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SAME DRAWING, EIGHTH TIME?! | 8 Years of Artistic Growth (Tracking the Ups and Downs)


For the last 8 years, I have been drawing the same illustration over and over again to track my progress and my regressions when it comes my art style and my art skills . While I show you my latest illustration, I’m gonna talk about what’s changed, what’s better, what’s worse, and what’s gonna happen in the future. Alright, step one, we gotta start with a sketch. I don’t think I can be fully honest about this illustration, if I don’t mention that I didn’t really wanna do it. [Laughs] Like I knew in the back of my mind that I was going to and I was like oh, that’s just something that happens at the end of the year but
the closer I got to it, and the more inevitable it became, the less interest and inspiration I had to actually sit down and draw this thing. One of the biggest things that think has changed, just to me as a person, is that I don’t have an interest drawing mainstream characters that everybody knows anymore. My love for these movies and these stories that got me through difficult times in my life don’t resonate with me anymore. and a big reason for that is probably because, I’m not 14 anymore. Man growing up sucks. You get boring. Anyway, the reason I’m bring this up, not to just put a little poop in your parade but I think it does show in the final illustration that I didn’t give it my entire love and affection [Laughs] which I will talk about much later when I start talking about things that I’ve improved and things that I have maybe regressed with. but this brings me into to step two. Which is the second sketch layer. This is something I religiously do if I want my drawing to turn out when it comes to digital art. It’s something I need to work a little bit on when it comes traditional art. Which you can do, but basically, use your first sketch layer for blocking everything out, making sure it fits on the page right, and then you lower the opacity of that layer and you start drawing on top of it. Finding all your details, figuring out which lines you like, finally getting that grasp of what the illustration is probably going to look like when you’re done. Now, you gotta be careful because the more sketch layers that you do, the stiffer the drawing is going to be, especially if you’re not paying attention. It’s really easy [Laughs] to go over board just make sure your using this opportunity to experiment I realized that I hadn’t drawn a second arm there so I put just a quick swoop of a hand and threw Pascal up there too. ‘Cause I think I included him last year, I played around with a couple of different skirt ideas, but none were quite clicking, mostly
because I didn’t include them in that first sketch layer. so now trying to do them as an after thought, was definitely looking like an after thought if you know what I mean, so. [Chuckles] I ended up keeping it pretty simple. I know older drawings in the past have been a little bit more bouncy and fluid and I think this really comes down to me not feeling the inspiration when it came to this piece. So I ended up resorting to my go to pose, which is just standing there. Wherever I draw any character, I think the face is usually what gets the most overhaul throughout the process of me creating the character. and this drawing was no exception and I’ve been doing a lot of portraits lately. Just studying from reference, and things like that in my own time and I think I’m slowly getting a better grasp in my minds eye of like where features have to go to make logical sense. Like obviously, they can be different distances apart and different sizes but there’s a certain amount of reality that you kinda need stick to that’s gonna help your drawing feel more alive. and I definitely think this sketch benefited from my most recent studies. One of the final things I did was draw in her hair. I usually draw her hair up in a braid and I’m gonna be honest again, [Laughs] I did that because I was too lazy to draw all the hair. Okay. I was like, oh, if I put it up in a braid, It’s gotta be shorter, right? So to make up for the very solid pose, I thought, you know, why don’t I… give this drawing a good send of and actually draw closer to 70 feet of her hair? and it was actually kinda fun, thinking about the hair and how it would flow and how it would roll over itself and twist and I tried to break it down into a simpler blob so I could add in all those swishes if that make sense which brings us to step three of this drawing, which was my painting detour. Now
