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

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the environment. This process applies toeverything in the image—slowly refine,painting in details to more clearly definethe forms.THE FINISHI’m almost done! Everything is pretty muchrendered—I just need to make tweaks hereand there and then do a final polish. At thispoint, I like to take a step back and evaluatemy image, taking note of anything I needto focus on or fix. In this illustration, I noticethe following:• The paintings in the background needwork. It would be fun to add otherVictorian style characters—maybe theyare looking down toward the kids onthe stairs. I don’t want them to be tooobvious—just visible enough that aviewer would notice them after studyingthe image for a bit.• I want to elaborate on the plant and makeit look a bit more withered and dead. Icould bring the dead plant stems outand over so they trail along the floor liketentacles.• The girl with the hockey stick needsmore work, something doesn’t feel quiteright. Especially since she is at the frontof the characters, I need to give her extraattention.• The chandelier looks a bit lazy in design.I decide to get some references andimprove on it. I need to be careful,however, not to overdo it by making it toodistracting an element in my illustration.• On the kid with the flashlight, I want totry a subtle smile on his face to bring aunique flavor to his personality.I go through each element in turn, takingtime to fix or polish up each one.CHARACTER DRIVEN ILLUSTRATIONS145
NEW CHANDELIERPAINTINGS MORE LIGHTS INGHOST FOR CONTRASTTWEAKPOLISHFINISH FLOORAND PLANTThe chandelier looks better as an oldwooden frame with half-melted candles.This adds context, suggesting the house isfrom another era, while the gnarly candlewax increases the creepy factor!The slight smile added to the kid holdingthe flashlight brings a fun, new dynamicto his character to give him a more uniquepersonality.146 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
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PRO TIP:I sketch my basestructure u
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Creating perspective and volume cor
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You continue using the same process
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CHARACTER DEVELOPMENTFor this examp
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STYLIZED FIGURE DRAWING89
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Page 104 and 105: STYLIZED FIGURE DRAWING95
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 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 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
Page 191 and 192: MORE GREAT BOOKS!ORDER TODAY AT WWW
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