Free Art Instruction - Portrait Painting Tips & Techniques
Animation Art - 5 Of The Most Common Mediums Purchased By Collectors
How Did the Comic Book Get It's Start?
Block-in Secrets to Explode Your Figure Drawings
Measuring and Proportions to Help Elevate Your Figure Drawings!
Hatching and Cross-hatching to Elevate Your Art, Simple Steps!
Shading Made Simple!!! Take Your Art to a New Level!
How To Contour Draw and Begin Reaping the Immediate Benefits
Being able to capture the likeness of a human being on canvas,
using paint, is certainly a sought after accomplishment for many
new painters. It can also be somewhat challenging. This article
will cover some of the more basic portrait painting tips &
techniques and help lessen some of the confusion many beginners
face. With practice, you will soon be painting portraits like the
masters.
If at all possible, I highly recommend you paint your portraits
using a live model as opposed to a photograph. There is simply no
substitution for painting from life.
Painting a successful portrait is all about how you observe the
subject. You want to study the subject as a whole. Study the bone
structure and try to see shapes and planes. Do not try and paint
every little detail exactly as you see it.
For beginners, it is probably best to start out with a lighting
effect where light and shadow are in high contrast. This will
make for a much easier painting.
Focus on one section at a time. Finish each section before moving
on to the next.
Keep the darks of your portrait at a thin consistency while your
lights should be painted on thickly.
Many beginners struggle with mixing flesh tones. I know I did
when I first started painting. Remember that skin comes in a
variety of colors & textures, so there is no specific formula
for mixing flesh tones in portrait painting. You will have to
experiment and practice, until you find the right color mixtures
for any particular subject. Never purchase any pre-mixed flesh
colors. When mixing your colors be careful not to over mix, which
can deaden a color.
Try and repeat the colors and values in your painting to create
balance.
When painting hair, don't try and paint every individual strand
of hair. Look at the hair as one object and then paint the lights
and darks. Paint the hair in the direction of the shape of the
head.
The muzzle area of the face (the space between the nose and
mouth) is generally the same color as the flesh but cooler.
When painting backgrounds, don't make them too detailed or busy.
If you do, you will draw focus away from your portrait.
Add bits of color where the shadow meets the light in your
portraits.
Fleshier parts of the face are generally warm and bonier parts of
the face, like the chin for instance, are generally cool in
color.
The white in the eye is not white. To get an accurate color for
the white in the eye you can take the subjects basic flesh color
and then lighten it with a gray made from black and white.
I hope these portrait painting tips & techniques have helped.
Portrait painting can be difficult, possibly even frustrating in
the beginning. Never give up and keep practicing. You will get
the hang of it.
Ralph Serpe is Webmaster & Founder of Creative Spotlite: http://www.creativespotlite.com. Visit today for more portrait painting techniques.
Animation Cels - A cel (short for celluloid) is a blank clear
plastic sheet used by the studio artist to paint an animated
character or object based on the animator's original pencil
drawing. The cels are then placed over a background and
photographed in sequence to produce an illusion of life in the
completed film or cartoon short. Every cel is different but this
does not mean that every cel is unique. Often multiple copies of
a cel were created by the Inkers as color models in order to
advance their technique and skills in Animation Art. Limited
Edition Cels - A non production hand painted cel created for sale
to the collectors market. It is produced in fixed limited
quantities and are easily identified by a fraction (150/500) in
the lower right hand corner. They were not used in films or
cartoon shorts, and the original intent was to recreate the
original production cels. Nowadays many studios release new
images not based on production artwork.
Sericels - A non production cel created by means of a printing
process similar to silk screening. No work is done by hand,
therefore no painting or inking is involved. They are often
produced in limited quantities of 5000, and they are marketed as
a low cost alternative to production and limited edition cels.
Animation Drawings - A drawing on paper in pencil, sometimes
colored which is created by a studio artist of an animated
character or object for which the cels are later created.
Giclee - The French term "Giclée", literally meaning
"spray of ink," is used to describe these prints. Four
precision nozzles spray up to a million microscopic droplets per
second on to fine art paper. Then, each piece of paper is
individually hand-mounted. Displaying a full color spectrum, the
prints are lush and velvety, capturing the subtle nuances of the
original artwork.