this step doesn’t show through in the finished illustration but it did make a big diffe rence on how the finished illustration ended up looking. Now how are those two sentence different? Let me tell you. I mentioned I’ve been doing portrait studies , drawing lot’s of faces and painting them, I don’t know if I said I was painting them, but I was. So I had this desire to try and paint Rapunzel’s face from reference because I haven’t done that in a while So here’s just a little bit of footage of me trying that out. What I’ve realized is by doing these facial studies in the last couple of weeks, I’ve gained a certain amount of new skills that have allowed me to look at a drawing and recreate it. So because I started painting Repunzel’s face, it put me back into that place of when I’m trying to do a portrait study and my brain turn’s into portrait study mode and started analyzing the way Repunzel looked. If you look at the face, it is so generically what my style looks like right now. which is kind of perfect if we’re trying to milestone my art for the year of 2019 and put it in a little capsule. but it doesn’t
necessarily mean it looks like the character Repunzel. I took a peak at the comments from last years video and the most common critique was that the face didn’t look like Repunzel which was really odd to me, because it was supposed to be in my style and I didn’t really want it look like the Disney art style. So I kinda chalked that up to just being like, oh, well it’s because it’s my style, right? but in doing this painting study, which it doesn’t actually show through in the painting I just realized because I just watched this through and none of the things I learned while painting, actually kinda show up. but Repunzel has very thin eyebrows, she never smiles showing her teeth and when she smiles, her eyes skint a little bit and then I also kinda realized what her nose looks like and it wasn’t quite right when I was painting it originally and these
are all things that are more unique to Repunzel than maybe my drawings of her in the past. So when it came to step four which was the line-art I lowered the opacity of all previous layers and started
adding in the line-art with this new found knowledge [Laughs[ of staring at Repunzal’s face for too long, I went in
on the face first so that I wouldn’t forget all this stuff and I really
tried my best to make my illustration look like Repunzel. Now I do think that this made my art style look a little bit more similar to the Disney animated art style than maybe it has in the past which I’m okay with for one reason and
that is because I was trying to make it look like Repunzel So it’s still in my art style, but it’s closer to looking Repunzel [Laughs] Here’s when you see I close her mouth and
make it wide, she has a very short, wide closed smile and it stretches really far across her face so I included that and instantly I was like Hooooly, it looks so much more like her! and then the final touch, the thing that made it go boop, yeah it’s Repunzel now, was when I added her eyebrows, I love drawing thick bushy little Caterpillar eyebrows but Repunzel doesn’t have those, she has very thin almost line-like eyebrows which I think is hearkening back to the classic Disney Renaissance style So I decided to do that and yes, now I think this actually looks like Repunzel. Al least closer than any past attempts. Then the rest of the line-art, I don’t think anything to spectacular happened. I did make sure I kept shrinking her face because every time I add something to it, I feel like it gets bigger so I have to keep shrinking it and shrinking it and it ends up looking bigger and bigger So I tried my best to keep it kinda small. When it comes to digital art, it’s a little bit easier than traditional art, because you can’t just grab it and shrink it (but it still ends up big when I do digital art,
so what am I talking about?) This hand right here, I was super nervous about because the sketch was almost um… illegible. But after going over it with my painting layer, I was able to kinda look at it from a different approach and chisel out the shapes a little bit easier. and kinda of mold it in a way. So then when I came in with the line-art, I just had to follow the forms that I had created earlier. I guess what I’m saying is I’m just really glad I took that little painting detour. I think it helped me really analyse the illustration in a 3D space and understand how these 2D objects that I’m drawing could exist on a 3D plane, which
overall I think helps the 2D drawing look much better. Then there’s the skirt. I’ve drawn better skirts. A little disappointed with that one. [Laughs] Then Pascal… I vowed to come back and change him (I don’t change him that much) Well this is different than previous illustrations. I think only one time before I did this way but I usually use layer styles so I draw with a white brush and then I add layer styles to it so there’s like a thin black line around all of the white strokes that I draw but this time I drew in every little lace, It get’s a little lazy at the end. [Laughs] That top there, that’s my favorite part. But yeah, I just go through from top to bottom, add in a bunch of laces, I think that because there are just so many and it’s all about the texture that doesn’t look too bad. Oh, here’s my lame attempt trying to fix Pacal. Alright add that to the list of resolutions. Draw more chameleons. The next step would be coloring but I wanna take you on another detour, this one is not part of the illustration, but it is part of my life. [Laughs] So basically,
