that way though)

The eyes can be simple to draw, I often draw them with more lights than shades but you can use your own way to do that after all, Ventus' eyes are blue, the blue color looks great if you don't add shades or shadows since it's a bright color you.

His eyes change (for me) in a different situation, I tend to use two ways to make his expressions fit to every situation (I didn't draw it, maybe another time I'll draw his expressions so you will get it better)

Isn't really difficult to draw his eyes, I have to admit that his eyes are easier than Vanitas' eyes.

:bulletorange: Face Side

You can see that I use the same to draw Tsuna's face, like I said before, since Ventus is young his profile looks this way. His nose is small and you can draw his lips parted or not, you can decided which is easier for you and which one looks better for you, both are okay but I think the detail on his lips are great. You can also add a detail on his nose but that's up to you.

:bulletred: Hair

(on construction)
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peeps ask me about drawing hair a lot :U so made another poop tutorial rofl;;

hope its somewhat helpful < w >

lol and of course had to fit Rhi in there somewhere, not a party without Rhi-Pie :U //SLAPPED

Other Tuts:


Rhi (c) Little-miss-boxie
Rhi's also from my comic series here ---> :iconmoth-series: if you wanna check it out :heart:
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Kingdom Hearts
:iconyuffb:
Collection by
That is my fav Keyblade in Kingdom Heart.

KetsuRi as Sora

Photo taken by :iconstudiok2:
Retouch by Hitomi
Keyblade make by Yuin

You can follow Ketsu Ri facebook in there :[link]
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"I just don't understand...How did this even happen?" Terra struggled to keep his voice low and calm, seeing the Princess wring her hands nervously.

"I'm sure it was Malificent, but.. but I don't know why..." She trailed off averting her gaze. He could see the guilt was eating her. The wrong person was lying on the bed as far as she was concerned. Her eyes darted back to Terra when he sighed thru his nose.

Terra gazed down at the sleeping blonde, bracing himself with a hand on the mattress by the boy's pale cheeks. He inched towards the boys lips before pulling back.
"Are you sure this will work?" He questioned again.

"It should," She said gently "Love's true kiss never fails to-"

"....Love's true kiss?? You have got to be kidding me..." He muttered, feeling his cheeks start to burn. "Can you at least look away? It's hard enough already."



No spoilers pleeaaasee~ and thanks~


XDD Just a bit of fun~
Please vote so my sister, my friend and I can win a holiday to Canada. Pleasseee. Your DOB needs to be 18 yrs or older cuz it's an irish site:: [link]
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Ven thing i did a looooonggg time ago
his suit is so hard aksldjsfsdclk
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This moment is too sentimental & intimate for a background!♥
(thought this up several days ago and drew today)

LOL. THIS IS HOW I FELT WHEN RIKU DITCHED ME.
My first encounter with Riku after the Island was destroyed.
I came back to Traverse Town from some world and then he just popped up out of nowhere in the Third District. I was like, "WHERETF DID YOU COME FROM !?"
An then I was like, "*w* *squee* Sora is finally all smiles about Riku! (And not seeing visions of Kairi)"
And then my hopes like, crashed and burned XD
WHY DOES HE JUST HAVE TO LEAVEEE???~

Lol, then I was angry at Donald for like, 10 minutes. "@#$%, YOU MADE ME LOOK AWAY."

Sora's hair is a bitch AND bitchin' at the same time. *love/hate relationship atm*
LOL. They both look absolutely adorkable

Wowz. I think this is the first real comic I've submitted :heart:

--------------
Artwork/Comic © Me
Sora & Riku © SQUEENIX
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Another picture taken with :iconmarkiemark425:&:icontheycallmecait:

Axel::iconsunlitebreeze:
Riku::iconruet-beer:
Roxas::iconxstrawberrymilk:
Saix::iconaoi-409:
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