Project REDLINE

Thanks guys! All you really need is this chart but I’ll walk you through it.

The “Draw ‘Em With the Pointy End” Art Book is now LIVE! http://kck.st/1EVMKCK

Want some amazing Game of Thrones artwork? Draw ‘Em With the Pointy End is a limited-edition, 160-page, full color, 8.5”x11”, softcover, tribute art book with over 100 artists from around the world sharing their original homages to G. R. R. Martin’s series, A Song of Ice and Fire (a.k.a. Game of Thrones). If we pass $45,000 the book will be hardcover!

Our line-up features dozens of professional and emerging illustrators from across the globe who’ve exhibited in numerous art galleries and print publications.  Collective art credits include: Marvel, BOOM! Studios, Nickelodeon (Avatar: The Legend of Korra), DreamWorks Animation, Titmouse Inc, DisneyTV, Paramount Pictures, Legendary Pictures (Godzilla, Pacific Rim), SyFy (Defiance), Wizards of the Coast, Fantasy Flight Games, Gaia Online, Electronic Arts, Spark Unlimited (Lost Planet 3), Ready at Dawn (The Order: 1886), and more! 

Artists Offering a Reward Tier with Custom Artwork: Alexis Hernandez | Alice Brereton | Alyssa Creagh | Andrew Mar | Dahia | Dan Howard | Grace Fong | Jordan Haviland | Kate Sheridan | Kirstie Belle Diongzon | Lindsay Prior | Linnea Holmström Ljung | Naomi Franquiz | Noreen Rana | Rachel Curtis | Sam Schechter | Yi-Wen Leow

Other Book Artists: Al Lukehart | Alexandra Vo | Alice Meichi Li | Alison George | Amanda Coronado| Ashley Floreal | Athina K. Poda | Aurelie A. | Beth Hughes | Beth Wollman | Bluessence | Bonnie Tang | Borg Sinaban | brownrabbits | Cari Corene | Chie Y. Boyd | Clare DeZutti | Crista Castro | Dana Guerrieri | Dani Kruse | Deshi Deng | Donna Lee | Ed Skudder | Elise Willis | Emily Cheeseman | Eric Guan | Erin McManness | Eva Zhou | Evon Freeman | Frank Hong | Gillian Grossman | Grace Kim | Grace Kum | Harteus | Helen Mask | Holly Fedderman | Jax Jocson | Jason McCrae Dwyer | Jeff Lai | Jen Bartel | Jess Schultz | Jessie Lam | Jordan Ewing | José Raúl Cruz Juárez | Juri H Chinchilla | Justin Hernandez | Kaeti Vandorn | Kassarie | Kathryn Layno | Katie Longua | Katie Salvi | Kelly Nguyen | Keri Ruediger | kickingshoes | Kii W. | kimchicat | Klydekiss | Lana Chan | Laura Lewis | Lee Tao | Lorraine Grate | Lynn Wang | Maarta Laiho | Madam_B | Margo Sikes | Mary Sanche | Maya Kern | Melanie Tranchemontagne | Missy Pena | Morgan E. Brewer | Mujia Liao | Natalie Hall | NEN | Nicole McEvoy | Nilah Magruder | Peter Han | Rachel Allen (Vanduobones) | Renee Biggar | Richy Truong | Sabrina Deigert | Stephanie Kao | Stephanie Stine | Steven Wen | Susan Bin | Tara Phillips | Tatyana Vogt | Tiffany T. Le | Tingting Li | Tobias Kwan | Vikki Ong | Vincent Lee | Wendi Chen | Zephyr Armsworthy

Not enough? (Almost) Every day during the campaign, we will post an update showcasing a full piece from the art book!… And we’ll post another for every $1,000 we earn! See the UPDATES PAGE for posted work.  So share with your friends, and maybe we can get that hardcover version!

FACEBOOK: https://www.facebook.com/pointyendartbook

TUMBLR: http://drawemwiththepointyend.tumblr.com/

TWITTER: https://twitter.com/gotartbook

A scrumptious fuck-ton of human mouth references.

First off thanks!!! I tried to make a tutorial but it ended up extremely vague and more of a step-by-step of a headshot i drew today for this purpose whoops;;;

This is one layer but If it’s a complicated drawing then i’ll draw it out and line it with a thin brush with no pressure sensitivity, and then bucket fill the shapes on separate layers, usually 1 layer per character and one layer for the bg.

I also might do color adjustment layers and merge them down as I go but I got lucky this time and didn’t have to make any adjustments. 

I work on one layer but every 30 minutes or before I begin a new stage (hair, the eyes) I’ll duplicate that layer and paint on the topmost one. This way I can check to see if I over-rendered by hiding the top layer. If i over-render or mess something up, then I have that back-up layer that I can go back to and start that part again. 

Some additional things:

lost edges are where the edge of a shape bleeds into the other without any visible separation between the two. If you don’t need an edge consider getting rid of it for a more painterly look

The very very darkest shadows on skin are almost always warm. Even if the light source is cool, the nostril will be a warmer color than the rest of the skin.

warm light: cool shadows

cool light: warm shadows

Vary the hue here and there with little flecks of bright colors that harmonize with the local color of the object to make things pop

If the background is dark, draw a very thin orange or dark pinkish line where the skin meets the bg. This is called a corona and will make the skin look like it’s glowing

you don’t need to use pure black AND pure white in the same image every single time

The eye is drawn to hard edges, so use them where it counts!! 

Read Richard Schmidt’s Alla Prima for more of this kind of stuff. I got most of these ideas from that book 

and proko’s youtube channel

ps that’s makoto 

I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>

BRUSHES

Pencil I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes. Ink Pen Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles. Round Brush The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without. Flat Brush A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.

Watercolor Best used for smooth blending, washes, gradients, and smoky atmospheric effects. Cloud Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.

TEXTURE OVERLAY

To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!

Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!

Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.

Hope that helps!

How to draw folds

Notes on how to draw folds back when I was teaching manga classes back in 2006. From the book “Drawing people” by Barbara Bradley.

http://www.amazon.com/Drawing-People-Portray-Clothed-Figure/dp/1581803591

This book has a very detailed description of 6 types of commonly seen folds and I think is one of the most educational resource on how to draw folds(Besides Vilppu and Bridgeman).

這是我以前教漫畫課程時給學生看的講義.來源是芭芭拉布莱德丽的”着装人物素描”«上海人民美术出版社出版».

Some of these may be in the wrong category. Some may need to be in another category! Do tell me (through my ask box) if I need to change or add something! Have fun looking through these accounts!

HUMAN ANATOMY

http://anatomicalart.tumblr.com/

some notes I did during today’s stream.