grid techniques

Tips for transitioning from 'realism' to 'cartoons'

( this is mostly for @stiles-and-the-sourwolf but you’re welcome to read it either way.)

Okay so the thing about drawing in a ‘looser’ style (or a more cartoonish style) is you must must must MUST learn to trust yourself, and be forgiving. It’s really about loosening up the 'rules’ of anatomy and letting things become more exaggerated and fluid.

It’s a huge problem that I’ve found amongst many of my artist friends who tend to draw in a more realistic and 'refined’ style. They’ve gotten into the habit of working into a piece for long periods of time, and striving for a certain level of anatomical perfection that is often—if not always—on par with photo realism. This means that their process usually involves working into small, key parts of the art until it fits together like a lovely puzzle. This is typically called the 'grid technique’, whether you use actual grids or not, and it’s perfect for creating a well rendered, full-feeling piece.

The problem is is that it tends to set you up for a few different problems when it comes to a more cartoonish style.

For one thing, cartoon anatomy is never as it should be, and things are generally never WHERE they should be, either. Buuut, that’s kind of the point, because the style leans heavily on the motion, the shape of the character, and the fluidity of their form.

What matters most in these types of styles is showing the character through their forms as much as possible, and often as SIMPLY as possible. Think about all the hundreds of Disney characters out there, and think about how each one has a very specific body shape to match their personality.

For example: Bell’s father. He’s the typical Disney short, round-bodied, mustaches father figure that you see throughout many Disney films. He has a sputtering voice, a general doofy personality, typically kind of useless, and tends to bounce around like a bouncy ball. His round form encompasses his character much better than, say, a long, tall, skinny body would.

Another (not Disney) example: Miyazaki’s strong female lead-characters. They all tend to be sort of squat, strong bodied, slightly rounder (more trustworthy) faces, with a stubborn pout. You automatically know that this girl/woman means business, and is going to kick butt and take names and, like, save someone/everyone/herself.

Now, a lot of this all comes down to animation, and the fact that simplicity is necessary for something you’re drawing a million times. The simpler the design, the easier it is to draw frame, by frame, by frame. But, even without animating, a key part of drawing in a cartoonish style is always going to be expressing as much information about the character/environment/story as possible with the smallest amount of effort.

A prime example of that would be the Tintin comics, or Charlie Brown. Each comic has it’s own level of simplicity that is, seriously, basically down to single lines and blobs of color. And if you look closely at a comic panel, you’ll probably feel like you’re falling into some abstract piece of art. But, the thing is… they work.

Tintin’s head is about 14 lines total, and yet somehow Hergé manages to bring forth a vast range of emotions and expressions with very little effort at all.

This, again, is also due to repetition. Comic books have always had a tendency to lean towards the more simplistic styles do to the whole, you know, drawing the character over and over again thing. Not that there aren’t comic book artists who totally ignore that and go into some insane levels of detail for each frame, but as a general rule, you’re going to see the 'cartoon’ style in comics. It’s easier to draw, less time consuming, and is often contributed to easier/smoother reading.

Now, trust and forgiveness.

The thing about shooting out a quick sketch is that there’s a certain level of 'I don’t give a fuck’ that goes along with it.
You’ve drawn it, it’s done, it’s out there, who cares?

And to many artists, that’s a screech-worthy sentence right there.

But, it’s sort of an integral part of loosening up your style.

Sketching or drawing out a cartoonish character takes a lot of confidence, trust, and again, that forgiveness thing. You need to teach yourself to let those lines flow freely, to trust that you can complete this figure with or without mistakes, and to forgive yourself when it doesn’t come out looking 'perfect’. This can be hard, or even next to impossible for certain realism artists to accomplish. It can be infuriating for them, especially when they can render so masterfully, and yet this simple… doodle seems to be the bane of their existence.

The trick, for me, is to set yourself up with limitations.

Try drawing with only an ink pen. No erasing, no fixing mistakes, no sketch layer. It might smudge, it might leak, and the second eye might end up too high up. Take the risk, and draw.

Try doing very light blocking with the pen, try going completely free hand and see where some of your anatomy strengths and weakness are.

Try drawing the same face over and over again, until you can get the same amount of details/information down without a second thought. Try simplifying the first drawing. Try limiting the amount of lines or shading used. Challenge yourself to be quick, to finish a complete character in ten minutes or less.

Try using a medium you’ve never used before. Learn to love it or hate it.

Try drawing with your opposite hand. (Does it look terrible? Maybe, but I bet you automatically tried to simplify and expedite the drawing process.)

Try using only blocks of color or shadow to make a face. Do not add details. See how recognizable it looks just from shading.

Try focusing on character qualities and the shapes, poses/posture, and colors that they brings to mind.

Draw a loud, boisterous person. (What shape would they be? Are they muscular, tall, threatening? Do they stand with their chest out? Do they wear reds and warm colors?)

