hina's reference blog
(1) 2 NEXT
Don’t like Manga Studio? Get this instead.

yamino:

introducingemy:

naughtyjester:

I know I’ve been basically acting as a clown with a sign outside the Manga Studio shop, but I do realize that some people are just too used to other programs to change now. And that’s fine, if you actually work better with it. But part of the reason I went over to Manga Studio, when I’ve tried Photoshop, SAI, Gimp, FireAlpaca, Sketchbook Pro, and Corel Painter… is because of the exceptional stabilizers and penstroke guides that let you make distinctive shapes, draw easily in perspective, and make it all look highly organic and professional.

Well… for those of you who want to stick with your other art programs… There is Lazy Nezumi Pro.

http://lazynezumi.tumblr.com/

I do not use it. But that’s only because I feel that Manga Studio can already do all this stuff. But I am exceedingly impressed with what LNP has created. They’ve created a program that brings stabilizers, perspective guides, pressure sensitivity editing, and much more to programs that don’t normally have them.

I will just let the images speak for themselves:

image

image

image

image

image

imageimage

This is the exact reason I have strayed from Photoshop. Because of the lack of ARTIST tools, and the profound lack of stability.

Well, here it is. They fixed it. And it works with other programs too.

So… yeah. If you aren’t interested in Manga Studio, but you still want to improve your digital penstrokes, definitely check out the demo.

http://lazynezumi.com/home

I’ve been using this nearly constantly since I got it.  It’s amazing~

Interesting…

curryuku:

foervraengd:

elliotoille:

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.

imageimage

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.

image

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:

image

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:

image

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.

So yeah.

Read this. Please. It’s so easy explained.

rebloging for future reffs

inushige:

アニメ<物語>シリーズヒロイン本 其ノ陸 神原駿河

littleulvar:

when it comes to specific poses I try to first draw the most basic shapes and movement lines and then gradually go into more and more details, like so:

image

image

if you have difficulties with perspective, try drawing a perspective grid first:

image

it’s nothing different than tips from other artists, but I hope it helped a little ;u;

kodoris:

when is her day off

hisoker:

THATS HOW THE DO THEY PATTERN THING THE SQUARE THING MY WEEABOO HEART IS YELLING

freeglassart said: You may get asked this a lot, so please excuse my ignorance - but how do you go about constructing character expressions and body language and such? Thanks!

makanidotdot:

Besides The Basics (construction of heads and skulls and muscles and skeletons and how they move), I’ll go over some things I’ve been trying to work on myself lately:

1. Treat expressions as a single gesture of the face/head, as opposed to a head and then individual features dumped on a plate and arranged into an expression.

First, just get down the big shapes of your expression, just like you would for a pose.  

So say I wanna do a low angle angry pose.  I know the features are gonna be all mashed down at the bottom because of perspective.

 Scribble it down

image

start to put on features

image

fix stuff

image

put on more stuff

image

fix stuff again

image

erasing and flipping and stuff a whole bunch until you are happy with it or stop caring

Whole head is a gesture!image

image

2. Just like a facial expression, jot down where the important parts of an entire pose goes first.  You can force the rest of the body to fit the pose.

So here I knew I wanted the shoulders tilted a certain direction, and te hand to be in that particular position in front of her face. 

image

image

image

That’s the simplest explanation I got.  Don’t be afraid to push and pull faces and bodies around! Worry about being “on model” last!

anatomicalart:

Let me link Yall’ to this holy grail.
I present to you Character Design Reference
on [Pintrest] || [Tumblr] || [Twitter] || [Facebook] || [YouTube]

I couldn’t even include all of the reference boards this blog contains on this photoset. That’s right! There’s EVEN MORE! There are pages and pages of them! It is an inspiration treasure trove!
Bookmark this link!
Fill your life with inspiration!

sno4wy:

How To Draw Better In 2 Minutes

(c)