Wow, this makes folds and wind blown things a lot more clear!
Oh wow I was looking for something like this lately oAO
Oh Christ reblogging this for myself.
small surprise for dear Julia~
Since in the set of very simple cards of the other Free! boys I drew for my friends and myself in summer only counted four, I still lacked a Rin. Good thing he’s Julia’s favourite character, so I got the chance to draw him for her.
2,5 x 3,5 inches
I just started making some references for myself, but got carried away hahah… ha :’D
I figured I’d share. I’m hoping to make a series of these things for all the drawing bits that give me trouble: woman torsos, hands, wings, different body types, etc.
I hope you also find them useful!
In this mini-guide, I’m going to more or less explain how the heck you apply basic light theory on your art. But with a bit more exaggerated effects.
I am going to start off by using a reference photo I took myself in a museum I visited the other day.
This is a piece of Pyrite (aka “Fool’s Gold”) which is very reflective, and is pretty cool.
I used this as a reference and eye-ball copied it. Since most of the colors are pretty saturated, it wasn’t that hard to guess the colors. (I did not color pick from the photo - unless you are colorblind, you should learn to pick color only by observation. It’s good for your artistic eye.)
Here’s my painting of the pyrite. It’s not as textured or detailed as the reference, but turned out good enough. The orange light comes from a piece of table/wood beneath the pyrite that is not visible from the photo.
The shape of the object is a nice variation from the regular “sphere” that you always see in light-theory.
Now let’s apply there light sources on a portrait - makin it shiny shiny!
But first we should look up another reference!
This picture was done by the AMAZING Virtual Lighting Tool where you can add several light sources, change the placement of the “lamps”, even add colors and all kind of nice gadgets. This screenshot contains more or less the same lightsources that we got from the Pyrite painting.
Now this time I did use the color picker - but not from the photograph, but from the painting I did earlier. This was a really fun experiment and a great way to practice shiny objects.
Hi Claire! Thanks so much for helping out! I’ve attached the sketch.
So, for some clarification on what’s going on in the scene. It’s very slightly inspired by an old fairy tale about broken porcelain dolls. In the picture I wanted the story to be this girl is holding one of the dolls from the hutch behind her, but the man who owns them has just entered the room, and she looks up at him. Want him to be casting a shadow on about half the comp. (Which you can faintly see in the sketch.)
The thing is. I wanted this picture to be a super drastic angle and really push three point perspective. But I’m having trouble doing so and without it looking too weird. haha! Especially the girl. I keep trying to bring the horizon line down to about her knees. But somehow it just keeps going back to where it was everytime I redraw it. And last but not least, I even tried taking some reference photos and I still can’t quite capture the the angle and perspective I want.
That was a mouthful. My apologies for the novel! So my questions to you would be, do you have any advice in exaggerating an angle that we can’t quite get in real life? Any ideas as to how I can better capture this correctly. And for composition. i still feel it’s a bit weak since I made it a head-on shot. I thought of making the corner of the room visible and so her back is not against the hutch, if that makes sense. But then i worry it might take away from the story I want it to tell? And if i can even pull that off. haha. okay! I’m done now! So sorry for being so wordy!
You can feel free to make a post about it on tumblr, as others can always benefit from a critique! But if you just reply here, I don’t mind either. :) Thanks so much love!
So you found me out, I’m actually a total perspective junkie! I don’t use it a ton in my own work, weirdly enough, but drawing things in perspective is one of my secret artsy happy places. This stuff is like candy. :)
So first things first, composition aside, you do have a nice handle on perspective- while the composition can definitely use some tweaking, there’s definitely nothing innately wrong about your sketch! It’s just a matter of shaking up the camera angle a little bit and being less tied to that idea of “placing the horizon line.”
If you look at your current composition, it’s actually (almost!) a vertical 2-point perspective- if you rotate the image 90 degrees you’ll notice that one of the perspective planes is straight-on! Totally valid composition, but it also lacks the dynamism/imbalance that’s usually associated with full-on three-point perspective:
(Quick aside- props to you for taking the time to design/draw an actual clutch! I feel like a lot of people phone it in when they’re drawing environments, so the specificity and details you’re hinting at are really compelling. Makes the clutch a character in its own right.)
Let’s talk about designing three-point perspective in a small space.
So I find it immensely weird that a lot of perspective surveys stop at three-point perspective, or at least don’t touch on the fact that, once you bring the horizon into play, you have to take into account the fourth perspective point as objects start to diminish in the other direction. If you don’t, things look less like proper perspective and more like actual shape distortion:
…I’m not gonna go too deep into this right now but, suffice to say for our immediate purposes, forget the horizon line. Throw it out the window. INTO THE HORIZON you might say, hohohohoho.
In a (confined) indoor space, it takes tilting your head/camera pretty damn dramatically to get the vertical lines of a room to diminish á la three-point perspective. Because of this, you probably aren’t going to be able to see the horizon line from that camera angle- you’re either staring at the floor or the ceiling, so the horizon line becomes less of a tool and more of a crutch that’s limiting your options. That dude’s such an asshole.