Draw a quiet, timid person. ( are they small, hunched, slim? Do they wrap their arms around themselves a lot? Do they wear blues and browns and colors that blend in with the background?)

Draw a hunter.
Draw a mother.

Draw types of people/animals/environments you’ve never drawn before. Push yourself to do create people with more exaggerated features or postures. People with bigger, longer, skinnier, wider, smaller elements of anatomy.

And, like I said, it will be a challenge. It will feel silly and frustrating and even demeaning. But trust me, learning to loosen up and trust yourself enough make mistakes and accept them can be extremely freeing no matter what style you use.

anonymous asked:

Hi! Just wanted to say that I love your art, and also do you have any tips for using promarkers? I find it hard to colour large sections with the wide end :)

When I colour large sections, I often use the wide end too. One problem with promarkers is you have to work quickly when filling colour because they dry quickly and if you draw the pen over the colour after it’s dry it becomes a shade darker, so it can lead to uneven colour. 

One way I get around it is colouring in a grid method. I draw with the wide end of the pen 3 layers of lines, with each line of colour connecting each other (not too far as to leave a gap and not to close as to overlap each other), first with vertical lines, then horizontal lines, then diagonal lines, like this:

this make the colours more even, even if you previously made a mistake on one layer. The more layers you add the more even the colour becomes, but too many layers will make the colour darker and seep through the paper making it brittle and ruining your desk/pages under neither (as I discovered to my own cost), so be careful. 

If you have to colour around something (a foreground shape for instance) I use the angles of the wide end pen (it would be better for the pen if you used the tipped end, but for me I don’t really care for constantly flipping between ends :P) You can use the wide end for different thickness of lines:

. The widest edge of the pen (obviously)

. The corner of the pen

. Or the shorter edge of the pen.

You can use these angles to draw a light outline around the foreground shape. I use the corner line first to get into the tiniest of gaps and nooks, then the shorter edge line to outline the corner line and build out away from the foreground shape, then finally use the widest line to gradually colour back to the grid technique, like this:

But the quicker you work with the colour, the more lines will merge into each other as they dry, the more even the colour becomes. 

Hope this helps. Sorry if it got too detailed. :)

Dragons Heart

This is another school project of which we had to do a replica of another artists piece in order to learn about color mixing. This piece is done with acrylic paint on a 2ft by 2ft wooden board. We used the grid technique in order to copy the original drawing down onto the board.

I do not take credit for the original piece, just this replica.

anonymous asked:

Your Zayn is STUNNING! How do you DO that? Do you paint over the picture as a guide in photoshop? Is it just freehand on a tablet? PLEASE reveal your technique and art process because it's just incredible xxx

grid technique! i keep my reference handy and just use the boxes to kinda lop color vaguely into the right place

then i just kinda ¯\_(ツ)_/¯ my way along:

A single layer speed painting I did in about 2 and a half hours (when I paint, the layer count raises into the 100’s, eep).

It’s been so long since I drew Storm Hawks art in the original style, so this was pretty fun. I can’t remember the last time I drew from reference, so this was like a blast from this past, only this time I had the grid technique to back me up. I stretched out the canvas a bit too as all available versions of season 2 have the picture cropped.

The episode is ‘Dark Waters’!

anonymous asked:

How do you draw your proportions so perfectly? I can't seem to draw a face without using a ruler otherwise I'd draw the nose too long or something and it makes me feel like I'm cheating :(

Hi anon ^^

First, you have to know that using a ruler is a thing I used to do when I started to draw realistic art. I felt like cheating too but I was desperate, ha! ha! xD It’s only later, when my aunt gave me art books and that I learned about proportions and drawing techniques that I understood it wasn’t how you draw a face. But I was like you, don’t worry! You should have seen my rock magazines when I was a teenager! The pictures of my favorite singers were full of black dot and lines because I was measuring the distance between several points of the face to draw my fan art. A mess.

Ok, I’m gonna be frank, it’s not the right method because when you use a ruler you don’t observe and observing is one of the keys of obtaining likeness. You have to stop thinking in terms of centimeters (or in inches) but in terms of shapes.

As far as the way I draw my proportions is concerned, I simplify the face into a series of geometric shapes based on shadows and highlights (check out this post and this one). But you know, it didn’t come in one day! For all the drawings with good proportions you see on this blog you had hundreds that were complete failures! The first portraits I drew, even after following tuts and reading art books were not convincing at all when it comes to likeness. It came with time and practice.

And I have bad art days too. There are days where I screw up proportions and where Bucky…doesn’t look like Bucky. He looks like a distant cousin with a bigger nose and a larger jaw but..not Bucky. xD It’s not an exact science, unfortunately!

Originally posted by reclusiveq

And if it was only Bucky…

TLDR: stop it with the ruler, not because it’s “cheating” but because it’s completely inefficient. If you need guidelines because you are a beginner, you have the grid technique but you have to learn to simplify and observe if you want to obtain convincing results!

Good luck to you anon ^^