© Premier Animation 2005
Paul Callis is the proprietor of Premier Animation, a respected Animation Art Gallery in the UK. Paul’s passion for Animation Art, has helped collectors unable to source this fine medium, own pieces of art they thought were impossible to locate, and allowing many unknown to this specialized art form, gain great knowledge and understanding. You can visit Premier Animation’s web site, and see a fantastic collection at www.premieranimation.com, as well as reading information and comments on animation art.
The origins of the comic book are somewhat controversial and
perhaps the jury is still out. So lets go back to the cartoonish
broadsheets of the Middle Ages, which were parchment products,
created by anonymous woodcutters. As mass circulation of these
broadsheets became possible, they soon developed a market,
particularly at public executions, popular events for centuries
(ugh), which drew thousands of happy spectators. Many of these
spectators would invest in an artist's rendering of a hanging or
burning, and thus making a very lucky day for the broadsheet
seller.
The broadsheet evolved into higher-level content as humor was
introduced. Eventually, all types of broadsheets emerged, which
were eventually bound in collections, the prototype of the modern
magazine. Magazines formatted like the popular Punch, an elegant
British creation, became the primary focus of documentary
accounts of news and events, fiction and humor. One can see in
Punch, the sophisticated evolution of a comic style, particularly
in respect of the evolution of comics in Great Britain. Still and
all, from an historical standpoint, the comic strip stood in the
alley, waiting to be born. And then some say Great Britain's Ally
Sloper's "Half Alley" was the first comic book. This
was a black and white tabloid that had panels of cartoons mixed
with a sliver of news; circa 1884.
Now while all this was going on in Great Britain, this inching
towards the comic book, the United States had its own brand of
evolution. Instead of magazines, US newspapers took the lead in
creating the comic book industry. Newspapers, with their first
steps, took their single image gags and evolved them into
multi-paneled comic strips. It was during this period that
William Randolph Hearst scored a knockout with the Yellow Kid,
which was actually printed in yellow ink.
So where did the actual comic book begin? Some say it was with
reprints of Carl Schultz' Foxy Grandpa, from 1901 to 1905.
Although others say it was Great Britain's Ally Sloper's Half
Alley. In 1902, Hearst published the Katzenjammer Kids and Happy
Hooligan in books with cardboard covers. For a time, the Yellow
Kid himself was a top contender. But it depends how rigid you are
in your description of a comic book. These examples, for sure,
were predecessors to the modern comic book, which exploded in the
1930's.
The Whitman Publishing Company, in 1934, became one of the
pre-launchers for the modern comic book. They published forty
issues of Famous Comics, which was a black and white hardcover
reprint. The first regularly published comic in the more
recognizable modern format though, was Famous Funnies. It
featured such memorable characters as Joe Palooka, Buck Rogers
and Mutt and Jeff.
Superheroes as we know them today took a strong foothold in the
1930's. In 1938, Max C. Gaines, who was one of the comic industry
giants, brought "Superman" to Dell Comics publisher,
Harry Donenfield. Donenfield scored the comic coup of the century
when he published a story written by two teenagers, Jerry Siegel
and Joe Shuster- and so "Superman of Metropolis" (the
title of their short story they wrote in their own fanzine) was
born. Superman was to set a standard for comic book heroes that
persist to this day.
Dave Gieber, a former rocket engineer, has decided to take up residency on the Internet. He is the owner and editor of several websites, one of which was built around one of his childhood passions; www.comic-book-collection-made-easy.com . You can visit here to keep up to date on the world of comic books and comic book collecting. Feel free to sign up for my comic book ezine at www.comic-book-collection-made-easy.com/comic-book-ezine.html
The Block-In in figure drawing acts as an organizational blue
print or tool for the artist. The Block-In organizes the drawing
and gives the form guidelines for the artist.
So what is the Block-In method and the benefits of learning this
technique? In simple terms, the Block-In is a simplified 2D
drawing of the 3D person or subject you are drawing. The block in
is designed in observation to the model. This will help your
drawing become more realistic and help your drawing come alive!
It will help you begin to see the model correctly and help you
avoid mistakes that may occur without the use of the block in. By
practicing the block-in, you’ll be able to master the human
form with more of a likeness and having it come alive in your
drawings.
So, how do you do a block-in? This is definitely the simplified
version but with practice, you will become an expert at this
technique. First, you will start with a sketch of the shape of
the whole pose using no more than 6 or so lines. This will create
a shell, or what some teachers call an envelope. This shell is
where the drawing will develop inside. It doesn’t have to be
perfect. In fact, it won’t be perfect. The points of the
shell will probably be out of place a little, just remember,
it’s okay! This is just giving you a guideline of the pose,
helping you figure the overall dimensions.
