nathanaardvark

Tutorial 22 - Male vs. Female Facial Proportions

In this tutorial we are working within certain style (Marvel?) and racial (European/Caucasian?) limits but I've tried to keep it as general as possible, there's so much more to explore and we will have time, of course. So...

If you find it difficult to draw the features that distinguish between the two sexes, then this is a good exercise; 

Try to draw the most neutral face possible and map out the proportions. Then explore the proportional differences ...

Tutorial 21 - Surprised Expression

If we want a character to look surprised then there's a few things we should note. The head should be set back as far as possible, the neck is streched slightly. Eyebrows are high, the mouth usually open. Most importantly we can see the white of the eye, the iris is not touching the upper or lower eyelid. Without the eyes drawn in this way we'll find it really hard to make a character look surprised.

Tutorial 20 - Superhero Hair

One way to draw curls is to take a brush that is slightly angled or chiseled, draw a curl shape, then take a smaller brush and outline. It will then be easy to figure out which parts of the curl shape twist and overlap.

If you can draw hair and curls, then congratulations! Those acquired skills can be used to draw almost any complex organic forms. Leaves, smoke, branches, bones, etc.. all share similar characteristics and behaviors.

Tutorial 19 - Bold Feminine

From stylised drawings to realistic paintings and in photos , we should try to be aware of some of the reasons various poses communicate a sense of cool indifference, sadness, coyness, curiosity, etc.  A bold, confident, feminine face usually includes one or more of the above elements.

Tutorial 18 - The Trapezium Bone

The trapezium bone is the "saddle seat" of the first metacarpal (the part of the thumb that's inside the hand). It's a bone partially responsible for the thumb's opposable motion.

We can see or feel it, if we rotate our thumbs in a circular motion. 

Study some xray images of hands while you do this. Look back at the joints on your own hands. Draw what you learn until it's second nature.

Tutorial 17 - Depth Tricks

If we're observant enough we can identify some of the reasons why we perceive depth in the world around us. Once identified we can attempt to duplicate these effects in our work using a few tricks. 

Working with line in this instance, here are just a few ways we can create the illusion of depth. 

Try using one or two of these tricks in your next image.

Tutorial 16 - Depth

Because we live on a planet with an atmosphere there are particles of gas, dust and other microscopic matter present in the air. These tiny objects don't escape the impact of photons nor should they escape the brushes of skilled painters. So, as skilled painters we must paint them! Not individually, of course, that would take a while.

As objects  gain distance from us, the amount of atmospheric particles between us and our subjects increases. As a result, our ability to perceive differenc...

Tutorial 15 - Plan Your Values

There's a lot to say about value and how important it is when planning an image. For this image I tried several varieties before settling on this "low key" option.

Values and the meaning of "key" will be explained in other tutorials.  

In the early stages, try to limit yourself to just 3 or 4 values, for simplicity. Doing this will make it easier for you to experiment with compos...

Tutorial 14 - The Cheekbone

As you probably know already, the cheekbone is responsible for that darkened area we see on each cheek, especially visible on lean subjects, and especially in strong overhead lighting. However, smiles will almost always hide this bone shadow, softening the area. It's worth observing this on yourself in the mirror.  Give it a try.

Tutorial 13 - Confident Technique

Use large brush strokes to define your forms.

It's important to try to do as much as you can with large strokes. This practice keeps our eye on the big picture. Save details for later if they are needed at all, and keep them minimal. Too much detail in the wrong place will pull the eye away. Know where it is you want the eye to linger. On portraits it's usually the eyes, for instance.

Use small brush strokes for details in the highlights.

We don't need to show much de...

Tutorial 12 - Basic Process

This is a basic process example, from sketch to render. It's useful for beginners but also for well practiced artists that feel a bit stuck and haven't quite got their process down.

A very important step was left out though, and that's reference. Nature is the best teacher so if you can go and observe first hand, then do that. Otherwise, photos are the next best thing, though never as good.

I'll be doing a tutorial on how to gather and use reference shortly.

Tutorial 11 - The Punch

Most of the time an action scene needs to feel like it's either come from somewhere, going somewhere or both. If we illustrate the full extent of a punch then we know the full story; the origin (the anticipation and potential energy), the contact (impact, hit) and the extent (destination of the punch). We could also show the origin, the "wind up" to a punch. But we'll not know if it's a hit or miss. If we show the contact stage then it just feels boring, for some reason...

Tutorial 10 - Giants

Just to expand a little on the points.

Worm's eye point of view. The angle we use in a scene if we want the viewer to feel really small or if we want the viewer to feel what they are looking at is really large. The camera needs to be close to the ground.

Size is relative. Of course, our scene needs to appear the usual size. Putting objects like mountains, trees and birds around will help us relate to the size of the giant.

Atmospheric Depth. T...

Tutorial 9 - Facial Likeness

It takes a lot of study and practice to develop the skills needed to capture the likeness of a face. It's something I've struggled with for a long time. There's lots of rules to try and follow but it the end it will come down to your intuition and your ability to look at your work with fresh eyes so you make the necessary adjustments.

If you find yourself stuck, try changing from line drawing to value blocking, or vice-versa  .

Tutorial 8 - Humor

Humor is a difficult thing to formulate. There's no real rules we can follow to bring humor into our artwork. But we know most jokes contain an element of surprise, something unexpected. Have a look at whats out there that makes you giggle. Try to break down the reasons. What story are you being told? If you can figure this out, you can bring it into your work.

Tutorial 7 - Lost Edges

When lost edges are present in a drawing or painting they feel somewhat looser and more expressive. We can play with the boundaries between positive and negative space if they share a similar value. 

Play around with this concept in your work. Try it in your next life drawing class.

Tutorial 6 - A Dominant Shape

When composing your images, try to pick a dominant shape that you want to repeat throughout the overall design.

Simple shapes trigger well learned patterns that develop early on in our brain. So, when we gaze at an image that has these shapes hidden within the composition these patterns are triggered and we recognize something.

If the shapes are well arranged the recognition feels like a pleasant memory. If they are badly arranged, it's telling us that beautiful pattern we learned as a 2...

Tutorial #5 - Balance

Number five in my one-a-day series.

Tutorial #4 - Foreshortening

Number four in my one-a-day series.

Tutorial #3 - Negative Space

The third in my efforts to make one tutorial a day for a year.

Negative space is a great tool to use to help you with your observational drawing.

Let me know if this makes sense and please have a go! Post here if you feel like it

:)

Tutorial #2 - Twists and Rhythm

The second in my efforts to make one tutorial a day for a year.

Rhythm is almost essential to any strong and likeable drawing.

Try it for your self. 

Dura-lar Film

So this is a new technique I'm playing with.

Beginning with a sketch, keep it rough knowing this isn't going to be the final thing. When satisfied with the general shapes and composition I trace the sketch using watercolour pencil and ink on Matte Dura-lar Film. Something about it gives a really beautifully crisp line. I can also erase really well because the surface is super slick.
I then add another layer applying more colour and line-work and perhaps some details that weren't present in ...

Tutorial #1 - A Readable Figure

The first in my efforts to make one tutorial a day for a year.

Hope this makes sense. Have a go and post any examples right here.