I mentioned that I didn’t really wanna draw Repunzel and I was just like, well what can I do that would be similar, but would fit more the vibe I’m going for and like I don’t know. I think the best of both worlds. So what I thought would be interesting is if I designed my own princess character based off of prompts that I picked from Repunzel. So if you look at Repunzel, or her movie, you’ll know she’s an artist, she has long hair, and she longs for adventure. Those are kinda like three important character elements So I thought, why don’t I try to draw a character with those three, you know, prompts. I had a lot of fun with this. [Laughs] This is definitely a little bit more up my alley, it’s something I definitely wanna continue to do a lot more of in the future. and I really played around with like colors and different hair styles and I looked through Pinterest at references of historical costumes and dresses and things like that and these are much simpler sketches, you know, they’re
more concepty, trying to figure out what might work what won’t work, and trying to find a color scheme that like looks nice together. I was really trying to stay away from the purple pinks. I really like the way this illustration turned out. It has all the regalness and the long hair that I wanted but it was missing a little bit of that artist touch So this next sketch, I really focused on what would an artist look like? What would a pirncess artist look like? So I gave her a bit poufy dress, and of course a nice giant palette and a paint brush. and I tried to tuck her hair up and out of the way and she has a ton of it, so that was a bit of an adventure itself. which I guess fits into the theme. When I got down to the skirt, I realized there’s a reason princesses in movies have slim, slightly short skirts even though it’s not the most medievally, historically accurate dress ever. it’s because these girls are adventurous and they need a little bit of mobility so this was not working for my princess either. So my solution to this problem was just not draw her lower half at first. [Laughs] and I really liked the way the lines on her bodice and her shoulders turned out in this drawing. and I took it to look a bit like an apron that she had tied around her waist and it comes up a little bit higher and so she’s tied it really tight so that it doesn’t slip down and this would protect her dress from, you know, the oil paints. This drawing I sadly forgot to record but here’s where I shortened the dress. I tried to come up with one that would fit in to a more adventurist lifestyle. I also gave
her the paint palette again and the giant paint brush. But this time when I used like – [Laughs] the drop cloth to keep her hair up, it looked like a chef’s hat and I don’t know, I was not feeling that, no, [chuckles] So this was my little adventure into designing my own sort of Repunzel character based
off my own prompt I pulled from the movie, you know nothing to perfect her, just a lot of fun exploration but I really like that drawing right there. Alright, the line-art is done, it is time for step four which is color! The way I like to add color is to use the magic want tool select outside of my line art, and if you’ve connected all your line , it will only select outside of the line-art. Then I inverse that selection, and then on a layer underneath the line-art, I just use the paint bucket tool, and I dropped a nice little pink in there. So now there is a solid color behind all the line-art only where the character is. and you can erase little sections if you accidentally filled in extra. and then above that layer, I create a new layer, and this layer I set as a clipping mask so I cannot paint outside of the pink layer, even though it is a second layer. it is masked and connected to the layer below it and I can start adding in the colors. I do have to hand draw these all in, but if there’s sections that aren’t connecting with any other sections of the drawing that are a different colour, like the hair down at the bottom, I can just swipe over that and paint outside the lines and it stays inside. I also added a small amount of shading to the hair. I wasn’t sure how Iw as going to approach shading, if it
was something I was going to do after I added all colors or if I was gonna do it on a colour by color basis. So I kinda just winged it. I also locked the transparent pixels on the line-art later and then painted over the line-art with
a color that complimented the hair color a little bit better and I also colored over the eyebrows with that as well. for the face, I added a decent amount of blush and I kinda went a little bit painterly on it. As soon as I realized I was doing that, I tried to subdue myself, I was
