Anonymous asked:
novallion answered:
Oh fam I don’t know if I can pinpoint for you how I started developing this style. I just knew from, like, high school on that color was the most important thing for me. I have like, an influence map that helps me narrow down the specific things I like to draw, and things I’m working on.
I can tell you I learned my color theory from these tutorials, specifically this one on ‘Beauty Spots” Ive obviously devolved into a mess of rainbow coloring that follows no real principles, but I do take advantage of the Curve function and the Levels Function a lot for finding things that look good.
As for how I got this look? Im not 100% sure because you can look at my stuff from a year ago and see that its not like, the same. BUT I will tell you that I limited myself with WHAT I USE to paint with, and perfected basically these three brushes. Hard Brush (to apply color), a Rough or Wet Smudge (in CSP ‘Running color on Fiber’ is good, in Photoshop I use Kyle Webster’s ‘Kyle’s Paintbox- Wet Blender’) and occasionally an airbrush if I want to soften an edge or add light or a certain hue like to skin. Usually if I make a mistake while painting I smudge it out until its smooth or ill make a layer above and paint the correction and merge down)
Now that I have this routine fused into my soul, I explore a little more with different brushes, but the process remains the same.
Uh, theres no other way to explain without showing you so more below the cut
My style is basically:
I make a lot of copies as I go in case I need to fix a mistake or like I colored everything wrong, but essentially I Pick and Choose my colors from the Color Layer, and nothing else. My shadows? You can find somewhere in the base gradient or a desaturated version of it. Highlights too. My style is: Use a smudge tool and paint with the smudge tool and a hard brush.
1. Sketch (and like, a base gradient)
Sketch is at the top, color gradient on bottom. Then I use the color underneath to color my boy. I know his skin is grayish brown, so I choose one of those colors and with the opacity on the brush like at 40 or 50 (or if you have a brush that’s pressure sensitive with opacity you dont have to fiddle with it) I let the Blue and green bleed through.
My boy’s hair is white, but its best to avoid Pure White and Pure Black when you’re painting (especially when youre throwing down a base color) So I chose a light light tint of the green. Here’s the base green from the gradient below:
as compared to his hair green
and later, to make it more white or if I plan on doing dappled lighting, etc, I can use SUPER CLOSE BUT NOT ACTUALLY WHITE WHITE to highlight his hair.
Not gonna lie though, a lot of this is just. Practice and studying color. and learning how light works in conjunction with form and color (two principles of art) and I’m not the best artist out there. A lot of what I do is UNREALISTIC. But its the way I do it, and im working on it??
its about building up from the bottom. This below is about thirty minutes of painting after I had the base colors slapped down. I dragged part of his pink in and painted it over the blue in his hair, and then picked from the purple it made and started adding it around. I’m probably not the best at explaining but.
I hope this helps?
don’t use yellow for skin, please and thank you.
I’d rather people use this then fucking yellow. Especially for Asian characters, why are we making them so fucking yellow.
gravitality asked:
zemael answered:
Hi!! I’ve absolutely been thinking about that, yeah, in fact I recently talked about that to my boyfriend just recently. It’ll likely happen after october! And to answer your second question! I made a thing on legs that i hope you’ll find useful!!
So. I’ve already explained basics on legs here, but I don’t think it hurts to go through some extra details to help you understand legs some more.
The very basic thing is to imagine legs as teardrops. Again, this has already been covered in said tutorial above, but I figured it’s still good to mention even the most basic thing that I know of. I still highly recommend you check it out to get in more detail and to see some other examples and practices that you do. But basically, think of legs in the shapes of teardrops, when it comes to shape. If you need a simple stick-figure to connect the legs in the first place, make sure that they bend at the knees a bit so that the legs don’t come off as stiff and unnatural.
As you can see, this method works perfectly for realistic legs as it does for stylistic ones. Remember to use these as a guideline, never to be the exact base of the legs you will be drawing. If you draw traditionally, remember not to draw these guides too hard, or they will be hard to erase/do freestyle!
But how do you actually draw out the legs without drawing them perfectly straight, as shown to the left? The trick is to add volume to them, and how you do that can be winged to your own liking. The idea is to think in curves. As no leg is perfectly straight. You may make these curves minimal if you don’t want them to be curvy, but keep in mind, still, that not even your own bones are perfectly straight, so it is highly recommended that you make them bend, at least a little.
