felt like doing a tutorial thingy (what should I call these??) again! I think I’ll make a tag for these in case I do more. This time I’m gonna talk a little about how angles affect how clothing falls aaaand stuff. here we go…
Given: The first drawing of these three is how the clothing naturally wants to fall, how it is made to be shaped. Or, whichever pose you could take that will give the garment the least amount of creases.
- I’ll actually talk about the green first; this is a representation of the hip box, which itself is a representation/simplification of your whole pelvis area. You see how your legs and hip box oppose angles here. in almost all poses except standing straight, your hip box and legs will create a bent angle, which affects how clothes fall.
- The red/blue is the skirt (obvs), the red specifically is the ellipses of the top and bottom openings of the skirt. This skirt is very stiff material for the sake of this example, so notice how the two ellipses always match eachother. the top ellipse is where the skirt is actually attached to the body, so it’s the boss; the bottom ellipse will more or less do exactly what the top one does.
- here’s where the fact that the legs and hip box are at different angles becomes important. The top of the skirt is attached to the hip box, but the bottom ellipse is in the realm of the legs. The orange lampshade shape diagram there is a simplification of this. It is very much like if you were to tilt a lampshade. The side you are bending towards will hug the body and create creases. The side you are bending away from will fall off the body in a straight line.
It even works with pants, though as the bottom ellipse(s) gets farther away from the top there’s more room for the garment to get distorted by gravity, perspective, and bent knees and such. But with this last example you can really see how the side touching the legs really hugs the body underneath, whereas the other side hangs off of it in a straighter, crease-less line.
Dresses are a little different because their top ellipse is attached to your torso/ribcage mass rather than the hip box.
Much of the time you get the same result as with a skirt. However if the hip box and ribcage mass are opposed sideways rather than forward or backward, it becomes a little tougher:
You can see in the third drawing how a shirt and a skirt together would fall in opposite ways if your body is bent sideways. If the shirt is long, just like I mentioned above about the long pants, there is more distortion of this effect.
I’ll take what I said above, “The side you are bending away from will fall off the body in a straight line”, and add a bit to the end: “… until it hits something.” In the fourth drawing above, the garment is falling off the body in a straight line on the right side. If you lengthen the garment:
The straight side continues down as normal until it hits the leg and becomes the body-hugging side. in response to that, the body-hugging side from farther up becomes the straight side when it falls off the hip.
Aaand with that I think I’ll stop lol. I hope that wasn’t hard to understand. It’s easy to do yourself, just wear a skirt or some loose pajama pants and take hula poses in the mirror lol.
For all of you who have been longing for ME to make a tutorial about clothes, I truly recommend you to read this post. Since it covers the area in clothing that many other tutorials never mention, clothing is more than just “drawing folds and wrinkles”, it’s about knowing how the design and the behavior of our bodies affect it.
Read this. Please. It’s so easy explained.
Get on my blog, useful information.
Such a fantastic resource!!
DOTA 2 - Character Art Guide
Full PDF HERE.
Man, this is exactly the kind of stuff I’m talking about when I mention value range! The Witch Doctor before and after page is a really good example of the importance of starting with a dark value and working up. The “before” is a pretty common result of working light to dark, or starting with a value that is too close to the middle of the value range. Everything looks kind of washed out, even when working with saturated colors, and lacks volume.
This is an amazing reference overall, gonna pour over the full PDF when I have a minute.
oooh this is really helpful!! i think i’ll make some minor coloring changes according to this, i think it’ll help a lot
This is a great resource; we took a long hard look at this before we developed our 3D art style at work. Very smart, very well laid out. A really crucial resource to anyone who needs to worry about readability at a distance.
The human body is fascinating
I keep telling people this shit in real life and they don’t believe me.
I’ve seen it from multiple sources, and this just adds another (albeit usually unreliable) source.
This is actually legit, guys. This is how your eyes move when you’re thinking about something. It’s actually a good way to tell if someone is lying or not, because they’ll look to their left (your right, durr) when they’re constructing false memories, and to their right when they’re actually remembering them.
HOLY CRAP. SAVING THIS FOR FUTURE REF.
The whole film took me altogether about 5 grueling months (usually 10-12hours a day) to do. I often felt my butt was going to grow into the chair I usually sat at.
Please note that this was simply my way of doing my film to achieve the soft-shaded style I wanted; there are many other ways of doing this and some are a lot faster with different results~! :)
- My film on DeviantArt | My film on Vimeo
- My film gifs on Tumblr
- You can see my storyboard animatic here (although the original had music, but like I mentioned, my placeholder music was by Joe Hisaishi, you know, Miyazaki’s composer, so it’s not really legal to upload it).
This tut differs a bit from my dA version, because tumblr lets me put the combination of gifs and jpegs :D.
Here’s a book that will really help you start animating:
here’s some books that are good for composition, storytelling and colours:
- Dream Worlds: Production Design for Animation
- The Art of Pixar: The Complete Color Scripts and Select Art from 25 Years of Animation
- Prepare to Board! Creating Story and Characters for Animated Features and Shorts
I hope these helped
I ask that no one removes the credit or source for this tutorial/guide please. thanks :)
And this is a keeper! No doubt about that! :)
I’m just gonna put this one on standby
for when I start my senior film!
pah! my skin palettes are no where near perfect. I wish. D:
I’m not sure if this would be of help, but here’s sort of a quick step-by-step guide of sorts. also my main brushes I use + their settings. I literally just block colors and shapes in with my “paint” brush, blend them around some, and color drop. that’s it…haha.
SO I haven’t seen anyone post this yet and I thought it was just too useful not to share….
3D Interactive Skeleton Reference!
Brought to you by Kineman.com!
No more looking endlessly for hundreds of refs! Well…you should still look for several refs but at least this should clear up any sort of issues you may have when drawing a skeleton from a strange angle, or can’t quite see that scapula.
Basically, this reference is totally 3D rendered from a very average looking specimen. Each joint has a horizontal and vertical axis to be moved on, so you can endlessly pose your skeleton. You can also zoom and change the angle giving you all the impossible angles you thought you’d never be able to see. HOW FUN! There is also a neat “cut away” feature which will slice your skeleton at various angles, neat for drawing busted up skeletons, or seeing the inside of the skull.
or put your skeleton in excruciating pain
Anyway, have fun with it!
THIS IS SO AMAZING
No problem! So ok, I was using PS at first for this project with the Stumpy Pencil brush. But halfway through I switched to SAI because it was faster for me. I tried to imitate the stumpy pencil brush, but that didn’t work out too well so in the end I got this instead. It became my favorite haaaa. *A*
Drawing from films
Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.
The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.
Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.
Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.
What to look for:
- Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
- Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
- Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
- Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
- Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
- Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?
This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.
Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning.
Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…
Since I’ve had people asking me about storyboarding and how to learn it or what exercises to do. Emma Coats tells you all you need to know in this post.