Have you ever been trying to draw tiles on a wall or on the floor in perspective, but notice that after you’ve drawn them, they don’t look like they’re all the same shape or size?
Well here’s a tutorial on how to fix that.
Your picture probably looks like this, right?
Well, i’m here to tell you how to fix that…Let’s start out with your basics.
The gray line is the horizon line, and the black dot is your horizon line. These are essential for the first steps of perspective. Without these, your perspective may turn out wonky and just not flattering to the eyes. Right now we’ll work in One point perspective.
Now let’s pretend we’ll be drawing a hallway. Draw a vertical line where the edge of the wall is.
Now, from the tips of the bottom and top of your wall, you’re going to need to draw a line extending all the way to the vanishing point. If you’re working in photoshop you could either use the line tool, or shift+click. If traditional, you’ll need to use a ruler.
Now that we have the wall that’s in perspective, it’s time to draw the rest of the lines. here I’ve drawn the wall facing us that’s closest, the ceiling, the floor line, and the end of the hallway. ASSUMING that you are working in one point perspective, all vertical lines are straight and parallel to each other, and all horizontal lines are straight and parallel to each other.
Now here I have erased the lines that extended beyond the back wall, and found the center point of the edge of the left wall. From there, you draw an extended line just as before towards your vanishing point.
now make a vertical line where your first “tile” is.
now this may be a little hard to explain. Now you’re going to draw a line coming from the corner of the wall, through the corner where your line meets the tile you just drew, and all the way to the ground line.
You see where these two lines meet? you’re going to draw a vertical line to the ceiling from here.
Now rinse and repeat! you should have perfectly even spaced tiles now! And if you have tiles on the ceiling
Just draw horizontal lines connecting to the vertical lines!
Now just erase anyhing you don’t need and…viola! Perfect tiles in perspective!!
Hi!! I’ve absolutely been thinking about that, yeah, in fact I recently talked about that to my boyfriend just recently. It’ll likely happen after october! And to answer your second question! I made a thing on legs that i hope you’ll find useful!!
So. I’ve already explained basics on legs here, but I don’t think it hurts to go through some extra details to help you understand legs some more.
The very basic thing is to imagine legs as teardrops. Again, this has already been covered in said tutorial above, but I figured it’s still good to mention even the most basic thing that I know of. I still highly recommend you check it out to get in more detail and to see some other examples and practices that you do. But basically, think of legs in the shapes of teardrops, when it comes to shape. If you need a simple stick-figure to connect the legs in the first place, make sure that they bend at the knees a bit so that the legs don’t come off as stiff and unnatural.
As you can see, this method works perfectly for realistic legs as it does for stylistic ones. Remember to use these as a guideline, never to be the exact base of the legs you will be drawing. If you draw traditionally, remember not to draw these guides too hard, or they will be hard to erase/do freestyle!
But how do you actually draw out the legs without drawing them perfectly straight, as shown to the left? The trick is to add volume to them, and how you do that can be winged to your own liking. The idea is to think in curves. As no leg is perfectly straight. You may make these curves minimal if you don’t want them to be curvy, but keep in mind, still, that not even your own bones are perfectly straight, so it is highly recommended that you make them bend, at least a little.
It all depends on how you draw them as well. Say you put your legs together, as shown in this picture, what happens to the fat and muscle? Naturally, they press together, much like how thighs squish on the surface when you sit down (I’m sure most people know what I’m talking about). Make sure this shows in your art! This is very important to keep in mind, because it makes it all look more natural and believable. Try to cross your legs or stand up and sit down again for real-life examples!
The same applies for stretching your legs, more or less, except they appear to become more ‘hollow’ and slimmer. They become less soft to the touch, too, and might show. Try stretching your legs and feel where the muscles tense and where it feels ‘hollow’. This is very helpful with your art.
Many leg tutorials talk about legs without mentioning the behind. It requires a tutorial on it’s own, in all honesty, but this is the most simplest way to draw it connecting to the legs. Remember that it comes in many different shapes, and this is just a super basic guide! Two circles overlapping, while following the line and flow of the legs. Remember the muscle/fat as mentioned above!
Okay, so we got the basics of leg shapes figured out? What if you want o draw them in a certain pose, or with a certain silhouette, but perhaps do not have the reference for it? Or you want to blend your style into it? The key is to not shy away from doodling the form. Make mess, draw lightly and don’t care about the anatomy. That way you’ll get everything down without it appearing stiff. You can clean up the sketch later, always, and if you can, use a reference after you have drawn your pose, to correct your drawing.
Remember that the hips do a lot to the pose of the legs! Make sure they are in flow with your legs, so that it can look more natural. Remembers that hips ‘rotate’ with the spine.
