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

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Creating perspective and volume correctly isvery important—let’s explore more about thisprocess using the following steps to costumeour characters:1. Start with the base body line art.2. Then add the costume design over yourbase body.3. Review and adjust the direction of eachelement—this will help your costumeto wrap over the body’s shape andvolume correctly.By following these steps your characterwill be ready for action!PRO TIP:Although it is easy to find onlinereferences, I recommend takingyour own pictures. You can askfriends and family to help so youcan plan out your photo referencesthat will help you create betterillustrations. Also, while takingyour own pictures you see detailsin the hands, feet, and expressionsthat you may not pay attention tousing pictures from the internet.All you need is a cell phone andyou are ready to go!BASE BODYCOSTUMEREVIEW AND ADJUSTSTYLIZED FIGURE DRAWING83
ADDING DYNAMIC ENERGYIt is time to give our figure drawingsmore dynamic movement andenergy!Now that you understand howto draw basic body structures, I’llshow you a practical way to createa sense of dynamic energy. In thisexample you can see how a 2D image(front view) changes as you addperspective, transforming the figureinto a 3D image. You can see thatby adding just a few simple strokes,you can create volume which addsdynamic movement.84 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
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 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 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 140 and 141: 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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