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

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and other simple shapes to build each partof the body. I think in tridimensional formto create volume which will help us later onwhen we render light and shadows.Now I begin to sketch in basic shapes andlines for the figure. You can see in the imagelabeled example (see previous page) how Ivisualize these geometric shapes and usethem to build out the structure of the body.The next step is to clean up my line work—this is call the inking stage—and mydrawing is now ready to be colored. I domy work with Photoshop in Cintiq, whereI can create separate layers. This allows meto have my clean lines on their own layer sothey are not disrupted when I add color.Before moving on to color the artwork, it isimportant to check our drawing to be sureit is structured correctly. You need to makesure the extremities follow human anatomycorrectly.I like to check my work by thinking inpoints of reference. Our extremities are notperfectly parallel. A good point of referenceis usually in direct line with the ears. I alsolike to imagine a mesh that dictates thevolume of each muscle (see the imagelabeled notes below).Reviewing these structural details helpsimprove our drawings, no matter the styleyou plan to use, be it a functional drawingor one that is stylized for animation.CLEAN UP LINESINK LINESNOTESSTYLIZED FIGURE DRAWING77
ANATOMY EXERCISESIt is best to practice youranatomy exercises usingreal-life body references. Ifyou have the opportunityto participate in drawingsessions that include livemodels, that is even betterbecause you are able tosee how muscles moveand tense up in differentpositions.Being able to makethese kinds of real-lifeanatomical observationsis very helpful for creatingstrong character designs.PRO TIP:Practice your anatomy exercises bydrawing from live models so you canobserve how bones and muscles reallymove and interact in a variety of poses.78 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
Page 36 and 37: DIGITAL DRAWING STEP BY STEPDIGITAL
Page 38 and 39: BEFORE AND AFTER FINAL ADJUSTMENTSD
Page 40 and 41: 2FUNDAMENTALS OFCHARACTER DESIGNRAN
Page 42 and 43: Good character designrequires plann
Page 44 and 45: SIMPLIFICATION AND EXAGGERATIONStyl
Page 46 and 47: Every aspect of acharacter’s desi
Page 48 and 49: “The Everyman” or “Regular”
Page 50 and 51: “The Magician”Visionary, Unconv
Page 52 and 53: IT’S ALL ABOUT THE PROCESSWhen a
Page 54 and 55: Step 5: Value and shadingStep 7: Fi
Page 56 and 57: MODEL SHEETSCharacter model sheets
Page 58: LEARN MORE ONLINE: 21-DRAW.COMLearn
Page 61 and 62: DRAWING FEMALE CHARACTERSWITH MEIKE
Page 63 and 64: If I want to print my art ona large
Page 65 and 66: IMPORTING REFERENCESTo place your s
Page 67 and 68: SIMPLIFIED SKELETON TECHNIQUEI star
Page 69 and 70: CHOOSING COLOR SCHEMESCOLOR THEORY
Page 71 and 72: COLOR PROPERTIES (HUE, TINT,TONE, A
Page 73 and 74: Tap and holdthen movearound toselec
Page 75 and 76: way I can easily adjust the color o
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 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 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
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THUMBNAILS—CRAFTING YOUR STORY MO
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I also play around with tone andlig
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FINALCHOSENDIRECTIONI choose a view
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LINES OFACTIONbrandishing a hockey
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MOOD—SELLING THE IDEA THROUGHLIGH
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76804320THE BLOCK IN—STARTING THE
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CHARACTER DRIVEN ILLUSTRATIONS139
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One thing to note—it is important
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LOCALCOLORHARD LIGHTSHADOW LAYERWIN
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the environment. This process appli
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I tweak the ghost a bit so his tona
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7MASTERING LIGHTINGAND SHADINGAVELI
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tones contrasting on his face, the
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In the image at right, the mainligh
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In this film clip from Marriage Sto
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TOOLS AND TECHNIQUESMY MAIN BRUSHES
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ALPHA LOCK: Activate it by swiping
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light are clearly delineated, eveni
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In the above image, the characterwi
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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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