KRIKOR JABOTIAN Akhtamar Collection 2014
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@eliamentary
KRIKOR JABOTIAN Akhtamar Collection 2014
Hand Tutorial by alexds1
!! Woah guys! Pixelovelyâs new tools are finally out, one for hands & feet, and one for faces!
Thereâs now 429 photos of hands & feet, and 314 photos of faces. Dang!!
This is super cool news and I certainly canât wait to start using them haha
Iâve got tons of tutorials on hands, feet and faces in their relevant tags, so be sure to check those out too nwn
hello! hey! quick psa!
when mixing skin tones, always mix in lighter and darker complimentary or analogous colors (such as pinks, reds, and purples) to change value, donât just add black or white to change a value
this way you get a real nice looking palette like
instead of a dead looking palette like
unless youâre going for dead, in which case carry onÂ
Which one is your hairstyle??
masterpost for when u wanna draw!!
jfashion magazines!!! (helps out with outfits/people)
paint online!!
some paint tool sai brushes!!
mypaint (its free and its kinda like photoshop its really cool!)
firealpca (its free and its pretty much a mix between sai and photoshop!!)
photoshop (for free! and other stuff)
textures
more textures
brushes
more brushes
bonus: a kawaii photo editor
WHATÂ
WAHT
WAT
hello! can i ask for a tutorail in hands/arms and legs/feet?
Hey! Sorry for the late reply, I havenât really had time to do the tutorial for you! But, I did one today. Itâs kinda messy and not 100% anatomically perfect (I do several flaws myself) but I think I made some good points!
Arms:
Arms cannot be done without shoulders, so thatâs why I will include them here. To know how one body part works, you need to understand the other parts too. I suggest drawing a stick figure, as shown above. Do it with shoulders and everything - donât care about anatomy. Really, donât - go mad! You can figure out how to deal with the anatomy AFTER you have figured how to draw the body freely.
I imagine most body parts to be shaped as tear drops, as shown above; especially the arms and legs. Draw them above the stick figure - donât be afraid to overlap the teardrops. In fact, I suggest it! The best way to understand anatomy is to think of it as shapes and doll-parts.
After youâve figured that out, do several, VERY tiny, small doodles like these. Go crazy - donât bother with anatomy just yet. Do them also very quickly and so small you canât think of the details. Just keep doing this until you sorta understand how arms work.Â
Here is a doodle of a ârealâ arm, and as you can see, how itâs shaped it resembles the teardrops above. A general rule is to constantly draw the body in curves - male AND female. NEVER draw a single line straight.
I mentioned before I thought it was important to include shoulders/other body parts to understand another. This is why. The body basically has a âflowâ when you move. The red lines clearly shows the flow. This is also how you can create a dynamic pose: think of the flow. The muscles are formed that way to be able to function. Which reminds me, buy some good anatomy books. And Iâm talking about more or less MEDICAL anatomy books - you think you wonât need it - but trust me, itâs more useful than you can imagine. I do NOT suggest buying âstylisticâ anatomy books, like Christopher Hart (ugh NO), for example, as these can mislead you. Medical anatomy books CANNOT because they MUST be right.
And for the last part, hereâs some âdoâsâ and âdonâtsâ. Itâs important to remember the muscles between the neck and shoulders. Many, especially when drawing females, forget this. Itâs true the most visible it is - the more muscular you will look. But even the most petite people have these. Your neck literally would not function if you didnât have these supporters. Then, the arms below is just to show why itâs important to draw the body with curves. Many have probably heard âstraight lines for malesâ which is a complete lie. They will look stiff and unnatural. Curves can both empathize muscles AND fat. Heck, even your bones arenât straight.
Legs:
Legs certainly are the hardest. Thereâs a good reason for this; because theyâre one of our most strongest muscles, and they are more or less dominating when it comes to poses (together with the spine). However, just like with the arms, draw a stick figure. I wonât suggest drawing them completely straight, as you can see here, as it will add weight. Do teardrops shapes. As for the hips - think of them as panties or briefs. This is not a MUST; but it will help; I think!
And just like the arms, do small doodles. Donât be serious, play around until you get the idea.
As you can see, these legs easily can be turned into teardrops even when theyâre detailed like this.
