Please pick only one post type!!
freeglassart whispered: You may get asked this a lot, so please excuse my ignorance - but how do you go about constructing character expressions and body language and such? Thanks!

makanidotdot:

Besides The Basics (construction of heads and skulls and muscles and skeletons and how they move), I’ll go over some things I’ve been trying to work on myself lately:

1. Treat expressions as a single gesture of the face/head, as opposed to a head and then individual features dumped on a plate and arranged into an expression.

First, just get down the big shapes of your expression, just like you would for a pose.  

So say I wanna do a low angle angry pose.  I know the features are gonna be all mashed down at the bottom because of perspective.

 Scribble it down

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start to put on features

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fix stuff

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put on more stuff

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fix stuff again

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erasing and flipping and stuff a whole bunch until you are happy with it or stop caring

Whole head is a gesture!image

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2. Just like a facial expression, jot down where the important parts of an entire pose goes first.  You can force the rest of the body to fit the pose.

So here I knew I wanted the shoulders tilted a certain direction, and te hand to be in that particular position in front of her face. 

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That’s the simplest explanation I got.  Don’t be afraid to push and pull faces and bodies around! Worry about being “on model” last!

gavinosbornedrors:

howtodrawcomics:

When it comes to creating characters, sometimes it’s easy to let them slip into the same old stock standard set of body types. Basically clones with a few props, hairdos and make up to spice things up a bit. After a while, having the same actor play dress up for every character gets kinda boring…

It’s tough to break the habit too, especially when you’re taught a single set way to draw. Not to say having a solid construction method is ever a bad thing, as long as it doesn’t confine your creativity.

Check out these nifty tips and pointers by jeinu to give each of your comic book characters their own a unique flavour of memorable originality.

(To download these at full res simply hit the options menu and click download, otherwise head on over to jeinu’s DeviantArt Tutorial Gallery at http://jeinu.deviantart.com/gallery/25335623/Tutorials )

This is important, and something I super need to improve on. All these tips and stuff for drawing are crazy useful and very, very appreciated. 

indecentinkling2:

coffeeandcockatiels:

xpuffypenguinx:

Rotatable 3D models for artists

Includes torso, head, foot, and various hand poses - select from menu on the right!

Hahaha—reblog comic about having trouble drawing hands, follow up by reblogging 3d rotatable resources for people who have trouble drawing hands.

ohmgod

fileextension:

here ill post these together!! luv this water brush

celticzelda:

Ancient Greek Dresses by Ninidu

I’ll have them all.

kennoarkkan:

shadyfolk:

amaipetisu:

A few tips everybody should consider. I’ve experienced all those and some more. I’m not good at english but I hope you get it. Go and support some artists out there and let them draw you nice shit. Not as nice as FairyNekoDesu but still will be cool so give them a chance and you’ll be surprised.

THIIIIS.

All of these things.

Especially the deadline. If you don’t have a deadline thats way in advanced it’s not gonna get done by then. I am almost always taking on a ton of projects at once and sometimes need a break from it to: work on stuff for me, work on stuff for friends, search for jobs, be the work slave of parents, actually relax and try to relief stress, technical difficulties, researching on how to do stuff, ect.

Sometimes it’s done in a day. Sometimes it’s done literally a year later. But I always update the people I work with so they know I haven’t forgotten.

Do NOT rush your commissioner. Let them work at their pace and it will be worth it. Rushing them insures a rush job which will very likely make the quality decline.

All this is true. Also, ref sheets are the most important thing ever. I can’t stress that enough. They make the job A LOT easier (instead of having to compare 10 different pics between each other and see that everything fits, you just look at 1!!)  If you plan in commissioning your character a lot, or even if its not yours (like from an anime or something) Either commission one or look for ref sheets of the show (because there are!).

Also i strongly suggest not using Instant Messaging. Information can be lost pretty easily there and it’s hard to come back to it. Use emails instead. The info stays there, and it’s easy to search for it. It’s also an excellent way to keep track of the descriptions, so if either the client or artist made a mistake, you can see the email threads and see who’s right straight away.

also pushy clients LOVE instant messaging. Pls no.

lianahee:

Colors-13x19 Windsor and Newton gouache paint on Arches Watercolor Block

My sketches and work in progress shots for my “Colors of the Wind” painting for the Disney Wonderground Gallery.

This piece will release on Saturday September 13th (only two weeks away!) I will be there from  11am-1 pm signing and meeting guests. Stop on by if you can. The framed original, deluxe prints and postcards will be available for purchase and I will even do a little sketch for you if you’re nice. :)

If you are not in the LA area, never fear-You can place an order by emailing Merchandise Guest Services at merchandise.guest.services@disneyparks.com or call Merchandise Guest Services at 877-560-6477 (select option 2) For prints. Leave a voice mail if they don’t answer. WonderGround Gallery is located in the Downtown Disney® District at the Disneyland® Resort in Anaheim, CA.

