A scrumptious fuck-ton of human mouth references.
[From various sources]
Tuesday Tips - SHORTHANDS
It’s crucial to find ways to draw characters clearly and fast when storyboarding. Line mileage alone can become an impossible mountain to climb if you don’t simplify the way you draw characters. Leave all details aside and find the essence of a character. Shorthands are the gesture drawings of storyboarding. Specific characters have specific attributes that make them stand out. Sometimes it’s just the way they stand. Sometimes their hairstyle is unconventional. Find what’s key about a character and get rid of what’s common.
A few years ago, I tried something called “Fan Art Free Week” - an attempt to get people to stretch and grow and try their hand at posting only original characters, illustrations, comics, sketches or doodles for just one week. All with the hashtag #FAFW. A lot of people participated and it was a…
Process work. I am pitching this design to my fiancée as our “save the date.” I’ll be honest, I don’t have a lot of opinions on most of the stuff, but damn if I’m not proud of this.
And yes, I know her other hand isn’t there, just give me this one :p
Process photos. I am pitching this idea to my fiancée as our “save the date” cards. Honestly, I don’t have a ton of opinions about the day, but damn do I hope she chooses this.
Tuesday Tips - FOLDS
More on folds today. I will eventually cover all types of folds but today is about simple folds on everyday clothes (t-shirt, jeans). The key is to know what to expect and then applying what you know to simplify what you see in front of you (when life drawing). A lot of the folds dynamics on shirts and jeans come from the “memory” of the fabric itself. Denim is thick and is likely to keep some form of wrinkles or folds around certain areas (knees). A lot of zig-zag patterns around the knee is very likely. When pushed down on the feet, the denim fabric will bunch up and combine with the zig-zag pattern. Shirts and t-shirts will react to the twist and pull of the arms and torso. Identify where the pull (or tension) is coming from and work from it. I tend to draw the seams because they clearly express the volumes underneath.
Where in I draw my fiancé with a familiar look, imagine OCs where a young man becomes bros with his dead grandfather, ask three friends to be my groomsmen, and a surprise for a friend who is leaving.