i just realized one of the tiers is art lessons and im really interested since ive always wanted to learn. how exactly does it work? i dont exactly have an art set up or drawing pad
Thanks for asking!
I’m a NYS certified Art Teacher with a Master of Science in Art Education.
Teaching art is *literally* my day job, so I thought it would make a good Patreon reward. =)
Art lessons would use google hangouts screen sharing or webcam if you just want to work on paper/lack a drawing tablet. If you’re using paper and webcam, I’d recommend you also get some colored pencils, oil pastels, and/or watercolors for days that focus on color theory.
I’ll generally try to teach a different topic each time, unless the class wants to stick to one topic. I will talk, demonstrate, and then everybody gets to try for themselves. I provide differentiated guidance and feedback to each person as they work, to whatever capacity they are comfortable with. Sessions are usually a little over an hour.
You can get 2 class lessons a month for only $30. That’s basically $15 per session. ( It does not include the free print in the $20 tier.)
You can get 2 lessons plus a print mailed to you every month for $50.
You can get 2 lessons, PLUS 2 more PRIVATE tutoring sessions where I only focus on you and your preferred topics, plus a print each month, for $100.
It’s actually all a crazy good deal because my wife and I generally charge $40-$50 per hour for private art tutoring. I’m offering this big discount as a thank you for consistent support each month, and because I don’t have to travel. ;)
Signal boost if you like the sound of that. Currently I can take up to 10 students for my class and 1 private tutoring student.
Tutorials 101- how to do an end of summer photoshoot:
Step 1- wear a cute fucking outfit that you totally feel yourself in
Step 2- get with your squad
Step 3- be yourself even if u think u look stupid! It’s the end of summer have a laugh instead of trying to look hot or sexy!!
This tutorial, as well as some other helpful titbits and several pages of my own sketches, can be bought over at gumroad for 2.50! Please consider purchasing it, as all money earned will go to continuing my own education as a storyboard artist. And please share this post, you never know who may benefit from learning how to draw some beans!
waitwaitwait how does this perspective drawing stuff work
Okay, fair warning: I just picked up this thing like a few hours ago, my hands are rattling, my muses are excited and I’m so glad I went to Krenz aka cushart’s little seminar where he spoke extensively (in a language I haven’t practiced in a long time. aka not english) about the importance of “grounding” a character in order to make them realistic and believable.
The seminar was great because I actually… didn’t understand any of the perspective tutorial that I’ve read off the internet before this? The seminar was basically like a missing link for me, so I hope that I can share that in this long post.
So be prepared for long post!
Based on the seminar, he said the biggest issue with character posture and design he has seen many people do is that it’s based on assumptions and conjectures. Most of us absorb posture, dynamism and foreshortening by looking at other people’s works and imitating/recreating them (myself also being a big offender in this). Basically, he’s saying that there should be a structured approach for you to get into posing a character in your art /while/ allowing you to blend the character into a background seamlessly. He used a chunk of Mandarin jargon that I’m unfortunately unfamiliar with, nor am I familiar with the phrases in english, so take my phrasing with a word of salt:
1) Find/make/use a 16-square box.
Boring, I know.
2) Stretch it to your liking to determine the most important plane your character will be interacting with.
I used this plane because it’s an extreme example of how the grid can be used. Here’s an example of a sketch I did earlier with the 16-square grid being utilised as a normal 45 degree floor plan:
Anyway, back to my blank example, the angle of the 16-square will be mainly determined by your camera angle! The one I did is for a wall. The grid is mainly there to help you project the shapes of the object you want to draw! To help illustrate things, here’s an example of a L-shaped sofa or whatever leaning against the “wall” of perspective grid:
The lecturer basically said that it’s the easiest to draw the character/pose/object out in a side-view first, so that you can identify the position of each of the prominent points when you translate it into the 3D/grid plane. His explanation was borderline mathlike and was going into the area of geometry, which I’m not very good at. But basically, it’s about finding out how much “space” each part of your drawn object can take up, much like drawing geometrical shapes in maths class!
3) Draw a side-view of the pose you want.
Top left you can see I scribbled out the side-view of a horrible excuse of a pose. The most important things you have to find out is the angles and planes of note from the pose.Mr. Krenz mentioned equating the notable planes as an unfolded surfaces of a cardboard box; you can tilt at certain points, but it has identifiable angles, which is important for you to determine the angles of your torso, legs, etc and helps solidify your perspective angles when you draw em.