ALL my Disney artwork is commissioned through the Disney company and is ONLY sold through the gallery-NEVER online on my Etsy shop.

Several people have asked what my process is so I will use this post to explain how I work. By no means is this how everyone should work or the “right way.” I am a self taught painter and have only been painting since 2009. I have spent hours of trial and error, experimenting with other artists techniques, paint brushes, different paints/paper and this is just what works best for me (at this point of my artistic knowledge! ha!) So keep that in mind when you are painting that your techniques may change over the years. The important thing is to keep practicing always.  Evolving is a wonderful thing! :)

1. I first do a bunch of sketches. If i cannot get the pose right I will usually pose for myself and take a pic with my tripod or have a friend pose for me as reference. Never under estimate solid reference!  I’ll do more sketches and once I feel that I have something that I like, I will rework it until I have pretty clean line work.I always start out with col-erase pencils and am currently really into Vermillion or Tuscan Red. You can use whatever colors you want!  If I don’t have those handy though I love drawing with cheap BIC pens! :D

I use whatever thin paper I have lying around. Usually I will use animation paper that I still have from college (it’s a nice transparent vellum) but I will also use line paper, computer paper, tracing paper etc. Anything I can draw on!

For me, it really isn’t about how pretty the character is rendered or sketched but the feeling/essence of the character. Keep your sketches loose in the beginning! Most of my sketches aren’t clean and I’d deem them “embarrassing” but as long as I get something appealing, it’s all good. Appeal is VERY important! No matter how pretty it is, a boring character with a blank expression/lacking emotion is boring. 

Don’t worry or put too much pressure on yourself to make nice sketches. I’ve spent too many years buying a new sketch book and holding it dear to my heart proclaiming that THIS ONE will be the perfect sketch book and all my sketches inside will be beautiful. In my years of drawing NONE have been filled with all beautiful sketches. Wanna know why? Because they are just bound pieces of paper to get the ideas out of our heads and in tangible form.That’s it! Sometimes they will be outstanding and sometimes they will suck. It’s ok! :)

2. I clean up the drawing, then scan it into the computer and bring into Photoshop to do a color pass to figure out how I want the final image to look. That can also be rough-it’s just good to know what colors you will be using and to make sure it’s working how you want. Much better than blindly painting later on using colors you “think” would look good. Remember to thoroughly plan your work and then work your plan. If you follow those two steps, you will win at most things in life!

3. Then my trick to keep the line quality of the sketch I will PRINT it onto my watercolor paper! Whoo hoo! No transfer paper for me! Whenever i use transfer paper I always lose the appeal of my sketch. When I print it out straight onto the paper, I retain the original sketch and if I mess up, I can just print another one! It’s pretty much like making your own coloring book page. lol
I don’t use this technique for all my work though-I only print the image from the sketch if it is a larger piece. Reason being is that I like to work small and when i get the proportions the way I want from a tiny sketch, if I try to re draw it larger-it just doesn’t look the same. That is why scanning and enlarging it in Photoshop helps me. For my mini originals and 8x10 commission work I just draw straight into the watercolor paper.

(I use Arches watercolor block cold press 140 lb.) Paper DOES matter. Hot press is smoother and cold press is more toothy (it will give you more of a textured look) Experiment and use what you prefer. I have a large fomat Canon Pixma Pro 9000 Mark II printer. The largest sheet it can take is 13x19 so I cut my watercolor paper to that size and feed it through.That is the largest I would care to work at anyway so it works great for me.

Print it out at a low opacity (I usually do about 30%)  so you can see the drawing still but just very lightly. Also if you are doing a background color, paint it BEFORE you print your character onto it. The printer will still feed a painted sheet of watercolor paper.

4. Paint the whole thing and try not to mess up. (I mess up a lot.) To get the “colors of the wind” for this specific piece I use the dry brush technique. The brush is pretty dry with very little paint. Apply pressure heavier at first and as you make long brush strokes in whichever direction you are going, lift off the paper so the paint tapers off. PRACTICE A LOT first on a separate sheet of paper. I kid you not-with every brush stroke I did for the wind colors in this painting,I nearly gave myself a heart attack. I was sweating bullets and knew that one wrong move, (a heavy handed splotch of paint over Pocahontas’s face for example) and it would be the end of me. Luckily I prevailed.

I use Windsor and Newton gouache, Turner Acryl gouache and Holbein gouache. Personally one is not better than the other. I use different brands so I have more color choices. Work with what works best for you! My paint brush of choice is the Da Vinci Maestro brush and i painted Pocahontas and the colors of the wind/sparkle with that one.I actually use only that brush for all my paintings. Maybe it’s time to expand.

5. Add lots of sparkle. (you don’t have to but it’s very enjoyable to see ;) I prefer Martha Stewart craft glue and clear/white glitter.

Good luck!

♡ Liana

peaceofseoul:

Let me know if you have questions!!!

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