any tips for drawing smiles? like with teeth? I feel like they just look strange and creepy when I draw them and idk why hahah. they look nice closed
a wide, teeth-showing smile is not something i often do so i did make some notes for myself as well. when a smile is wide enough to show teeth often a lot of other face muscles are involved as well, so i try to draw other muscle movements on the face not just the mouth (it's not natural-looking if the smile doesn't "reach the eyes", in this case you wouldn't want the muscles/skin around the eyes to literally stay still).
here comes siegfried
other things:
- draw as little as you can or:
- if you can get away with just drawing the outline of the teeth (just a line or a slight curve) then go with that, maybe draw one or two faint lines seperating the canines from the rest if needed, a bit of gum if the mouth is open wide enough, but drawing detailed teeth and gum tends to make the mouth look creepy. though if you are aiming for creepy, now you know what to do
- same with the lips, just the outline of the mouth already conveys a lot of information, esp. if you draw a white person (thin lips and the edges are not defined at all)
- observe if the lower row of teeth is actually shown. usually when somebody is smiling, or simply opening their mouth (given we are not looking at them from a very high angle) only the upper row of teeth would show, the lower row of teeth is hidden behind the lip
- if you are new to drawing something, try using only straight lines, no curved brush strokes. it forces you to be more mindful of the shapes you are depicting
- if you have a small mirror, prop it up on your workspace and use it to observe how your own face and hands move, it helps!
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do you have any advice on drawing curly hair? you're one of my favorite artists (I absolutely LOVE your art style!! <3) so I thought I'd ask. I'm specifically looking for like, John Trapper McIntyre type curls if you know who that is.
thank you for all the kind words! i only know about MASH by osmosis (tumblr dash) but i'll try. my general advice is not overdo it. if i were to draw Trapper i'd draw him like so
it's important to know the hairline, the direction the hair grows, and not get lost in details. with the outline you can already tell how curly and thick his hair is. if you want to add details try to avoid uniformity = avoid drawing things that look roughly the same size, same shape etc. placed near each other (different sizes and shapes create dynamic, plus they are just more interesting to look at, also things in nature tend to not be of uniform size and shape after all). if you want to draw singular curls then try to space them differently, alter the direction and the length of the curls, the line width of your brush etc.
some more guys with curly hair (from very curly to barely curly) and my tips and tricks on drawing short(ish) curly hair
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went to a museum & drew a few things i found cute. banded stilt, potato beetle, brazilian treehopper, skull of a guanaco, and model of a dodo. most of the ink was done once i went home and could find a surface to lay the book on though
a paper on bugs with cool helmets: Prud’homme, B., Minervino, C., Hocine, M. et al. Body plan innovation in treehoppers through the evolution of an extra wing-like appendage. Nature 473, 83–86 (2011). https://doi.org/10.1038/nature09977
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Absolutely in love with your use of colours in traditional art. Please, teach us!
glad you enjoyed! before i start yapping i'll put the usual preamble here: i am also learning, my knowledge is limited, but i'll try to sum up what's most important to me when it comes to colours
which is basically two words: hue and value. no colour exists in a vacuum, it's all about correlation, about the colours surrounding it. hue = is this colour warmer or colder, value = is this colour lighter or darker than the ones next to it? let's use my last posted doodle as an example (i do adore mr russell so). here's the photo i used as ref, and here's how i interpret what i see
value: it's important to know where the light sources are: where they "hits" the object directly and results in the lightest value, which will be the highlights in your drawing; then where strong, defined shadows are cast; and where soft, transitional values are
e.g.: since there's a strong neutral light shining directly above his head, the shadow cast by the head onto the neck (and the brows/eye sockets) is the strongest, while the cheeks and the forehead have much "softer", more gradual shift in value
hue: this is situational but some contextual (anatomy, biology) understanding would not hurt at all
e.g. what i mean by "situational": in real life or rather, in nature (as opposed to in studio with controlled light sources) there are often multiple light sources, and those lights reflect a lot, that's what light does. in this case you'd assume the neck would be entirely covered in shadow cast by the strong light from above, but the left side of his neck is lit in a bright warm red. do you see it yet? the backdrop is red, and light bounces around, and reflects onto his neck. it's a fun game "guess where the light comes from". sometimes what light sources present in a scene aren't that apparent, but they will influence how warm/cold certain parts of a subject would appear, and you should definitely watch out for them
what i mean by context, or understanding the subject you are drawing: the cheeks have thinner skin and show more blood vessels, hence the skin there are always a warmer hue compared to, say, the nasal bridge, where instead of blood vessels it's mostly bone. the ears have no bones but consist of cartilage and blood vessels, so when a strong light hits, it can even shine through etc.
now let's put that together, and pick the colours accordingly
"design" elements: with that being said, you can "design" a scene however you want, with this doodle (and markers) i am not trying to copy 1:1 from life, but try to find a balance between what my eyes perceive and what i think would be fun. e.g.: i think the pinkish, orange skin would contrast well with a bit of blue, so the glasses, the hair + beard is blue, it's not wrong value and hue-wise: black and grey is "colder" than orange and pink, but so is blue, yet blue has a bit more vibrancy, a bit more whimsy than black and grey. i like exaggerating his ears so yeah! emphasize the highlights there, as long as the values and hues next to each other form a coherent idea, it'll work
here's another example on how hue and value can carry you through even if you pick a zany, less realism colour scheme
for this one i worked with a more design-ish approach, i picked two palettes that have little to do with how the subject looks irl: different shades of blues for nick, oranges/yellows for the guitar and the background, because i want nick to play the blues, i want the brightly painted gretsch guitar, and i want that contrast, like nick is cut out from the rest of the scene. so i'm left with pretty limited options. but if you swatch those colours out and look at them, it's easy to make out which colour is lighter/darker/warmer/colder, and then you just apply the correlation between colours you see irl to the colours you want to put on paper, and as long as the correlation is correct, your eyes will accept it
this is, of course, just my own preference for picking colours, but i hope it is helpful for you. it's lengthier on the non-drawing action, but imho half of drawing/painting is observation. plus each medium has a bit of a different workflow so if you have a doodle you are specifically interested in/curious about, let me know, i'll try to explain more on how i mix/pick colours, i might do a small demo if i feel up for it.
