One Point Perspective. The Mannequin Model. Heads In Perspective. Male Heads - Front View. Male Heads - Side View. Female Heads - Front View. How To Draw Hair.
How To Draw a Glock Handgun. Design Language: This language is not of words but of shapes and lines. Design language is the understanding of how different shapes and compositions evoke different emotions in the viewer. Even complex forms like human bodies have these basic shapes and so characters can be very useful when evoking different emotions. And lastly, the curve or lack of curves with in your line work will also be thrown into this category and evoke different emotions from the viewer.
If you can make the reader feel something without them even knowing the plot, you've done your job well. Consistency: Last but not least, you must value consistency. Many artists outside of comics don't have to worry about this subject as much but for us, this is almost paramount.
If you draw something one way it better look the same in the next panel in the sequence. Even if you draw something inaccurately, as most of us do sometimes, as long as it has the same inaccuracies in the following panels, it will not break the flow of the story. That's not to say that you don't need to be accurate but it's to show the importance and relevance to the main task as storytellers.
Consistency is needed as much as possible, so start to train yourself now to pay attention to even the smallest details. This also breaks down into several smaller sub sets. Staging: This skill is just the ability to arrange characters and objects in a shot. The way the characters are grouped and framed is very important. The reader not only needs to follow along but feel apart of the scene.
Use elements in the foreground, mid-ground and background to make scenes more dynamic. Over time audiences become accustomed to what's come before. The techniques in comics are sometimes similar to that of film but there are many others that are exclusive to comic storytelling.
Techniques like using speed lines for fast motion, panel border integration on a single environment to show the movement within a still camera, and collages of interconnected imagery for montages are all examples of comic book language. Screen Direction Continuity: This is also called the degree rule. Here's an image to help explain it. Credit: learnaboutflim. The actors 1 and 2 are plotted next to the imaginary rule boundary. The storyteller needs to not cross over that line when moving the camera, so to keep the two different subjects from being flipped from the left to the right side of the screen.
If you do move the camera over that line make sure there is another new element to ground them to a new line or use a neutral shot right beforehand to make the move not as jarring. Shot Choice: This refers to the types and angles of camera shots.
There are basically nine kinds with an infinite number of variations. Each conveys a different emotion and should be used to push the story point, so learn their uses and implement them correctly in your story. Comic Juxtaposition: This skill is a big one and my personal favorite. It is literally why I love comic storytelling above all others.
While film has sound and motion and novels have a deep introspective experience, comics have juxtaposition. This is mostly juxtaposition of images but also can be of words in their graphic forms. With image juxtaposition you can create totally different stories with the same images, depending on how they are ordered and arranged. For example, if you place a close up image of someone holding a weapon and the next image a picture of a grave, you automatically assume that person holding the weapon killed someone.
That's amazing to me that we can infer that much with a couple of images. This part is all about the things you need to do that has no direct relation to actually drawing. This is a huge one. A visual library is just a collection of mental images.
Every time you see something in daily life your mind automatically remembers some details about that subject. This collection gets very big as you grow older and have more and more experiences. But not all memories have the same utility. Everyone remembers things differently and we all will likely recall totally different aspects of the same objects.
As an artist, you should actively force your mind to remember as much as you can about the world we live in. Just be curious about the world around you and your mind will take care of the rest. Having a large visual library will aid in all of your artistic endeavors. Taking photographs whenever you have a chance is a great way to slowly build up a hard drive of your own reference material. Remember to only keep the best pictures.
Then when you back them up on the computer, remember to organize them into broad categories so to make finding them again an easier task. So you want to learn how to draw comics? The best way to understand the medium is to read constantly. Read your favorites, read the stuff you probably won't like but people have recommended, read the bad and the good, read as much as you can. Not only will this inspire you to elevate your work to the professional level but also remind you of how painful it is to read a clunky comic.
This is a subject that I won't break down too far but rather just give my suggestions to how and why you should be disciplined practitioners of the arts.
