Besides The Basics (construction of heads and skulls and muscles and skeletons and how they move), I’ll go over some things I’ve been trying to work on myself lately:
1. Treat expressions as a single gesture of the face/head, as opposed to a head and then individual features dumped on a plate and arranged into an expression.
First, just get down the big shapes of your expression, just like you would for a pose.
So say I wanna do a low angle angry pose. I know the features are gonna be all mashed down at the bottom because of perspective.
Scribble it down
start to put on features
put on more stuff
fix stuff again
erasing and flipping and stuff a whole bunch until you are happy with it or stop caring
Whole head is a gesture!
2. Just like a facial expression, jot down where the important parts of an entire pose goes first. You can force the rest of the body to fit the pose.
So here I knew I wanted the shoulders tilted a certain direction, and te hand to be in that particular position in front of her face.
That’s the simplest explanation I got. Don’t be afraid to push and pull faces and bodies around! Worry about being “on model” last!
it’s nice to see how others do stuff like this, everyone is different but there’s something to learn from everybody!
let’s fang out later, mate
I love this doll so much, I had to draw some fanart. I think I’ll do more MH characters in this style when I get the chance. c:
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Criatipos | http://behance.net/Criatipos
"Cristina and Cyla painted a wall in Bushwick, Brooklyn, as a tribute to the great poet Paulo Leminski who would be 70 years old in August 2014. We are very grateful to our new friend Nev (No Entry Design), for all the support and contact with Livestream Public who gave us the opportunity to paint this mural at the corner of Morgan Ave & Stagg St."
Criatipos emerged alongside the professional career of designers Cris, Cyla, Doo and Jack as a means to escape from the digital realm and to bring back handmade processes, blending work and fun to communicate in a unique approach.
Aaaand I’m back! Kicking off the week with a little zebra finch griffin, in honor of my research species and my school’s very very new mascot.
I knew I would be busy but I still think I underestimated!!!
Don’t forget the cute chubby cheeks.
I was looking for fonts recently and fell in love with many, so I figured I’d compile all my favorites. Some of them require a tweet or Facebook post to download. All credit goes to their respective makers.
Hope everyone had a fun Labor Day weekend! Guess what- we had a baby boy! Little Ezra has arrived and we couldn’t be more excited, grateful, happy or in awe! Now we are a forest family.
As we enjoy these last days of summer, I thought I’d share a recipe that I did for the current issue of Remedy Quarterly, a fantastic foodie magazine that everyone should know about.
and here’s a dress from 1928 designed by the boué sisters
BUT NO in all seriousness, thank you! You’re a sweetheart! ;O; Proportions are pretty awful to get down when you’re just starting out, and while there are a bunch of ways you can start practicing with it, it’ll be difficult to be absolutely precise. I still struggle with proportions occasionally. Fun fact: I don’t post all of my work. I only post the work that turned out okay aHA. So basically don’t be frustrated when every single piece doesn’t turn out. Here are a few tips.
Let’s use this picture of Laurence and Hugh because why not.
They’ve both got eyes, a nose, and a mouth, so why do they look different?
These lines are the generic way of mapping out where to put things together. I used this when I was starting out and it’s a helpful way of getting your hand and wrist to work together. At this point they both nearly look the same. I say this a lot, but I think it’s important: shape is what puts a drawing together.
Compare features of the face to help you figure out placement.
The bottom of his ear lines up right to the middle of his nostril. His tear ducts line up right at the corners of his mouth. Then you can get super technical and say, oh, the outer corner of his eye lines up with that fold in his collar and then from there you can see other things like the approximate distance from the edge of his mouth to that connecting line from the eye to the collar. They don’t meet so his mouth is smaller than the width of his eyes, etc, etc. Whatever works, man.
This is a favorite technique of mine so lemme use another example:
Eventually you get to the point where most of your proportional accuracy will come from just looking. You will eventually adjust your eye to see what makes a person who they are by the shape of their features.
Laurence has narrow, oval shaped eyes, while Hugh has more of a diamond shape. Not everyone has perfect almond shaped eyes. You can capture an entire character personality through their eyes alone, so shaping them out is extremely important.
The way you draw your lines is also important. Sharp and smooth lines will give your drawing personality. Reveals the character, in a sense.
Other things to consider: the shape of the nose.
Mads’ is flat and goes down in a steady slope, while Hugh’s juts out in a smooth, almost concave curve.
SHAPES SHAPES SHAPES. Use shapes and structure to find proportion.
I did a lot more than I anticipated omg. Oh gosh and I have a feeling I kinda just rambled and didn’T MAKE ANY SENSE AH. Let me know if you need more help or if I was speaking gibberish I am so bad at putting my thoughts into words aHHHH. But gosh I hope this was at least vaguely helpful. You’re a darling and thank you for your kind words!
Good luck on your artistic endeavors! /hugs
OP is super adorable.