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

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FINALCHOSENDIRECTIONI choose a view that places the ghostin a threatening position of powerand shows each kid’s face and uniqueexpression.FOCAL POINTCHARACTER DRIVEN ILLUSTRATIONS131
CHARACTERS—STORY THROUGHPERFORMANCENext, I look at the characters with the aimof refining their performances. I want eachcharacter to be unique, so my design hasplenty of variety and visual interest. Thecharacters’ performances need to work wellto sell the idea while also working with notagainst the composition.When I design characters, I like to work withan understanding of who they are from theinside out. These characters exist for just thissingle illustration. So their backstories don’tneed the same complexity as characterscreated for a TV show or a book wherethe story needs to be longer and moredeveloped. That said, I want to put enoughtime into these characters to assure thescene is engaging and their personalitiesshine through.I think of a character as having threemain facets: a personality, current mood,and desire or motivation. These threethings influence one another and drive acharacter’s action and performance.Personality gives us a baseline to work within a character. Are they happy go lucky ornervous and twitchy? Perhaps confidentand assured or pensive and calculating?Each personality will respond to a particularscenario in different ways—no twocharacters perform the same action in thesame way.Then we layer mood over a character’spersonality. How does a brave characterrespond in a frightening situation comparedto a nervous character? If a character is sadwill he or she react to the same scenariodifferently than if the character is happy?Of course, this also works the other wayaround—think about your story momentand what effect it will have on a particularcharacter’s mood.Finally, we have desire—a foundationstone of storytelling. What characterswant drives their actions, pushing themagainst the conflict they must overcomein pursuit of their desires. It can be difficultto fully explore a character’s desires in asingle image, but it is worth having eachcharacter’s desires in mind and hinting at itif you can.I have a clear idea of who my charactersare and what they want—a group of kids,between 9 and 13 years of age exploringa haunted house, along with a ghostlycharacter. The ghost is likely from a longgone Victorian era, possibly with a love forfrightening anyone who ventures into hisdusty abode. As I start to flesh them out onthe page, I think about various personalitytypes for each kid so that each kid reactsdifferently. I like the idea of one or two ofthem being easily scared, but one shouldbe a bit more confrontational to the ghost,while another might be unimpressedor disbelieving. At the very least, eachcharacter should react to the event in asubtly different way, either in posing orexpression.I like the idea of one of my characters beinga bit like Data in The Goonies. I imaginethey could have an old ’90s camera, maybea Walkman, and recording equipment.Possibly even a video recorder? Althoughthey weren’t as common back in the ’90s!Obviously this character intends to studyany ghost they find.I think it would be fun if one of mycharacters has a skateboard—perhapsto use as a weapon? Another might be132 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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way I can easily adjust the color o
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layer is alpha locked and the backg
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I use the basecolor, make ita bit d
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BACKGROUNDLast but not least, we ne
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4STYLIZED FIGUREDRAWINGRENÉ CÓRDO
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and other simple shapes to build ea
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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 and 126: DRAWING THE HUMAN BODYThere are var
Page 127 and 128: EXAMPLES OF POSINGWhat I love about
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 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
Page 176 and 177: 12Gather a bunch of imagesso you ca
Page 178 and 179: 4Identify the different light sourc
Page 180: CONCLUSIONI hope you’ve learned s
Page 183 and 184: KENNETH ANDERSONCHARACTER DESIGNERI
Page 185 and 186: RENÉ CÓRDOVACHARACTER DESIGNERCOM
Page 187 and 188: MEIKE SCHNEIDER3D ARTISTILLUSTRATOR
Page 189 and 190: ERIKA WISEMANDIGITAL ARTISTILLUSTRA
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