The next step would be to start to fill in your shell. Do this by
sub-dividing your shell into smaller shells. Then begin to break
the shells down into major shapes. I say major because you
don’t want to focus on finer details of your drawing during
the block-in. This is a major no, no! Worries of fine details
such as hair, facial features, expression, etc are a waste of
time at this point and could lead to big mistakes. This is
generally a beginner’s mistake. It is much more important to
focus on the larger shapes. At this point, your drawing will look
not so pretty and a little broken up. However, one important note
to keep in mind as you go throughout your block-in, always be
conscious of your angles.
You will want to begin breaking down your sub shells and refine
them. Stay general at first and then get more specific as you go.
Your shell would’ve been broken down into dynamic shapes
that will serve as the underlying foundation of the drawing. Your
lines will change from long to shorter as the refining process
begins.
Finally, after dividing and chiseling away at your shell, you
will have a structure that will serve as your blueprint for your
drawing. Keep in mind that you have been checking your angles the
whole way, this is important.
Block-ins may take a little time getting used to and changing
your drawing habits but the rewards are endless. You will see
your drawings improve drastically and immediately and you figures
will start to come alive. Explode your drawings with this
technique!
For more information on this technique or on figure drawing,
email us at info@learning2draw.com.
Todd Harris is a master artist who is currently working at a multi-billion dollar company as a concept art director. He is trained in the florence academy method of art and loves drawing. Learning2draw.com is a resource web site developed to help aspiring artists master the human figure with drawing and sketching tips, tricks, techniques, and advice. It is jam-packed full of resource articles on drawing and sketching as well as career advice.
Syndicated comic authors have been complaining about newspaper
size restrictions, content censoring and similar issues for a
long time. Comic enthusiasts have been increasingly irritated by
the treatment their entertainment medium receives as well. Then
along came the Internet, providing unlimited and unrestricted
distribution possibilities. Thus the webcomic was born.
There are millions of webcomics out there, dealing with such vast
topics as video games, college life, samurai, Lego men, identity
and self esteem, depression, suicide, children and joy. People
write them either for a living, for fun, as stress relief, for
artistic expression, or often just for the hell of it. Then they
stick their creations on the web and hope that just one more
person will find and enjoy the fruits of their labour.
There seem to be several hundred new comics created each and
every day. These often dwindle and fade after only a few months.
Occasionally, however, a comic rises above the rest and gains
such popularity that the creator is able to forgo all other work
and scrape a living solely off the proceeds generated by their
websites. Some examples of such are Penny-Arcade, PvP, CtrlAltDel
and Squidi.net.
Many people, when introduced to the world of webcomics, think to
themselves "Wouldn't it be cool to have my own comic?"
and a few go beyond this and create their own. So how can a
newcomer ensure that their comic continues beyond the first few
weeks of enthusiasm?
Now before I go into some useful tips it is probably worth noting
that I am the proud owner of a failed webcomic. It went for a few
months before hitting a few snags and then grinding into the
ground. I have plans to return to creating the comics, but as of
yet have not. So I'm not really drawing from a foundation of
success, more of failure and an understanding of some of the main
factors contributing to my failure.
For starters, you're going to need to plan a little. It's
unfortunate, unfair and certainly not fun, but it is necessary.
Sit down and think about your comic. Come up with a location
setting, some characters and maybe even a few plots to test them
in. Run the characters through some adventures and see how they
react and how you react to them. Your characters will grow and
change throughout this process, and continue to do so throughout
the life of your comic but you need to get a handle on their
basic character traits.
For some reason the majority of comics revolve around a group of
people (usually guys) that are somewhat geeky and live together.
Usually in a university dorm. I would imagine that this is
because that's the general life of the majority of webcomic
authors. The premise itself also makes an awful lot of sense for
the basis of a comic. When designing my own webcomic the process
went a little something like this: I designed the main
characters, most of which were drawings that I had been playing
with since high school. Then I needed a reason for them to
constantly see each other and interact, so I got them living
together. They needed character traits that I could relate to, so
they become university-aged students that had at least a passing
interest in the geeky side of life.
I drew my first few strips and showed them to some friends, who
liked them, so started looking into putting them online. The
initial line up included two guys who lived together, a female
love interest for one of the characters and a talking animal (in
my case a frog, because I had this frog that I'd been drawing for
years and had become quite attached to him).