It all depends on how you draw them as well. Say you put your legs together, as shown in this picture, what happens to the fat and muscle? Naturally, they press together, much like how thighs squish on the surface when you sit down (I’m sure most people know what I’m talking about). Make sure this shows in your art! This is very important to keep in mind, because it makes it all look more natural and believable. Try to cross your legs or stand up and sit down again for real-life examples!
The same applies for stretching your legs, more or less, except they appear to become more ‘hollow’ and slimmer. They become less soft to the touch, too, and might show. Try stretching your legs and feel where the muscles tense and where it feels ‘hollow’. This is very helpful with your art.
Many leg tutorials talk about legs without mentioning the behind. It requires a tutorial on it’s own, in all honesty, but this is the most simplest way to draw it connecting to the legs. Remember that it comes in many different shapes, and this is just a super basic guide! Two circles overlapping, while following the line and flow of the legs. Remember the muscle/fat as mentioned above!
Okay, so we got the basics of leg shapes figured out? What if you want o draw them in a certain pose, or with a certain silhouette, but perhaps do not have the reference for it? Or you want to blend your style into it? The key is to not shy away from doodling the form. Make mess, draw lightly and don’t care about the anatomy. That way you’ll get everything down without it appearing stiff. You can clean up the sketch later, always, and if you can, use a reference after you have drawn your pose, to correct your drawing.
Remember that the hips do a lot to the pose of the legs! Make sure they are in flow with your legs, so that it can look more natural. Remembers that hips ‘rotate’ with the spine.
I’ve talked about this method before when it comes to posing, and the same applies for the legs. One way to make legs appear ‘steady’ is to picture them standing in a line, and one of those legs need not to stray from the lines too much, making it steady. If you want a dynamic pose despite the steady pose, you can always have the other leg stray from the line, since it only matters that one leg is steady. This method can create good, casual poses without making them appear boring. (also notice how the teardrop shapes are used here, despite the highly stylized legs)
Do you want a highly dynamic pose, or them to appear unsteady, then skip the line entirely and make both legs aim away from it completely. As you can see, the legs appear more moving, in action, as if they’re fighting, falling, or dancing. As you can imagine, this is not a pose that one could stay steady on, suggesting that it’s taken mid-movement. More about posing and this ‘line’ method is talked about in this tutorial.
Hope this helped you, if you have any questions let me know, and if you’d like to check out all my tutorials they can be found here!
here’s the mp100 opening recorded onto vhs and back ;)
pure slapper
if id seen this when i was 10 i would have been vaporized
Halo! A friend of mine asked me to teach him the Gobelins’ way to animate a turn around, so I drew this tutorial. I thought maybe you guys might be interested too c:
Smooching notes~!
So the people on Twitter seemed to find my notes very useful, So I am sharing them to you guys as well
have fun!
how to draw arms ? ?
holy fuck
holy fuck is right… but… does it work with legs???
yes !!
but how much extend
^^^^^^^^^^
I NEARLY CHOKED
ENJFDFNFATFVFDF
finally. i can be accurate
This is too fucking great to not reblog
I give it MASCLES
BIG MACHO
LMAOOOOOO
Okay but for anyone who legit wants to know how to calculate it correctly:
The elbow joint on average rests a couple inches higher than the navel, so if you measure how long the distance is from the middle of the shoulder to that point then you have the length of the upper and fore arms!
So if anyone’s wondering about legs too, the simplest rule of thumb is that the length from the top of the leg to the knee is equal to the distance between the top of the leg and the bottom of the pectorals:
And I wanna stress that when i say “top of the leg” i’m not talking about the crotch (please don’t flag me tumblr it’s an anatomical term) i’m talking about the point where the femur connects to the pelvis, which is higher up on the hips:
It’s easier to see what I’m talking about in this photo of a man squatting:
So yeah if you use that measurement when using this technique you should get fairly realistically proportioned legs:
But remember! messing with proportions is an important and fun part of character design! Know the rules first so you can then break them however you please!
HOW THE HELL DID I FIND THIS POST OMG