I’ve talked about this method before when it comes to posing, and the same applies for the legs. One way to make legs appear ‘steady’ is to picture them standing in a line, and one of those legs need not to stray from the lines too much, making it steady. If you want a dynamic pose despite the steady pose, you can always have the other leg stray from the line, since it only matters that one leg is steady. This method can create good, casual poses without making them appear boring. (also notice how the teardrop shapes are used here, despite the highly stylized legs)
Do you want a highly dynamic pose, or them to appear unsteady, then skip the line entirely and make both legs aim away from it completely. As you can see, the legs appear more moving, in action, as if they’re fighting, falling, or dancing. As you can imagine, this is not a pose that one could stay steady on, suggesting that it’s taken mid-movement. More about posing and this ‘line’ method is talked about in this tutorial.
Hope this helped you, if you have any questions let me know, and if you’d like to check out all my tutorials they can be found here!
DISCLAIMER: I was going to make this “how to draw archery”, but that would probably have taken the rest of my life. This is all stuff I’ve learned from practicing archery in the past, and the tips I’ve given should translate to many, if not all styles of archery. If you take issue with any of the information given here please contact me, as I’m aware I’m not an expert!
Okay, I’ve seen too many bad drawings of archery online. Most of the time I can overlook it, but I’ve made this guide to address drawings where a) the character would hurt/maim themselves if they shot like that, or b) if you tried to shoot like that, the arrow would just make a sad trajectory to the ground, the aerodynamic equivalent of a “WAH-WAH” on a trumpet.
With this in mind:
POINT ONE: WHY IS YOUR ARM LIKE THAT
If successful archery is about one thing, it is about consistency - being able to make your body take exactly the same stance over and over and over again. Your body is a key part of the weapon, and just as you wouldn’t want a gun that had components that wobbled and shifted, you don’t want your body to.
With this in mind, characters shooting, particularly at full draw (this is when the arm pulling the string is stretched all the way back), should have the arm that is holding the bow straight. Not locked - I’ll get into that - but straight. A straight arm is easy to replicate - a bent arm could be at a different angle each time. Simple as that.
POINT TWO: DON’T SHOOT YOUR TIT OFF
See this diagram
the dotted line is the path the string will take. The string is extremely tight - it has to be for the bow to work. It will therefore move extremely fast. Do you want any part of your body to be in the way of that.
if you have any part of your body (elbows and breasts/pectoral muscles tend to be the worst offenders) in the line of the string, they will get hit. And this will hurt. A LOT. Google “archery bruise” to see how. Yikes. Furthermore, if your arm or chest gets in the way, it’ll knock the arrow off course, and in addition to having sliced your nipple off you’ll have missed your shot too. So KEEP STUFF OUT OF THE PATH OF THE STRING.
side note: this is where the myth of amazons chopping their boobs off came from. Also, why archers sometimes wear chest-guards - this looks like a one-cupped unisex bra. Stylish. Also why archers often wear protective gear called a bracer. This goes on the tender inside of the arm and wrist that might get clipped by the string, not the outside that is nowhere near it.
POINT THREE: WHAT ARE YOU DOING WITH YOUR FINGERS STOP THAT
Okay I keep seeing this
Having the fingers clasping the arrow like this makes it highly likely that the pressure from them will send the arrow off-course.
Many modern bows have an arrow rest so you needn’t rest the arrow on your hand at all. If that isn’t the case, it works better to rest the arrow on the first knuckle of the index finger (where it meets the hand). If it’s just being used as a platform, the finger shouldn’t be able to exert enough pressure to make the shot go all over the place. Also you won’t end up shredding your fingers with the fletchings.
Talking of that…
POINT FOUR: DON’T SLICE YOUR FINGERS OFF
remember what I said earlier about how incredibly taut bowstrings are
imagine pulling that back with your soft fleshy fingers
it is basically like cheesewire through…soft fleshy fingers.
Use protection. Illustrated below are the tab and archery glove, or just go to google or something, stop the madness.
POINT FIVE: PHYSICS DOESN’T WORK LIKE THAT
A strung bow is taut. The body of the bow is pulled by the (very tight) string, making a D shape. An unstrung bow will be straighter.
The tension in the string means a string should always be a straight line. If the bow is drawn, it’s two straight lines.
If there is any curve in the string, the arrow will probably fall limply to the floor.
ALSO. When the string is drawn back, it exerts more pressure on the bow, creating that really exaggerated curve. This is where the power comes from. (I think. I am not physics). Basically, if you’re drawing a character at full draw, the string should be straight and the bow should be curved. If the opposite is true something very wrong has happened and you should be sad.