At this point I wasn't very experienced with webcomics, having
only really read the syndicated newspaper comics that the
syndicated press companies post online. So I started looking
through some of the major comics, only to find that Sluggy
Freelance had the talking animals, geeky guys that lived together
and female love interest already covered. A bit more research
revealed that the "university students living together"
was covered in the large majority of comics. Furthermore, having
a kind of wacky (and just a little stupid) character, and a more
sensible and reserved one was practically a given. Then, to rub
salt in the wound, I found that another comic had its main
character design very similar to my own. So I got rid of the
frog, removed the focus on gaming and university and otherwise
left the comic as it was. Not entirely original.
Anyway, the point is that you should probably try to be more
original. Check through your concept and remove the whole
university students living together with wacky talking
inappropriately anthropomorphic sidekicks. You'll be better off
in the long run and have a more original creation.
Before you jump headfirst into publishing your comics online, you
should build up a bit of a backlog of comics. Try to draw at
least ten or so quality comics that you would be proud to have on
your site. If you're going to have a story-based comic then it
would be a good idea to plan your first story arc. It is really
useful to maintain this backlog of comics whenever possible, so
that you can fall behind in the creation of the comics but still
have content to post online. Nothing turns away readers faster
than failing to provide them with content when you say you will.
If you eat into the backlog, try to draw a few extra strips so
that it doesn't get diminished.
As a helpful guide for your comics, decide roughly what format
they will take (e.g. three or four panel gag strips etc.) and
draw up the panels on your computer. You can then print these and
draw the strips within the panels, ensuring that they stay neat
and consistent. When the comics have been drawn, scan them into
your computer and touch them up any way you like. It's generally
the best practice to remove speech balloons and text and add
these on computer, because it will usually be neater and easier
to read. Remember to fit balloons around the speech, not the
speech into the balloons. It's amazing how often this is
forgotten. Some good fonts, free for non-commercial use, can be
found at http://blambot.com. Don't get too stressed about your
artwork, I found that most people don't mind slightly
inconsistent and not overly fantastic artwork provided they enjoy
the content of the comic.
So now you're ready to get going with the online side of things.
Start writing your web page so that you can just upload it when
you're ready. Webcomic PHP management systems are relatively easy
to find. I personally really like ComicPro that, unfortunately,
seems to have vanished from the web. If you can hunt it down it's
worth a look. Web hosting is quite easy to find as well, you
won't need much space to begin with so you can use one of the
many free providers out there (including http://keenspace.com
that provides free hosting specifically for webcomics), use the
web space provided by the majority of ISPs or purchase your own
web hosting plan (you can get a quite cheap one because you won't
be needing many features to begin with). When signing up for any
hosting package, make sure you have permission to change the
read/write attributes of your files because the PHP comic
managers will need this (this is done on Linux servers using
CHMOD from your FTP program; In Windows you can Right-Click a
file, select Properties and change security permissions there; or
you may need to use a proprietary control panel provided by the
host).
You're going to need to decide on an update schedule for your
comic. It's probably best to start small and build up; maybe two
or three updates a week. This way you have three to five weeks of
comics in your backlog, which allows you to fall behind
substantially before anyone notices.
While we're on the topic of deciding schedules, it will help you
if you actually try and schedule an hour or so into your day to
write comics. If you just try to fit them into the free time that
you're "bound to have just after you finish just this one
last thing" then you'll often find yourself failing to get a
strip drawn on time.
Now that you have your comic online you can start promoting it.
There are a huge number of comic directories out there that will
help get you exposure. Get your friends excited about your comic
and they in turn will get their friends excited. Read other
people's comics and get involved in their forums. Find sites that
accept guest artwork or comics and send some to them. The best
promotion comes from getting people to read your comic and fire a
link across their instant messenger program to another friend. My
current list of "must read every day" comics came
entirely from various people sending links to me. Don't expect
instant success, look to sharing your vision with even just one
new person every day.
Well, I hope that helps to give you a few ideas about how to make
your comic and keep it running. When your characters start to
grow they'll almost create the stories and jokes themselves and
the strip won't be anywhere near as hard to write as it was when
you first started out. Just keep drawing the comics on a frequent
basis so that you don't fall out of the rhythm of your created
world and above all else have fun.
Daniel Punch M6.Net www.m6.net Daniel Punch is a University student doodling his way through many a boring lecture.
Proportions and Measuring
Proportion is a word often associated with another word for
artists, stress. But I’m here to share with you that it
doesn’t have to be a stressful word.
