The Art of LineWork | Kristen D | Skillshare

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The Art of LineWork

teacher avatar Kristen D

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (11m)
    • 1. The Art of LineWork Introduction

      0:55
    • 2. Line weight

      2:12
    • 3. Exaggeration and motion

      2:54
    • 4. How to practice

      2:27
    • 5. The importance of sketching

      2:06
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About This Class

Welcome to my first class!

Here you'll learn the basics of crisp, clean line art and how you can develop captivating pieces in a black and white image. Typically line work is the bane of most artists existence. These are the techniques I used to develop my skills in lineart, and how I made it fun for myself. 

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Kristen D

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Transcripts

1. The Art of LineWork Introduction: When it comes to illustration line. Now you can make a breaker piece growing up. I took a lot of my inspiration from both enemy and Disney styling since I started learning at the age of 12 and I found that Chris Blind worked with the right values is a simple way I can take my piece from boring to appealing. In this class, you'll learn the fundamentals of line. Wait to create a cohesive illustration. Your artwork will give a new dimension, and you'll have an understanding of how calling artists use line value to faint shadow building environment and utilize fluidity to create motion. Just like me. Whether you're dabbling, realism, animate or Disney type styling, your art will benefit with the added player. After all, everything in the world has weight, and your lines should reflect that. 2. Line weight: we'll begin with the concept of line with the name of the game. Here is creating dimension through line. Like most young Tweens, first developing their skills in the early two thousands, it seemed customary to read cheap. How to draw animate books to teach myself the basics of line design and anatomy. One of its chapters detailed the importance of creating cohesion between connecting lines. It's an easy concept, a graph basically stating that rather than drawing out two lines and leaving it at that, you can make two lines look like one by creating wait between them. As I developed as an artist, I learned that simply placing random weight throughout your piece wasn't enough to create uniformity. That comic and manga artist in two masters, it seemed like there worked at an excellent job in telling a story with captivating artwork for bold lines and acute attention to detail. Think about it. It's like putting random lines on a page and expecting it to look like an image. There needs to be more thought put into it, and you'll find that when you're drawing using one value, that's to say brush size throughout the page is going to make it look flat, not appealing. The beauty behind the line value is being able to create dimension with a two D image in the same way shaded light can, especially when you're dealing with vivid minor placing. More emphasis on online here or there can in turn place more emphasis on the piece you're trying to highlight. For example, the subtle outlining of a character can bring them forward on a page highlighting them amongst the backdrop. Simple concept. Thicker lines draw the eye towards them. I like to think that when I add extra bits of details to the work, I'm forcing the viewers eyes to have toe one around page. Being a comic artist, any extra view time to the hundreds of small pictures I draw is ideal. What about creating shadow? Using line? It's possible, but the basic concept is replacing shadow with thicker lines. It's another method of fainting greater detail by creating a continuing between the black lines and white background, or really any color back it 3. Exaggeration and motion: when dealing with something like dramatization, exaggeration and one or two elements in your piece becomes key. For example, let's say you're trying to convey seriousness in your piece. Your character is staring at the viewer with a face that reads, Fear, anger, sadness. Maybe they're standing in the middle of an intense background where someone is gazing longingly into the distance. How do you really hit home the raw emotion you're trying to convey? In the last video, I briefly mentioned using bold line in Place of shadow by adding stark shapes. Your figure. You're only giving them more dimension, but you're exaggerating their contouring as well. So try this instead of cell shading a darker color where shadow would exist. Try filling in the darkest parts of that shadow with the same color you used in your Leinart. It plays into what I said earlier about making more of a piece interesting for the I toe wander around on, but this time we're letting the I figure out where the light is coming from on its own. You can still add cell shading to your figure later on. All you've really done is given your character an extra element. Exaggeration can also be used to convey emotion. Line becomes extremely important when a comic artist is attempting to tell the viewer that their character is swinging of fists or kicking their leg when you're drawing motion. It's one thing to master the post or the sway of the subjects close. But if you're trying to take that motion to the next level, irregular line work can turn a jog into a full out sprint. It could make a slap look like a hard strike. It can turn a punch into another cut. The eye is much better at figuring out what's in front of it that a lot of artists tend to give it credit for. So don't be afraid to break up here. Figure into staggered lines. If you need