dredsina:

[From DaniDraws.com]

One of the biggest challenges a beginning painter will face is learning to paint flesh tones. The skin is highly complex, made up of varying colors and textures; if you get one thing wrong, you could end up with some pretty scary results.

Here’s a few simple tips to help you conquer this problem.

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(via lackofa)

Richard Armitage & Jonathan Rhys Meyers // photographed by Richard Bush, 2005

(Source: sarah-pete-designs, via randypace)

soprie:

So apparently DA doesn’t have any packs of expressions in profile.

So I made some!

Hooray!

Head on over to This Awesome Link to read my rules and download.

(via alcottgrimsley)

clockwork-dingos:

How to paint gold tutorial by *ConceptCookie

And I found this very helpful just by looking at it. I was never good at coloring gold.

(via sleepingjuliette)

jammareduke:

Over the Shoulder Tutorial by ~DerSketchie

(Source: martin-van-gurren, via alcottgrimsley)

francoisdelabooo:

anotherartresourceblog:

Deer sketching by Martin Wittig.

Yes perfect

(via brokenheartedfestivities)

kickingshoes:

alldrawtut:

Heads constructing

Duc Truong Huyen

oooo i’m trying this later

(via alcottgrimsley)

ohcorny:

rjinswand:

losthitsu:

Suits tutorial - translation

fuck i’ve been drawing cuff buttons wrong on every single suit i’ve drawn in my entire life

holy butts

(via alcottgrimsley)

rufftoon:

e1n:

storyshots:

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.

nedroidcomics:

Hello! Here is a short tip detailing a technique to put scanned lineart on its own layer in Photoshop. As with most things in Photoshop, there are various ways to do this, but this is just one.

Start off with your lineart! This can be something you’ve scanned, or something you’ve simply drawn onto a white layer and want to move to its own layer so you can color under it. If your lines are pure black and white, you can simply select all the black and copy it to a new layer, but if you’ve got grays in there it’s not so simple.

I am using Photoshop CS6, but this should work in any version that includes the Channels palette. Go to the Channels palette, hold Ctrl (Command on a Mac), and click the thumbnail of the RGB Channel (or CMYK if that’s the color mode you are using).

 

This selects all the white/gray areas of the image. The lighter a pixel is, the more opaque its selection is; darker areas will be more transparent. However, this is the opposite of what we want, so go to the Select menu and choose “Inverse” (or press Shift + Ctrl + I).

Now we have the black areas selected. Go back to the Layers palette, make a new layer, and fill the selection with black (you can press Alt + Backspace to do this quickly). Now you can replace the original layer or fill it with white or do whatever you want to do with it. Your lineart is own its layer with no pesky white background to block out your colors.

What’s the advantage to doing it this way rather than duplicating your original layer and setting it to Multiply? For one thing, you can now lock the transparency of your lineart and do color holds (the fancy term for coloring your lineart). I’m sure there are other benefits. Who knows!

 Join us next time on Photoshop Tips where I’ll reveal the secret menu option that draws comics for you. 

(via alcottgrimsley)