Side of Head Drawing Tumblr
Anonymous asked:
Have any tips for drawing a side and front profile in a cartoony sorta art style? I can't ever figure it out for the life of me!
Drawing a cartoony head usually starts first with understanding basic anatomy.
HAH! You thought you could bypass learning anatomy by going straight to cartooning? Well, you're-wait, that's not what you meant? Oh… Just me? Ah… I see… Alright, I'll stop meandering then:
My point still stands, because by understanding realistic anatomy, it will help you break down what is happening in cartoon anatomy and also help to keep you in check-making sure things don't get too weird
Here's a (fairly) anatomical face, what you will often see in cartoon anatomy is how they will take these features and simplify them, smooth out the contours and exaggerate other portions in favor of making things easier to draw or work more cohesively in an overall style. Example below is how I, personally, would translate these features into a style I'm familiar with:
Notable features are:
- Bigger eyes
- Less lines to define the nose
- Smoothed out lips
- Smoother slope of the forehead
Meanwhile, I still carry over many traits influenced by realistic anatomy, this style could even be considered semi-realism given the exaggerations are not as drastic as some caricatures.
So for cartoons, they will simplify this even more by having even less detail, but focusing on the major components: eyes, brows, nose, and mouth. These details are essential in conveying emotions through expressions, so they're the details that are far more pronounced and often focused on *rather than the cheek bones, the forehead, the chin, the jaw, or the ears.
*depending on some expressions or some character designs, these parts of the facial anatomy may come into play
So here is what I can roughly translate is going on with Steven's face in relation to the anatomical features I've shown above:
(wow I really did those head comparisons backwards huh, yyyyou get the idea)
I'm being fairly liberal in what is what given Steven's face is so simplified, but this is to give a close visual example.
The second part to this is to draw with volume in mind.
Cartoon characters are nothing more than simple shapes: circles, ovals, beans.
After breaking the major shapes down, you just need to picture these shapes as 3D objects that overlap one another, and as you picture how they overlap, imagine how they look in 3D space at different angles:
(wow sorry for such rough drawings tonight, these hopefully still hold up as decent examples)
What's most important is just looking for references of the characters to even see if their models have these side and front angles. Often times, you can find official character sheets online easily of your favorite cartoon characters:
If you want, you could trace over the characters, but I highly suggest only using this to deconstruct the character into simplified shapes so you can better understand them, like I did with Gumball.
Though with the Gumball example, that is admittedly going off model, so if you want to be more accurate to a show's style, then you will want to find these character sheets. Or maybe a "style guide" for the show you hope to emulate, because often they have sets of rules in place to keep everything consistent, like for TAWOG Gumball's head is always at a ¾ths angle and made generally flat looking. That's just how the show decided to design the character. Though, it never hurts to experiment a little!
-Mod Em
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Anonymous asked:
Hello! I found your blog through some friends and honestly I am in love with this blog! Anyway, do you have any tips to Rubberhose/Cartoon art styles? I would like to start learning different ways of drawing besides semi-realism. Thank you for this beautiful blog!
Toony art styles derived from a medium that required their designs be drawn over and over again. That's why we see a lot of simplified abstractions when looking at our favourite cartoon. It was a way to spare the animators, who worked ungodly hours to tell us their stories. And a way to add visual appeal to their characters by making them easily recognizable.
What is interesting to note is that appeal doesn't equal to conventional attractiveness. What it means is basically that the character 's design is entertaining enough to stand on its own.
Mixing these two concepts; easy recognition and simplicity boiled down to the use of primary shapes.
Toony styles lean heavily on these shapes. Our eyes easily recognize triangles, squares, circles, cylinders - etc. And it doesn't take as much effort to draw up, as a large complex and organic body.
So when designing your character's, remember to make use of these primary shapes. Breaking down your characters into these shapes and then exaggerating them when polishing your design can help you bring forward the visual appeal.
You're also going to want to draw back on the number of details in your design. While there are studios and animators who pride themselves of throwing truly complex designs into their storyworlds, they usually deviate from the formula by doing so. Thusly they tend to trade off the " toony" look in exchange for the high yield of detailing.
Cartooning as a medium relies heavily on your ability to think abstractly. And a good bit of the way, It's all about trying out designs in their loosest, roughest forms, and narrowing yourself down to a final solution little by little. Unlike semi-realism, we can't just rely on solid anatomy and a funky hair colour.
