I said that I’d show some tutorials I have saved up to someone, but decided that I’d just go ahead and post most of what I have stored away and create a sort of masterpost out of it. (I figure it’ll help me just as much since, as of now, they’re all pretty scattered between my Tumblr and bookmarks)
A lot of these are hosted on my personal Tumblr, but I don’t change my url so it’s pretty safe to bookmark them there (and not have to worry about the url changing) if you don’t wish to reblog them yourself for whatever reason.
Feline tutorials:
- Basic domesticated cat tutorial
- The domestic cat body
- Improving upon (lion) anatomy
- Realistic lion faces tips
- Big cat paw tips
- Canine vs. feline - paws and legs
- Beginner feline tutorial
- Guide to big cats
- Feline comparison
- Canine vs. feline - facial anatomy
- Canine vs. feline - chest anatomy
- Guide to little cats
- Big cat eyes (could work for other eyes)
Canine tutorials:
- Basic wolf anatomy
- Skeleton notes on wolf legs
- The wolf skeleton as a whole
- The wolf skull and teeth
- Wolf paw tips
- Basic canine poses
- Canine ears and chest
- Drawing realistic wolves
- Basic wolf tutorial
- Wolf paw tutorial
- Paw pad tips
- Wolf skeleton and muscles
- Wolf fur direction
- Canine vs. feline - paws and legs
- Canine vs. feline - facial anatomy
- Canine vs. feline - chest anatomy
- And this is just an excellent DA for wolf reference images
Avian tutorials:
- Bird wing anatomy applied on humanoids
- Bird wing tutorial (lots of underrated tips)
- Varying bird wing structure
- Basic owl anatomy
- Bird wing vs. bat wing vs. pterodactyl wing vs. human arm
- Bird wings and flight
- Various bird wings
Human(oid) tutorials:
- Hand tips and reference
- Simplifying human anatomy
- Feet and shoes tutorial
- Bird wing anatomy applied on humanoids
- A guide to movement: flexibility
- A male shoulder study
- Altalamatox face tutorial
- Male legs reference
- The human hand
- Male vs. female waist
- Excellent expressions tut
- Understanding anatomy part 1 (follow desc. links for more)
- Painting skin
- Simplifying hands
- More simplified hands
- Pose tutorial
- Varying the female figure
- Profile proportions
- Expression tutorial
- Virtual lighting studio
- Breaking up the male torso
- Male torso anatomy in use
- Simplifying the human foot
- Various facial and body shapes reference
- Drawing the nose
- Female anatomy patterns
- Human mouths
- Breaking down the human nose
- How to draw the ear
- More hand(y) tips
- Neck and torso tut
- Jawline and kissing tip
- Yet another hands tutorial
- Male torso in motion
- The human head at various angles
- Variation of colour throughout the skin
- Excellent action and couple references
- Advice on eyes
- Feet reference drawings
- Nose shapes
- The human skull and face
- Facial features
- Portrait lighting cheat sheet
- Animating dialogue (mouth movement)
- A kissing tutorial
- The fist
- Various athletic builds
- Various types of hair
- Proportional height of different positions
- Expressions photo references
- The hand in motion
- Skintone palettes
- Semi-realistic eye tutorial
- Male muscle reference
- The human body in perspective
- The human head at various angles
- Painting a realistic eye
- Arm shape and muscles
- Animal feet on a human figure
- Hand poses
- The face in profile
- Skin tutorial
- Body type diversity
- Drawing hair
- Muscles in the neck and face
- A beginner’s guide to knees
- Another ladies tutorial
- Breakdown of lips
- Blocked out human faces
- Practice figure drawing (animals as well)
- A neat arm trick
- Excellent ear anatomy tutorial
- Fullbody proportions tutorial
- Over the shoulder poses
- Male torso photo reference
- Detailed arm muscle drawings
- Guide to human types
Dragon tutorials (and bat wings):
Equine tutorials:
- Basic horse (back) reference
- The equine skeleton
- Horse anatomy and pointers
- A good, large collection of horse stock references
- Skeleton of a horse and its rider
- Horse hooves
Cervine tutorials:
Ursine tutorials:
Miscellaneous animal tutorials:
Background and objects tutorials:
- Griffsnuff background tut part 1 (second in desc.)
- Tree tutorial
- Realistic gems tut
- Water tutorial
- General water tutorial
- Drawing crystals
- Drawing bows
- Painting rocks
Clothing tutorials:
- Fabric tutorial
- Clothing folds part 1 (second in desc.)
- Drawing hoods
- Drawing jeans
- Hat on human figure reference
- Armor
- More hat on figure references
- Different shirt collars
- Colour palette turtles
General painting, drawing, and style tips:
- Altalamatox digital painting walkthrough
- Simple fur tutorial
- Realism painting tutorial (human subject)
- Excellent colour tutorial
- Painting a wolf (good fur painting visual)
- Photoshop brushes tut
- Basics of Photoshop tutorial
- Another digital painting tutorial
- Common digital painting mistakes
- Colour and light
- Soft cel-shading tutorial
- Various types of hair
- Colour tips and the mood it expresses
- Composition tips
- Lighting and colour tips
- Shadows
- Another composition tut
- Simple colouring via overlay
- From paper to digital
- Painting gold
Hope these help!