Proportion - How big should the head be? How long should the
legs? How long should I draw this line? These are questions, we
as artists, face everyday. There are several tools and methods to
help artists with proportions.
There are certain proportion formulas, such as the figure being a
certain many heads tall, or the head of the figure being so many
eyes wide.
I like to know these formulas and use them as a guide. The human
form being so individual you can never go strictly off of these
formulas alone. As an artist, it’s important to know these
formulas to be able to recognize the deviations from the formulas
in the model/subject you are drawing.
Measuring
Measuring is a little bit different for every artist. It is a
tool for proportions not to overlook. Just as someone aiming a
poolstick or firing a gun does it differently than the next
person, so goes it for the artist. Some artists, while measuring,
will shut the left eye and some the right, while others will keep
both eyes open (just never keep both shut LOL). You’ll need
to see what’s right for you. Then, hold your pencil between
your thumb and fingers with your fingers wrapped around the
pencil. Measure from the top of your thumb to the end of your
pencil. You can hold your pencil vertical or horizontal for this
technique, keeping it at shoulder high.
Your measurement from your thumb to the end of your pencil may
only be ½ inch, but on your drawing it could be an inch or more.
All of your measurements are comparative. For example, if an
artist wants to know how long a leg is, he can compare it’s
length with the length of the subjects head. Using the
measurement method we discussed with the pencil, it’s easy
to compare.
This is a brief overview on proportions and measuring. For more
information on proportions, measurements, drawing people or
faces, and much more. Please see www.learning2draw.com or email
us at info@learning2draw.com.
Todd Harris is a master artist who is currently working as a concept art director for a multi-billion dollar company. He is trained in the Florence Academy Method and has a love for classical training. He loves to teach art and spends all his free time drawing. Learning2draw.com is a resource website devoted to helping aspiring artists master the human form and elevate their figure drawings. It is jam-packed full of free how-to articles, information, tips, tricks, and more. Visit this site for industry news on careers and more.
Hatching and Cross-hatching
Hatching is a shading method where lines are in a series of
either parallel or radiating. Hatching is making a set of close
parallel lines. When hatching, an artist’s pencil moves in a
rhythmic manner to get the lines evenly spaced, gradually making
the lines longer and then shorter in length. Hatching is a skill
that requires a lot of practice and still can be difficult in
certain situations, even for the skilled artist.
Hatching is a little different for right- handed artists, than
left- handed ones. For the right- handed artist, hatching is done
the easiest by the diagonal running from the lower left to the
upper right. Left- handed artists usually the opposite, running
from upper left to lower right. However, as in all art, practice
will make hatching come comfortably in all directions. The
direction of light in your art will often affect the direction in
which your hatching should be drawn.
The lines for hatching are generally short and straight. They
differ from each line in length, direction, and pressure, yet
they are made at one time. They are not drawn individually.
Cross-hatching is a process where you hatch on top of hatching,
forming a right angle. It is where you make sets of close
parallel lines crossed over one another, usually at right angles.
This is done either casually or in a very controlled manner.
There isn’t a particular way of cross-hatching that fits
every drawing or object in your drawing. Cross-hatching can be
done multiple ways with many layers. Alternatively, it can be a
simple crossing of two hatches.
Every artist benefits from mastering the skills of hatching and
cross-hatching. For more info on this or on drawing the human
figure, please contact info@learning2draw.com.
Learning2draw.com is a website that is content and resource
packed. You'll find guides to figure drawing, how-to's on getting
started, shading, etc. Art advice that will take your art to
levels you never dreamed of. You'll learn to draw faces that you
will think are impossible, your figures will come alive as you
master these techniques. Soon you'll be drawing like the masters.
Todd Harris is a concept art director who has been studying the human form for 15 years and is trained in the Florence Academy Method. He is eager to help artists of all levels elevate their art. If you have any questions for him please email him at info@learning2draw.com.
Shading
Shading is an important skill for every artist to develop.
Shading requires certain tools and steps to be developed in order
to master.
The ability to shade is determined on how well you can see value
relationships, along with a basic understanding of how light
works. Value, or how light or dark something is, is relative.