I would recommend you looking into doing art with different, more chaotic mediums, such as liquid inks or watercolour. To open yourself up to the premise of managing abstraction and controlling yourself within the random behaviour said medium has.
- mod wackart ( ko-fi )
I would love some advice on the structure overall of this made-up creature I'm designing for a possibly ARPG idea! They're meant to be sprinters and not long term runners and as well as herbivorous! Most particularly beside the physique I was wondering about scale stylization/placement?
Thank you in advance <3
You're welcome :)
Went over it, and gave it a second take.
keep in mind that I stuck to the " sprinter " aspect of it. So the physical structure is primed for swiftness. Which may or may not have been your primary focus.
Anyhow:
When I swapped out the stockier build for something a little nimbler the creature automatically came to look a little less " docile ". Contemplate whether or not you want the creature to appear "slow/lazy" or "quick/nimble". A creature like this^ can potentially go from 0-top speed in a fragment of a second. Whereas the first design might need a lot more time to wind up. Furthermore, the more slender build indicates that the creature's running cycle is rather low to the ground, whereas the first design would imply that it would be running by shifting its weight dramatically from front to back, and back to front. Sort of like a bovine or some large cervine, which are not known for being excellent sprinters per default.
- Mod Wackart ( ko-fi )
Original art by: @babydracolisk
I like how stylized this is. The tense lines and jagged forms work pretty well in tandem with your choice of medium ( pen and some sort of diluted ink I assume ).
The redline is a little more organic, but you should be perfectly capable of applying the stylization again, should you want to go over the picture one more time.
A tip I'll add on top of those already present in the redline itself would be to save yourself the labor of drawing every single strand of hair. And instead stick with indicating the hair with a couple of lines, in areas where visual interest is focused (for an example: at the base of the ponytail, or at the roots, where the strands attach to her scalp ). It usually comes out looking more natural.
GabrielleBrickey of Deviantart displays this pretty clearly in her deviation "Character Hair Reference". V
But even then, you can afford to simplify it even further, and instead, go the way of many cartoonists. Who simplify their character's hairdo, in order to afford themselves to draw them over and over, in a short amount of time. Often opting to treat hair like 'strips of paper'.
It might take a while to figure out just how you and your style handles hair. It requires a bit of experimenting and idle doodles before you get a pattern down. But I think you could truly boost the uniqueness of your style by finding some way to express hair, and the flow of hair, in your pieces.
- Mod Wackart ( ko-fi )
Anonymous asked:
How do you create a demiguy/demigirl without it looking transphobic? I can't read the FAQ so sorry if this is something that belongs in the FAQ.
Hey there! I don't think we have an answer regarding this kind of stuff in our FAQ since it's mostly related to the function and form of the blog. But I'll be happy to give my take on this. I have a demi-guy character myself and it was actually an interesting dip to me since I've been asking myself the same questions. Granted; while I'm in the trans-community and very much going through the process, there's a ton of other trans-folks out there who might have other opinions due to their individual experience. I'm going to try and take a stance that can encompass more sensitive chums as well, but know that even if I supposedly represent the community in this one post - you might find people who disagree.
SO! If you ask me, when it comes to artistic depictions about certain minorities- it's about two things, history and the artists intent. This is the same two factors that make me disagree with depictions that use features leaning on racial caricature ( see: black people with big pink lips ). It doesn't really matter what the intent was on the artist's behalf, everyone with a shred of cultural insight will read that as a caricature.
But for the trans community, our history with public depiction is far from as extensive or "rich" like that seen in the race-debate. Although, we've still had a few incidents that weren't widely appreciated.
Enter RCD-art. Also known as Rory Cummings-Dise. Rory was a Tumblr-artist that racked up quite some attention from the community due to their depiction of Steve Rogers as a transman. Now, nothing wrong with experimenting with identities on fictional characters, but the problem with RCD-art's depictions was that it was regarded as widely inauthentic to the transmale experience ( showing off boobs, hips, etc. ) - and as the artist progressed in their exploration of this particular depiction, it grew increasingly fetishy.
The controversy was ( as far as I remember ) less about the fact that a trans male steven had a sexuality and one that was on display at that, but the fact that the sexuality was framed around the bodyparts of which any other transmale would be hugely conscious about. Making it appear that RCD-art was projecting their own fetishes of the transmale experience onto the character in their art. Something that's usually meant to be kept for more obscure internet forums and away from the public eye. Or is at least regarded as insincere when coming from someone who ( allegedly ) wasn't part of the trans community nor on the spectrum.