Now, what makes legs/hips interesting is that the way fat gathers there. Although not a must, seeing as weâre all different, females tend to get more fat there than men. Usually, however, itâs not at the SIDE of the hops, but at the thighs, calves and the âlove handlesâ. (Excuse my english, aaahâŠ) Women also tend to have bigger hips, but again, itâs not a must. Itâs not uncommon to have small hips, either; or big hips for men, etc.
Of course, the legs too follow the âflowâ!
Something worth noting is the âStanding pointâ The standing point is basically a straight line, and the further away you are from the line; the more unbalanced you are. To create a dynamic pose you should avoid that line as much as possible. However, if you want to look balanced/realistic, have the one leg stand there for support. The leg to the left is balanced, as you can see one of the legs is taking all the weight; with other words, itâs the support leg-making it balanced. The legs to the right, however, are likely to fall over if she keeps standing like that!
Now for some more doâs and donâts. I already mentioned the barbie legs, invisible heels and micro-mini crotch in my previous tutorial, but these two are different. I see this mistake a lot; when you sit down, your thighs will become wider because youâre pressing all the fat to the sides. Now, this also depends on how youâre positioning your legs. How much it widens depends on how much fat you have in the first place; but it will always be there.
And then thereâs this awkward âthigh gapâ. Before I get any haters telling me how I âthin shameâ, please, take a seat and read this. Good? Good. How much space you actually have between your thighs depends fully on how youâre standing, bending, angle, body type and everything else. However, the one to the right? Not likely.
Hands:
Okay, Iâm getting really lazy now; so Iâll be quick. Draw a rectangle. Sorta like this; it doesnât have to be exactly like this - since hands can be shaped VERY differently. Just compare to your friends.
Draw a little triangle attached to it.
Now, the fingers! How long they should be and etc doesnât really matter either. But if youâre unsure, draw them as tear drops, too.
Now, draw the fingers! Starting to look like a hand, sort of.
Then draw the details and fix things you didnât like. I really donât like the way this is drawn but Iâm just tired right now.
Just like the legs/arms, practice by doing that simple figure really quickly.
Guess what? Hands also follow âthe flowâ!
Feet:
Okay, Iâm getting really lazy. Plus, feet are SUPER HARD- Iâm just going to say this: think of them as triangles. Overlap them; think of it as 3D!
Practice practice practice! And medical anatomy books. And photo references. And real-life references!
Hope this helped! \o/ As I said, Iâm nowhere near perfect but, ahh, I tried.
color palettes are my favorite right now
A glorious fuck-ton of perspective angle references (per request).
[From various sources.]
argyrism asked you:
This may/may not be true for other people, but when Iâm wondering about how you choose your colors, Iâm wondering about how you make everything, well, harmonic. Noisemaster is a good example of this: heâs got a wide range of colors, but they all work well together, so it doesnât end up looking garish. So, how do you go about something like that?
Thank you! I want Noisemasterâs pages to look like Iâm just selecting colors at random, but itâs really pretty simple. Sure, I use a lot of complementary pairs, triadic colors, etc., but I generally donât have too much Color Theory Terminology in my head as Iâm planning these pages out.
For reference, Pages 447, 448, 451 and 455.
I know Iâm not great at technical explanations, but I hope this sheds a little light on what Iâm doing!
Knife Blade
Iâm a writer not a murderer
this took like five minutes to do and thats how easy it should be. hope this helps in anyway?
Just curious on how you approach composition and perspective. I feel as if sometimes I think too hard, not really about what to draw but how to draw it and make it look interesting. The comic panels you have been doing are amazing. Any tips/references on improving my knowledge of composition and perspective? What do you think about as you lay your pencil on the drawing paper? what goes through your mind?
*STANDARD DISCLAIMER* Iâm not handing down life lessons or trying to assert that thereâs a âcorrect wayâ to draw. Iâm just trying to make perspective more approachable for thems that want to tackle it.
Okay. Letâs do this.
1. Understand what perspective is and what itâs for. Stay away from rulers while you get comfortable.
Everyone struggles with perspective because 1. itâs not well or widely taught and 2. artists tend to see linear perspective as a set of rules rather than a set of tools.