As Jocko Willink so heavily emphasized "Discipline equals freedom". And I think the majority of that is mental freedom. For me, after you work hard, it allows your brain to play hard or relax hard, rather. I think the best analogy of how we should work and practice as artists goes as follows: As an artist you are like a shopkeeper. Every day you open up shop at the same time and do the same work.
Some days people come in the store by the masses and the day is incredibly productive, and some days the store is vacant and not much gets done but if you come to work consistently the store will be an overall success. When you get down to work try to do it for the same time everyday, rain or shine; friends wanting to hang out or not. No matter what, your art time is sacred above all else.
You decide what is important. If you continually make this time to create, the world of successful art making will come. Here's a couple of suggestions of how to protect your art time. One is to set up a reward for doing the work. Whether it is giving yourself some time to play video games or eating your favorite dessert, find a way to build a positive feedback loop for putting in the work. I prefer just working for six days of the week pretty freaking hard and then having a whole day of guilt-free relaxation.
My second suggestion is to set up a system of accountability. It can be as simple as telling an art friend about your progress regularly or set up a public deadline that will be hard to move. I set up a live streaming time to do art a few days a week just so I am more motivated not to cancel and let down a viewer.
Let's keep each other accountable! We are finally to the point of real production. Here's where I really show you how to make a comic book. So, if the design work is done then you are in the clear to actually start…. Make note that this is only my process and it can be added to and subtracted from to create a process that works for you. I am including the process for making page 1 of Star Circuit Ch. Note: This is not Page 1, but this is the level of detail that I will tend to put into a thumbnail.
If all of the writing is done that means you will be able to take the words and start sketching ideas for shots and panel layouts.
Thumbnailing is just the process of drawing sketches of the pages in a very small form it doesn't have to be as small as your thumb. This approach allows for a more global view of each page. You see, there is a composition in everything. In this part of comics, it is essential to focus on the story points, the page flow and making sure your figures read within the frames.
Layouts are the part two to the thumbnail stage. To start this step, I make a rectangle on half of a sheet of paper. It one will be a good amount bigger than the thumbnail sketch which is usually only a few inches big. This stage focuses on tightening up the main elements and starting to add a grounded perspective. By the end of this stage, the storytelling should already be clear.
Someone who has just walked up to you randomly should be able to tell what is going on within the story visually. This means that humans should look like humans, mailboxes should look like mailboxes and expressions should match the characters emotion. With this stage completed, it's time to scan in this half page and blow it up to the correct proportions of the comic art board.
This is where having experience with drawing software comes into play. Layouts are will fit nicely on a 5. The penciling stage is, of course, the time to draw the final pencil work on the real artboard. Now that the basic layouts are transferred to the board, I do a strong underdrawing with heavy use of reference. I reference anatomy, my mood boards, the previously made model sheets and designs of environments. At this time, I place the right perspective grid for each of the panels.
Once I have a good underdrawing done, it's time to erase away most of the work with the dry cleaning pad. It essentially doesn't erase all of the lines but leaves some of my previous underdrawing on the page to be used as a guide. Now, I use strong and confident lines to finish the page. I will shade in the dark black areas and used render lines and hash marks to give volume to objects in the scene. Lastly, I darken the panel borders to really clarify the lines.
This is the stage that I have the least experience in. I do not refer to myself as an inker and do not claim to have the best line work with a pen. That being said, I do understand the process. Many inkers will scan in the pencil work and then print out a separate artboard with blue line instead of gray. They will then use their favorite tools to make the pencil lines as crisp and pretty as possible.
The best inkers will also notice mistakes the penciler has made and correct them. Afterward, the inker will scan in the page to be sent to color.
In the case of Star Circuit, I am skipping the inking stage and going straight to color. I will, however, darken the pencil lines digitally to mimic the inked values.
Make sure to keep the art at dpi or higher when scanning. The color phase is split up into a couple of different steps. In order for professional colorists to do their work quickly, they need an easy way to select the objects in the panels. In comes Flatters.
Flatters are specific people who color the page for the sole purpose of creating selection masks. These masks make it easy for the colorist to quickly select objects and render them the right color. I personally am using Clip Studio Paint for all my comic work, including color.
