Back to the Drawing Board with Gary · Tutorials and Posts

Charcoal Painting. My YouTube Channel

I have had a YouTube Channel for a few years now.  You can see anything from digital drawing, clips from my favorite models, tutorials on color separating for screen printing, some short clips of me drawing or inking.  It’s a mixture of everything.

In the next few weeks I will be posting newer videos and deleting some older ones in an attempt to organize things.

Here is my latest video.  My daughter, Tori and I were experimenting with equipment and set up.   Usually, I have her prepare it and edit it for the final, but this time I attempted it.  With that said, there is a section that is MISSING A LINK, just forward through it.  This was a bit of a crash course for me.   As I add more, this one will surely be deleted.  But for now, I wanted to give you a preview of my technique.  In the coming future, there will be more start to finish time lapse videos.

Please subscribe to my YouTube channel CLICK HERE

 

How To's · Tutorials and Posts

Princess Leia Step by Step

Princess Leia Step by Step
Line drawing.  Darkening some of the shadows.  This drawing is on bristol board.
I went a head and did the midtones in the background.  Doing this helps me get a nicer contrast with the shading.
I went right in to the hair.  Normally, I wait until the end to do the hair, but this time I just dove right in.  I also darkened the eyes a little.
Some more of the hair and midtones on her face.
Working on the hands and completing the hair on the other side.  It’s time to start on her face.
Adding some shadows and midtones starts bringing her to life.  She is starting to look like Leia.
Working on darkening the midtones before darkening the shadows.
Starting to go dark on the shadows. I like my darks almost black.  I love contrast.
Here’s te final.  I threw in a stylized background.  I like the viewer to see it’s a drawing and this rough style depicts that.
How To's · Tutorials and Posts

Screen Printing Art: Spot Color Separations

This is my video series on Spot Separations in Photoshop.  I start with the simple Spot Color with loose registration, move to slightly more complex Spot Colors with trapping, then creating a white base and followed by how to print out the seps.

The First Video: Simple Spot Colors

 

The Part 2 is in 2 parts.  This is slightly more complex (don’t worry you can handle it)

 

Here is Part 3 which is also in 2 sections.  This is creating a simple white underbase.

 

And Finally here is the Video on Printing Out the Seps.

 

Tutorials and Posts

Making of Crissy Gold Card Step by Step

This is a double size ACEO card.  (3.5″x5″) done completely with colored pencils.   I normally use paints or markers for an under painting but on this I wanted to just try out straight up colored pencils.
 Started with the outline in light graphite. Added some flesh tones and shadow areas.
More flesh tones and shadows. When using colored pencils, I use a lot of colors to get the flesh tones right.  I don’t have any specific colors I use.  I do tend to use a brownish red and a golden yellow/  I determine what colors after studing the reference picture.  Depending on the lighting dictates the color direction I will be using.
Now, I am just relayering the midtones and shadow to give it contrast.
Using the reference pic, I decide to use the same brown in the sweater.
Adding red to the flesh being careful not to over due it.  Too much red would make Crissy look like she has a sun burn.
Now onto the hair.
Adding red to the sweater and working on the hair some more.
Here is the final
Tutorials and Posts

Boba Fett Step by Step

 

Here is the line work.  I  decided to jump on into the the shadow areas.  I went real dark right from the start.
Normally, I do all the light tones, then the midtones. then the dark areas.  It would resemble a polariod picture.  But this time I  just completed areas and moved on.
Working on more of the gun and dark areas.  All those little parts are time consuming.
Paying attention to the details, I look into the shadow areas to bring out some things you might not see at first.
Bouncing back and forth between fabric and metal.
I decided to get the helmet started.  Really no reason other than it starts bringing it together.
Ok, Boba is done. Now to start the background.
Midtone for the background is done.
Now, for a darker layer to the background. Plus, I went in and hit the darks to give him more contrast.
Now, darken the edges to give it depth. Then on to the highlights on Boba.
And Here’s the FINAL!!!
Psycho Babble Bullshit, Blogging and Events with Gary · Tutorials and Posts

Screen Printing. That’s what I do.

I posted last night a short little blurb about Screen Printing.  Afterwards, I thought, maybe I should start a blog that is informational about screen printing, allowing others to comment and share their input. And to start a Facebook Page dedicated to it. SO………..I did.

Here is a link to my NEWEST Blog….T-shirt Talk with Gary Rudisill

CLICK HERE TO CHECK IT OUT

T-Shirt Talk is a blog dedicated to Imprinted Apparel or Screen Printing and at time will focus on some embroidery.

I encourage people to follow and interact.  After being in the Imprinted Apparel Business for over 20 years, as an artist and printer and business owner, I still enjoy the art of printing and sharing information and stories.

There is a written tutorial on Index Color Separating in Adobe Photoshop and several indepth Video Tutorials on Spot Color Separating in Adobe Photoshop.  These tutorials are worth a lot money wise. Many printers and artists pay good money for third party plugin software that doesn’t give you the control this way does.

I started a FACEBOOK PAGE for T-Shirt Talk

CLICK HERE TO LIKE THE T-SHIRT TALK FACEBOOK PAGE

Also I have a new QR Code for the Gary Rudisill Newsletter.