It was alienating the demographic it was trying to depict, while at the same time putting it on a sexualised, objectifying pedestal.
BUT WHY AM I TELLING YOU ALL THIS?
I'm telling you this because I believe that most of the way, it's all about understanding the identity you're trying to depict. And whether or not your depiction is authentic to the experience. Granted, if you're making a transman with a big ol' butt, or a transwoman with a stubble-situation, you're not going to want to glorify it in your images. You can most certainly have the character discuss it, or even finding a way to make the best of their perceived setbacks - but making light of issues and topics that minorities deal with are the last thing you want to do.
Now you're working with the demi-spectrum, which operate on the same spectrum as transgender, so it's likely that some problematics and topics are present for a demi-person as well as a trans-person ( dysphoria, public scrutiny, etc ). Therefore, if you ask me - the same rules apply. Make sure you're depicting your character with respect for the minority group you're trying to mimic, by NOT fetishising them based on your kinks ( although it's perfectly fine for the character to have and express a sexuality as long as your viewer can separate the character from you ). This also goes for making any minority group a vessel for a political agenda. Using your character to bring problematics or topics to light is fine, but using said character to work against the prowess and wellbeing of a minority - is morally dubious at best.
I think what it all comes down to is: Stay respectful and sincere to the experience. And be mindful of what kind of light you put them in.
I hope this made at least -some- kind of sense.
- mod wackart ( ko-fi )
Anonymous asked:
hey! this is kind of a weird question but I was wondering: how would someone go about drawing like, say, the chest drawer from avas demon into a character? I guess what im asking is how to encorporate depth and non human objects into the chest/stomach area of a character(if this ask doesn't make sense im sorry!!)
My current thoughts would be that if you want to incorporate a certain sense of depth into objects and characters, you're going to reel it back and figure out how to make it work in your select style. So take this advice with a grain of salt, since im not 100% certain there's a universal method to go around this.
Personally, I would construct both the object and the character separately in 3D-space. Then merging the two into the same sketch. ( pretty sure i botched the perspective on this one somewhat. Don't be a noob like me, i guess ) I'm personally not all that good with rigid figures in 3D-space so I would have to be very careful with how the perspective aligned perfectly. And ensure that the depth of the character corresponds to that of the object. This requires quite a bit of spatial knowledge that you can derive from practising construction and perspective
Depending on your style, and what you want to convey, the merging of object and character on an anatomical level can vary greatly from style to style. But with Ava's Demon, it seems the cartoony style doesn't deal much in terms of gruesomely stitching the two together. The drawer just sort of sits there, which is a cool, clean and surrealistic look in my opinion. With drawers, it's important to separate the front of the drawer from the torso, to convey its placement and depth. This can be done by hinting at its shape in 3D-space by drawing a bit of a rim under the bottom of the front, sitting on top of the skin. Generally, I'd recommend you look at whatever object you want to incorporate, and do a few sketches beforehand to fully understand how its build, and how it could work when combined with a human body. Separating the object into its subsequent parts, and trying to imagine where they 'd go can be helpful in these situations. And then it all comes down to how surreal, gory, or whimsical you want to design it.
- mod wackart ( ko-fi )
Anonymous asked:
Do you have any tips on how to draw more simplistic art styles? I wanna start a comic but I don't wanna go detailed cause I know I'd give up for putting too much effort after 5 or so pages...
Oh, mama!
( this is gonna be long )
I have been waiting to talk about this since forever.
Developing and drawing for a comic is so much different than drawing for illustrations, simply prompting yourself to draw in a simpler style is only going to take you so far. However, there are ways to prepare yourself and your drawing skills for an undertaking such as comics and other formats of sequential storytelling.
DISCLAIMER: I couldn't find any comics that allowed me to grab enough behind the scenes content to discuss this topic properly, so I've gone ahead and committed a cardinal sin, and used my own current project for some of the examples.
A quick, crude crash course in styling and designing your comic book
Keep reading
Anonymous asked:
may I ask how do you make art (generally speaking) less uncluttered?
I am going to assume you meant: less cluttered.
If not - then simply read through the post and do -everything- in reverse and you should have yourself a good bit of visual clutter.
