by L. Spiro » Fri Dec 07, 2007 12:08 pm
My style is fairly simple and straightforward: “Draw what I see”.
As I have not taken art classes or been taught by anyone else, I do not now many of the techniques used by others, and the ones I do know I choose to ignore simply because some people like to cheapen the result by saying, “Oh, he’s all techniques.”
That said, I can explain what I did and explain other techniques you may decide to use yourself.
For skin, layer-after-layer of soft cross-hatching. Building it up slowly and smoothly. In fact this applies to shading everywhere.
If you ue a dark pencil to shade a dark area, you get a very grainy texture that is not like the rest of your drawing. First lay down a solid layer of 4H or 2H. This changes the texture of the paper and makes it more suitable for the darker shades. Gradually use darker and darker pencils.
For highlights, well, simply don’t draw there.
Most people say to erase them out, but that doesn’t work—you lack control and precision with the eraser and in the end it never erases completely.
If you draw over the highlighted area a small bit it is okay; you can erase that out completely, but try to simply not draw over highlighted areas. This includes complex mixtures of highlights and shadows that make up hair.
As for hair, my own technique is the same as above. If a light strand crosses over darks, that is just how I draw it, rather than drawing all the darks and erasing the light strand across them. However you may opt to use other techniques to save time.
-> The indentation technique is not used by professionals and I advise against it, but here it is. Take a leadless pencil and draw dents into the paper where the light hairs are. Now you can draw over the dents and it will automatically leave white areas for you. This scars the paper and usually the result does not look natural.
-> I modified the above technique on my own, but in fact I don’t use my own technique either. With my technique, you draw the medium darkness of the hair, then put a piece of paper over the hair and draw onto that. When you draw onto that, it pushes down onto your drawing and removes the lead a little bit, helping you add highlights quickly without scarring your paper. Then you go in with the darks and you have some of the highlights there, so avoid drawing over them. Then you repeat the process of putting paper over your drawing. This adds more highlights to the darker areas. The highlights from the first pass should be standing out a lot more if you did not draw over them, mixed with the new highlights makes a more natural feel without scarring the paper.
The main technique I used is to simply go slowly. Take the time to draw every detail. That’s all that is needed to make any drawing better. The Panda 3 drawing took 62 hours.
The following Japanese Model preview was at 14 hours and it just had the two parts of the hat, the eye, the earring, and a shoulder not in the picture.
The grain of the skin was manually drawn in—a detail often overlooked but extremely helpful.
No detail is too small to add.
Also, focus heavily on the texture of whatever you are drawing. The textures are what really make them seem to jump off the paper.
L. Spiro
Last edited by
L. Spiro on Sat Mar 08, 2008 2:14 pm, edited 1 time in total.