So to make your life easier, worry less about horizon lines, and more about your individual vanishing points. When you’re thumbnailing, a great way to solidify your perspective (or come up with new ideas, honestly), is to do this:
If you want to push a vanishing point even further away you can just enlarge the pinwheel! pretty cut and dry.
Using compositional hierarchy to reflect narrative.
So now that we’ve covered the actual mechanics of three-point perspective, let’s talk about how to make it work for the story you’re trying to tell.
Option no. 1: (see above) My first instinct would be to consider shifting the camera angle so it’s looking down on her, as opposed to the other way around. It puts us, the viewer, in (or near) the position of the figure in the doorway, and has the added benefit of making her smaller and more vulnerable in the composition- it visually traps her in the space of the room by showing the surrounding walls.
Option no. 1b: never overestimate the value of tilting/canting a composition for a quick Dutch angle! Kinda cheating if you use it too much, but WHAM POW instant drama.
Option no. 2: There are an infinite number of variations on this idea- a sharper angle, cropping in closer on her, etc.- so my solution is by no means the PERFECT BEST COMPOSITION EVER, but it gives you some idea of a different direction you could take with this piece while maintaining your sense of drama/tension.
Option no. 3: Aaaaand of course, as I defiantly drew the previous angles, I started thinking about how it could work from her perspective, kinda closer to your original piece. I do agree with your concerns about a straightforward, “head-on” composition, so I’d imagine at that point you’d have to show the figure silhouetted in the door- your main character would be reacting either to his shadow, or turning to face him.
This methodology for finding narrative compositions is by no means an absolute rule of illustration, by the by- visually “choosing a side” is a great way to immediately interject some drama into an image, but it’s also entirely up to you! You want to end up with something you’re happy with.
Being a “fly in the room.”
One of the best pieces of advice I got from one of my professors, Mary Jane-Begin, was to be a fly in the room. We all tend to settle on certain camera angles, either out of convenience of experience, so letting your mind wander and just sketching out some absurd alternatives can help you stumble across something unexpectedly cool. :)
So tl;dr, it feels like you know what you want out of this piece- these might not be the exact solutions for your tastes, but they might be enough of a push in the right direction that you don’t feel like you’re stalling anymore. I hope all of this is helpful/relevant!
Best of luck, and I can’t wait to see the finished piece! CLAIRE OUT <3
A simple small card I drew yesterday at the meet!
Lately I haven’t been drawing much, but I was surrounded by people being creative, I’m into Pokemon again and thought it would be a welcome and easy opportunity to scribble a little ~ so I let my friend give me a random Number and ended up drawing the corresponding pokemon.. :)
It’s up for trade, so if anyone’s interested, drop me a note!
okay guys someone the other day asked for a bow tutorial so here it is! :> I hope it is helpful.
It’s not exactly the most precise archery information but I included what was relevant in terms of actually drawing—and remember as always, references are great in addition to looking through tutorials
am I even qualified enough to make a tutorial? oh well it was fun
Tumblr made them weeny but the magnifying glass will take you to full view
As an ex-archer, I can confirm these are reliable notes!
reblog for reference!
full-view links above don’t work so try these instead:
List of tutorials that helped me with environmental painting:
“How to make your own Perspective Grid in PS” <—- this one is the best thing I’ve ever discovered. Srsly CHECK IT OOOOUUUUT!
Snuffen’s Background Tutorial P1More or less ALL tutorials by Griffsnuff is awesome, so make sure to check out the rest of them!
More or less ALL tutorials made by AquaSixio!
List of youtube channels that also helped and inspired me:
FZDSCHOOL - More or less one of the most known concept art-related resources I know on youtube. It’s great to sit and draw and just listen to the talking.
SinixDesign- This guy is also great! He has some design workshops ever now and then where the viewers can send in their stuff for critique! very encouraging and inspiring!
moatddtutorials- This guy is more into drawing than painting, and has a more cartoony style. He has interesting methods when it comes to perspective. And he also challenge himself in some of his videos (the engine block video is a great example of this)
foxOrian- Also known here on dA for his awesome perspective and composition tutorials. He has a youtube channel where he posts some videos that might be interesting as well.
SICK AND TIRED OF PEOPLE STEALING YOUR GODAMN ART?
Can’t find the godamn ask to tell the blogger to kindly take your art down?
Email email@example.com with links to your originals and the repost, and they’ll take it down.
NOW REBLOG THE SHIT OUTA THIS AND SPREAD THE WORD!
Japanese translation ・日本語訳
계속되는 Tumblr 그림불펌에 지치신 존잘님들!
내려달라고 하고 싶지만 불펌한 당사자에게 직접적인 연락이되지않아서 골치아프신가요?
»> firstname.lastname@example.org «< 이쪽으로 원본 소스 링크와 허락없이 올려진 링크를 이멜로 보내시면 Tumblr가 알아서 내려줍니다.
그리고 영어가 불편하신분들을 위해서 간단하게 작성을 했습니다:
"My art was uploaded without permission on Tumblr, and I would like the post removed.
This is the original link to my art (소스링크) .
This is the post I would like deleted (불펌링크) .”