to walk away and give your own eyes a break to do so, will you come back looking at your piece with fresh eyes. You'll be better at spotting where you might need to fill in some areas or balance one element out with another. The same thing applies when dealing with exaggeration. In fact, it's probably more imperative that you try and break your eyes away from your picture every now and again so you can come back and give it a fresh ones over. So going back on how to exaggerate motion by staggering of long work, try this the next time you're attempting to draw a character mid motion, stop and take a second look at your piece. The part of the body that is experiencing the most kinetics will have a few holes put into his line Work. Then, after establishing the General Line of Motion, begin placing parallel lines in an uneven pattern. If you want at some floaters into the mix, it's up to you to determine what's enough. As I always tell myself, Don't be afraid to make mistakes every artist erases. 4. How to practice: Now that we've gone over the fundamentals of Leinart, I'd like to touch on how to make smooth lines are at least beautiful Ming clean lines Artists tend to have varying styles ranging from smooth and rounded to sharpen angler. But no matter what your style is, it's always beneficial to have the ability to produce crisp line work. One hack I tend to see regularly for the digital artist is the stabilization function that almost every image editing program has. The function is placed there for illustrators that don't have a gift of a steady hand. And after doing some research on the subject, I found it's pretty common that artists just don't have the robotic like wrist it takes to generate flawless lines 100% of the time. So if you fall in this category, don't feel bad your seeming like the rest of us and the stabilization to list there to help you, they say practice makes perfect. But just telling a beginner that practice will magically turn them into an artist is like saying blowing into a trumpet long enough will turn them into a musician. So then how does a brand new artists learned how to clean up their line work. When I began as a sketch artist, my lines were very choppy in scratchy and just generally all of a place. I was trying to create perfect line work without laying out some kind of foundation. In some cases, that can work. But that's only if the artist is okay with their lines being very uneven. Don't get me wrong. I subscribe to that aesthetic myself. When I want my lines to be smooth and clean. I have to put a little bit of extra effort and one or two more layers to better plan out my lines path. So just like a writer has to make a rough draft for editing, an artist has to make a few rough sketches build on top of one another. Go from there. As far as how I learned how to draw long, crisp strokes, it took a bit of training for my hand, and I Have you ever seen sketch compilations or sketch studies? That's an artist way of figuring out how to how different shapes, techniques and lines affect their art. You can do the same thing with your line work, take some time to dedicate an entire canvas to training your hand, make a scribble compilation without having to worry about design balance. Color anatomy. Your hand is free to practice pressure in fluidity on its own. Another practices drawing out simple shapes, circles, squares, apple cylinders, for example, and try to use one or two brushstrokes to do so. This method of repetition is called motor Learning, which is creating long term memory in your hands. Eventually, you'll be able to completely strokes with as much efficiency as a stabilizer functions. 5. The importance of sketching: the last thing I want to talk about is sketching. As I said previously, the process of generating line work not only involves practice with a series of sketches to help plot out your line work, obviously, in order to get started on that, you're gonna need a basic understanding of stuff like anatomy structure, dynamic posing. But we're not talking about that right now. That's for another video. What I got started on here is a commission for a sketch line are which I found perfect for this lesson because it showcases how different layers of rough sketching over time can get re flying down to something. You can clearly define his Leinart, so keep your initial sketches fast in rough when you start sweating. The small details during the first sketch is when you start losing track of the point of that layer, and that's just a plot out your canvas. Get whatever is in your head down on the page as fast as you can. It's common for most artists to use multiple layers, switch things up, edit things, is the peace progresses. The art isn't done until you're satisfied. For example, if you notice that something needs to be trimmed down. Erases line. Extends past where you want it to erase the end. Don't be afraid to make mistakes as you go. It's the experience that teaches you wear folds. New holes in the shirt need to be how to shape the jaw, how to plan on the joints and fingers. And that's the basics of sketching. To conclude this Siri's, I want to reiterate the importance of attention to detail. By that, I mean putting extra touches here and there to better bring your characters to life. I know it contradicts what I said earlier about not sweating the small details, but small details like that will only matter in the final layer. So keep it to the final layer thin lines for small details on the inside of your figure. Thick lines can highlight them. Practice your lines to build that muscle memory. Remember, exaggeration could bring your characters to life. And lastly, keep in mind that it's locator, a race every artist does