A small guide for people who struggle with this area
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@prismaticism
A small guide for people who struggle with this area
rapidpunches:
SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE
I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.
My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.
I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.
If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).
Roughly… the steps to making your comic is
WRITE
PLAN THUMBNAILS
DRAW
…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:
How does it end?
Does the protag succeed or fail?
What is the turning point of their story?
What the protag do that led them there?
Where does it start?
Who is this protag?
EXAMPLE:
Guy gets mauled by a bear.
This is a fail on the guy’s half.
The bear must eat something or he’ll starve to death.
It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.
The guy is yodeling in an avalanche zone.
The guy is some guy.
CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.
This guy yodels.
Echoes roll.
Snow slides down.
Avalanche buries the mountain.
Cabins are engulfed.
This bear has no access to cabin food and garbage.
Bear eats this guy.
Expand. Blow up important beats for emphasis. Keep less important beats brief.
This guy is hiking in the snowy mountains.
He comes across an avalanche warning sign.
There is nobody around but him.
A dumb expression forms over his face and he yodels.
Echoes roll but nothing nearby is moved.
At the top of the mountain the snow drifts twitch.
Guy, satisfied, hikes away from there still yodeling.
Frozen snow cracks.
Snow puffs billow and great slabs of ice crash down the mountain side.
Guy sees this and hightails it to safer ground.
Animals, people, are all panicking and getting pushed over by the rushing snow.
Cabins are destroyed.
The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.
Avalanche dies down.
A lone bear shambles over from the other side of the mountain.
The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.
Bear forlornly eats a food wrapper.
Bear tries to dig.
Guy comes down from the rocks he as climbing and sees bear.
Bear stops digging and sees him.
Guy runs.
Bear chases him down.
Bear eats the guy.
BEAT SHEET COMPLETED!!!
After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.
Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.
Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.
Next is translating the beats to pages…
STRUCTURE OVERVIEW:
[1] point of entry, in media res, hero intro
[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation
[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)
[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”
[12] resolution/final end/cliffhanger
[front cover][interior] [interior][back cover]
——————–
My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.
remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.
———-
…DRAW IN THIS ORDER:
Page 12,
Page 6 and 7 (this is typically one large image that takes up the space of two pages),
Page 1,
and then the rest.
ONLY “DEVIATION” ALLOWED:
Page 12 and 1*
Page 6 and 7,
and then the rest.
*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.
Cover is dead last.
———-
(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)
——————–
FURTHER NOTES:
Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.
You at most only need one establishing panel of the setting and environment (scene) per page.
Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.
You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.
Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)
Know your light sources. Control the blacks. Control the values.
TIPS | COFFEE? :3 | dA | IG | ♡ | ❤ | ⋆
(more coming soon 11/22/2016)
There is a comment later from the original poster linking to a PDF
At the time of this reblog, it can be purchased for $0 with a fair price request of $3.
Thank you to everyone who tipped me $ and helped me survive thus far. I hope to read your comics soon! UPDATED 03/31/2021
hot artists don't gatekeep
I've been resource gathering for YEARS so now I am going to share my dragons hoard
Floorplanner. Design and furnish a house for you to use for having a consistent background in your comic or anything! Free, you need an account, easy to use, and you can save multiple houses.
Comparing Heights. Input the heights of characters to see what the different is between them. Great for keeping consistency. Free.
Magma. Draw online with friends in real time. Great for practice or hanging out. Free, paid plan available, account preferred.
Smithsonian Open Access. Loads of free images. Free.
SketchDaily. Lots of pose references, massive library, is set on a timer so you can practice quick figure drawing. Free.
SculptGL. A sculpting tool which I am yet to master, but you should be able to make whatever 3d object you like with it. free.
Pexels. Free stock images. And the search engine is actually pretty good at pulling up what you want.
Figurosity. Great pose references, diverse body types, lots of "how to draw" videos directly on the site, the models are 3d and you can rotate the angle, but you can't make custom poses or edit body proportions. Free, account option, paid plans available.
Line of Action. More drawing references, this one also has a focus on expressions, hands/feet, animals, landscapes. Free.
Animal Photo. You pose a 3d skull model and select an animal species, and they give you a bunch of photo references for that animal at that angle. Super handy. Free.
Height Weight Chart. You ever see an OC listed as having a certain weight but then they look Wildly different than the number suggests? Well here's a site to avoid that! It shows real people at different weights and heights to give you a better idea of what these abstract numbers all look like. Free to use.
