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Mirre's personal artblog
A 24 year old human who likes to draw stuff, especially comics. This is my personal artblog where I will post doodles, WIPs and finished artwork and also text posts with ignorant opinions. I'm doing my best. Enjoy your stay!
Ok here’s a big frikking protip to anyone who consider making any kind of tutorial:
Make thumbnail sketches for the layout.
That can make a big frikking difference in how much attention it’ll get.
(the stuff in the photo is from an old school project from ‘08-‘09)
When I scan my traditionally inked lineart I mostly set the scanner to “text” - which removes any trace of sketch and grayscale. Everything will either be 100% white of 100% black.
This is how the linework turns out when zoomed 100% it’s just as solid as if it were drawn in MS Paint.
And even when I scan my lineart with other layer settings, the linework often ends up a bit more “jagged” than it looks IRL.
In Manga Studio 5, there’s a quick filter effect that can smooth out the linework a little bit:
First right click on the lineart layer and go to “convert” in order to change it to a color layer.
After that you just go to Filter>Blur>Smoothing
And Voilá! Much better!
and that was today’s little demonstration of Manga Studio 5
Drawing two people kissing each other is hard, it’s tricky and hard and ridiculously frustrating. What I personally have the most trouble with kisses is the lips. But after practising and referencing as good as possible, I’ve found a way for me to draw that classic kiss. Or at least in profile view - if I try any other head angles I rely more on pure luck haha…
One thing that I quickly learned the first times I drew kissing characters - MAKE SURE BOTH HEADS HAVE SOMEWHAT SAME SIZE
For this little mini-tut, I’ll just shamelessly copypaste the head and flip it horizontally.
I’ve noticed that even though the other person’s nose won’t be visible in the finished picture, it’s still a good idea to sketch it out in the rough draft. Mainly to make sure you don’t screw up the characters facial structure by improsiving too much.
So this kiss is going to be the very classic “overlapping”-kind that you often see in anime. Naturally, the nose here would get a bit squished against the other one’s cheek. If you want a more realistic touch you can add this feature, but I’m just gonna ignore it and focus on the lips in this mini-tutorial.
Also note that I actually tilted the right head a little bit in order to make sure to have the “mouth areas” puzzled together. Also note that the foreheads doesn’t touch each other here.
Enough talking - more kissing!!
Okay so I recommend you to save the lips to the last - preferably on a separate layer just in case. Ink/Lineart the other things first.
Now, most of the time when I see people drawing kisses is that they do this typical overlapping method that is commonly seen in anime. In my opinion, it looks kinda lame and unrealistic and NOT romantic or hot at all!
What you have to remember is that human skin is soft and tend to get squished when pressed at another surface, especially lips. When you kiss someone you press you lips against each other and the “hard surface” is the teeth behind our lips. This is sort of what that red line represents.
This is often how I go when I draw the lips instead. Still overlapping but pay attention to how the shape is affected.
Sometimes it looks good if you add the corners of the mouth as well, just remember to be very subtle with this.
So this is the final “picture”. Yes I redrew the face a little bit, because it looked better like this and this tutorial is 100% improvised.
A tip is to first draw the bottom lips of the partner to the right and then add the other ones.
I still have a hard time drawing kisses and I often end up having to redraw the kiss 2-3 times before I’m pleased. here’s some other examples of kisses i’ve drawn:
And lastly some kisses I have no goddamn idea how I managed to draw them but I did somehow:
so yeah hopefully this was useful for someone out there…
NOW GO DRAW YOUR OTP!!
If you often get neck/arm/wrist pain while drawing in front of your computer, you might wanna overlook how you sit.
I used to get neck/shoulder pain a lot more before I adjusted the height of my chair. And ever since then I actually very rarely get any wrist pains or shoulder pains.
If you’re shorter than 5’5/ 165cm then it’s a very good idea to sit higher up.
And based on my own experience, I have YET to find a desk or a chair that can be adjusted for my own height. So make sure to have a couple of extra pillows etc so you can get the perfect height after your own length.
Okay so I followed this video about foreshortening and…
Sycra. I love you so much for making this video.
Saying that people of color cannot show any visible blushing is a big fat myth that only proves how little people actually know about skin tones.
I have seen a lot of skin-tone palettes that includes dark skin, but it is very rarely put in use as examples. And many times I’ve found them to only appear monochrome, while darker skin tones are just as rich in tone variation as fair skin.
And just to be extra nice, I even added the basic colors I used in these two examples. A big protip is to start with the darkest tone as a base and then work to light tones. Use the highlights sparingly, they should not be large but more like small spots. Dark skin is more “reflective”, meaning small highlights pop out more than on lighter skin tones.
I made this set mainly for all the anime artists out there who probably would love to color more poc characters but don’t really know if it’d work out as kawaii as their usual stuff.
News flash: it’s drop-dead super kawaii in all skin tones<3
Skin tone studies I did today!
Considering using these (or at least the top two) as examples for a future tutorial about skin tones.
And some info about the top pictures: I used a reference photo of the Turkana people. You can find a lot of great references/inspiration from this article. I hope that with these studies, I have proven that you can clearly see the color zones of the face even on people with really dark skin.
I don’t really know what I wanted to do with the male face, he turned out pretty boring compared to the other two.
(A note to self: draw more expressive portraits even if it’s just for a study or for a tutorial.)
some notes I did during today’s stream.
