Rad Sechrist: Making a pose better

Someone asked about making a pose better. The biggest one for me is using the z axis. So many times all the parts will be straight up and down and don't go in or out. Adding a little head tilt also makes a huge difference.

Rad Sechrist: Drawing from your head

Here is another one. Someone asked about drawing from your head, or drawing people in action. I usually imagine what I will put down one piece at a time or imagine the arm in a new spot and decide if I want to move it. i can't quite imagine the entire pose clearly like some people do, but I'm working my way towards being able to do that. For quick sketch, or action poses from life, I try to remember 1 or 2 important things and make up the rest.

Rad Sechrist: Balance

So, I'll be the first to answer one of the questions. Someone asked how to keep the character balanced.

What Do You Want To Learn About?

There's a new chat box on the right for anyone who would like to suggest a tip or idea you would like to learn about. So go ahead and type a message, we would love to hear from our readers.

Florian Satzinger: The Green Box

Think 3D: This is just a practical tip of mine for anyone beginning to develop or test a new character... the good thing with this method is that it is a simple but effective way to get to know your own creation better.

Apropos of nothing, I picked the colours from an ice pop ad...

Mark McDonnell: Why Keep a Sketchbook?

When looking to increase our skill sets, we are all in an eternal quest to "get better." There is some mystical notion that one day we will wake up and suddenly . . . be that artist we always thought we would become. But in reality most artists are all born the same. There are some of us that are born with a certain aptitude toward seeing a goal more clearly than others. But the notion of being "born with it" is very far fetched (in my opinion) and all too often idealized rather than a true reality.

What does set many of the great artists apart from the good ones? It is a great number of factors, perhaps environment, being exposed to the arts at a younger age, or perhaps an artistic family heritage. But in all cases of greatness the greatest certainty is that each master of his or her craft has devoted the time and energy toward that particular area the muse beacon's them towards. It's the muse that captures our attention. And once we are seduced by her tranquility, we are driven to follow the flow and grow along side the pencil lines we scrawl upon the page. One of the greatest ways to grow and become that artist we think we should be is a constant application into the things that we are driven to by the way of blood (our heart's pursuit), sweat, and tears (of joy, of course). We can do all of this by keeping a sketchbook. One of the greatest advantages to us is to explore and stretch the boundaries of our own craft in the privacy of our sketchbook(s). Keeping a sketchbook is an amazingly personal way, away from prying eyes, to sweat and strive to become better and grow on an individual level.

Sketchbooks are a symbol of freedom or a key to unlock a door previously unavailable to be opened.

MAC

Florian Satzinger: Horse Power - Inspire Your Design

Working with reference material: The horse skull's shape and details were useful references for the design of this jet bike. Even you can't see the horse skull in the final rendering, it's there.

Image: Wikimedia

Update: Here is another piece about the same subject...

Photo: Skeleton Nothosauria (via Wikimedia Commons)

David Colman:Graphic Iconic Design Style

I am a big believer in learning from your peers and especially when it comes to critiques received on their own work. Those in my class are highly encouraged to look over fellow students work and all the critiques I do. A big reason why all their work is posted on a class blog. So I figured....why not share with everyone here. The attached are some critiques done on students work for an assignment focused on graphic and iconic design style. Click on the images for a better look as I cover several ideas about design on each.

Andrew Shek: straights vs. curves in animals

Here are some very basic examples of what I think about when designing animal characters. These images look at straights vs. curves in the animal kingdom and how you can apply them to your design process.

All artwork & photographs © andrew shek 2010

Mark McDOnnell: Warming Up (Trust me . . . it's important)!

A two-part video on the importance of warming up and why it's important in the morning, in front of a model or from behind your desk.

Part 01:


Part 02:





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Louie del Carmen: Rhythm and Spacing

I hope you find this informative and useful. It's rather basic and straightforward but It's one of the more fun aspects of composition.

David Colman: Design From Life 2 figure Composition

Here are two parts of a demo on Character Design from Life:Using the Public as Inspiration (2 Figure Composition)

Florian Satzinger: Picking Colours And Form

You can't beat good source material: I picked not only the colours but also the shape from that wooden sculpture for the pack monster.

Because Jack and Katie were asking: I just used one of those common brushes which come with Photoshop CS4...

Photo: Wikimedia

Btw, here's another (older) piece about the same issue... about picking colours, shape and inspiration.

Mark McDonnell: The Importance of a Good Silhouette

The importance of a good and readable silhouette is of extreme importance no matter in it's simplest basic forms or in the complexity of a highly illustrated visual development piece! A clear readable silhouette will allow you to speak without words and to answer anyones questions . . . even if you're not in the same room.

But where does it come from and why is this so effective?







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