Homie gonna share this
Hey! I read your tutorial about coloring and I have a question if you don't mind. Do you mostly use the overlay layer? Or other layer modes? I love the overlay but I always struggle to find the color that I want as it alters the color, any tips?
Hey, I don't mind at all, thank you for the ask!
I do use overlay layers a lot to kind of ... carve out the structure of whatever I'm drawing. But you're right that it changes the colours and that can be tricky so - and please keep in mind that I'm not saying that this is how you use the overlay mode, it's just how I personally do it - I mostly use greys because I feel like they don't add any colours themselves, they just sort of elevate the colours that I already put down underneath.
So I very quickly drew this example to show you what I mean
We start with the flat colours on the left; I added an overlay layer with a darker gray to add some shadows, and then started adding lighter greys to add more depth. Depending on the drawing and the effect I'm going for I sometimes use a little more saturated greys as well, so you can play around with that
You could stop there but I sometimes like to add a multiply layer to deepen the shadows a bit, like so:
This is at ~80% opacity but that's not a rule, I always adjust it to whatever I think looks okay in the moment. And then I sometimes go in with the eyedropper tool and draw on a normal layer on top without any blending modes, just to kind of bring it all together.
I hope that helped!
as requested- my zine about fat and plus size body types from instagram!💖 happy drawing everyone!
hi folks! just spent a few hours transcribing this. please reblog this version for our visually impaired friends!!
(this is my first time transcribing something so i really hope i got everything...!)
Image 1 ID [Title picture of the op standing, grinning with her arms out on a pink background, with one word on each shoulder with one just above the knee. The whole zine is colored with soft reddish-pinks and other pastels.]
Written Image 1 ID: "Let's Talk Tum!"
Image 2 ID [The first page focuses on anatomy and shapes. There is a floating head in the top right, followed by a figure in the bottom left where various body parts are indicated by colorful shapes. The last sentence of the page is overlaid with a background of a red circle, a warm-teal triangle, and a golden square.]
Written Image 2 ID: "First off* (before stepping too deep into body types, you should have a grasp on basic anatomy. it's helped me a whole bunch!) Let's talk about basic shapes. The human body can be broken up into many of these! simplifying it this way is essential to understanding body types and can help with anatomy. For example, shapes give us a good look at important intersections on the body. i.e. the bend in your arms. [arrow pointing to the intersection in the lower left hand figure's arms.] *A good reference I often use is how the tips of the fingers usually rest in this section of the thighs. [a red circle pointing out the area where the tips of the fingers would lie, about a quarter of the way down the thigh.]tl;dr: shapes help you build the body.
Image 3 ID [The next page displays the title at the top, followed by two graphics. one displays a common video game slider of left to right, with the left being thin and the right being fat. The second graphic displays the fat body to the left of a circular stat chart, with a branching hexagonal shape inside indicating where weight falls. It is labeled (going clockwise) belly, hips, legs, head, arms, chest.]
Written Image 3 ID: "Now you're getting it! Let's talk weight distribution! most older character creators do things this way. But instead of thinking of weight on a slider like this one... [arrow pointing to the first diagram.] think of one like this. [arrow pointing to the second diagram.] This lends itself to a much wider variety of body types.
Image 4 ID [Title is once again displayed at the top of the page. This segment is split into two pages, with the format carrying through. on the left of the first image, there are three pictures of belly references laid out horizontally. The top is a dark-skinned pregnant person holding their stomach- image is from the breast down and cuts off at the hips. There is a red line drawing a circle around the shape of the belly. The second picture is a light-skinned person pinching their belly fat, the image cuts off at the hips and breasts again, highlighting the midsection. There is a red curved line following the bottom of the belly. The third example is a picture of a brown skinned person with their hand on the left side of their stomach- picture cuts off just after the breasts and hips. There is a bumped red line following the indent of the belly. Each picture is immediately followed to the right by a drawing of the body type from the picture, each at a different angle than the picture.]
Written Image 4 ID: "So, what now? Let's peek at how that weight distribution can look! (as a reminder, none of these are inherently 'better' than the others.) [following the first image and drawing.] tummies like this are often seen in bloating or pregnancy. Note how stiff and round it is. Most of this is not fat.**that doesn't mean it never can be, though! [following the second image and drawing.] just your average, everyday tummy! This is totally normal. I'd say most people have a little bit of this belly fat. [following the third image and drawing.] This is about where I fall. notice how things start to come in twos. A lot of these bellies have really beautiful stretch marks! [page cuts off, CONT> written in the lower right hand corner.]
