Step by step by Emmanuel Briand








Hello,
I'm a french drawer working in animation and I didn't know how to share the suffs I used to work on : so as a first post A step by step of digital painting . Sorry for this post , I will share as soon as possible more tutorials about compositions , colors and shapes .Hoping you'll like this little digital paint :
1) I prefer a Background ,with mateer .not flat cause it cancels all dynamic .

Kirk Shinmoto: Figure Drawing Tip - Establishing Space

Something that it often neglected when drawing the figure is incorporating the environment into the drawing.  The surrounding environment is important because it gives the drawing a sense of space and puts your figure into a context.  It is also just good practice putting a figure in an environment, which can be hard to do.

The biggest thing to think about is the ground plane.  Look for things that might follow the perspective that the figure is in.  The newspaper in this case plays  a big part in establishing the space she is sitting in.  The type on the newspaper also helps to emphasize this and also starts to imply a sort of grid.

Also watch for things such as drapery that touches the ground.  That piece of cloth, as small as it may be, grounds the figure as it falls off her leg then slides along the ground plane.
















Looking for elements that show perspective can also help you if you are drawing a difficult pose or angle.  In this case, the block the model was lying on helped me to decide how I would draw in the forms of the body.  The block also serves to heighten the sense of foreshortening as we see it travel back in perspective.
































Showing what the model is sitting on adds to the sense of weight, gesture, and drama.  Try to avoid having just a floating figure on the page, especially if they are leaning or sitting on something.

















It also doesn't take much to show the environment.  In this case just a few scribbles in the right direction is enough to give us a sense that he is standing on the ground.

















Try to get into the habit of always considering the relationship the figure has to its environment.  It will give your drawings much more depth and believability and it is a good starting point for incorporating more story elements.

Florian Satzinger: Rough Process

Update: There was a question about the zoom level I'm using:
33,3%-50% for the blue rough sketch


100% for the clean-up line work:


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This was entirely done in Photoshop with an Intuos4. I did this piece btw in parallel with the motor suit I posted here earlier.

Rad Sechrist: Emotional shapes

I didn't make this up, it's something that has been done in production design both in live action and animation for a long time. It's a lot of fun to play with. Here is how I used it in a recent comic.








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Mark McDonnell: "MAC Sketchbook Sessions" 02

Hey Guys,

Here is an all new video which is the SECOND of my How To Draw In Your Sketchbook that I'm calling the "MAC Sketchbook Sessions" for the Animation and Entertainment Industry. I do get a lot of questions of how I go about drawing in my sketchbook and what I'm going for. The fact of the matter is that ANYTHING is possible, so I find it's best for me to attack a certain area of focus. That focus could actually be a great many things, so trying to be specific to me is a great help to ease the 8 MILLION things that could be drawn. In my current "lunchtime" sketchbook, I am focusing on design but using different approaches with marker to capture the right color I'm going for.

This video is again an over the shoulder view of my flipping through my second of many personal sketchbooks and giving commentary. I hope it's enjoyable.



All my best,

MAC

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Florian Satzinger: Work In Progress

I thought it would be nice to show a work-in-progress piece again. I, for one, am always very interested in others' processes. Well and here is another one of mine:



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Florian Satzinger: Volume

This is just a quick post here on the fly to show how I usually keep track of the volume/form of a character.


Update for a better understanding what I mean with this here: By drawing a kind of a box around the character and then placing lines from the trunk, horns etc. towards the ground and panels I get a feel for the perspective of various parts of the character.



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Mark McDonnell: Marker Rendering (Part 01 and Part 02)

Here are two new videos that are PART 01 and PART 02 on the topic of MARKER RENDERING for the Animation and Entertainment Industry. These videos talk about how and why markers are such an important medium to use in the quick paced world of the Animation and Entertainment Industry. Whether for a concept design project or for sketching on location, here's some tricks and tips.

PART 01:


and

PART 02:




All my best,

MAC

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