21-Draw-Illustrators-Guidebook-vol-2-ebook-(2021)

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DRAWING THE BODY IN PROFILEWhen you draw bodies using a side angle viewpoint, the form changes a bit, especiallybetween women and men. Here are my top tips to help you improve posing when youare drawing side angles.While you simplify thehead shape, be sure to usean actual skull for visualreference.Differences in body anglesbetween men and women:The spinecomes outof the skullat a curve.This is oneaspect manypeople missand it is veryimportant.Legs have botha curved and flatside. Keepingthis in mind willhelp you nailtough poses.The use of colorcoding in thesebody studies is amassive help sothat you don’tforget a sectionof the body.As you can see, we often drawwomen with a more pronouncedback curve which makes acharacter look more sensualJust like arms thelegs are morecomplex thansimple cylinders.Think of legs aslinks that connect,and it will helpyou understandpositioning. Thismakes drawingcomplicated poseseasier as well.HOW TO BRING YOUR CHARACTERS TO LIFE117
EXAMPLES OF POSINGWhat I love about my process for breaking down body shapes is that it can beapplied to any art style. You can apply it to anime, realism, cartooning, comics,etc.—it will work really well!Here are examples of various styles using animals, monsters, and more to showhow flexible and effective this process can be.118 21DRAW
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VOLUME2
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Published in Sweden, by 21 Solution
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For beginners, students, and master
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INTRODUCTIONThank you for purchasin
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1DIGITAL DRAWINGUsing ProcreateERIK
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stored on your device, simply tap t
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PROCREATE INTERFACEActionsSelection
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To view your layers, bring up the L
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but don’t pick up your pencil for
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DIGITAL DRAWING11
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ROUGH SKETCH FIRST PASSROUGH SKETCH
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FINAL LINES AFTER ADJUSTMENTS1SILHO
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and Color Balance adjustment tools.
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ORGANIZING YOUR LAYERS12345678DIGIT
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BEFORE CLEAN UPAFTER CLEAN UPDIGITA
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After you have a good idea of where
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LESSON 7: FINISHING UPIn this lesso
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DIGITAL DRAWING STEP BY STEPDIGITAL
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BEFORE AND AFTER FINAL ADJUSTMENTSD
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2FUNDAMENTALS OFCHARACTER DESIGNRAN
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Good character designrequires plann
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SIMPLIFICATION AND EXAGGERATIONStyl
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Every aspect of acharacter’s desi
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“The Everyman” or “Regular”
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“The Magician”Visionary, Unconv
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IT’S ALL ABOUT THE PROCESSWhen a
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Step 5: Value and shadingStep 7: Fi
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MODEL SHEETSCharacter model sheets
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LEARN MORE ONLINE: 21-DRAW.COMLearn
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DRAWING FEMALE CHARACTERSWITH MEIKE
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If I want to print my art ona large
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IMPORTING REFERENCESTo place your s
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SIMPLIFIED SKELETON TECHNIQUEI star
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CHOOSING COLOR SCHEMESCOLOR THEORY
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COLOR PROPERTIES (HUE, TINT,TONE, A
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Tap and holdthen movearound toselec
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Page 77 and 78: layer is alpha locked and the backg
Page 79 and 80: I use the basecolor, make ita bit d
Page 81 and 82: BACKGROUNDLast but not least, we ne
Page 84 and 85: 4STYLIZED FIGUREDRAWINGRENÉ CÓRDO
Page 86 and 87: and other simple shapes to build ea
Page 88 and 89: CHARACTER DESIGNAfter practicing an
Page 90 and 91: PRO TIP:I sketch my basestructure u
Page 92 and 93: Creating perspective and volume cor
Page 94 and 95: You continue using the same process
Page 96 and 97: CHARACTER DEVELOPMENTFor this examp
Page 98 and 99: STYLIZED FIGURE DRAWING89
Page 106 and 107: CHARACTER EXERCISELet’s do an exe
Page 108: QUICK SKETCHESThe previous page has
Page 111 and 112: HOW TO BRING YOUR CHARACTERS TO LIF
Page 113 and 114: However, there is a big difference
Page 115 and 116: HOW TO DRAW EYES: STEP 2Now that yo
Page 117 and 118: EYE EXERCISES TO PRACTICEThe follow
Page 119 and 120: FACIAL EXPRESSIONSHow are you able
Page 121 and 122: EXAMPLES OF FACIAL EXPRESSIONSHere
Page 123 and 124: POSING YOUR CHARACTERSThe ability t
Page 125: DRAWING THE HUMAN BODYThere are var
Page 130 and 131: 6CHARACTER DRIVENILLUSTRATIONSKENNE
Page 132 and 133: For this piece, I play around with
Page 134 and 135: Running fromghost/monster’90sClot
Page 136 and 137: THUMBNAILS—CRAFTING YOUR STORY MO
Page 138 and 139: I also play around with tone andlig
Page 140 and 141: FINALCHOSENDIRECTIONI choose a view
Page 142 and 143: LINES OFACTIONbrandishing a hockey
Page 144 and 145: MOOD—SELLING THE IDEA THROUGHLIGH
Page 146 and 147: 76804320THE BLOCK IN—STARTING THE
Page 148 and 149: CHARACTER DRIVEN ILLUSTRATIONS139
Page 150 and 151: One thing to note—it is important
Page 152 and 153: LOCALCOLORHARD LIGHTSHADOW LAYERWIN
Page 154 and 155: the environment. This process appli
Page 156 and 157: I tweak the ghost a bit so his tona
Page 158 and 159: 7MASTERING LIGHTINGAND SHADINGAVELI
Page 160 and 161: tones contrasting on his face, the
Page 162 and 163: In the image at right, the mainligh
Page 164 and 165: In this film clip from Marriage Sto
Page 166 and 167: TOOLS AND TECHNIQUESMY MAIN BRUSHES
Page 168 and 169: ALPHA LOCK: Activate it by swiping
Page 170 and 171: light are clearly delineated, eveni
Page 172 and 173: In the above image, the characterwi
Page 174 and 175: This girl is like “don’t evenda
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12Gather a bunch of imagesso you ca
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4Identify the different light sourc
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CONCLUSIONI hope you’ve learned s
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KENNETH ANDERSONCHARACTER DESIGNERI
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RENÉ CÓRDOVACHARACTER DESIGNERCOM
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MEIKE SCHNEIDER3D ARTISTILLUSTRATOR
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ERIKA WISEMANDIGITAL ARTISTILLUSTRA
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