Drawing: The Art of Patterns Part 3

Hi Guys!

I hope you’re having a good day!

In my previous two blogs I applied the pattern techniques and detailing knowledge I have gathered and created a Mandala drawing and in a Pattern Flower drawing. Today I am going to explain how I create my 3^rd piece which is a combination of shapes and patterns and some new ideas and tips I learned.

For creating this third piece I was having a difficult time find inspiration because even though a lot of Zentangle drawings are imaginative and creating patterns as you go, it’s always hard to just start. It’s also helpful to have a reference photo or something to look back to when you stuck in the middle of drawing. That’s why I would definitely recommend watching YouTube videos, check out book and read articles on Zentangle drawings. You can gather soooo much knowledge and inspiration and it really helps me. When I was stuck I simply found some images on google to keep me going. I really do recommend the book I am using for this project Zendoodle written by Susanne Schaadt. She explains Zentangle so well!

   Once I start on one of these drawings I enjoy it so much that I could go on for hours adding and adding more patterns and shapes and expanding it but starting is difficult. That’s why one of my biggest tips is just start!! Put the pen on your paper and start with something as simple as a circle or flower and just add on too it! You will see slowly your outcome will be great. I know these drawings take patience and can look overwhelming but it is very relaxing and calming! Susanne explains how “there is simply no right or wrong way of doing it; anyone who can draw a line on a piece of paper can draw a zendoodle.” (Schaadt 7)

For this drawing I used some new techniques! In all of my previous drawings I focused on filling in larger shapes with patterns and details but this piece was different.  I had to focus more on have symmetrical design and repeating the pattern evenly around the circle. I enjoyed as I made the center larger and larger thinking of new patterns for each and every layer. It was very relaxing. Susanne Schaadt says “The symmetrical construction based around a center further enhances the calming and ordering effects of the patterns in the most delightful way.” (Schaadt 56)

This is how it came out and I’m really happy with it!

Have any of you had any experience when starting a new activity was difficult but it was worth it in the end? Share you experience below!   

Schaadt, Susanne. Zendoodle: Meditative Drawing to Calm Your Inner Self. Tunbridge Wells, Kent: Search, 2015. Print.

GOTTA GO FAST LIKE SONIC - Drawing/ Sketching With Kimmy Nguyen! - Gesture Drawings

Hey, guys! Welcome to the 5th, and last, installment of Drawing/ Sketching with me!

This post will be on gesture drawings, which is basically drawing the human figure in a limited amount of time. It's quick, but the drawing captures the important things: the pose and the form (3dtotal Publishing 68). By doing this, I'll actually get into my head that, hey, the beginning sketch doesn't have to be so detailed. And, this way, I'll get to drawing things quicker.

When I saw this chapter, I thought, why not really test how well and how many I'll do by creating this post on the day it's due? So here I am. And I just came back from taking my CAI finals...

Before I start doing anything, I just want to point out what one of the creators wrote. "... Don't be afraid," they said, "... Be bold!" (3dtotal Publishing 68). This quote is rather profound to me because... I'm reassured that I can make mistakes. It's been in my head to draw more perfect than my skill actually is, and, while I know I can make mistakes, it's rather nice to be told that it doesn't matter.

Alright, it's 2:51 PM right now. I'll start when it's 3!

....

It's 4, now. I actually finished at around 3:35, but procrastination hit me.

Anyway, here are the pictures!

 Each figure was kept in a 5 minute time frame with 2 minutes in between. I don't particularly like gesture drawings 1 and 6, but I think that, considering that this is my first time gesture drawing, these were pretty good. To self critique my drawings, I would say that I need to focus a bit more on getting the anatomy more right than it is now. Overall though, this experience was rather... okay! I got to focus more on the pose than the details, which is exactly what I had in mind.

And that's it, you guys! Thanks for sticking with me for these posts!

Now, for my last question!
Do you like doing certain activities quickly, or do you prefer to take your time and go at your usual pace?