Linear perspective is a TOOL we use to create and depict SPACE. Thatâs it. Thatâs all it is. Your goal is not to draw in âaccurate linear perspective.â Stay away from the ruler and precision for as long as you can. Your goal is to create the illusion of three-dimensional space on a two-dimensional surface. Perspective is just a tool to help you construct and correct that space.
2. Know in your bones that you can ONLY learn to draw in perspective through physical practice. There is no other way.
Grab some paper and draw with me. If you match me drawing for drawing you will be more fluent in linear perspective and spatial drawing by the end of this post. Unfortunately if you donât, you wonât be.
3. Sketch around in rough perspective. NO RULERS.
So letâs make some simple space. letâs start with a two dimensional surfaceâŠ
K. We have a flat, 2D surface. Letâs create some depth by putting a vanishing point in the middle, and having parallel lines converge towards it. Make a gridded plane inside that space.
Good. Letâs make that space meaningful by adding a dude and a road or something. (Again, parallel âdepth linesâ will converge into the vanishing point along the horizon)
And now we have the rough illusion of some space. I didnât use any rulers, and itâs not perfectly accurate, but we got our depth from that vanishing point right in the middle of the page. And since we have a little dude in there, weâve got human scale, which allows us to gauge the size of the space weâve created. Gives it meaning.
You need people or cars or some recognizable, human-scale THING in there as a frame of reference or your space wonât mean much to your viewer. Watch. We can make that same basic space a whole lot bigger like this:
Same vanishing point in the same place, completely different scale, and a totally different feeling of space. Cool, right?
3. Sketch around in rough perspective MORE. STAY LOOSE.
See what sort of spaces and feelings you can create with vanishing points and gridded planes on a post-it or something. Super small, super rough. Feel it out. Pick a vanishing point or lay out a grid in perspective, and MAKE SOME SPACE. Do it. Draw, I donât know, a lady and her dog in a desert. Iâll do it, too.
Good job. LOOK AT YOU creating the illusion of space! This is how youâll thumbnail and plan anything you want to draw in space. All of my drawings start this way. I think about how I want the viewer to feel and then play around with space and composition until I find something that works.
Once you have a sketch you like, and space that you feel, THEN you can take out the ruler and make it more accurate and convincing.
4. Draw environments from life.
I cannot stress this enough. Draw the world around you, try to draw the shapes and angles as you see them, and you will âgetâ how and why perspective is used. Use something permanent so that youâll move fast and commit. I usually use black prismacolor pencil.
Youâll learn or reinforce something with every drawing. I learned a lot about multiple vanishing points from this drawing:
Learned from the receding, winding space I tired to draw here:
Layered, interior spaces:
You get the idea.
Life drawing will also help you develop your own shorthand and language for depicting textures, materials, details, natural and architectural features, etc. Do it. Do it all the time. Go to pretty or interesting places just to draw them.
Take a second and just draw a quick sketch of whatever room youâre in.
5. Perspective in formal Illustration: apply what youâve learned.
1. I always start with research. For this particular location I looked at Angkor Wat.
2. Once I had enough reference, I did a bunch of little thumbnail sketches with a very loose sense of space and picked the one I liked best.
3. Scanned the thumbnail and drew a little more clearly over it. Worked out the rough space before using formal perspective.
4. Reinforced the space with formal perspective. I dropped in pre-made vanishing points over my drawing. If I were drawing in real media hereâs where Iâd get out the ruler to sketch in some accurate space.
5. Drew the damn thing. Because I do my research, draw from life, and am comfortable drawing in perspective, I can wing it. I just sort of âbuildâ the ruins freehand in the space Iâve established, keeping it more or less accurate, experimenting and playing with details along the way. I erase a lot, too, both in PS and when drawing in pencil. Keeps it fun for me.
And thatâs what I know about composition and perspective. If you want more formal instruction on perspective and itâs uses, you can use John Buscemaâs How to Draw Comics the Marvel Way. Or If you want to get really intense about it, Andrew Loomis can help you
Sources: [x][x][x][x][x][x]
Let's play a game
Go to ColorSchemeDesignerÂ
Click âRandom -> Randomize paletteâÂ
And with the resulting palette design a new character.
Surprisingly good way to get over art block
man if you have trouble with color or youâre feeling a little art blocky this is a blessing.
used it today for some warmups.
THis was fun~
Reblogging so I wonât forget to try this out later!