Sometimes you can get a friend to pose for you, but if they aren’t a professional model they may struggle to come up with poses. But when you aren’t in college, it can be really hard to get in that kind of practice, where you can sit there and draw pose after pose. One of the greatest advantages of art college (for those of us who draw) has to be the Life Drawing classes. Pixelovely Figure & Gesture Drawing Practice Tool They can then be brought into Illustrator and expanded, colored, shaded, and designed. Below you can see the Agatha and Zero pairing, like I said, I like to do pairs 🙂 Below you can see the sketch and the inking side by side.Īfter the images are inked I scan them into Photoshop at a very high DPI and then clean up the image making them as pure black and white as I can. Adding different elements here or there if not satisfied with how an eye or an ear looks, where later I can digitally mend them and choose which element works best. Then I take tracing paper, more of a vellum really and I ink my sketch. My characters are silly, possibly charming, and always a little bit ugly. Make it more interesting, a pair of characters. They are also carried in an awesome little store in California called Fan Alley.įirst find something you love. Within the last year I started doing some portraits of some of my favourite film and show characters, I named them Cinema Selfies and gave them a blog and posted a few of them in my Etsy. I own the Mulder and Scully and probably wear them waaaaaay to often. These are some of my favourite fan art artists! From left to right, La Barbuda, Heather Buchanan, and Strange Sky Studio. Even when I was in college, I loved going to the illustration floor to check out new celebrity caricatures on the walls in the halls. So fan-art has always been some of my favourite art. And also sometimes shows too, but mainly movies.
I hope you’ve gained some insights from what I’ve shared (and discovered some of your own) 🙂 Keep on’ keepin’ on Art Shakers! There’s more I could say, but I think that’s good. Keeps it more interesting and less daunting, I think. Also, I always start my coloring conservatively and then push more and more into a good contrast (I suppose that’s the creative timidity in me rearing its head, hoping not to “ruin” the piece-which is pretty much a misnomer when working digitally).Ĭ) I tackle things in pieces, bouncing around (especially with a more ambitious piece). Having every local color slide more or less into this overarching hue gives a piece that sense of intriguing atmosphere. When you see the next frame pop in is when I wasn’t sure about what the next step should be, so I started progressing further from a safe point I could retreat from if needed (“Design for retreat” is a handy maxim for the creative process when dealing with any client, coined by photographer Jim Divitale).ī) When coloring a scene, it’s important to have an overall color to push everything into. Here’s what’s notable to me as I watch these process GIFs (and forgive me if you’ve read these sentiments before in other posts I’ve done, but, hey, repetition is one of the best ways to learn):Ī) I always save out a new version of my working file whenever I come to some kind of fork in the illustrative road, per say.
Semper Paratus (wraparound cover), Copyright ©2015 Grand Haven Coast Guard Festival, Inc.
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