Drawing/Sketching With Kimmy Nguyen: Session 4: Silhouettes!

Hey! Welcome to Session 4 of Drawing/Sketching with me! This time, we're going to focus on silhouettes.

Let's start off with an explanation. Silhouettes in art is basically a flat color figure of your drawing. So, let's say I drew a person skipping. I would color in everything, from the edge lines to the inner with a single color without the line art. All you would see then, essentially, is a shadow of the action.

Silhouettes are essential for animation and character design - if you can tell who that character is just by their shadow alone, then the creators were successful in creating an interesting and strong character, just enough so that you are able to remember them (3dtotal Publishing 70). This is essential to me, especially since I need to make impactful characters for a future comic I'm planning to make.

My main goal here is for you guys, the viewers, to be able to determine what the person I drew is doing. One of the co-creators of this book said that, "Viewers should be able to immediately understand what the character is doing at any given time" (3dtotal Publishing 70). What I'm basically trying to do here is to rid of the static poses that I usually draw and get used to drawing more dynamic poses.

My first test is to see if you guys can tell who this is (the following image is drawn by me on the computer). Hint: It's a superhero.

 If you guessed Spiderman, then you're right! While it is somewhat sloppy, the pose should get the point across.

My next test is to see if you can tell what the person in the drawing is doing.

When I look at this and forget the fact that I know what I drew them doing, then I can't really tell what this pose is. I guess it's a pretty big hint to myself that I need to get the pose more dynamic if I can't tell what the person is doing...

I sketched a few more, but I don't want to bother you guys with extra drawings that you all don't really need to see. But, that's it! The end of session 4!

My next question is my second to last... huh... Anyway, what aspect/feature about a character makes a large impact to you?
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3DTotal Publishing. Beginner's Guide to Sketching: Characters, Creatures & Concepts. Worcestershire: 3DTotal, 2015. Print.

Drawing/Sketching with Kimmy Nguyen: Session 3: What is Life (Without Light)?

Millions and millions of years ago, our world was encompassed by darkness, plaguing mythical creatures in the land of dark and evil.

And then, there was light.

Of course, there's still darkness, and in this case, darkness is equivalent to shadows. There are so many different strengths of darkness, creating the shadows that we see today. That, folks, is what we are going to focus on today: Value shading.

According to the book, "Value deals with lightness or darkness of a color, depending on the pencil choice and the amount of pressure applied" (3dtotal Publishing 49). The book tells you to get four different kinds of pencils of varying kinds of graphite, but I find it very unnecessary to use the different pencils. One regular #2 pencil is perfectly fine, and this way you can develop your technique of using varying pressures to create different shades (however, I only had my red lead mechanical pencil with me at the time, but it's the same thing).

The next point the book says is to create a value scale. "Using a value scale before drawing helps you identify specific values and add them in at appropriate spots" (3dtotal Publishing 49). A value scale is, essentially, shadings with varying degrees of darkness to each individual shade and gets darker for each shade. This is very much important, and doing that really helped me create a deeper depth in my drawings. It made them feel much more... whole rather than flat and still. Alive, if I had to choose a word for it.

I wrote numbers on them to specify the what levels they are. As you can see, 1 is the lightest as 5 is the darkest.

During this session, I practiced drawing arm anatomy. I focused more on the muscles than freehanding, this time.

I don't think the photo quality does this drawing justice (I'M SO PROUD OF THIS ONE FOR SOME REASON DON'T JUDGE ME) but you can still see that I shaded a bit more on certain areas to create dimension.

After a few more drawings, I could already tell that my values have improved greatly. Hopefully, I will be able to include more value in my future drawings than to leave them flat.

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Session 4 will feature Silhouettes! I hope I'll do the practice justice.

Now, my question is: Do you think it's necessary to create a value scale of 1-10? Because really, values 6-10 are the same as 1-5, just in opposite order.