Page 1 Finished Colors. This is the stage where the letterer places in the word balloons and types all the verbiage. The person will also design the sound effects to help the action. In the old days, all the lettering would be done by hand, but today, to save time, software is used to place in the words. Captions and SFX complete. Also, the art now cropped at the TRIM line on the artboard.
This stage is the most tedious and also the most important. The job of the editor is to make sure the book is being made to the right specifications and by the deadline.
The editor is usually also an artist or writer that can critique the level of quality being produced. In my case, I am double checking to see of all of the elements in the art are clear and not missing key pieces. I will also heavily proofread the words and find ways to make the story flow better. It's the editor's job to see the book as a whole and make sure it's a sellable product.
Marked Edits for Page 1. Okay, let's say you just completed the interior pages of your book. An issue is usually 20 to 24 pages. On top of that, you finished a standout cover. Where do you go from here? How do you get people to read this gem of literature? No worries Publishing is just a 10 dollar word for the act of releasing your book to the public.
It's kind of a scary thing to do after putting months of hard work in, but fear not this process is a piece of cake when compared to actually making a best selling book. The easiest and least lucrative option here is the self, web publishing approach. Simply make a website or blog account and post your comic all at once or in episodic weekly releases.
The equivalent method to this in the physical medium is to print your book with cheap materials and hand them out at conventions and at comic shops. You will need to have a clear way for your new fans to follow your future art and possibly buy your work so you'll need to create accounts on a few social media sites like Instagram, Artstation, and Facebook.
It's likely you already have an account at one or more of these sites but in the case of your book, you may want to create a new account especially for its release. With your comic being viewed at least a bit on the web and possibly elsewhere, you are bound to gain some amount of fans. These first adopters of your book are the most important. I would even think of them as best friends, because talking to them regularly online and hearing their comments are just as important as they would be with your real friends.
With your fanbase already developing, it is important to do a few things to assist. And the first is making a mailing list. Having a mailing list is essential for your future success as a comic creator.
As your fanbase increases, you will need a way to contact them all simultaneously and notify them about new work and updates on your art. While social media sites are a good way to build a fanbase they are not a great way to store their contacts.
If one or more of those social media sites shut down or decide to reformat their structure you want to make sure that your fanbase will not be lost.
I personally use an app called Mail Chimp to organize and send out mass emails to my fans. Using a similar app will be the best way to get your fanbase jumpstarted. To continue to grow your fanbase you will need to be actively going to conventions and meeting people.
I would suggest you start local and then branch out to other conventions where travel is required. Now, even I have some reservations about doing this type of art. Simply draw your favorite characters from the work that inspires you and post it online.
People will be drawn to because it will also have your unique style attached. And who knows maybe they will take a look at your other work and see the book you've just self-published.
Now, let's say you have a considerable number of people reading your new book on its blog website. You can look at the analytics of any website with a quick register with Google Analytics. Some website builders like Wix or Squarespace have these tools built right in. Draw a large light reflection on the same side as the gaze is directed 48 i. While each individual eye appears natural, gaze directions do not match up. Adding large, circular light reflections results in a mismatched gaze.
Mouths as a line This mouth was rendered using a single line plus a shadow formed underneath the lower lip. The key feature of this style, which Is the most popular mode for shonen manga, is that the lips have not been defined. Modifying the way the Using a realistic style fer shadow under the lip is rendered will Here, lip contour lines the profile would make change the mouth's look.
Rather than opting for a monotonous single line for the whole mouth, here this line becomes an abbreviation of the upper lip. This is not a realistic drawing employing In the profile, since meticulous detail. Fleshy, voluminous mouths Here, we see a realistic depiction, emphasizing the lips' volume.
The dimple above the Cupid's bow is suggested with a line. The dimple above the upper lip Is suggested using a short, downward curve. Lips in lipstick Clearly delineate the upper and lower lips' contours.
Clearly defining the When drawing a profile, lips' contours allows keep U1e lower lip line you to emphasize that starting from U1e comer the lower lip Is of the mouth short, plumper than the cutting It off.