If we 're talking about clutter in a sense of a composition
(ie. there's too much stuff in your drawing ) then the solution would be to cut back on the little tidbits and focus on the story of the scene rather than the detail work. This can be hard to break away from since we tend to clutter scenes if we feel insecure about the composition itself (or we just have a liking for knick-knack ). Focus on getting your composition right, doublecheck that it is technically strong, by applying overlaying models of compositional grids ( rule of thirds, the golden triangle, Fibonacci, etc ).
If on the other hand, we're talking about stylistic clutter, the solution is rather simple: Chill out.
Look at your drawing and discuss with yourself what you want to achieve with your stylistic choices. What do you want it to look like, then strip it of anything that's just additional stylistic choices. Trust yourself, cause often you 'll find that less is more when it comes to stylistic polish.
I can give an example from one of my own projects.
Above is a frame from a motion-comic/ illustrated-film project I'm working on. When we produced the first prototype, we were in a hurry to produce a promo for a convention. Which meant that we didn't have time to sort out the style properly. So it became this one-dimensional mess, with multiple layers of light, shadow, gradients and textures. A real trainwreck in terms of visual readability ( and a strain on our work-cycle ).
Later we went back to revise the style we had used in the promo, to make it look less flat and confusing and more on point and easily readable. But personally, I was very self-conscious about the polish. I wanted everyone to know that I knew just how to shade and light and make everything look "spectacular" and "cinematic".
But once we started digging, shuffling through the works of some of our favourite films of which we were taking inspiration from, we realized that we could go for something a lot simpler and much more powerful.
^ look at this!? The characters only got one tone of shading- how does this still look so good!?
So we scaled back. Removing everything above flat colours from our regular frames, and restricted our usage of shadows and light for scenes where they would be required to set the mood (ie. in caves, dark castles, at sunset or dawn ).
Uncluttering your artwork is an exercise in seeing the big picture, and understanding that a person can derive just as much, if not more value from a visual when it's not chug full of clutter. Whether it be sceneric clutter or stylistic clutter.
additionaly; it's also an exercise in trusting yourself, and believing that if you work hard enough on making your art technically strong, you won't be needing all the additional rim-light, complex shading and thousands of colour values ( which are all viable tools if used wisely but are major contributors to stylistic clutter ). You can be just fine with the simplest product.
So take a look at your inspirational sources, and see how they get away with things, and how you can apply that to your own work.
Prince of Egypt - is property of Dreamworks
King Tiferius and The Last Doctrine is property of Studio!Wackart
- mod wackart ( ko-fi )
Anonymous asked:
How do I choose which details to draw in non-photorealistic art? I feel so tempted to try and draw everything, but then it looks too busy and cluttered. So many illustrators seem to have a balance of realistic proportions and stuff but not as many details
In semi-realistic styles, you have to choose what to keep and what to simplify. My advice would be to keep detail in the areas of focus (the face and the hands are good points of focus). Within the face, you also have smaller areas of focus, such as the eyes, nose, and mouth.
If you're having trouble with drawing TOO much detail, try this exercise:
1) Try to draw the body/object/face in as few lines as possible while still looking like the original.
2) Then, figure out which parts look weird without the detail (the face, and eyes especially, will probably look flat or fake) and add in as much as needed.
Also! Don't be afraid to look at those illustrators you think are doing this well and studying where they put how much detail in their drawings. You can learn a lot from observing other artists!
-Mod Future (ko-fi)
Anonymous asked:
Hey do you have any tips on drawing spaceships? I've been trying to design a spaceship with a Atompunk aesthetic but no matter what I try it looks awful. Thanks for the help!
I had to look this up to get a proper introduction to the genre. But to my understanding - Atompunk is a punk subgenre that has its design-offset during the period between 1945 to 1965, an age of new discovery and the dawn of the technological revolution that was soon to follow in the next decades. This age is also commonly referred to as the Atomic Age. During this era, the red scare was one of the most prevalent political topics in the western world, and the space race between Russia and the US set humanity on a course beyond our own atmosphere.
According to Wikipedia, the genre tends to lean on the likes of Populuxe ( popular luxury, a widespread consumer culture aesthetic from the 50s ) and Raygun gothic ( Visual style incorporating aesthetics from Googie, Streamline Moderne and Art Deco). These two styles are part of a greater artistic scene called the Retro-Futuristic aesthetic. Retro-futuristic aesthetic hinges onto the basic philosophy of science fiction design: contra factual history.
https://hiveminer.com/Tags/atompunk
In fact: Nearly all subgenres of the Punk umbrella hinge on contra factual historical speculations. More specifically speculating the outcome of any given technological era becoming the epitome of human development. Atompunk speculates the outcome of the world in a futuristic age where nuclear power becomes the predominant source of advancements.
https://huckberry.com/journal/posts/popular-luxurious-populuxe
So, naturally, in order to depict these ideas laid out by the genre itself. We must first understand the predominant aesthetic from the related time period ( 1945-1965 ). For this, studying the Populuxe aesthetic as well as the Raygun Gothic.
