(via 重回汉唐汉服女装实体店白蓝绿色褙子抹胸襦裙套装轻萝非古装-淘宝网)

Hey, friends!

It’s Meg! Sorry about the late TUTOR TUESDAY, but I’m here! Today we take a look at drawing environments! This uses our last tutorial on perspective, so if you haven’t check that out! If you have any recommendations, send ‘em in here or my personal! Keep practicing, have fun, and I’ll see you next week!

This is what it’s like to go to an all-plus size, body positive pool party

After years of negative experiences at pool parties and the like, I was so excited to attend the 2nd Annual Golden Confidence Pool Party hosted by fashion blogger Essie Golden. This party wasn’t just about having a good time — it was about creating a space for women to feel good about their bodies. 

Photos: Rick Jones

READ MORE

Antonios Couture

Spring | Summer 2016

*cough* I was wondering if you could make a tutorial or something on how you draw your arms. >=> or if you have any artists you got inspiration from... ;-; your Sourin makes me really happy btw :3

Arms huh…yeah I have to say, arms are a pain for me to draw sometimes. It’s hard to make them look natural and it’s part of what make drawing people so difficult, because if the arm don’t look right, the rest of the body looks stiff. The shoulder, arms, and hands are among the most expressive of body parts, so it’s important to keep that in mind. Everything I know about drawing arms is based off of real life observation lol. (seriously though, I’ll stare at people’s arms, and sometimes my own, when I’m at the gym. If you have especially nice arm muscle definition, I will stare a lot lmao. I also just stare at people’s arms in general too. I promise I’m not creepy.) This is a basic rundown of how I go about drawing arms:

I divide it into three parts, the shoulder part that connects it to the rest of the body, the upper arm, and the forearm. Three tube-like lumps lmao. You can vary the amount of muscle and muscle definition to change it up. 

Marchesa S/S 2017

a study on drawing heads at different angles :V

Sketches that came with the Magi DVD vol.7 that depict the main three going on a journey. Here’s Ohtaka’s comment:

“These are sketches that I did before the serialization. I drew them while looking at pictures of the Mogao Caves in China. At first, Magi was going to be a manga that revolves more around conquering dungeons, and so I did a lot of sketches like these.”

Mahiro Maeda’s (前田 真宏) design sketches for Samurai Champloo. Mugen’s sword. Fuu’s tanto. Jin’s sword. The mechanical designer of the series.

(If you haven't answered this before) how do you do shading?

i havent !! and. i cant say this is gonna be any help but heres some of the things i try to keep in mind when im shading stuff

so youve got your flats on your initial drawing, the thing thats getting the business

then youve got find out where the light is coming from ! your light source is gonna determine where all the highlights and shadows are cast, and while it doesnt have to be EXACT, its generally a good rule to keep it pretty consistent through the drawing - sometimes youll probably have to deal with multiple sources, and each ones gonna be casting its own light and shadow ( and color by extension )

the intensity and sharpness of your shadows generally also reflects the brightness or closeness of the light ! basically if you wanna make something look BRIGHT, you gotta make sure the shadows are dark enough to get the idea across

so the actual shading part - the way i shade is by getting a brush on a very low opacity, picking the color i want for shadows and then layering the strokes over and over until i get about the darkness i want ( because im LAZY and i dont actually work with complex backgrounds a bunch, i can usually get away with drawing the shadows directly on the locked flat colors layer so theres nothing to clean up after )

afterwards i clean it up a little if i need to, add highlights while keeping in mind where the light is coming from, and start on the Detail Work ( it also might be helpful to keep in mind that highlights dont always go on the EDGE of things, but rather where the curve of something is - where the light would catch. this can help add a little depth and make flat things look rounded out ! )

and THEN its basically me zooming into the drawing at least 200%, putting another layer over the top of everything, and going over the outlines with a tiny brush so the harsh black is mostly gone ! there shouldnt be anything along the edge thats darker than the darkest part of the shadow ( with exceptions like the eyes and nostrils )

and thats mostly it ! i picked red for the shadow color, but picking your shading ( and flats ! ) based on the colors in your background can go a LONG way into making it seem like your character is actually in the environment

reflective light is also an important thing to keep in mind when choosing shadows and highlights - light and color doesnt always just hit an object and stay there, and even in the shade there could be light bouncing back from stuff like water or grass creating smaller, subtle highlights along the edges of things close by

not everything reflects the same way either ! something like a piece of wood is going to react differently than say, a metal ball

so you get your light source, basic highlights and shadows, not bad ! but then theres ALSO the light reflecting from the rest of the environment along the edge of the ball, and then finally the color from both the dragon and the ball reflecting a bit on each other

 honestly though these arent RULES of drawing and more just guidelines i work with sometimes, and maybe your style of shading and highlighting looks completely different than this and thats ok !! - im still figuring a bunch of stuff out about light and reflections myself, and the great thing about art is that you can do whatever the hell you want with it

Great Reference , a good hand how to draw is always needed ^_^  But, the thing is I MUST draw it for real :/

weibo.com