Image 5 ID [continuation of the last page's layout. Three more bellies followed by drawings are layed out from left to right, stacked horizontally. The first image is of a light-skinned person with the image sectioning off just the belly. There are two distinct folds in the belly fat, with a red line outlining the curve on the outside, and one marking the fold on the inside. Next two images display scars on both of the models- with the first having had it's appendix removed. {op note- i've been told that appendix scars usually don't appear as pronounced as this image's nowadays. Medical advancement yadda yadda. Older characters may still have this indentation, however. It's up to you.} The picture following that is of a pregnant person having given birth, with stretch marks on either side of their navel followed by a c-section scar just above the pelvis. Each image is followed by a drawing of said picture with a different angle.]
Written Image 5 ID: "[following the first image and drawing.] This is where a lot of people stop drawing tummies. This is a "B belly," also known as a double belly. Contrary to popular belief, this is purely genetic. A lot of people wrongly think bellies like this are the result of tight clothing, which is just not true. [before the next two images, centered on page] But wait, there's more! [following second image and drawing.] This lovely tummy has had it's appendix removed! [following third image and drawing.] This belly has a c-section scar and cool stretch marks. [separated at the bottom of the page.] There are other places that weight can be distributed, though. And speaking of stretch marks...
Image 6 ID [The next section highlights stretch marks and cellulite. There is a collage on the left of stretch marks present on a variety of skin tones, in both light and darker colors. These images are followed at the bottom by a diagram of places where stretch marks are commonly present, front and back. The figures have the left side of their bodies circled from the neck and outstretched arms down to the butt and thighs, while the right side displays the patterns where stretch marks are commonly seen. In the middle of the page there is a guide on coloring stretch marks, with a lighter skin tone on the left followed by a darker one. Both have drawings of light and dark stretch marks, preceded by the filters used on each. (multiply and screen.)]
Written Image 6 ID: Stretch marks! I love stretch marks, and not enoughpeople draw them. They can show up almost anywhere, and it's a huge myth they're only found on pregnant people or people who have been pregnant. [arrow pointing to color guide.] I commonly use the same skin color I'm working with, but put a filter over it. [indentation (no longer following arrow)] also, they aren't exclusively light or dark! I have both types. They come in all different patterns and lengths, but avoid symmetry. [arrow pointing to bottom diagrams.] Common cellulite and stretch mark spots: i mean, look at all these! I couldn't even fit legs on here. Sometimes I get them on the back of my legs or knees.
Image 7 ID [Title is displayed at the top of the page followed by two drawings of people showing off stretch marks/cellulite. The left picture shows someone in a binder with tattoos on their left forearm and right shoulder, a hand on their hip. There are stretchmarks on the side of their belly, front, underneath, and on the outer sides of their thighs. Right picture shows someone with a hand on their butt, showing cellulite underneath. Flowery patterns surround both figures.]
Written image 7 ID: "'wait, stretch marks or cellulite?' [following the two figures.] The main difference is that cellulite is genetic. however, the terms are basically interchangeable, at this point. Who knew body types and genetics had so much in common?? (Geneticists, duh.) [graphic of text taken from Livestrong.com.] 'Your skin is attached to your muscles with cords of connective tissue. Between your skin and muscle lies a layer of fat. [highlighted text for the rest of the graphic.] Cellulite develops when fat cells accumulate underneath the skin and push against the skin while the connective cords pull down. This causes a bulging that creates the characteristic dimpling of cellulite. As the name implies, stretch marks develop as a result of rapid stretching of the skin. [End graphic. citation follows.] (I learned the difference from these studies, too! The point is, both are completely natural.
Image 8 ID [The drawings on this page show other common places where fat can rest including breasts, of which there are two drawings of, followed by an outstretched arm, followed by a pelvis cutting off just above the knees. At the very bottom right there is a small image of a leg.]
Written Image 8 ID: Other common places where fat can rest: [above the first two drawings.] Breasts [arrow pointing to a circle drawn just underneath the breasts and stomach.] Notice this area here! Sometimes there's a slight fold between the breasts and stomach. This is, again, often mistaken as the result of tight bras or binders, but is also completely genetic. [arrow pointing to the fingers on the outstretched arm graphic.] (fat can also affect the shape of the hands and fingers.) [arrow pointing to a circle drawn around the underneath of the bicep on the same graphic.] (also a hot spot for stretch marks!) 'bingo wings' are not exclusive to elderly characters. Personally, my arms are very soft, since I have a decent amount of muscle as well as fat concentrated here. [two circles describing the graphics, one labeled "arms" while the one underneath says "butt and thighs." following a red circle pointing out the fold between hip fat and thigh fat where undergarments usually squeeze.] There are sometimes folds here, again, purely genetic. [arrow pointing to the small leg in the lower right hand corner.] Make sure the lower leg tapers proportionately to the upper leg! {op note- discrepancy here- some legs and arms don't taper so nicely. "stubby" looking arms and legs can and are just as beautiful as ones that are "proportionately accurate."} [arrows pointing to the side of the thigh and the inner thigh, where there is a circle right under the pelvis.] (more stretch mark spots.)