The mouth style indicates age in female characters. Single line: young girl of lipstick: a young about 10 yrs. When drawing the bridge, be sure to ""- include this depression. Manga-esque noses no bridge Here, only the tip has been drawn. The nostrils are usually omitted in this style. Omit the fleshy part of the nostril and this wrinkle.
Nostrils are usually omitted. Sample realistic aquiline noses Again, the contour lines are clearly delineated. The nostril faces downward. These lines indicate the angle of the ear and the thickness of the helix fold.
Take note that for the opposite ear, the image becomes reversed. As with the realistic ear, the manga ear in a frontal view is about half the width - - - - as in profile. Use a tallish, 6-shaped whorl for the interior. At an angle, the ear forms an oval. The curve of the auricle follows the jaw line. When designing the ears, study how they look from above and other angles.
Eyebrows come in various shapes and thicknesses. Keep in mind where the bridge of the nose would be even when bridge of the nose. Usa the same distance eyebrow to forehead distance in the front view as in the profile. The eyebrow begins Here, the expanse close to the glabella. The distance from the face's center line to where the The distance from the eyebrow starts is short. Draw eyebrows on characters with long bangs if the forehead is visible. Good Not good Here, a thin eyebrow is drawn Without any eyebrows, the mouth between hair strands.
While the and eyes do provide a certain degree eyebrow was added in after the hair, of expression, but the image still it still supplies plenty of expression.
If you draw the face taking up all of the paper, then you may run out of room for the hair, so be sure to anticipate how the hair will lie. The crown whorl actually lies toward the back of the head. Lines for main body '. The hairline should have been drawn here and not the hair layout. The crown whorl was drawn toward the inside, making it seem like the hair was growing from inside the head.
How the hair grows: The hair originates from the crown The crown whorl is located at the back of the head. The hairline is drawn above the head contour. Maintaining awareness of the crown whorl when drawing the hairline will enable you to produce a head that is round and has volume-even with short hair. Positioning the crown whorl at the Draw the hair radiating Draw the hair using arced back of the head means that long, out from the crown whorl.
Keeping the Crown Whorl to the Back Positioning the crown whorl toward the front will cause your character to have dWeeby hair.
Despite that the crown whorl will not be visible from the front, still draw the hair as If growing from somewhere In the back. Positioning the crown whorl at the back of the head will, at the very least, giVe the Moving the crown whorl to the Here, the head contour and hair visually front may cause the head to hair layout have been consistent roots. Think about how to direct the swirl when drawing the crown whorl in the back of the head and when designing the hairstyle.
Swirling to the left Swirli! The hair flows in the opposite direction on the left side. The more open the whorl, the gentler the curves. Use S- shaped, undulating strokes. This whorl, located at the back of the head, flows to the right. Swirling hair From the front view, the From the back view, the 62 hair swirls to the right. Swirling hair with realism When sketching the hair layout, assume that the crown whorl will be positioned in the back.
Hair to the back and opposite side flow in Single-length hair the reverse direction. Here, the hair falls straight downward. These strands fall toward the viewer. Draw single-length hair as if flowing in 3 directions. Where the hair is parted When drawing the back of the head, first draw the head's contour and the ears, using these as guidelines for determining the hair's volume and flow. A head will increase in size according to the volume of the hair drawn.
This is because hair actually grows from the scalp outward, covering the head's contours. Grass always grows upward and then falls over from its own weight. Hair grows in a radiating The amount of volume created by the hair Think of hair as enveloping pattern from the root. The the head's contours, forming Think of the crown whorl more strands and stiffer the hair, the more a "layer of hair.
The fewer the root and Individual strands and softer the hair, the more the hair strands as grass blades. Good When consideration is not given Not good to the hair's volume Here, the hair was drawn with the part to the The resulting head appears flat Here, the hair layout has been top left character's perspective. While the and distorted. Not a pleasing sight. The sides fall in gentle, almost parallel curves. The back part is located at the crest of the head.
