BUT NO in all seriousness, thank you! You’re a sweetheart! ;O; Proportions are pretty awful to get down when you’re just starting out, and while there are a bunch of ways you can start practicing with it, it’ll be difficult to be absolutely precise. I still struggle with proportions occasionally. Fun fact: I don’t post all of my work. I only post the work that turned out okay aHA. So basically don’t be frustrated when every single piece doesn’t turn out. Here are a few tips.
Let’s use this picture of Laurence and Hugh because why not.
They’ve both got eyes, a nose, and a mouth, so why do they look different?
These lines are the generic way of mapping out where to put things together. I used this when I was starting out and it’s a helpful way of getting your hand and wrist to work together. At this point they both nearly look the same. I say this a lot, but I think it’s important: shape is what puts a drawing together.
Compare features of the face to help you figure out placement.
The bottom of his ear lines up right to the middle of his nostril. His tear ducts line up right at the corners of his mouth. Then you can get super technical and say, oh, the outer corner of his eye lines up with that fold in his collar and then from there you can see other things like the approximate distance from the edge of his mouth to that connecting line from the eye to the collar. They don’t meet so his mouth is smaller than the width of his eyes, etc, etc. Whatever works, man.
This is a favorite technique of mine so lemme use another example:
Eventually you get to the point where most of your proportional accuracy will come from just looking. You will eventually adjust your eye to see what makes a person who they are by the shape of their features.
Laurence has narrow, oval shaped eyes, while Hugh has more of a diamond shape. Not everyone has perfect almond shaped eyes. You can capture an entire character personality through their eyes alone, so shaping them out is extremely important.
The way you draw your lines is also important. Sharp and smooth lines will give your drawing personality. Reveals the character, in a sense.
Other things to consider: the shape of the nose.
Mads’ is flat and goes down in a steady slope, while Hugh’s juts out in a smooth, almost concave curve.
SHAPES SHAPES SHAPES. Use shapes and structure to find proportion.
I did a lot more than I anticipated omg. Oh gosh and I have a feeling I kinda just rambled and didn’T MAKE ANY SENSE AH. Let me know if you need more help or if I was speaking gibberish I am so bad at putting my thoughts into words aHHHH. But gosh I hope this was at least vaguely helpful. You’re a darling and thank you for your kind words!
Good luck on your artistic endeavors! /hugs
this level is literally just a demon fanboying over me
I’m proud to announce that DREAM ARCADE, a really cool pixel arcade collab exhibition that I was lucky enough to contribute to, is here!
You can play the game here: http://lightgreyartlab.azurewebsites.net/dreamarcade/
with the main exhibition/gallery here: http://lightgreyartlab.com/dream-arcade-exhibition-and-game
screenie of a level haha mine at lv 20.
Hope you enjoy and have tons of fun!
Thanks to all the amazing folks at Light Grey Art Lab and my fellow artists! :D
Thank you, my friend! I’m glad you find my tips helpful! :3
- The thing you want to keep in mind most of the time you’re doing anatomy studies is the shapes that build the form. Break it down into like.. an action figure or a puppet. Imagine the shapes that make the limbs, but ignore the joints. Think of the general clumps. if you get the stuff right, it should be the bare basics your brain should need to be like “oh ok, that looks like it’s in 3D”
- Secondly, do a little bit of subtle shading to further solidify the whole “Yeah, that’s definitely a form.” thing your brain has got going on. Remember to be subtle!
- Finally, add in the lighter bits. Remember, nothing can look like form if there’s no light to even look at. Always remember that light is the most important part, it’ll really make it look swaggus :D
Lastly, I hope you don’t get discouraged, friend. Yeah, it’s a pretty tough battle getting better at art, but it’s gotta be done to get good. You gotta wade through the poopy poop until it starts looking good to you. And then it look bad. And then good! and then bad etc. Your taste will always be one step ahead of you, so you’ll always feel like you’re not good enough. Recognize that, and acknowledge it. Use it as a weapon to swat away your insecurities and feelings of discouragement.
Also, if you’re the efficient worker type, go ahead and paint studies and practice perspectives, draw from life, draw all kinds of crazy study shit, and you’ll get there fast. However, it isn’t fun.
I suggest doing what you like. Draw your favourite celebrity’s face. Draw your favourite pokemon. Just keep drawing. You’re working towards something, but you’re finding it more fun than work. And that’s way cool. :D
Anyway, I hope this helps you, my friend! Good luck and have fun!
Headcanon: You can tell what school of magic a mage uses by their hands.
Spirit Healers will always have soft and supple hands, using their staff very little to heal groups when one-on-one healing works so much better. Should they have callouses on their hands, they focus mainly on the fingertips and the dip of the palms, where pestles would he held to grind up ingredients, or where examinations would be performed touching as little of the sore spot as possible.
Blood mages have much rougher hands, littered with scars. They often cut the palm with a small blade to hide their blood magic until the last second, rather than use the open flesh and more flowing blood from the wrist. Their fingers often have a much more reddish tint to them, barely visible, stained with blood.
Entropy mages have much harder skin, changed to deal with the magic of death attempting to decay their skin. But Entropic magic is also about restoration, and thus they also have patches of much softer, newer skin in more sensitive areas of their hands, such as between each finger.
Creation mages have much softer skin, though not as soft as those of healers. There are scars on their hands, tiny little nicks from each spell gone wrong that has had the reverse effect to what they wanted, glyphs that have been turned against them by mistake. Their hands are often the most obvious to see, as Creation magic is hard to master, and thus accidents happen often.
Force mages have incredibly rough skin. Using such raw magic to aid them causes their skin to become rougher, the sheer power of the force spells toughening even their nails, making it almost impossible for them to gain any scars.
Elemental mages can have a variety of different hands, although it is very easy to catch them out; their palms will be too warm or too cold depending on the spells they use most, and their continuous use of a staff to aim such spells on a greater scale means that there are callouses on the bend of their fingers, where they grip the staff in their hands.
Primal mages have very strong hands, though their skin is often the weakest. They back up their flesh with rock armour and things from the world around them, leading the backs of their hands to be littered with scrapes where a Stone Fist has rubbed against the skin.
Shapeshifters are harder to determine, but can always be found out depending on how they hold things in their hands; the ability to change between man and beast means that they tend to hold things a little differently to most people. A spider shapeshifter, for example, would hold most items in the tips of their fingers, while a bear shapeshifter would hold it in the flat of their hand, fingers curled just enough to keep it in place.