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3DTotal Publishing. Beginner's Guide to Sketching: Characters, Creatures & Concepts. Worcestershire: 3DTotal, 2015. Print.

Drawing: The Art of Patterns Part 2

Drawing: The Art of Patterns Part 2

Sheena Kapila

Hi Everyone!

I hope your all having a good day and had a great New Years! I am continuing my journey of learning new patterns and shapes in the art of Zentangle. The book I checked out Zendoodle written by Susanne Schaadt has really helped me focus on improving my patterns in drawing. Last time I used the patterns I learned in a mandala drawing. Today I am going to use the techniques into creating a Pattern Flower. I decided to draw this because of how it is supposed to help you gain practice in patterns and shapes. Each petal of the lotus is filled with different patterns and designs. 

 I applied the techniques of filling in the petals that Susanne Schaadt suggested. “As you draw keep stopping and thinking about what parts to leave white. It is very easy to over-draw. Area and leaf patterns are good choices for the oval flower shapes. It can be more effective to not fill all the areas with patterns”. (Schaadht 50) When I was drawing this flower I kept that tip in mind and remembered to not over draw because that can lead to a messier drawing. Just like I explained in my last blog post, I continued to use the guide the book provides of an Overview of Patterns in this drawing and tried my best to keep the patterns really neat and precise.

I tried out some new patterns as well in this drawing! I usually fill the shapes in other drawings with dots and stripes but for these petals I decided to try out filling the shapes with words and flowers. I liked how it created more variety and detail to the drawing. “Fill some of the areas with scatter flowers and floral designs. Try to use as less dots as possible and be sure to include leaf patterns.” (Schaadt 51) Since the petals were very similar to an oval leaf shapes I included leaf patterns as well.

This drawing was tricky and these type of drawings can take a lot of patience but I’m happy with how it turned out!

In the book that I am reading the author explains in her introduction how “The meditative process of drawing these intricate and imaginative patterns will allow you to escape from daily life wherever you are and whenever you like.” (Schaadt 7)  

I wanted to ask you guys... Does drawing helps you stayed relaxed and do you think it’s a meditative activity? I think so! J Comment Below!

Thanks for reading this blog post! I hope you enjoyed it!  

Schaadt, Susanne. Zendoodle: Meditative Drawing to Calm Your Inner Self. Tunbridge Wells, Kent: Search, 2015. Print.

Drawing/Sketching Techniques with Kimmy Nguyen: S2: We're Finally Getting Into Anatomy But I'm Not Posting Half-Naked People

Hi!
Welcome to Session 2 of Drawing/Sketching Techniques with Kimmy Nguyen!

For session 2, I focused more on the torso of human anatomy. After several days of simplifying the skeleton and referencing anatomy images, I free-handed some drawings of people (with clothes on).

During this time, I practiced shading techniques. I mainly focused on regular / hatching lines and crosshatching lines as methods of shading.
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Regular / Hatching Lines:

According to my chosen book, hatching lines are basically lines that "are placed parallel to each other" (3dtotal Publishing 31). So, I did that.

The method is quite simple to understand, so I don't think I need to delve further. All that should really stick to you is:

1) They are parallel lines.
2) The sets of parallel lines never intersect.
3) The more you layer on the lines, the darker the layered section gets.

This method of shading can be classified as "simple shading". By what the book says on page 31, it's a common technique that can be used in multiple kinds of drawings.

Crosshatching Lines:

Crosshatching is like hatching lines, except the sets of parallel lines are "crossing over another set". It "creates volume" and is typically one of the quickest and more effective ways to create more density and values in drawings (3dtotal Publishing 32).

Here, I simply shaded the base layer. All of the clothes are black, so I had to create a layer that had the same value.

Please note that the lines are all going in the same direction. There is simply no volume as of right now.

Now, I lined the outline so it would be easier to see the shape of the image rather than have it as one gray mass.