Image 9 ID [Tile of the page appears at the top once again. This is followed by two drawings, one of a profile shot of the op facing to the left side of the page, gesturing to her neck and looking back at it. The one to the right is a much more cartoony doodle of the op's face, smiling facing the reader. flowery scribbles surround the smaller head. Underneath there are several body types lined up at the bottom of the page with colorful graphics filling in shapes behind the figures. They include: apple, a red circle, pear, a lime green pear shape, hourglass, two connected golden triangles stacked facing each other, triangle, a warm-teal triangle with a point facing the head of the figure, and inverted triangle, a gentle purple triangle facing the pelvis of the figure.]
Written image 9 ID: Last but not least: don't forget spots like the neck that can be easily forgotten! Double chins are very common, and folds on the back of the neck are, too. [two circles pointing these spots out on the first figure.] And remember the chubby face! Some general shapes to remember: [graphic of body types follows.]
Image 10 ID [the page is covered in soft translucent purple stars, with more body types dancing and interacting on it. The first, separated from the others, is a figure with one arm in the air and another on their chest, the diamond body type. They are a light blue diamond with points facing the pelvis and head. This is followed by another array of figures at the bottom: the bottom hourglass, a light tan hourglass shape with a smaller triangle being on top and the bigger one on the bottom, who is locking hands with the top hourglass, a darker tan hourglass with the larger triangle being on top and the smaller on the bottom. The spoon, a yellowish-lime green spoon shape with the handle sticking up into the torso, is talking to the round body type, a pink oval in the center of the figure. The rectangle body type is dancing off to the right, lost in the moment as the diamond seems to be. They are a seafoam rectangle following the torso.] Image
Written image 10 ID: "But there are so many others!
Experiment, have fun, and remember that:
[a list following the flow of the page.]
-Fat is not a dirty word
-Being fat is not inherently unhealthy
-Gaining or losing weight does not devalue you as a person
-Weight can change rapidly and over time
-Weight should not be a joke or subject to mockery
-You can be beautiful at any size!
[End ID.]
fatphobes hate this post so much ♡ reblog with the transcribed version to piss them off :)
I've always loved drawing people and especially portraits. Your art is so inspiring! Do you have any advice on drawing portraits with accurate proportion? What aspects are the most important in portraits, do you think? And what are good exercises? I'm sorry for bombarding you with so many questions! :3
Thank you! There’s one thing about drawing portraits that I don’t think I’ve ever touched on, and it’s the technique of constraining features. Basically, it becomes easier and more intuitive to rotate the face in 3D space once your mind grasps exactly where the features are located and, furthermore, where they can’t be located.
I use a weird double trapezoid shape that I’ve depicted below in red to keep track of facial feature placement every single time I draw a face. It follows the top of the eyebrows, touches the corner of the eye, traces down to the corner of the lips, and finally ends at the bottom of the lips.
The shape of the constraint will change depending on the person’s features, and it works for every angle of the head. For me it really internalized where each part of the face was, as well as where it started and ended. It kinda helps moderate your drawings; i.e., you’ll stop drawing features that are wildly misplaced or off-sized. I don’t literally draw this shape out every time I draw a face, but I see it in my mind’s eye 100% of the time.
If you’re still learning proportions, a good exercise is to grab pictures of people and trace this shape over them (either digitally or with a marker or something) to get an idea of what realistic constraints looks like. Then go back to studying faces, and constantly check your drawing by tracing along the eyebrows and down to the bottom of the lips to make sure that things aren’t off (e.g., the constraint isn’t terribly asymmetric). It takes a while to get used to, but it might help you get a good feel for portraiture.
There’s one other unrelated thing I like to do with faces, and if you’ve seen a lot of my pics you’ve already picked up on it. If you kinda add some shading to the area on the cheek just below the eye and down to the nose, I think it adds a decent amount of depth to a face. Don’t go overboard of course but there’s another little tip that could be of use.
Hair Tip #1 - When drawing hair, start with the hairline and hair part(s). Then keep the flow and volume in mind while you add details!
