Tips from Jesse Hammさんのイラストまとめ

#lettering
#whitespace

Just saw someone do this again, so I figured I'd address it. If your silhouette looks flat (1), add a rimlight (2). Offers depth without adding much detail. Also, avoid positioning the figure flatly; try instead to aim parts toward the reader (3), and create areas of overlap (4).

Not yet, but I'm putting the finishing touches on a script for a 20-page fan comic. Stay tuned! https://t.co/yYJMqWeVFP

Take care when inking eyes and lips. The first two images differ only because I darkened different parts of the irises. The second two images differ only because I darkened different parts of the mouth. A heavy line here or there will either sell or kill a likeness or expression.

This shape barely resembles a woman's profile...but in the larger scene, it works.

A scene isn't a collection of nicely drawn objects. It's a drawing of the way you might remember the whole array of those objects after the portrayed event. Think always on the overall effect.

If you have a subtle story to tell about form, go ahead and tell it. But if your shading only explains things readers could easily guess from the contours (see attached), grit your teeth and back slowly away from the brush tool.

There's a tragic urge, lately, to add subtle shading to every shape; a temptation to over-explain forms whose contours already explain them.

Here again, compare this unicorn art by Tsuguyuki Kubo (designer on Thundercats and The Last Unicorn) with a similar piece from She-Ra. The She-Ra art emphasizes the heft and volume of bone and flesh. But Kubo's fluid, undulating lines emphasize lyricism.

In this FURY panel, Goran Parlov haloes her hair, to differentiate it from the darkness. A precise white outline would attract undue attention, but his rough handling of the edges avoids that problem.

He also leaves more room around the hair's whipping edge, to suggest motion.

If you need practice drawing hands, but the subject bores you, find photos of hands with tiny monkeys on them.