Source: Uzlo (uzlolzu)

WATCH: Ingenious Hack for Sketching with Two Point Perspective Using an Elastic String [video]

Webcomic tips

In the conclusion for now, some things I’d really recommend doing if you’re seriously considering making a webcomic (or really a comic in general). Some of these don’t really apply to strips or gag-a-day type of comics, but I’m not talking about those here.

1. Write down ideas\sketch stuff, LEGIBLY. “I’m gonna remember it later” NEVER works. And if you scribble it somewhere on a piece of paper, you’d better scan it or retype in one doc later, because tiny notes always get lost among other doodles in my skethbooks.

(i know it’s hard to keep everything clean and organized, but this mess is just not productive)

If your project is a collaboration, save your conversations. If you’re working alone, make a blog for your ramblings. You have no clue what tears of relief I cry when I open that blog and rememeber I don’t have to painstakingly look through my heaps of sketchbooks and folders for a tiny idea I’m not even sure I wrote down a few months ago.

2. Inspiration folders, or even better, inspo blog with tags also help with collecting and remembering ideas. Color schemes, landscapes, style inspirations, atmospheric stuff, maybe some photo references, all those neat things.

3. Basic tier: character design sheets. Top tier: common poses, expressions. God tier: outfits they wear throughout the comic. Holy cow tier: turnaround sheets for all those outfits.

(I’d die trying to find good pages for references without these)

4. If you haven’t finished detailing the plot, don’t even think about moving on to drawing the comic. You’re gonna regret it when you come up with a really cool plot element that can’t be incorporated anymore because you’ve already drawn all the parts you could’ve tweaked.

5. Don’t just define the plot, make a script. Writing down the lines and the brief description of the actions serves me fine:

(notice that I approximately divided the pages & the text that’d go to each panel on a page)

6. Hard mode: make thumbnails for all the pages, if possible. At least whenever a new chapter starts. 

7. If your story involves some convoluted chronology shenanigans, you’d better write down the events of your timeline in the chronological order.

8. Backgrounds. You can’t avoid them, bro. Like half of the comics are backgrounds, especially if your story involves a lot of adventuring and looking around. I know it hurts, but you’ll have to become friends with them. Read some tutorials, practice on photos, go out and sketch some streets, use 3d programs (like Google Sketch) to understand the perspective, use sites like houseplans to visualize your buildings better, I don’t know. Just be prepared for their imminent evil.  

9. If you’re drawing digitally, pick a brush size for the lines and stick with it. You don’t want your lines and detail levels to look all wonky and inconsistent in different panels. And I don’t mean the cool stylistic varying lines, I mean this:

Also, things on the background should have thinner and/or lighter lines to avoid distraction. Usually less details too, unless you’re making a busy background with a simple foreground to help it pop out. Or wanna draw the attention to an object on the bg.

10. Readable fonts. Even if you chose to ignore people with poor sight or dyslexia, the majority of your readers aren’t gonna be excited about struggling to decypher this:

Also, as much as I love my black speech bubbles, colorful text on black still kinda hurts the eyes. I wouldn’t recommend doing that for all the characters. Black speech bubbles are usually used for creepy, inhuman voices. And yes, having a colorful outline in this case helps.

11. Probably newsflash, but did you know that panels have their place, order and functions? They do! My favourite thing ever is how I used panels when I was like 12:

(comics ain’t rocket science, but this one is)

The composition of the panels and word balloons always serve for a better reading experience. They guide your eyes over the page, so that you never feel lost or confused. The images in the comic equal frames in a movie, so it’s pretty damn important in what order you look at things and how quickly you can understand what’s going on!

(Eric Shanower & Scottie Young’s Wizard of Oz)

12. One update a week is fine for testing waters. Don’t overestimate yourself, especially if you have a pretty busy life outside it. A stable comic that updates slowly, but regularly is better than an unpredictable erratic one. You can always pick up the pace later, if you feel confident enough.

13. Try to always have a buffer - a couple of pages in reserve. If you’re making the pages much faster than you’re updating, this shouldn’t be a problem. But if those paces are equally the same, it’s goddamn HARD. But on the other hand, if something happens and you skip an update, those come in handy.

If you’re looking at this list and thinking “wow that’s a LOT of work”, you’re totally right. And it’s okay to be intimidated at first! But that’s why it’s important to start with something small. Once you get the formula down, these things will be natural to you.