Like many things artists experience, no single value can exist by
itself. Our eye will automatically lighten or darken. A medium
grey will look almost white next to black and very dark next to
white. When determining value, it is important to squint or open
your eyes very wide. This keeps you from focusing in on a single
value and look at all of the value relationships together as a
whole. Without doing this our eye will play a trick on us. For
example, if we focus in on a shadow area of our subject, our eye
will adjust to that specific value field and give us a false
reading. We will have a tendency to start averaging our values,
making our lights to dark and our darks to light, failing to see
the over all relationships.
Your sensitive touch to the pencil is very important in shading.
Shading can range from blacks, dark grays, middle grays, lights,
all the way to whites. Each of these tones is usually represented
in your drawings. Your pencil and the pressure applied to it, is
another key to shading. It is important that as an artist you
understand pressure and pay attention to how it affects your
drawings.
Blending is also a skill in shading. Blending graphite can be
done easily with the correct method. Laying pencil on smoothly
with the strokes close together (so much so that it’s hard
to tell one stroke from another) is essential and necessary to
good shading. A controlled stroke laid carefully with even
pressure is important. I also recommend using the end of a
kneaded eraser to help you blend.
Again, practice is the most important advice I can give any
artist. Passion and practice will overcome any lack of talent.
If you have questions, feel free to contact
info@learning2draw.com.
Learning2draw.com is a value resource site for artists learning
to draw the human figure. Elevate your art to new levels and
learn to figure draw and draw faces like the masters. You'll see
your figures come alive. This informative site is jam packed full
of how-to's, tips, techniques, and advice. Plus by subscribing to
the free newsletter at learning2draw.com you'll receive a free
e-report on How Any Artist Can Get an Art Career, absolutely
free.
Todd Harris president of Learning2draw.com is a concept art director who was trained in the Florence Academy method and is excited to share his secrets and knowledge to artists of all levels.
Making a contour drawing may seem a little overwhelming or
pointless to you. Let me say there are a great many advantages
and lessons learned through doing these drawings.
First, let’s discuss what a contour drawing is. Before you
can draw the human form, or anything else for that matter, you
must be able to see it accurately. Contour drawing is a tool that
helps artists develop this skill through the sense of sight and
sense of touch.
The contour is the edge of the model in space, or in more simple
terms, it is the outline or horizon of the form. Contour is more
than the outline; it shows forms within overlapping other forms
and so on. It creates the sense of 3D. It is curved lines
representing specific forms along the silhouette of the form.
Defining contour can be tricky but as we explain how to do the
contour drawing, you will see a clearer definition.
How to draw the Contour
Contour drawings should be handled carefully and delicately to
see the great benefits in your drawings. To make a contour
drawing, you must be able to see the different variations in the
shape of the figure you are drawing. Put your pencil on your
paper and fix your eyes to a starting point on the model. The
starting point should be on the edge of the model. Starting on
this contour, move your eyes and drawing hand slowly along the
edge/contour at the same time. (A helpful hint is to turn
sideways so you are not tempted to look at your drawing.) As you
move your eyes along the contour, your pencil is moving along the
paper to draw the contour. These are done synchronized.
Don’t worry about your drawing! Just keep concentrating on
the edge/contour/ as your eyes follow along the contour. Follow
this edge/contour until it ends or changes direction. When it
changes direction, establish a new starting point and begin the
process again.
One note of caution - Try not to let your gaze get ahead of your
pencil. Don’t get too concerned about the accuracy of the
drawing. Use patience and practice and you will reap the benefits
of this tool.
Benefits of Contour Drawing:
Contour Drawing is a great tool for helping artists to be able to
see the model/human form accurately. It helps you develop this
skill through the sense of sight and sense of touch.
Since childhood, we are sometimes taught to draw icons as certain
shapes. Use a football shape for an eye, etc. Contour drawing
helps us learn not to be iconists. We start seeing the subject
correctly. In addition, contour drawing helps create a sense of
3d. Done well, it can stand-alone. Contour drawings help us get
rid of biases that may have been ingrained since childhood.
If you have further questions contact us at
info@learning2draw.com.
Learning2draw.com is a resource website that is focused on
helping artists elevate their figure drawings. How to draw a
face, torso, legs, hair, etc., are explained and will take your
art to new levels. Easy steps, tricks, tips, and techniques that
will help you master the human form and make your figure come
alive. You can subscribe to a free newsletter jam packed with
advice that will advance your art in ways you thought
unimaginable. Or you can subscribe by emailing
newsletter@learning2draw.com. Todd Harris is a concept art
director for a multi-billion dollar company and has been studying
the human figure for more than 15 years. He is trained in the
Florence Academy Method and is excited to help artists.