If you look, there are some sections that are darker than most. On those parts, each of the sets is in different directions. The lines should be "in a perpendicular or near-perpendicular direction to the first set" (32). Now, there is more volume and different values.

It is also important to note that when the set of lines are closer or farther apart from each other, the area is usually darker or lighter respectively.

What the book fails to convey is crosshatching isn't just a set of lines. Crosshatching is an umbrella term, meaning that crosshatching is a term that encompasses many other techniques. There can be squiggles or lines that go in other directions in the same set. Crosshatching is so much more than just straight lines.

Drawing Dogs

Structure & Anatomy for Drawing Dogs

Sakari William

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Overview

When it comes to drawing, it isn't something I do often in my free time. I doodle or sketch occasionally if I am bored, however I was never really good at it. I don't consider myself an artist or anything like that. So why did I do my subject on drawing? I did it because I want to see what I could be capable of. My drawings usually consist of people from numerous television shows that I enjoy watching but I could never grasp drawing animals. In this case, dogs. I feel that if I put forth enough time and effort into my drawings, I can do well. Therefore if I spend time on learning techniques for drawing dogs, then I may be able to do things I didn't think was possible before. 

I used to have two dogs, their names being Pudge and Sisu. I still have Sisu, but unfortunately Pudge passed away the December of 2014. Pudge was a mixed dog who we believed was an australian cattle dog mixed with a pointer. We are still unsure, but we do know Sisu is a purebred Samoyed. I have grown up with Pudge since the age of 5 when we first got her and she holds a special place in my heart as she made everyday life significant. I figured it'd be great to get to know how to draw dogs so I am able to pursue my interest in drawing along with re-imagining my dogs in an artistic platform. 

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Basic Structure

To start off, I have been practicing the basic structure and anatomy of a dog's face. What I have covered is the nose, ears, muzzle, and facial structure. Dogs come in many different shapes and sizes but I am focusing on what resembles Pudge.

The muzzle is one of the most important attributes of a dog. "Getting the shape and proportion of the muzzle correct is a key part of drawing any dog breed" (Amberlyn 13) Pudge's muzzle is relatively long so that was the direction I was going for while practicing a dog's head. I did a step by step drawing of a sample dog face that was similar to Pudge's. 

You start off with a circle for the dog's head and gradually utilize other shapes to structure the head. What is typical used for dogs with long muzzles is a cone shape with triangular ears for dogs whose ears flap down. The same kind of shape is used for dogs who have upright ears, but given the term "upright" you simply draw these triangular shapes in an upward position. With flappy ears, you draw the triangular downwards with a fold in the middle to provide further detail.

I have also practiced drawing the muzzle from a different angle so I can have examples on how to draw muzzles from different perspectives. The nose has almost an oval like shape but almost resembles an upside down trapezoid. 

The utilization of shading resembles the dog's color and fur pattern. It can also indicate shadows and darkness depending on what kind of dog you are drawing. Most of the nose is shaded with glimpses of white to add the effect of moisture. "Add a somewhat mushroom-shaped nose pad and then fill in more details, leaving a white band on the surface to indicate the shininess caused by moisure." (Amberlyn 14)

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This was just some insight onto one of the main components of a dog's facial structure and will be more in-depth in the future as this was a beginning process. Now here is my question,

Would you take up the challenge of doing something you haven't done before?

Amberlyn, J.C.: The Artist's Guide to Drawing Animals: How to draw cats, dogs, and other favorite pets. Published by Watson-Guptill Nov 20, 2012

Drawing (Sketching?) Techniques with Kimmy Nguyen (^・ω・^ )

The Obligatory Introduction (feel free to skip):

Hey, guys! M'name is Kimanh Nguyen (AKA Kimmy), and if you know me (or seen me in class) then you know that I am very involved with drawing.

I've been drawing since the end of... 4th grade, and have been drawing since. My style has evolved from the typical 'anime' style to one of my own. Style develops naturally throughout practice and time, and mine, I would like to say, is different (though there still isn't a firm style, yet).

