Drawing Tips: Proportion

Drawing Tips: Proportion

Some quick refresher about proportion in drawing. Every character has a set of measurements and that’s what makes them unique and “on-model.” Let me know your thoughts below and if you have any topic you’d like me to tackle.

Idle posing

Idle posing seems to be a thing most people overlook. But in truth, your character’s idle stance probably holds volumes of information about their character, most likely even more than any other stance they assume. This is because our default stance tells everyone around us about the demeanour, aura and mood we resort to when we’re not appropriating ourselves.

What’s so tricky about these kinds of poses - is how sensitive it is. And how complex the human body communicates. One nudge of the arm, the tilt of the head or curve of the spine can alter our perception of a character’s attitude completely. And sometimes, combinations of such variables can mean that some contributors are neutralized or maybe even switches its meaning entirely.

- Watch theatre. The actors are taught in communicating moods and attitudes to a tee and can give you a very clear look at how the exaggerated mannerisms we see in animated shorts, manifest in human form.  

 -Sit yourself down and watch old cartoon shorts. Watch how other animators and artists have gone about tackling posing like this.

 -Look at yourself in the mirror, observe how subtle the changes are when you swap between poses and moods.

Some quick thumb rules that generally apply ( but can still be reversed or neutralized when used in combination with other mannerisms )

 Open posture

Vulnerable parts exposed. Torso open, shoulders back and legs spread apart.

An open posture communicates confidence and courage. A person with an open posture is not afraid to take on whatever challenges come their way.

Closed posture

Vulnerable parts are hidden. Shoulders in tugged in against the torso. Legs close together

A person carrying a closed posture is not as brave and brawny as those with an open posture. They have a tendency to be nervous and can be easily intimidated by some challenges.

Dominant demeanour

Character defaults to literally looking down on others. Either by towering, if they’re taller than the character they’re looking at. Or by glaring up from under their brow if they’re shorter.

These characters hold a strongly dominant aura around them and will seek the upper hand in most situations. Dominant demeanour isn’t necessarily meant to be intimidating but more as a tool for the character to look and feel powerful and in control if coupled with an open posture.

Submissive demeanour

 Character defaults to maintaining a direct line of communication between their own and their companion’s face when interacting.

These characters can be perceived as more mellow than those of dominant demeanour. They appear more open and friendly since they’re not trying to impress themselves on you with their physique. They can also come forward as naive and optimistic.

On top of these thumb rules, you got all the variables that can either add or subtract from the intensity of their respective traits.

Variables such as shyness, aggression or aloofness serve as additional hints on a character’s personality. But be careful when you browse for these additional values. Each combination of these gives a completely unique attitude.

Take a look:

Conveying character through their attire

So there are two things to conveying your character through their attire. Well, three if you account for the bit of personality that is by default embedded in their choice of fashion.

Surface values

Let me tackle the ladder first cause it is the simplest one to explain:

If you want to convey that your character likes scorpions or snakes, you slap a snake on them somewhere or otherwise drop aesthetical hints of this particular interest. These are choices made consciously by the character, and should therefore also be treated like so in-universe. This is your character going out of their way to express an interest in a certain topic.

These are the most blatant and ‘easy’ ways to implement personality to your character’s outfit.

  Subcontextual values

 Where it gets a little more meta is when we start to consider their function, job and social layer, their opinion on norms such as gender and sexuality, etc. Values that contributes to the character’s subconscious. As well as choices made inspired by their lifestyle.

Let’s take a look at the two drawings above ^. The character is obviously the same. But their outfits are rather different.

Both hold an inch of vanity, as it is obvious that the character pays attention to how people perceive him ( note the styled hair, perfectly fitted and spotless clothes ). However one submits itself to a lifestyle heavily influenced by formalities, and proper conduct while the other comes forward as more free-spirited and radical in their attitude. Take a second look at the two outfits. Contemplate how the cuts, rate of coverage and choice of accessories separates the two outfits from one another. And what that, in turn, tells us about the character.

What does he do for a living?

What’re his thoughts of conformity?

Is he a by-the-book person, or more of a happy-go-lucky type?

What materials and pigments are used in the outfit?

Are these expensive pigments and materials?

What does the materialistic quality and style of the outfit tell you about the character’s economic standing?

What ‘s the overall impression you get from the characters physique in combination with the attire?

 There are a great many things you can derive from simply looking, and those are just a handful of analytic points you can study when looking at characters ( and humans too IRL )

Meta contextual values

We’ve taken the character’s conscious and subconscious choices into account. Now it’s time to bring our own agenda forward. What do -you- want to communicate with this character. Your OC might have their own tastes and preferences, sure, but did you know that -you- can control the way your audience perceives your character, outside the choices your character makes actively for themselves in-universe?

By fidgeting with the overall shapes present in the outfit ( and character anatomy too actually ), we can provoke psychological responses based on instinctual thought processes and presumptions hardwired into our subconscious. Here’s a quick rundown of those shapes and how they work. 