For the pose I drew, the points of note are: the head is leaned towards the “wall”, and the hand goes straight down; but notice how the back is curved and the butt is not close to the wall. This is important.
You’ll also notice that I drew a horrible excuse of a box projected out of the four squares in the 16-square grid. This is the important part! There’s actually some maths shenanigans as to the proportion of the box and how it relates to your anatomy, but I think the safest way to go is to assume a box projected out of 4 squares is equivalent to a torso. so that box = the size of one torso. that means everything from above the hip in the pose should fit into the box.
Remember how I harped on the position of the butt and hands and the angles? This one is for the next step:
4) Draw in basic spheres and shapes. Ignore anatomy for now.
If you see each part of the body as shapes (spheres, squares, rectangles), it’s easier to plot them out in relation to the angle of the perspective grid. Over here, you can see that the shapes are drawn in correspondence with the perspectives. I won’t cover much on this part, mostly because there’s already a hundred other perspective-box-shaped-how-to-translate-to-human tutorials out there that explains it a great deal better than I do. The vital point to take out of this part is that you must plot according to the position of each key point– the back curve, the hand angle, etc onto the geometric shapes when drawn. The box should help you out in this I hope.
5) Finally! Fleshing it out!
Yep. This is also where anatomy fixing happens, if you see the need.
Notice how the angle of the lad’s mantle, vambraces, shin guards, etc corresponds to the geometric shapes scribbled out earlier. This step becomes immensely easier with practice, but basically the gist is that the geometry lines help you determine the direction of the clothes and stuff you have to flesh out.
6) Not necessary, but put in shadows and shading to help solidify the scene.
I thinned out the scribbles here and dabbed on a dark color to immediately portray that the kid’s hiding in the shadow of some doorway. See, immediately there’s a background! And he does look like he’s sitting there and no immediate worries of how the anatomy or angles of things out of place, because the 16-square has already determined it for you beforehand.
I think the important part is that personally, this is easier for me to get into instead of looking purely at theories of horizon lines, vanishing points, etc because honestly, it is very difficult to see those if you’re drawing character-oriented pieces. While this technique is not foolproof and is actually more complicated (read: there’s actual math shenanigans in it that i didn’t get into), I think this is a good starting point for artists of any level to start training their eye to see in order to make characters better blend into the backgrounds.
Hi! I love your art and even though we aren't really in many of the same fandoms anymore, I have always appreciated seeing the expressive things you create. Because so much of what you draw for is anime where facial features are unrealistic, how do you decide what the characters "look like" in your style? I'm trying to figure out how I draw individual characters in my own style, but it's so hard when I'm basing it off of the original animation, where they might have very stylistic eyes, etc.
Actually, I understand your problem so much;__; Drawing someone you can see visually in a different artstyle and then altering the design to your style while still leaving the character recognizable and, well IN character can be such a paaainn!! I can never get the anime character right when I draw them for the first *quite a few* of times.
But as a piece of advice…mm, I always try to give them the features that FIT their personality, you know?
WHILE trying to also keep the original design simultaneously.
(for the basic example sharp, angled features for serious\sharp personality characters, and rounder ones for the excitable happy ones, but its more to it than that)
Personally I try to focus on getting their eye shape/ brows as close as possible (though I tend to alter that too if I think it would show more of their personality), and their hair. and the expressions. As to other things I tend to change them a bit..Like, if I draw Asahi it’s going to be all gentle lines, but I still try to keep him looking like a delinquent he’s compared to IF only he didn’t have those sheepish kind expressions because of his peaceful nature. That’s why I give him upturned brows and downturned eyes. Give them a sharper angle and Asahi WILL end up looking like an actual criminal.
Hinata is a ball of sunshine with wide range of expressions, the pure excitable child, so I try to give him kind of child-like features? If I can say so. Kageyama is all sharp lines and angles and expressions that are bordering adorable and kind of awkward. Intimidating, but not the point where it can be taken seriously because that kid is a dork:”D
When drawing someone you should always ask yourself what kind of character you are drawing, and what you actually want TO SHOW by drawing this character. Some characters are harder to figure out than others and take more time and experimenting, but eventually you’ll get a hang on it!
Also, general emotional palette of a character is super important too!! Not quite catching the look of a character will not be as noticeable as drawing them out of character and giving them the expressions that just isn’t THEIR.
Give Kageyama Hinata’s expressions of happiness? It will not be Kageyama anymore. So it’s important to think about this, too:)
I hope it helped at least to some extent, that’s a nice question and I don’t think I can manage answering it well enough;_;