*note you will need a QR Scanner App for your Iphone or Droid phone

How To's · Tutorials and Posts

Hair and how to draw it. Part 2

This is Part 2 of drawing hair.  The reason this is part 2 is I found a tutorial that was a little more in depth.

At the end is a link to the original tutorial on Stan Prokopenko’s website.

How to Draw Hair

By Stan Prokopenko

drawing hair

Looking back at my tutorials on drawing the head, I realized that I covered individual features, but completely left out hair. This tutorial will is split into 3 parts: The Basics, Types of Hair, and a Step by Step drawing. I’ll start this first part of the series with common mistakes that I see all the time.

Common Mistakes when Drawing Hair

Forgetting about the volumes

This is the most common mistake I see from newer students. There are over 100,000 strands of hair on our heads. This thought can be very distracting from the goal of 3-dimensionality. So, some people forget about volume and draw a bunch of lines. But, lines don’t create the illusion of volume. Gradations and value differences that show plane changes create the illusion of volume. Don’t draw a bunch of lines. Instead, focus on the volumes.

Too Much Texture

This one is similar to the first, but this can still happen even if one pays attention to the volumes. Too many repeating lines everywhere (in the lights, halftones, and shadows) can get very distracting. There need to be areas of rest, especially since you want the focus to stay on the face not the hair. I usually show the texture of the hair in the lights and choose to keep the shadows simplified. But it depends. If I’m drawing blonde hair with a strong light source, I might choose to blow out the lights and show the texture in the shadows.

Impatience – Bad Design

There are so many random little shapes in hair, that good design is a necessity. All the shapes can be intimidating and it’s easy to get impatient and sloppy. I’ve found that confidence is an important element for good design. Approach the hair with purpose and a sense of know-how.

Sharp Outlines

I’m referring the the outer edge between the hair and background and also the connection between hair and skin. Unless the subject has a perfectly combed or gelled hairstyle, there will be stray strands that soften the edge between the background. But even if I see a sharp outlined edge, I will cheat in softer edges for variation. This also adds depth and atmosphere and connects the subject to the environment.  Variation in edge is also important in the areas connecting the the skin. Drawing a sharp outline will make it look like a wig or a clip-on beard.

Consider the Form Underneath the Hair

Spherical Skull

Most hair styles you will draw will be affected by the skull underneath. So, it’s important to think of the ball when working on the overall value changes.

The groups of hair wrap around the form underneath and inherit the same light patterns. In the example below, I made sure to shade the large group of hair to resemble a ball, before I added all the texture on top. The left side of the hair mass is all shadow, while all the highlights are on the right:

hair wraps around the forms underneath

If you’re drawing hair other than the hair on someone’s head, like a beard or an animal, consider the volumes underneath. For example with a beard, think of a block with a front plane and two side planes.

Adding Volume to the Hair

Hair strands are grouped together into locks. Very much like ribbons. It’s important to simplify and think about the geometric shape of the locks, before adding the texture. Adding the texture of the strands should not take away from the illusion of volume. We can  simplify a lock of hair into its basic form using 3 essential elements: highlight, halftone and shadow.

Here’s an example of a lock of hair simplified to its basic form:

Lock of hair as simple form

It doesn’t look like hair, but it does look 3-dimensional. To make it look like hair we need to add the 4th element of texture.  This includes the separations between the smaller groups of hair, a few lines representing strands, and breaking up the contours. Now that we’ve established the 4 elements necessary to create the illusion of hair, let’s look at each individually:

hair elements: shadow, halftone, highlight, texture

Shadow

Whether you are drawing straight hair, curly, wavy, short, spiked, or dread locks, there will be shadows. I like to approach shadows first with flat graphic shapes. It’s important to get an attractive, well balanced separation of light and dark before beginning to render/shade. Try to find ways to connect as many shadow shapes as you can. Even with curly hair, where you have a lot of little shapes, it’s important to connect them. Otherwise you’ll have too many floating shapes which can be distracting. This goes back to good design.

Halftone

When drawing hair I first think of halftone as a gradient between the shadows and highlights. Later on this is where I’ll add most of the texture to separate smaller groups and strands.

Highlight

These are the shapes that will be most eye-catching, so good design is most important here. Same principles apply to highlights as shadows. Try to connect them as much as possible only leaving a few lonely highlights. And try not to make each highlight the same. Give them variety in length, thickness, edge, and value.

Texture

Some tips when drawing the hair texture:

  • Get the illusion of the strands. Don’t try to draw every single strand.
  • Have confidence with every stroke. It’s better to draw a quick confident strand slightly out of place, then a wobbly stroke in the right place. Don’t be timid. This happens when drawing strands that drop down the forehead. People don’t want to mess up the face. But, it doesn’t matter if it’s in the perfect spot… Hair moves.
  • Start the stroke at the root and let it taper towards the tip.
  • Generally, lines should be lighter and thinner at the highlights.
  • If working with graphite, use a combination of softer duller pencils and harder sharp pencils. For example a dull 4B for larger soft gradations and a sharp HB for more defined shapes. Watch out – sometimes a pencil that is too soft will cause the texture of the paper to show through. This ruins the illusion of hair texture, since hair texture is made of long flowing lines and paper texture is usually small repetitive dots.

LINK TO ORIGINAL TUTORIAL BY STAN PROKOPENKO

Here is a good example of my work from the portrait of Elektra from MY DEVIANTART GALLERY