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ΧΡΗΣΙΜΕΣ ΣΥΜΒΟΥΛΕΣ ΣΧΕΔΙΟΥ (Tracy J. Butler/lackadaisy)

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ανακάλυψα το

lackadaisy πρόσφατα, ένα webcomic που μου άρεσε πολύ κι έχει και χρήσιμες σχεδιαστικές συμβουλές.

 

 

1295341707.jpg 1309122847.jpg digital_kvetching.jpg howtodraw.jpg

 

και σε zip

 

 

 

 

συνεχίζεται

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How A Comic is Made: The Boring Version or, if you like: Tracy's Misguided and Somewhat Truncated Adventures in the Land of Sequential Art.

 

Step 1. Thumbnails and Script

 

To start with, I flesh out a script and thumbnail sized layout for the scenario the comic will cover. Because the script is so reliant on the visuals and vice versa, I work on both simultaneously. These typically undergo at least two or three revisions, accounting for highly refined, expertly wrought dialogue the likes of, "AUGH!" and "AAAAAAAUUUGGHH!"

 

1.jpg

 

Step 2. Layout and Rough Pencils

 

On a piece of 14x17" smooth Bristol board, I begin blocking out frames with a straightedge based on the thumbnail layout. To start with, I use light pencil lines so that I can easily erase and rearrange things if necessary.

 

2.jpg

 

Next, I begin roughing in the content of each frame. I've been asked a few times whether or not I draw all of the frames that make up a comic on one page - for the most part I do. When everything is in one place, it's easier to think of it as a cohesive piece rather than a series of independent panels. This helps me maintain some semblance of continuity from one frame to the next... sort of.

 

3.jpg

 

Step 3. Penciling, Caffeine, and More Penciling

 

Many, many hours, cups of tea and mugs of coffee later, I've finished penciling. Copy paper is my usual M.O. for any extra frames that don't fit unobtrusively with the main body of the comic on the Bristol board. Copy paper is pretty flimsy compared to Bristol, but I like the smooth surface for pencil drawing.

 

4.jpg

 

Step 4. Agonized Self-scrutiny

 

As anyone dwelling in the artist's milieu could tell you, this is a vital and, one might say, defining characteristic of the artistic process. There are a number of methods to be utilized here: long brooding walks in the rain, pensive posturing atop cemetery monuments, LiveJournal updates, or simply spending some time crumpled in a heap, face down on the floor. "I'm a creative cipher - a husk empty of meaningful expression!" and "What am I doing? I'm such a hack!" are some of the more popular platitudes for this state of mind.

 

5.jpg

 

Step 5. Scanning, Layout, and Cleanup

 

Following the requisite deluge of histrionics and perhaps a brief affliction of ennui, it's time to visit the flatbed scanner. The unfortunate difficulty with working on large pieces of paper is that affordable scanners aren't very accommodating of such outrageous caprice. This means scanning segments, and then piecing them back together in their proper order in Photoshop. I break the frames apart into separate layers so that I can more easily arrange them. I also use this step to do any cleanup work I either couldn't or didn't do with an eraser.

 

6.jpg

 

Step 6. Dialog

 

Using a font I created (with FontCreator 5), I begin filling in the dialogue I had worked out in the script. Despite previous revisions, the dialogue tends to undergo another round of alteration at this point to make sure it's as well-suited to the characters and situation as possible.

 

7.jpg

 

I use a separate layer to place speech bubbles beneath the text.

 

8.jpg

 

Step 7. Shadows

 

To emphasize shaded areas I didn't pay enough attention to with my pencil and to add some extra contrast or depth where needed, I paint in shadows on top of the layer containing the original penciling with a low opacity, hard-round brush. I work in grayscale only at this stage. If the shadow layer begins to obfuscate the penciling, I'll add a copy of the pencil layer (set to 'multiply' and turned down to about 30% opacity) on top of the shadows to reinforce any lost linework.

 

9.jpg

 

Step 8. Final

 

The last step (and just about the only one that doesn't require hours of work) is the minor color balance adjustment I use on the bitmap to create the overall sepia tone.

 

10.jpg

 

 

link

 

 

πάω τώρα να ετοιμάσω παρουσίαση για το webcomic :P

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Μετά από αρχαιολογική ανασκαφή ( :P), βρήκα δυο ακόμη tutorial στην εγκαταλελειμμένη ιστοσελίδα της foxprints.com. Λόγω του περιορισμού των συννημένων που μπορώ να ανεβάσω, τα χωρίζω σε τρία πόστ.

 

--

 

Character Drawing

 

So how does one go about drawing a character? When asked, my usual advice is something to the tune of sketch guidelines first. What does that mean? Well, if you'll bear with me, I'll explain and illustrate.

 

Keep in mind, there is no precise 'correct' way to go about drawing. Over time, most artists will develop their own personal techniques that suit their own personal style. The following is simply a method I find effective for drawing characters when no live, nude models are available to stand around and pose for me (which is usually).

 

Now, on with the show.

 

 

Part 1

 

1. What are the guidelines?

 

post-23287-0-90167900-1438905502_thumb.jpg

 

One of the fundamental principles of drawing is that everything can be deconstructed into basic shapes -- primarily spheres, boxes, cones and cylinders.

 

Why does this matter? Because if you can break anything down into basic shapes, it follows that you can construct anything using basic shapes as guides.