OKAY! I hope this has been helpful, if you have any questions or concerns let me know. And if in doubt, doctor google will help you - look at olympic or professional archers, and see how they’re standing and how their bows behave.
1. Don’t seek perfection Observational color studies are just that – studies. Sketches. Note-taking to reference later. They’re not supposed to be complete paintings, so you shouldn’t feel pressured to make them “perfect”. I like posting them sometimes (and hopefully you like seeing them) but there are TONS of messy, scribbly studies I haven’t posted anywhere. They’re primarily a tool to help me learn, and if messy studies help me learn, so be it!
2. Simplify your shapes So how do you avoid getting overwhelmed and lost in the details? Focus on the BIG IDEA. Decide what is most important to include in the study and leave out everything else. Start with big shapes, and add details at the very end, if you have time. Personally, I’m often interested in the sky and the color clouds become when light passes through. So I might make the study about the clouds and ignore buildings/details on the ground. or I’ll add only a very simple ground plane. Other times, I’ll rearrange a composition to include all the important information (like making an object bigger or smaller, or bringing two objects closer together).
3. Step by step It helps to find a good workflow, especially when you have to quickly prioritize what information to include. This is relevant especially when you’re painting something like a sunset, when the light changes RAPIDLY and you’ll have only 3, 4, 5 minutes to put your colors down. For me, this usually means I build my study from background to foreground: sky, clouds, ground plane, background shapes, foreground shapes. Since I work on iPad Pro, I also keep those parts separated out into layers. In the case of those quick sunset studies, I also observe the parts I haven’t painted yet in case the lighting changes enough that I’ll need to work from memory.
4. Some fundamentals to keep in mind:
Value structure: Even though these are color studies, value plays a major role in the colors you’re observing. Pay attention to the difference in value between subjects. Sometimes this can solve color-related problems when your study seems “off” somehow. (For example, maybe that sky isn’t as light as you think it is? A darker value might mean painting a more vibrant color.)
Lighting setup: Identify the different light sources in the environment. Is it cloudy and overcast? Sunny? Are you indoors, with multiple different light sources? A little study about lighting theory can really help you know what colors to look for in different lighting conditions. For example, in overcast light, you’ll see more of the objects’ local color, while in bright sunlight you’ll see a strong direct light (the sun), blue diffused light on shadows and top-facing planes (from the blue sky), and a warm bounce light (from sunlight reflecting off the ground). Will forever recommend James Gurney’s book “Color and Light” for help learning this.
Materials: Different materials reflect light sources in different ways. Being aware of how light passes through or reflects off different materials can help you understand the colors you’re seeing.
5. Going beyond As you become more comfortable making observational studies, the more you might wish to push them even further by not just copying from life but communicating a feeling. A few ways you might accomplish this:
Exaggerate your colors. Suppose you see a hint of color you wouldn’t normally expect to find, such as notes of purpose or red near the horizon of an otherwise blue sky. Try making it brighter/bolder than you really see it. Bump up the saturation, maybe. This is a delicate balance, as you don’t want to exaggerate to the point where the colors become garish. But putting emphasis in certain places can remind yourself, or show whoever’s looking at your study, that you found certain details interesting.
Think about mood. A color script from an animated film follows the emotional beats of the story. As you’re making your studies, consider: how does this moment feel to me? Take a cloudy scene, for instance. Is it cold and miserable? Windy, full of movement and energy? Calm? Dark and ominous? A moment of anticipation or hope with the clouds about the break apart? Each of those conveys a completely different mood. So you might decide upon one and push your color palette to support that idea.
Don’t just copy: communicate. This last one is a bit of an abstract idea I need an example to explain:
This sunset study here gave me difficulty because it involved not just color but the properties of light. The sun didn’t actually appear white to me - it appeared a bright red/pink color, glowing brighter than the sky around it. But that wasn’t something I could reproduce, because if I only painted the color, it wouldn’t appear glowing and would blend into the rest of the sky. Instead, I had to think critically: how do I communicate the brightness of this sun? In the end, I opted to make the sun white, with the color I actually observed the sun to be surrounding it.
Lately many people have been asking me how to create a space nebula effect with markers. The process is relatively simple, but it’s not easy to explain simply with words alone. So in this walkthrough I’m going to show step by step how it’s done.
First things first. This is the list of supplies I used. -Strathmore Mixed Media 5.5 x 8.5 sketchbook -Pink and White Colored Pencil -White Gel Pen -13 Copic Marlers (12 colors and a colorless blender, which I’ll explain how to use later.) I should point out now that you aren’t required to use the exact brands I used to create the drawing. I use these materials because they’re what I’m most accustomed to.The techniques I demonstrate can be done with whatever markers and paper you’re comfortable using. What matters is that you understand the technique because when you do you can apply it to anything.