Tuesday Tips - Handling Objects — To show a character handling an object, think of merging the hand and object into one simple shape. Think of how you would wrap your fingers around it and how you would use it. Function is key! Norm #100tuesdaytipsvol2 #grizandnorm #handlingobjects #arttips #arttutorial

Thought about doing a very simple step by step since I had some WIP pics laying around ( ͡° ͜ʖ ͡°) Most of the time I start working on a drawing by laying down simple shadows and highlights in black & white - it’s one of the easiest ways to see how they affect the scene (and my favorite too). I don’t like worrying about too many things at once, so taking little steps is very helpful to avoid ruining the whole image at the very beginning~ commissions | instagram - deviantart - twitter - paigeeworld - facebook

as promised (thumbs up) heres a lil uhhhh simple breakdown of how i general do fur things! can be applied to hair in general and also clouds and grass depending on how you work it (thumbs up pt2) feel free to request other tutorials 

quick proportion tips

- eyeballs are an eyeball width apart - ears align with the top of your brows to the bottom of your nose, and are the center-point of a profile view - lip corners line up to the center of each eye - hands are roughly the size of your face - feet are the same size as your forearm - elbows are aligned with your belly-button - your hands reach down mid-length of your thighs - both upper and lower legs (individually) are roughly the same size as your torso  (this is all rough estimates for proportion! feel free to add more to help others)

Hands

As I do with most things, I draw hands from a series of gesture strokes that insinuate the pose and shape I want. Something I personally find very appealing about hands are all the joints, bends, and crooked bits so I start with those and build the rounder, meaty bits from there.

In the first two steps here if you just look at the individual strokes I’ve drawn, you can see they’re just some curves, really, that sketch out the shape of the hand, and I’m focusing on the joints and knuckles. (The fingertips in the second one are actually rly unnecessary and ugly to me haha – that’s usually the kind of thing I’d just throw down in step 3.)

And again below, just starting w/ some curves and squigglies to show the joints and knuckles:

These hands are by no means realistic or fully proportional but drawing’s supposed to be fun and these are really fun! I’m like, really not about that whole “draw a box and then the little tubes and those are the fingers” thing. It’s too technical and so much life gets lost when you sketch that way. Maybe it’s helpful for a pose you’re uncertain about but then just look at a photo or your own hand to see how things work, y’know?

Something else I’m really about is using shading and line to emphasize the bends and stuff even after I’ve got the hand down:

The first image here you can tell the fingers are bent, but they also look lumpy imo. To stylize further, I add some thin lines for the joints and fingernails, and then shade for some extra depth + to pronounce the foreshortening etc. (Fingers are so ugly from this angle! But we gotta draw them like this sometimes…)

Some examples where these extra lines assist in conveying the shape:

And shading:

(Bottom right is the same pose as a previous example which I didn’t realize till now sorry haha)

Some general tips:

- Use asymmetry!!! When the joints don’t line up exactly right, or you’ve drawn two hands doing the same thing but idk one’s curled a little bit more or the right pinky sticks out but the left doesn’t – these little touches make the drawing more dynamic, even if the general pose/concept is flat.

- Thumbs are really cool? They’re like trapezoidal. The same tapering thing kinda happens where the hand meets the wrist. A hand is like a big thumb

- Two things that a lot of beginner artists get wrong: which side the thumb is on (…always double-check…I still double-check sometimes too), and drawing the fingers straight instead of slightly bent when trying to draw a relaxed hand. Relaxed fingers curl! And this is much easier to draw imo than perfectly tense fingers

- Study your own hands and think about their shape. Part of developing a style + comfort with drawing a particular thing is how you choose to simplify the form thru line. I explained above that I focus on the joints and knuckles and seek to simplify those with curves and squiggles but maybe you’re more interested in a different aspect. (Like, you can see I don’t draw palms v much…that’s cuz I like knuckles haha)

Hope this is helpful/feel free to ask followup questions!

You know what’s some crazy $hit?

This fabulous bitch

She makes a shit ton of poses (like 16,000 or some crazy nonsense).  I used this lovely lady to draw so much as a teen.  Whether it was some nerdy pose for my Mary Sue as fuck OCs

or for full on fight sequences

or for tragic deaths of my OCs in the arms of a totally OOC main protagonist.  

this chick hooked me up.  

And with the wildest, craziest stuff that you could see in your head but had no way or resources to reasonably draw like

or this

or this

DUDE!  INASNE SHIT!!  So I was using her for a pose reference and decided, you know what, I owe this chick some cash.  Lemme dole it out for her.  BUT then, I looked and saw she only has 286 fucking patrons!!  This chick gives out free shit and spends countless hours arranging these shoots and setting this stuff up.  

I’ll fork up the cash, SenshiStock.  You’re worth it.  

Check out this amazing woman’s stuff, and get knowledged:  https://www.deviantart.com/senshistock

processFox by Saige199

Yeh

That’s it

Desesperate but classy is my everyday mood