However, it has been on my mind for the past couple of months lately that I did not have a solid base/understanding when I started drawing. Back then, it was more like a hobby than what is now a goal in life to pursue a job in this sort of industry. I never actually thought of values, line weight, shading techniques, etc. Now that I'm more experienced and have knowledge, my lack of experience in the technical aspects is really hitting me in the face right now. Seriously. I cringe at my artwork most of the time. There is also the fact that my drawings feel static and repetitive. I'm in a stump, actually, because of my lack of skill. Basically, I feel like my art isn't good enough.

And so I decided to make that base of understanding. After browsing through a bookstore, I got the Beginner's Guide to Sketching: Characters, Creatures & Concepts by 3dtotal Publishing. Going through it, I can tell that it teaches technique rather than the usual "step-by-step how to draw this" sort of thing. For me, this is perfect. Yet...

This book really isn't for beginners. Rather, I feel as though it's meant for those who already have the experience yet want to enhance their drawings. There are some parts that aren't fleshed out and parts that I don't really agree with in the book, but overall, the book is good. I don't recommend this book for those who are just starting to draw.

Along with following some techniques in the book, I will practice drawing anatomy (because my anatomy game is not strong).

So, I guess... let's begin?

Session 1: Accent Lines and The Study of 2「ユーリ!!! On Ice」 Characters 

I know I said I was going to practice anatomy while following the book, but I was planning on drawing heads for the first post... and drawing a head is a staple for drawing people. Meaning, I have a lot of practice on drawing faces and such, so my priorities on practicing heads are quite low. Meanwhile, my need to draw these characters are quite high and I don't feel satisfied with the way I am drawing them now. Thus, the character studies. I'll be using screenshots from varying scenes and only drawing the bust.

In the book, Beginner's Guide to Sketching: Characters, Creatures & Concepts, it states: "Accent line drawing is a more developed type of contour drawing. In this case, the lines are accented with a variety of line weights..." (3dtotal Publishing 29).

Basically, accents lines are lines that have varying pressure, thickness, and lightness (aka line weights). It helps add emphasis to certain parts in a drawing and makes the drawing interesting.

My first subject is Katsuki Yuuri (勝生 勇利), the protagonist of the anime.

Yuuri is the easiest out of the 3 main characters to draw for me. However, I feel like I wasn't truly encompassing his features, so I attempted to for the 6 drawings I did. I tried to take in his round/square like head structure while making his eyes more round as well.

During this time, I tried to add in accent lines. The drawing that I think best shows this is drawing 4, the bottom-most left.

While drawing accent lines, the closer the part of the image is to you, the thicker the lines and vice versa (29). Accent lines are also created when 2 lines meet. As you can see, there are parts in the drawings where the lines are thicker than most. I know that if I had drawn this without attempting accent lines, then there would be only one line weight, making it seem blander than what I want to achieve. This drawing seems much more interesting to me and it actually looks nice in my eyes.

My next subject is Viktor Nikiforov, the second main character in the anime.

For Viktor, he's the hardest for me to draw. I don't understand his hair and I don't really know how to shape his face. All I know is that Viktor's head shape is sharper/narrower than Yuuri's. What I'm trying to avoid here is the 'same face/features' problem. It's where every character looks basically the same if you compare them. It's... a hassle really. No artist wants all their characters to look the same.

Unfortunately, I don't think I did well with accent lines on Viktor. I was unsure of what I was doing and was more intent on trying to get his features than anything. So, I won't delve deeper than I already have.

And... That's about it. My next post will be about shading techniques while featuring torso studies! Nothing too explicit will be shown, don't worry ☆⌒（＊＾∇゜）v .

Now, my question is... Why do you think hobbies sometimes turn into a lifetime job or dream?
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3DTotal Publishing. Beginner's Guide to Sketching: Characters, Creatures & Concepts. Worcestershire: 3DTotal, 2015. Print.