trying to pull back, lighten the colors a little bit more but I also think it kinda captures the year, so I kept it. and then after I was done with the face I realized the skintone didn’t match the rest of her body ‘Cause there was so much more shading and depth to it. So I had to go through and do the same with the body and I just had to do that one hand, and for a hand that I was so nervous about drawing, I think it turned out pretty good. I could probably attribute those results to the fact that I drew it so many times and also painted it Alright, skin and hair mostly done, I moved on to the clothes and coloring in the skirt. Again I just kinda picked a generic purple color similar enough, start working on that and from there, I adjust the colors accordingly, also used a new layer, I added all of the texture and the things that make it look mor e like Repunzel and not just a random princess. and also a bit of a lazy attempt at shading. Again, not my best skirt. I am kicking myself in hindsight, let me tell you. Then for the corset area, I did the same thing, picked a purple color, then adjust the colours afterwards, trying to get them to look nice with the skirt. Once I had one that I liked, I went in and started adding the other colors. Like texture and stripes. I also shaded this area. I tried
to make it look closer to the way she looks in the movie I have this like have this gut instinct to just draw a line from one boob to the other and then shade there but I did my best to not give her a uni-boob. You’ere welcome if that’s something that has bothered you for the last 8 years. This is really the first time I’ve ever really thought about it So I guess it wasn’t bugging me. Then I did the fun job of coloring all the laces and since I didn’t use layer styles, these weren’t their own separate layer. So I had to go in and actually color in the line-art Like a pleb! Then I went in and added in some more texture. This is something I- I think I started doing back in 2015 and I haven’t really been keeping up with it but I love the way it make digital art look If you just create a very simple pattern, and make it repeat and go over the entire section of a certain amount of color I don’t know. Especially princesses, aw it makes them look so much more expensive. and more royal I guess. but, ooh! Just look at that extra voomf! I think I set it to multple and tweaked the opacity to just get it subtle but obvious. You know , that happy medium between those two words. ‘Cause they are polar opposites, aren’t they? Oh and then I also colored in Pascal and tweaked his line-art made his nose a little bit brighter I was looking at a reference and I realised the front of his face is a light color when he’s green Then I took some of the green from Pascal, and added it to Repunzel’s eyes, because she does have green eyes but it just looked… too far from my style because I tend to just draw people with black pupils so I made it much more subtle and almost black and I think it fits more into my style. I’m not ready to commit to colored pupils, okay? I used to do that way back in the day and I’ve streaamlined my art process! [Laughs] Cut out one step, coloring the eyeballs. One of the final things I did was try to make it look like the lantern was glowing. This was a bit of a mistake because this is something I should have focused on from the beginning and if I had painted through the whole drawing, I would have realized this before I added in the line-art and the color and everything but I should have colored it as if the lantern was glowing. So here I am at a little bit of an attempt to add it in post. Which might not have turned out perfect but I love the way the bright hair strands look, so I end up incorporating that. Like down and below the rest of the hair. Which I think ended up looking really pretty. I also added in a super simple background just to give her a little bit more atmosphere around her and so that I could add a gradient behind the lantern to make it look like it was glowing as well. I added a little bit of a noise filter just to give the drawing texture and look a little less artificial and, uh, yeah. That’s my drawing for 2019. Yes it’s 2020 now, I’m a little behind. I thought I added in freckles, where are the freckles? Oh there they are! That’s way to many, why did I put that many freckles in? What was I thinking? Oh, I’m cleaning them off. There we go! That’s way better. Forgot about that Anyway, this is the finished illustration right here. For (2019) you can see the past illustrations and you can actually watch a video of me commentating over each of them back when I was making them. Not only will the art get older but I will get younger! Sounds like a cringe fest. Thank you guys for watching, let me know what your 2020 art resolutions are. My 202 art resolution is to do more studies and less just mind barf on to my sketchbooks Like I want to put in time where I’m
consciously trying to improve something and I think that’s gonna go a long way. I don’t have any specific parts that I wanna do better so it’s just like I’m not going to limit myself to anything specific. It’s just whatever I am feeling inspired at the time but find reference! [Giggles] Yeah, thank you guys for watching I’ll you guys all next week and have a delicious evening full of waffles. Bye!

Author Since: Mar 11, 2019

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