(via art-tutorials)
felt like doing a tutorial thingy (what should I call these??) again! I think I’ll make a tag for these in case I do more. This time I’m gonna talk a little about how angles affect how clothing falls aaaand stuff. here we go…
Given: The first drawing of these three is how the clothing naturally wants to fall, how it is made to be shaped. Or, whichever pose you could take that will give the garment the least amount of creases.
- I’ll actually talk about the green first; this is a representation of the hip box, which itself is a representation/simplification of your whole pelvis area. You see how your legs and hip box oppose angles here. in almost all poses except standing straight, your hip box and legs will create a bent angle, which affects how clothes fall.
- The red/blue is the skirt (obvs), the red specifically is the ellipses of the top and bottom openings of the skirt. This skirt is very stiff material for the sake of this example, so notice how the two ellipses always match eachother. the top ellipse is where the skirt is actually attached to the body, so it’s the boss; the bottom ellipse will more or less do exactly what the top one does.
- here’s where the fact that the legs and hip box are at different angles becomes important. The top of the skirt is attached to the hip box, but the bottom ellipse is in the realm of the legs. The orange lampshade shape diagram there is a simplification of this. It is very much like if you were to tilt a lampshade. The side you are bending towards will hug the body and create creases. The side you are bending away from will fall off the body in a straight line.
It even works with pants, though as the bottom ellipse(s) gets farther away from the top there’s more room for the garment to get distorted by gravity, perspective, and bent knees and such. But with this last example you can really see how the side touching the legs really hugs the body underneath, whereas the other side hangs off of it in a straighter, crease-less line.
Dresses are a little different because their top ellipse is attached to your torso/ribcage mass rather than the hip box.
Much of the time you get the same result as with a skirt. However if the hip box and ribcage mass are opposed sideways rather than forward or backward, it becomes a little tougher:
You can see in the third drawing how a shirt and a skirt together would fall in opposite ways if your body is bent sideways. If the shirt is long, just like I mentioned above about the long pants, there is more distortion of this effect.
I’ll take what I said above, “The side you are bending away from will fall off the body in a straight line”, and add a bit to the end: “… until it hits something.” In the fourth drawing above, the garment is falling off the body in a straight line on the right side. If you lengthen the garment:
The straight side continues down as normal until it hits the leg and becomes the body-hugging side. in response to that, the body-hugging side from farther up becomes the straight side when it falls off the hip.
Aaand with that I think I’ll stop lol. I hope that wasn’t hard to understand. It’s easy to do yourself, just wear a skirt or some loose pajama pants and take hula poses in the mirror lol.
For all of you who have been longing for ME to make a tutorial about clothes, I truly recommend you to read this post. Since it covers the area in clothing that many other tutorials never mention, clothing is more than just “drawing folds and wrinkles”, it’s about knowing how the design and the behavior of our bodies affect it.
So yeah.
Read this. Please. It’s so easy explained.
Get on my blog, useful information.
(via heynawa)
Sorry for the lack of WIPs on this pic. Here are jpg’s of all the steps (with not-so-very-clear notes).
All the work was done in GIMP.
Wait what? A grayscale shade layer??? What layer option do you use though, let alone change the color successfully?
This is a really effective way to color, actually. I do it all the time. When you make shade layer, make sure you’re ONLY shading SHADOWS and basic diffusion — NOT object/material color values (like, just because the socks should be a dark color, you’re going to completely ignore that in the shading layer.) There are two ways to mix the shading afterward. You can place the shading layer over the flats layer then set the shading to Multiply, OR put the flats over the shading and set the flats to “Color” blending. Then, you just paint some small variances in hue to whichever layer you’ve set blending mode to.
This is a great way to color because it eliminates the need to mix new colors as you pass from one flat to another. It gets less of a painterly look, but in this type of art you’re not going for that anyway. Excellent for comics.
(via yoyonaki)
- What Will Your Character Do When Disaster Strikes?
by Carolyn Kaufman, PsyD- Characterization and Conflict: Using Psychological Tests to Improve Your Writing
by Carolyn Kaufman, PsyD- Gathering Information from Characters: Types of Questions
by JJ Cooper
e1n:
Drawing from films
Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.
The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.
Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.
Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.
What to look for:
- Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
- Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
- Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
- Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
- Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
- Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?
This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.
Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning.Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…
Since I’ve had people asking me about storyboarding and how to learn it or what exercises to do. Emma Coats tells you all you need to know in this post.
Reblogging because it IS a very useful exercise! You can even do it as a warm up drawing exercise before you start the day. It will get your brain (and hand) in the right mindset.
(via foxboros)
By me, Sara D. (Heh.)
I think it’s very important for artists to vary the types of bodies they draw! Not only does it add visual interest and diversity, but different body types can enhance your characters! (Plus it’s more realistic; when was the last time you walked down the…
