Note how all these modes of description can overlap? Yes that’s relevant to think about!Ĭontour Lines: Related to outlines but additionally describe the shape of an object and the interior detail. They can be definite, implied, graphic, or delicate. Outlines: Lines made by the edge of an object or its silhouette. Feeling: Line can feel sharp, jagged, graceful, smooth? Have you seen this old short animated film? Width – thick, thin, tapering, uneven: Length – long, short, continuous, broken: Direction– horizontal, vertical, diagonal, curving, perpendicular, oblique, parallel, radial, zigzagįocus: Lines can be sharp, blurry, fuzzy, choppy. Here’s a simple kind of glossary of Line Characteristics. Expanding on Pattern study by diversifying your lineĪs you accomplish the initial goals of some degree of consistency, and control, entertain thinking about line quality more diversely. I also made this sheet of specific brush patterns to study and practice as well. The first is a time lapse of my inking it, the second a breach down of the specific strokes and techniques used. It goes along with a pair of videos, embedded in a playlist below. Update: Pattern work and strokes with a Brush! I’ve made a clip deconstructing an example of work by Milton Caniff. Or if you’re solving the problem in the middle of a drawing, pull out some scrap paper and try it out a few time on that in a systematic fashion before applying it to your final art. fill in a row of boxes, or circles if you like, with hatch lines as you see here. Hatches are line made to shade, render texture and form, generally trying to achieve tonal range with line. A good way to do that is to practice very simple line control, via hatching and line control exercises to start with. We want to learn how to render with precision while still being a little relaxed. Ok, now that you’ve got a grip, lets put some mileage on. It’s not fancy rocket science, so do try, you can learn to use more than one! Here i’ve posted a handout guide to the grips i use, and what they are for, along with an embedded clip about this where I explain and demonstrate them a little. But as he alluded to on twitter and jokes about in this video, I wouldn’t necessarily recomend an idiosyncratic grip like that for ALL your drawing. He told me online he’s used it since he was a kid. Some artists prefer them for a lot of their work, recently watching clips of him, noticed the talented and humble Erik Larsen draws with an overhand grip all the time. In addition to the Tripods, there are the underhand and overhand sketching grips for large format sketching and shading. Simply extending the point of the pencil further away from your hand to draw larger forms and also always be careful not to over press and use a heavy hand. For drawing you’ll want to use a few simple variations on it to expand what it can do. There is not real “wrong way” exactly, but the best universal drawing grip is the tripod, the way most of us are taught to hold a pencil for writing. How we hold our tools can have a big impact on the kinds of lines we make. Noodle Arms to Bigfoot: A Cartoon family.Story Strategy: Adapting from Public Domain.Snakes Ladders & Closure: The Mechanics of Comics Art.I'm not currently taking payments, but you can check out my active WIP blog on Patreon still!
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