I begin by making some abstract cloud-like shapes with E50 (Eggshell), which is a very faint yellow. There’s no pencil sketch here because space nebula (as well as atmospheres and natural landscapes) can be easily created by layering abstract shapes on top of each other.
Using Y21 (Buttercup Yellow) and G20 (Wax White) I basically repeat the first step. Still working very light. I realized after the fact that Buttercup Yellow was a bit too intense for this drawing so I stopped using it there. This is why it’s important to have a sheet of scratch paper nearby to test out colors before you apply them. Because once they’re down, they’re DOWN.
Next I use R20 (Blush) to start defining the shapes of the gases in the nebula. Then I go back to Eggshell. It’s probably hard to see what I did here, but I used the brush tip end (on its side) to swipe inward, from all sides, towards the center of the nebula. The reason being is that the brush tip is more saturated than the chisel tip. This helps intensify the lighter shade of yellow that’s already on the paper. If also makes crossfading colors easier because the sideways swipe motion creates a soft gradient that tapers towards the edge. I’ll use this technique multiple times throughout the drawing..
Now with B000 (Pale Porcelain Blue) I layer over the gases in the center while working my way outwards. Again I’m pulling my strokes inward because I know the surrounding space will be deep blue and I want the transition to be a smooth one.
With E04 (Lipstick Natural) I’m finally beginning to put in some of the darker colors. At this point the drawing sill looks like a random mess. Sometimes you’ll get the urge to rush and make the drawing look like something, but you have to be patient and take your time.
Using B32 (Pale Blue) and R20 again, I’m going around the nebula detailing and adding layers of color. I’m also leaving some white spaces which will later become stars. My Pale Blue is actually beginning to dry out, but here in able to make that work to my advantage because it streaks from the chisel end create a dry brush effect which helps add to the glow. The nebula portion of the drawing is beginning to take shape.
Working my way around the perimeter with Pale Blue. From here you can see the importance of working light to dark. Build your colors gradually and avoid the urge to go too dark too early. You want to have room for error and you don’t want create more work for yourself.
With B04 (Tahitian Blue) I fill the surrounding space completely. I’m not too concerned with trying to get an even layer because I know that I’m going to add darker shades of blue next.
Here I used B00 (Frost Blue) to start cleaning up some of the edges around the nebula. I also used BG15 (Aqua) to add some pockets of color in the surrounding space.
Adding darker layers to surrounding space with B14 (Light Blue), which surprisingly a pretty dark shade of blue. Then I used B97 (Night Blue) to add the last layer, which is the darkest layer in this drawing.
Now it’s time for the final details. 0 is the Colorless Blender. But it’s not necessarily used to blend. Instead it almost acts like an eraser because the ink pushes colors away when you put it down. Because of this I generally don’t use it. But it works great for things like water, landscapes and atmospheres. Or in this case, space in which I used it to pull out highlights in and around the nebula. The colorless blender is odd, but it occasionally has its uses.
This is the final step and my personal favorite. Highlights and small details. I used the pink and white pencils to color around the edges of the brightest stars to make them look as if they’re glowing. Then I used the a white gel pen to color inside those stars to make them shine and pop off the page.
And here’s the finished drawing. This was hastily put together, but hope y'all found this to be informative and easy to follow. I’ll try to do more marker walkthroughs on different subjects in the future. Until then thanks for all your support and encouragement!
Could you give a tutorial on how you do hair? I just looooovvvveeee the way you did rhetts hair & beard
Hey! Thank you so much. I’m not a good teacher, but I’ll give it a shot :)
Step 1: DO NOT TRY TO DRAW EACH HAIR! Draw each bunch of hair but NEVER each hair.
Step 2: Draw a faint outline of the entire portrait using the reference photo:
Step 3: Pick one bunch of hair, and make loose, dark strokes to draw the roots of the hair. Make similar strokes at the other end of the bunch. (Remember, you’re not drawing each strand. You’re essentially drawing shadows). Don’t let them meet. This is important to render the shine in the hair. Let the pencil lift off the paper as you move towards the middle from both ends.
Step 4: Use a paper stump to smudge out the roots and the outer edge of the hair. Make loose strokes, starting from the darkest end towards the centre of the bunch. Let a few strokes run all the way through the centre to make it look like a natural shine. Then use a dark pencil to re-do smaller strokes on both ends of the bunch, to increase the contrast.
Step 5: Treat each bunch separately, and repeat till you cover the full head. To finish off, erase a few highlights from the middle of the bunches, to give a consistent shine, and smudge out the hairline for a more natural shadowed look.
I hope that was useful! Let me know if you want me to give a step by step for the rest of his face too :) - I would be completing this portrait anyway!