Drawing hair falling along the sketched hair layout gives the hair volume. Give the hair overall volume matching it to that of the bangs. Drawing hair from the back Draw the hair growing from the part and then falling straight down.
Having the front tress of hair divide at the ear's center. This will give the flow a natural feel. Note that normally when the head is tilted up, this lock will not lift like this. The lock in front of the ear forms an S-curve when looking up.
Crown whorl Draw the hair parting in a gentle curve, flowing from the crown whorl. When looking down, To start, draw just the general shape of the hair the ear becomes the and fill in the details last. Increase the level of point of reference for detail, using more strokes as you approach the movement in the 66 ends of the hair.
Bending back causes the hair to flip back, potentially making the character look like another person. In manga, albeit unrealistic, the bangs are occasionally drawn lying on the forehead to rectify this. Here, the original hairstyle was emphasized. The ends of the hair fan out, offering variation on the look. TI1e forehead is concealed. Merely concealing or exposing the forehead results in an entirely different look.
Tilting the head back makes With the hair flipped back, the the hairline prominent. This strand is defying gravity. The ear peeks through, indicating supple hair. The bangs are parted down the middle. Show a bit of the bangs on the far side even in the profile view. The tight curls in the bangs maintain their positions even with the head tilted back.
The thick hair tapers in a conical shape. For hair long enough to cover the back, draw the area concealed first and then the hair over that. However, since it is the key factor in determining the flow of the hair, make sure you include it.
The falls from the neck. Here, we catch a glimpse of the eyes and mouth, normally hidden by hair. Draw the eyes and mouth and erase the hair where necessary. This is a realistic depiction, where the hair obscures the eyes and The hair flows from the hairline mouth, hiding her facial expression.
The hair does not fan out over Draw the hair fanning out the head much. The hair's kinkiness gives It an unexpected amount of volume in a bob cut. Draw the distance from the center of the ear to the front of the bangs the same as that from the ear to the very back end of the hair. The individual hairs are fine but stiff, so the shape is retained in profile.
Unlike the other styles, this hairdo pretty much maintains its shape whether looking up or down. The end of the hair forms almost a perfectly straight line with the chin.
When composing from a In the back view, bring the hair moderately low angle, draw the to a length that allows view of volume of the ends of hair. The hair is held in place The hairline is exposed, with grease or gel and owing to the flipped back, does not lose its form. Since the emphasis lies on keeping the hair slick against the skull, the artist must make sure the head drawn properly. When switching the direction faced, maintain awareness of the hairline and take care that the forehead's expanse does not change.
The bangs tend to fall as time passes and may be suggesting by drawing several strands falling k3 with the pompadour, down in front. Making the legs half the total height will give the character an attractive 0 appearance. This circle. Draw the joints: use circles for the shoulders, the elbows, and knees. The knee is bent, putting the leg at a wide V-shape.
The hand is smaller than the head. The elbow is about waist-level and located midway between the shoulder and wrist. CD The pose layout is a basic stick figure.
Sketch in the feet use a rectangle. You will find it basic figure layout easier to attain a sense of volume using curved lines than with straight. Clothing does not come plastered to The above is a basic nude sketch. Use an oval to render the pelvis of a female character. The skewed side view has a slightly more "fashion magazine" type feel and is more flattering to the chest. Using a trapezoidal Cleaned-up version shape will give the back of the basic figure layout a masculine feel.
The shoulder blades become a key point in drawing clothing creases. Clothing rumples around major joints other than the wrists and ankles. Imagining the creases forming in a "coiling" pattern when drawing them will give the muscles volume. CD The basic stick figure is drawn the same as with a male figure. Sketch in the hair layout from the start. Add clothing. Unlike everything I saw. The only and best platform to learn to draw!
I love TFC! Very good! I would love to see more and more material every day. My drawings finally take real shape, thanks TFC!!!! The best place and environment for the lover of drawing and illustration.
My own virtual drawing library! I love this! I really like drawing step by step to practice every week. It forces you to always keep improving. Finally something different. I lost a lot of time on YouTube haha. TFC is like the Netflix of the drawing.
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