You're probably already familiar with these two aesthetics, at least in a peripheric manner.
Populuxe:
For Populuxe, it's the chunky, but sleek look. everything weighs a ton due to the advanced but clunky technology sitting inside it - but is nonetheless made to look like it could cut through water, earth and air. In terms of the soft curves and organic designs - they've made a comeback lately, look at any designer object and there's a good chance that it's got those nice rounded edges and harmonious organic shapes.
http://home.bt.com/tech-gadgets/1960s-technology-and-gadgets-11364039151835
Populuxe was not just reserved for the vehicles, people zoomed around in, but also made its way into the home equipment. These things were a piece of work to haul around, but the pastel colours and experimentative shapes made the household items look a little more spunky than the previously industrial look that dominated the makrt.
Raygun Gothic:
Raygun gothic is a little less about the plumb and sleek figures, and a little more about pointy edges and in some instances, taking inspiration from the on-going space race.
This is the other side of the 1950s aesthetic, that provides a much-needed bit of attitude to the harmonious looks from Populuxe.
https://en.wikipedia.org/wiki/Raygun_Gothic
Raygun Gothic has actually been stable at many diners and thematic restaurants across the globe. Although the style itself, no matter where it's present - tend to communicate that deeply nostalgic, American vibe of prosperity and advancement. Visiting or looking up American diners gives you a plethora of aesthetic inputs that can inspire you for your own universe.
The colours are no more cute pastel, but bright and vibrant, the angles are acute and pointy.
Source ( warning has sound )
If you are to depict this sort of genre, I heavily suggest you get yourself very comfortable, not only with the history of which the genre is based but also with the aesthetics they applied at the time. It was upbeat and optimistic. America was riding high financially and morally after the defeat of the Nazis and their brutal victory in the pacific war ( an optimism that would later bleed into the cold war propaganda ).
And it showed in the way they shaped their world.
Now it's your turn
But throwing yourself headfirst into a whole new visual universe can be difficult. I recommend you start by simply tracing over the visuals you can grab from the era. Get familiar with their shapes and colours. Take note of popular trends within the designs and catalogue the re-occurring things you pick up on.
Next, there's a great exercise for you to try your hand with implementing Atompunk look to this old fashion.
https://www.boredpanda.com/spaceship-design-everyday-objects-digital-art-eric-geusz/?utm_source=google&utm_medium=organic&utm_campaign=organic
In an article, Eric Geusz shows off his brilliant idea of grabbing interesting looking items from his household and turning them into spaceships. This is a brilliant way to get your offset in designing with a specific aesthetic in mind. Try grabbing pictures of the gadgets and gear from the time-period which Atompunk is based on, and turn them into creations that could work within the confinements of the genre. You can do anything!
https://www.boredpanda.com/spaceship-design-everyday-objects-digital-art-eric-geusz/?utm_source=google&utm_medium=organic&utm_campaign=organic
I hope this made some kind of sense. I've been dabbling in the art of world-building for a while, both in my free-time but also as part of my study, and what I've found is that you can help yourself a lot with duplicating aesthetics if you research and study its inspirational sources. It helps you get into the originators headspace. After that, is all about experimenting and working yourself into a sort of 'comfort' within the genre, till you can finally take the leap and make your own creations. A bit of a process but well worth it in the end.
- mod wackart ( kofi )
Anonymous asked:
Hello, can I use anatomy tips from The Red Line Station as reference freely? I want to use the one about human side views. Or should I ask the artist who made it personally? I don't know the name of the artist though, so I hope you can let me know the artist! Thank you so much!✨ (Btw I found the art tip on Pinterest and it lead me here =))
Hi! Mod Future here. I think I made that one - not sure. Either way, all our tutorials and tips are there for you to use freely! We're glad that you found them so helpful :3
Source: https://theredlinestation.tumblr.com/post/181277186194/have-any-tips-for-drawing-a-side-and-front-profile
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