adam hughes pencil This is a topic that many people are looking for. savegooglewave.com is a channel providing useful information about learning, life, digital marketing and online courses …. it will help you have an overview and solid multi-faceted knowledge . Today, savegooglewave.com would like to introduce to you How to Draw Flesh Tones with Adam Hughes. Following along are instructions in the video below:
“I m adam use. We re gonna be working on a convention sketch. Today and and thought i d show you how i do some of them. I m gonna with the flesh tones.
Got my warm gray copic markers. Which is what i like to start with and i m going to dive in with the the w0 the lowest value they ve got and see if we can figure something out normally. I like to go in with the the lightest value i like to work lightest to darkest with these guys and i ll go in and put a nice base in with the w zero. One of the things i like about.
The kopecks is they are refillable and while that s wonderful for the fact that you can make a marker go forever. It also means you can control the saturation of the marker. So a lot of times. If you want a dry brush effect.
You can let the marker run dry. And if you need to cover a large area and have it be a very even tone you can overfill the marker works really nice normally i would do sketches with these markers at conventions and people seem to enjoy them i like to watch aren t happening they have a good time ask questions. It s good for everybody. But i realized that i was creating different types of art with the with the markers.
Then i would with my normal technique of pen and ink artwork and then digitally coloring it with adobe photoshop. So i have since taken from time to time producing finished pieces of art for my comic book assignments with these markers. So they re very very versatile. Very very good for everything you might need from a marker.
Fast convention sketching or long laborious. Illustration. Assignments. All right.
That s pretty good for the first the first round of tones go over here and get my w1 the the copic markers. I like to use the warm grays in the cool gray s gives you a nice duo chromatic. Feel the markers go from 0 to 10. Which makes sense you would think ok.
10 increments. That s really great you know. 0. Being the lightest 10 being the darkest and just like every getting everything else in life.
There s another three settings past the darkest the there s aw. 10. Which you d think is black. But then they go to regular black and then special black.
So you end up having about 12 values to work with when you re doing a piece. I find that s more than enough and i usually find that when i m doing flesh tones. If they re say caucasian flesh tones from w. 0.
To w. 4. Gets the job done for that sort of flesh tone in normal daylight settings. You might be working on a character that has darker skin someone from another planet you never know the markers work really great on top of each other when you work light to dark.
When you work dark to light. Sometimes you can get a little bit of a little bit of splotchiness going on which you can use to your advantage. If you re trying to get a texture. But if you re doing a flesh tone you might not want that so i m gonna assault the piece with the the next value one of the the things i also i like about the kopecks is you can work wet on wet.
Very nicely all right. It s starting to look like a person go to some w. 2. A lot of times.
I ll just i ll just kind of go with the flow. And see how the piece progresses. I ll have a plan and more often than not i ll paint myself into a corner. And i ll have to paint myself out so it s always good to be you know sort of free and and and open to ideas and and always have a good artistic exit strategy.
So when i m working on one of these market pieces. I i just kind of go for it and if i screw it up. I ll go re going up to w3 now probably start working on some shadows ultimately. We re gonna work up to the most absolute dark.
We can come up with which will be a the absolute blacks which we save for things like the eyelashes. The eyebrows. If you have a character with dark hair. The hair a lot of times.
I ll and like to put a bold contour line around a figure. It just gives it sort of a like a nice art nouveau look which i m very fond of and i usually save my absolute blacks or something like that now whatever markers you like to use and it s all about finding tools that you re comfortable with i m lea. Believe that you know art sort of like a playground. You know everybody should get along nice so you and your materials and your paper or your canvas your chair your light.
You know your favorite beverage. You should all get along you should all enjoy each other s company and not really struggle with each other because only one out of every hundred artistic partnerships flourish from conflict so make sure you got some tools that you like you know i like my copics. I like my my my strathmore drawing paper with my copics you may find yourself using design to markers with a completely different type of paper just fine what works best for you make sure you the tools aren t fighting you and you ll concentrate less on the actual technique and think more about the piece that you re working on which is important that s one of the reasons. Why i enjoy using these markers is i don t have to think about them too much they re very fire and forget all right i m pretty happy with those flesh tones.
I ll go over to my faber. Castell pitt pens which i really enjoy doing the the inks with a lot of times. I ll do the inks before i ll do the markers. But sometimes if you re not careful when you re laying down your flesh tones.
They can smudge the pit pen ink a little bit. So. If you re comfortable. With your inking skills.
You might do what i ve done here. Which is do your flesh tones. First pencils flesh tones and then your inks alright. Let s go with a good medium sized here and now you can do wonderful tonal stuff with these markers.
I m sure my background is in comic book illustration. So i have been programmed by a lifetime of doing comic book art to want to see stuff with a bold inked line. There we go and sometimes when i m done i ll take a barrel prismacolor color pencil a black one or a white one he s the white one sometimes four highlights sometimes i ve gone with the black one to beef up areas that the the 110 special black hasn t gone quite black enough for me or to give it a really nice nice bold line. I did a pretty good job with the highlights by leaving the white of the paper through.
But there s a couple places. Where we can go in and give it a little bit of extra well that wasn t too bad. That s pretty much how i attack flesh tones. When i m using my markers for things like convention sketches and the occasional assignment.
My name is adam hughes thanks for joining me. If you get a chance check out my book cover run available online and at bookstores now and and check out the dvd. ” ..
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