How did u get so good at drawing guns, and how long have u been drawing them?
Thank you for the compliment! I wouldn’t call myself an expert on the matter yet (I’m still doing my best to learn!), but drawing guns is actually not as difficult as most people would think-I threw together a little how-to that more or less illustrates my thought process when tackling guns (semi-automatic pistols, sorry). This is just bare bones information however, for there are many different makes and models of guns that won’t always comply with steps 2 and 3 of this tutorial (the example I drew is based off a SIGp228). But that’s where the internet and picture references come in to help fill in the blanks!
Funny thing is that I avoided drawing guns like the plague up until last year when my buddy finally took me shooting and I think I developed some sort of mutual understanding with them and decided to learn how to draw them good!
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.
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.
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:
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:
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.
A couple people asked me how I vary my leaves and trees and honestly, it’s super easy! I’ve never made a tutorial/guide before so I kept this mega simple but I hope someone out there might find it useful at least!
Also, anyone can download the brushes I use for all my art on my tumblr page (: I only use around 5 so go nuts haha
When I post my art materials list online, I almost always receive a question regarding what pastel dust is and how it is applied to my illustrations. I decided to finally sit down and create a visual sort of tutorial showing how to use it!
Soft pastel sticks
X-acto knife or razor blade
Thick, almost stiff-bristled paint brush
A container for the dust, or a piece of paper (I use my pastel box lid to hold my dust.)
Directions : :
Grab some soft pastel sticks. You don’t have to purchase high-end materials for this to work. My pastel sticks shown above were probably $8-10.
With your x-acto knife, scrape along the stick to create a fine dust until you have a sufficient pile. Make sure it is collected on a piece of paper or in a container.
Use a somewhat thick and stiff bristled (dry) paint brush to spread the grains across the paper. You can use strokes, or scrub the color into the paper.
For more saturated tones, apply more dust to the area and continue scrubbing in the color.
Dab your kneadable eraser over the dust to lift away color.
When finished, gently blow away any excess left on the paper.
Tips : :
Pastel dust is great for tinting areas of your illustration as it can be applied over paint, color pencil, and gel pen.
I suggest applying the dust after the majority of your illustration is colored. Painting over such areas will create a muddy effect.
The dust has a tendency to dull certain areas such as inked line work. This can be fixed by either going over the lines again (which may clog micron pens), or waiting until the illustration is finished and spraying the surface with a matte fixative. The fixative wets the dust over the lines and brings back the rich, inky black.
Experiment. Play. See what blending approach works best for you and your materials!
More Information : :
Pastel dust was taught to me by my illustration professor at college, who used it for many of his scientific illustrations.
Along with pastel dust, I use acrylic, color pencil, micron pens and gel pen on medium weight coldpress illustration board.