By Diane Cardaci
With step by step initiatives which are designed to aid sharpen artists' abilities and heighten their self belief, this ebook demonstrates basic strategies for rendering the textures of daily gadgets, comparable to steel, wooden, plastic, hair, fur, feathers, and more.
This 64-page booklet simplifies the method with easy-to-understand directions and finished illustrations.
Read or Download Drawing Made Easy: Realistic Textures PDF
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Additional resources for Drawing Made Easy: Realistic Textures
Unless flexed, they appear to form a single group of muscles and therefore don’t usually need to be individually articulated. These muscles don’t transition smoothly into the gluteus maximus (the main buttocks muscle above them) but instead meet it perpendicularly. Notice, too, how the big leg muscles taper down into the small tendons at the back of the knee joint. Now you can see what causes that little pocket of space behind the knee that we all have. Note how the placement of the muscles in the anatomical illustration at right corresponds precisely to the placement of the definition lines below.
You can allow the lines of the brachialis to trail off without much definition, especially when a character is relaxed. Flexed In the flexed view, you can clearly see how the deltoid muscle funnels down to meet the thin brachialis on the outside of the upper arm. The deltoid is large enough that it covers part of the front and back of the torso. People tend to think of the upper arm as all biceps, when at least half of the arm is triceps, as well as other smaller yet still visible arm muscles. Biceps, Relaxed The biceps wedges into the crook of the elbow and is cut off by two forearm muscles: the brachioradialis and the pronator teres.
And manga characters also typically have small chins, as is reflective of the skull structure. All these things contribute to cuteness. The sunken areas of the skull are padded with the three major facial muscles, noted here. The maxilla and mandible are also indicated. Profile There are a couple of important things to notice about the skull in the side view that are sometimes overlooked, even by more experienced artists. Check out these points to avoid the common pitfalls. First, there’s a lot of mass behind the center of the head (behind the jaw), and the back of the head is round, not flat.
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