Altho kisses are still hard to draw haha
Maybe it’s because my scanner is old and cranky like an old geezer, but no matter how intensively black and clean the lineart is on my traditional drawings, they seem to still always end up with lots of annoying small specks and dirt on the scanned drawing:
"ugh just look at all that DIRT. It will take me FOREVER to erase all that digitally….! :("
I’m using photoshop here ffs, there must be some sort of filter that could help me out here!
And yes there is: FILTER>BLUR>SMART BLUR!
So this is the settings I use for this filter. As you can see, it does exactly what I’m hoping for!
(PLEASE NOTE: the picture is zoomed in at 200%. The lines look way cleaner once you zoom out.)
Now that’s all from me :> NOW GO AND SCAN THOSE DRAWINGS!!
This is more or less my process in character design right now.
It’s pretty effective and helpful, as long as you don’t go overboard and try to be super-original in every little detail (remember: less is more)
I start out with making silhouettes, give them a simple pose that is easy to recogize. Don’t be scared to use shapes and structure that you’ve seen before - once you get those clichés down on the canvas, you’ll make room for more original stuff in your head for future designs!
Then the next step I do is to draw the lineart on a layer above it. It’s okay to be sketchy, and you can add or remove some stuff if it makes the design look better (for example I ditched the tails)
These characters were inspired/loosely based on well known fairytale characters.
From top left to bottom right, the characters where based on the following:
Little Red Riding Hood
Zorro (yes, zorro)
Puss in Boots (humanized)
Goliath (from the tale “David and Goliath”. never finished this one tho)
Merlin the wizard
They aren’t meant to be “re-designs”. I just used the characters as a rough “template” so I had a good archetype to follow.
I’d like to add that the first picture is more or less exactly how I start out drawing arms.
As you can see there is NO SPHERES for the elbow or for the shoulder.
Only quick lines that cross each other where the elbow and shoulder are located. Also note how this technique actually makes it easier to draw a foreshortening of the upper arm.
Gosh you have no idea how many times I’ve seen people ruin their fundamental anatomy by using circles for joints and limbs that obviously doesn’t work like a Ball-joined-doll.
Anyway, please also observe how the elbow look like on figure 2. The elbow is actually a very complex structure if you look at the bones, it more or less change shape depending on how you bend the arm.
If you take time to actually study the shapes of the bones, you’ll end up with way more realistic and accurate elbows. Trust me, it is worth the time.
GOOD TO KNOW: This guide goes for both male and females, it can vary in amount of expressions, but that totally depends on the character.
This is Mike Chilton!
Mike Chilton is feeling a little bit attracted to the audience!
Read the rest of the mini-guide under the cut:
I start off with drawing a quick gesture drawing. Gesture drawing is all about catching the pose, energy and character - things such as proportions are secondary at this stage.
Polishing up the gesture drawing (also flipped image horizontally)
Now I start to sketch out the basic stick-figure like skeleton, this is the time where you can adjust the proportions a little bit.
Please note that the torso appears very long here, but that’s because I haven’t sketched out the pelvis yet.
Sketching out the pelvis. It’s best to imagine it as a box. Make it a bit wider when drawing a female body.
Roughly sketch out the torso, observe how the oblique muscle goes down to the bottom of the “box”.
It’s good to keep the gesture in mind every now and then. The posture here follows the arrows more or less.
Flipping it horizontally again. Drawing the arms, the line is there to keep track on the proportions of the elbow. The length of the arms and the placement of the elbow is probably one of the things I always keep an eye on when I draw anatomy. As long as the arms are accurately proportioned, it seems that the rest almost fixes itself (This is only for me, though, I do not promise it works the same for other artists)
Working some more on the arms, adjusting the angles and so on…
Now for the important part: the abs. Abs are weird and hard and comes in many different shapes and designs. So what I recommend you guys right now is to use references and some good anatomy tutorials/books for this area. I am still not 100% confident in drawing abs myself.
One last thing that I did on the sketch was to make the head smaller. I still tend to make the heads too large in relation to the body. So this is something I always fix afterwards, it often makes the proportions look better in general just by resizing the head of the character.
And some values to spice it up.
The final picture is a bit more paintery-looking: Final picture!
Okay, I am still a beginner in this area. But the more I draw, the easier and easier it gets. And I’ve found a very easy and nice technique in how to draw a decent car.
Now, since I personally always found cars pretty boring. I decided to start drawing very old car models, since their design are more “raw” and not as stylized and modified as today’s cars. I strongly suggest you pick some cool models you find interesting when you are trying to draw something you personally don’t find interesting.
Okay, I start by sketching out a box sort of, and in each corner I draw the wheels. Even if the weels might not be visible in the end result, it’s still a good way to start.
(Please note that I actually suck at drawing wheels in certain angles, so they will be edited through these stages. So do not try to mimick exactly how I draw the wheels.)
So, wheels need protection and stuff, just like bikes have. Make sure you have a reference to use for this, so you know what kind of shape you want to give the “wheel-protection” (I have no idea what the words for car-stuff is, so imma make up my own)
Now, the reference I used have this sort of plate that more or less connects the front and back wheel-plates. It sort of serves a little bit like a one-step stair for passengers to use when they step in the car :D
Now it’s time to draw the engine. Imagine it as a half cylinder that is a bit narrow at the front and gets wider at the back.
Now we can draw uh…. “the house” lol. You know, where you sit and drive and such. It’s very simple, it’s more or less just a cube that connects with the engine-part at the front :D
And now it’s time for the last “details”, like the lights and windows and the door and stuff. I also made the back part round so it look like those roofs made out of cloth that you can pull down when it’s good weather outside. *blah blah blah*
Now, add some kawaii colors. Now you have a old classic car. TADAAH!