These tropes can, of course, be mixed, matched and used to any degree that you want. Not every production or project makes use of these particular figures by committing themselves 100% to their attributes. But you will frequently see traces of these tropes applied in competent pieces of visual storytelling, as it has proved effective in directing our perception of a character without even having to tell us outright; what their personality is going to be like.

You can also hint at character’s development, by subtly implementing some tropes from one category into the other.  Or hint at an underlying character trait that otherwise isn’t communicated by the character’s dialogue or immediate actions.  

If you manage to combine both posture, the formalia of outfit design and the meta-contextual design, you’re pretty well set to tell your story to your audience.

I Hope this has been somewhat helpful. It is one of my favourite parts of character design and storytelling - so it felt great to talk about at length again.

- Mod wackart ( ko-fi )  Tristan is property of Studio!Wackart

How I draw skin Part 2: DON”T DRAW NATIVE PEOPLE WITH RED SKIN!!!! A tutorial

For the first tutorial on how I draw skin, see the post here.

But seriously, I’ve seen too many drawings of Native characters with literal red/pink skin to count so just in case some of you are having troubles with drawing Native people, I’ve provided a guide for you. Please take my swatches if it helps!! and no more red skinned people, please <0<

Disclaimer: this tutorial is mainly about the artistic depictions of Indigenous Peoples in North America, where the slur and redskin caricature originated, but it would still be racist to draw other non-North/Central/South American Indigenous groups like this so…..don’t.

Firaxis Games’ concept artist Sang Han Sang on how to give your digital art a traditional look and feel. [source]

00. BEFORE YOU BEGIN

Many people have tried using brushes that simulate analogue bristles, but they may not have thought about how the paint is applied. Traditional painters take great care in applying each stroke of paint, which has been thoughtfully blended to the right colour and value on a palette.

Since the digital medium is so fast and forgiving, we tend to dive right in without much thought and noodle around until something happens. I think this leads to muddy colours, and the energy of the initial gesture gets lost.

01. SKETCH IT OUT

I begin with a rough sketch, trying to keep it loose and gestural. It’s difficult to think about design, colour, lighting and composition all in one pass so I break it down into steps and keep it simple at the beginning. These early steps are important because not only are they the foundation for an entire painting, but some of these strokes may show through in the finished work.

02. LAYER IT UP

Here I create a new layer and change the mode to Multiply. I then paint on this layer with a colour that resembles yellow ochre or burnt sienna. This will help to gauge value and colour more easily than if it was a white canvas. I could have simply filled the layer with a flat colour, but again, the painted strokes may show through and add to the final painting.

03. RENDERING

In this step, I block in the local colours and start rendering. As I do this, I try to remember not to overly blend or noodle around too much, as mentioned above. One of my goals is to retain the energy of each brush-stroke and put paint down with a sense of conviction. Sometimes I put a single stroke down, undo it and repeat this process many times until I’m satisfied.

04. LEAVE MARKS

Keep in mind that you don’t have to render everything. You’ll notice in traditional paintings, certain details are kept as abstract marks. This adds another level of interest to the viewer. As you get closer to the end of the painting, lay the strokes down with lower opacity to give the effect of thicker paint. I like to do this when rendering certain accents, such as highlights.

(tutorial)

i just did a cool thing that i think would be useful if you’re like me and sometimes have a hard time picking colours / a colour scheme for an image

basically i just took a brush with moderate spacing, turned on colour dynamics and set all the hue/sat/brightness to a low (~10%-30%) jitter, picked a base colour, and drew a line down the side of the canvas

it’s sort of like when some people save colour swatches so they can keep their shading consistent, but more for playing around with different tones and lighting on a single surface. it’ll probably be pretty good for skin which is very multi-tonal by nature.

a lot of colours came out that i probably wouldn’t have picked manually, but they still looked pretty cool. and it saves a lot of time because now i have a broad range of colours without having to browse through my pantone swatches or open up the colour picker.

click for more tutorials

how do the centaurs sleep? and how do they stretch after a good sleep?

Ok this is one I’ve been wanting to cover for a while and my cooldown sketches got out of hand, so buckle up and enjoy the picturebook!

The easiest options is exactly what you think, the flop. In a home, thick carpets or tatami-like mats would provide at least some sort of cushion for the horse-half and various sized cushions and pillows to lift and support the top half. And they CAN sleep standing up, like horses, but it does require both a special harness/corset and practice. And it’s not very comfortable for anything deeper than a doze or catnap for most, so it’s mostly reserved for bad situations, naps, or guard duty.

Most common are recliners, or ‘hammocks’. Easy to fold and carry for cultures on the move, or make fancy for the city-folk they are probably the most ubiquitous of centaur furniture. A simple adjustable A-frame supporting some sort of flexible fabric-ish sheet for the top half to lean against and sleep. Usually paired with some sort of large blanket or padding on the ground to lay the horse-half on!

When you don’t have no fancy recliners, your herd will do! The preferred sleeping method of closely bonded herds is to simply rest on your buddies cushy backside! Roaming bands can often form long chains of sleeping centaurs with the unlucky first taur either on guard duty, sleeping sprawled, or with the group’s only hammock.

Mix and match to your character and herd’s personal preference!

Also stretchies!