 

2. Why use guidelines?

 

post-23287-0-72264600-1438905506_thumb.jpg

 

The poor wretch on the left of the illustration is a victim of outline-drawing, a method many beginning artists will tend to use without realizing the disadvantage. Not only does this result in flat-looking characters, but it also makes it difficult to create interesting or dynamic poses.

 

When you sketch guidelines first, you can plan out your entire drawing before you do any serious work. Furthermore, the contours of the guide shapes will help to lend a certain 3-dimensional quality to the end result. Also, if you don't use guidelines, no one will ever like you.

 

3. More guideline propaganda.

 

post-23287-0-51160000-1438905509_thumb.jpgpost-23287-0-35067500-1438905511_thumb.jpg

 

Here we have the simplified skeleton -- a popular tool for drawing human characters. If you've ever put painstaking work into a drawing only to discover half way through that the arm is too short, or the head is too big, or that the legs will have to extend off the paper, then this little number is for you. Plotting out your drawing with this type of guide can drastically cut back on the amount of erasing and revising you have to do after you've already invested a good deal of effort in your work.

 

As you can see here, planning the proportions, pose, and even the personality your character drawing will have requires only a few simple lines. Guidelines.

 

In the next part, I'll detail just how I go from this step to a complete character drawing. Read on!

 

Part 2

 

1. Los Esqueletos.

 

post-23287-0-97500200-1438905512_thumb.jpgpost-23287-0-06417800-1438905514_thumb.jpgpost-23287-0-47826900-1438905515_thumb.jpgpost-23287-0-33396400-1438905517_thumb.jpg

 

A variety of simple skeletons for your perusal. This is how I typically start a human character drawing, but the technique works for just about any type of character.

 

Note that the neck and spine are one continuous line that arcs from the pelvis line up through the line representing the shoulders.

 

[Πηγή]

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Part 2 (συνέχεια)

 

2. Basic Shapes

 

post-23287-0-55475600-1438906210_thumb.jpgpost-23287-0-53326800-1438906212_thumb.jpgpost-23287-0-44551300-1438906215_thumb.jpgpost-23287-0-55345900-1438906218_thumb.jpg

 

Once I've laid out my skeletons, I use them to start adding my basic shapes -- putting meat on their bones so to speak. It helps to think of each shape as a 3-dimensional object. Around the upper arms, I'm drawing in a cylinder, not just a flat shape. Around the shoulder joint, I'm drawing a sphere, not just a circle, and so on. Don't be afraid to get messy about it either.

 

3. Connect the Dots

 

post-23287-0-10608900-1438906222_thumb.jpgpost-23287-0-30802100-1438906226_thumb.jpgpost-23287-0-45911800-1438906229_thumb.jpgpost-23287-0-92378000-1438906231_thumb.jpg

 

In the next step in the process, I start joining my shapes together with more definitive lines for the contours of the body. I've started to erase the guidelines I no longer need, and I've also begun sketching in clothing. Remember that the appearance of the clothing and the way fabric falls will be determined by the underlying shape of the body.

 

[Πηγή]

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Part 2 (τέλος)

 

4. Clean-Up

 

This is probably the longest, most involved step, but it's much easier to concentrate on the details of your drawing now that the overall figure is complete. Erase whatever unsightly guidelines are left at this stage, add the frills, shading and whatever other embellishments you intend.

 

post-23287-0-54061300-1438906422_thumb.jpgpost-23287-0-19697000-1438906426_thumb.jpgpost-23287-0-02197000-1438906429_thumb.jpgpost-23287-0-84105000-1438906431_thumb.jpg

 

And in case you might find it more convenient, I've grouped the four steps together into one image per character drawing. Just click the thumbnails below.

 

post-23287-0-63718700-1438906435_thumb.jpgpost-23287-0-18442500-1438906438_thumb.jpgpost-23287-0-30629400-1438906441_thumb.jpgpost-23287-0-59038000-1438906444_thumb.jpg

 

Fin.

 

[Πηγή]

 

--

 

Drawing Linear Knots

 

I've attempted on more than one occasion to explain how I go about drawing Celtic knots, but finding it quite impossible to describe with words alone, I finally decided to put together this small tutorial with visual aid.

 

1.

 

xiXvn1T.jpg

 

Most tutorials on drawing knots will emphasize use of a precise grid, but personally I don't feel that's always necessary. I start out by lightly sketching some guidelines for myself--as seen in the image above marked in red. I first divide my space into equal segments with vertical lines. Then I choose a basic shape for the knot segments and draw those in lightly as well. Here I'm using an oval shape, but any repeating shape (such as circles or rectangles), or repeating patterns of shapes (oval,rectangle, oval, rectangle, etc.) can be used.

 

2.

 

g2qI3LH.jpg

 

Using the guidelines I just drew as boundaries for the general shape of the knot, I work out a pattern that fits within the shape. In this case, I'm using a relatively simple, symmetric 'S' shaped pattern. Asymmetrical patterns that alternate either horizontally or vertically are common as well.

 

3.

 

8P8IXkY.jpg

 

The third step is the tedious part. Here, I draw in the double lines, adding in the portions of the lines that connect one knot to the next using the pattern lines I drew in step 2. Be sure to alternate in an over-under pattern wherever the lines intersect.

 

4.

 

MopfaWK.jpg

 

In the final step, I erase the guidelines (which may be unnecessary if you plan to digitally color your knots--you can simply paint over the guidelines) and I'm left with a nice, clean looking, evenly spaced knot.

 

[Πηγή]

 

--

 

Νομίζω ότι ιδιαίτερα το πρώτο είναι αρκετά ενδιαφέρον. :best:

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