I’m not the best at drawing or painting hair, but someone on instagram requested that I make a post about it so hopefully this will help someone! This is the first of 3 tips I’m going to share.
How to Draw Hands by zephy.fr
Support the artist and follow them on instagram!
I was asked how I made the rainbow light effect in my last piece, so I put together a quick step by step.
a quick grass tutorial
I’ve never really wrote a tutorial before so apologies if this is bad
1. okay first thing I do is pick three colors, a mid, dark, and light. I like to check the colors in greyscale to make sure there’s enough contrast between each one.
I then plop down a blob of whatever my middle tone color is.
2. next, I take my dark color and just sort of randomly place it around. I try to make sure there’s a good amount of both the mid and dark tones spread throughout. I personally like to keep it kinda messy. I also have pen pressure on for both brush size and opacity, so I can have some blending action going on.
3. for the next step I do the exact same thing as before, except with the light color.
4. aight this is where we start adding details. see how you just have a bunch of colors and edges where two colors meet? use the eyedropper and go to an area where two colors meet, eyedrop a color, and then use that color to draw in your grass blades. I do this at every point where colors meet. should note I personally like to use a square brush, but you can really just use anything.
5. you can technically stop at the last step if you’re going for a more simple look, but to add more details I go to the “empty” areas of solid color and just draw in random strokes using a color nearby. it’s just a way to fill up the empty space.
6. basically more of the same idea of eyedropping and drawing. for more variety so things look interesting, I like to add random plant shapes.
7. and so the grass doesn’t look too plain, I add random dots of color and pretend it’s flowers and stuff.
and there you have it, this is how I approach drawing grass.
+More Expression Notes ! 💕 | Instagram
Tutorial: Clothing Folds
Im not that good of a teacher/instructor, but i hope this small tutorial on clothing folds helps ;o;
Art Studies
Since I caught up with my personal projects and this is my last semester. I’m focusing on improving my art, and finishing up my portfolio. First I’m trying to work on my semi-realism style by studying Disney and a handful of other works.
—————————————————————————————- Patreon: [https://www.patreon.com/lunaartgallery] Twitter: [@LunaArt_Gallery] Instagram: [@lunaartgallerys]
Yo you got any tips on how to pick out good color schemes and stuff? Youre really good at it, i swear looking at anything you post i just "ooh soft,, pretty colors" (if not thats chill, somethings ya just just can't explain)
Imma make ya a lil tutorial ;)
Picking colours has a lot to do with ~Colour Relativity~ also known as Value.
It doesn’t matter what colours you end up picking, you’ll need to start with this kind of balance. Use the KISS method; Keep It Super Simple. Too many colours can make your image muddy and/or confusing.
How to pick an awesome palette? Take a look at this cool shit.
Colour families can give your image a sense of unity. They’re also really handy for setting different moods. Warm colours are usually associated with high energy, big feelings like happiness and love! Cool colours are more subdued and carry heavier, slower connotations like sadness. Or just a KICK ASS AESTHETIC pic.
Bold colours are very fun to use but too many of them can hurt.
TL;DR:
Have dark, light, and midtones in your palette
Pick a colour & use colours similar to it
Limit your use of hyper-saturated colours.
a quick grass tutorial
I’ve never really wrote a tutorial before so apologies if this is bad
1. okay first thing I do is pick three colors, a mid, dark, and light. I like to check the colors in greyscale to make sure there’s enough contrast between each one.
I then plop down a blob of whatever my middle tone color is.
2. next, I take my dark color and just sort of randomly place it around. I try to make sure there’s a good amount of both the mid and dark tones spread throughout. I personally like to keep it kinda messy. I also have pen pressure on for both brush size and opacity, so I can have some blending action going on.
3. for the next step I do the exact same thing as before, except with the light color.
4. aight this is where we start adding details. see how you just have a bunch of colors and edges where two colors meet? use the eyedropper and go to an area where two colors meet, eyedrop a color, and then use that color to draw in your grass blades. I do this at every point where colors meet. should note I personally like to use a square brush, but you can really just use anything.
5. you can technically stop at the last step if you’re going for a more simple look, but to add more details I go to the “empty” areas of solid color and just draw in random strokes using a color nearby. it’s just a way to fill up the empty space.
6. basically more of the same idea of eyedropping and drawing. for more variety so things look interesting, I like to add random plant shapes.
7. and so the grass doesn’t look too plain, I add random dots of color and pretend it’s flowers and stuff.
and there you have it, this is how I approach drawing grass.
requested by @metaljupiter