Crée ton processus de dessin pour un style artistique unique

Each artist has his own way of drawing and creating, it has a big impact on their style because we make choices and we determine the important steps in our art, and most often unfortunately beginners do not have this way of proceeding, so they go a little bit any way, while it is super important because it allows you to have a much more structured drawing, clearer world and with a very personal style effect. So I welcome you to the HitArt channel, I am Kyon and in this video we will see how to create your own character drawing process. So let's go, this is live model drawing, live model according to photos, so as usual at home, this is still the coronavirus so we are at home, we can't go to the workshop unfortunately. So my process is very very simple, I start by drawing a bluish sketch in blue and then I redraw over it, I work by layer, we call it layer in English, but hey it's not too much layer than in French, knowing that I have a whole step before observation, I take my time to observe, observe, observe and place the elements where they should be and I measure, in fact I take my time to measure with the pencil and with my fingers. So it's super important, I usually look for the middle, that's my observation process, let's say a passive process, something with the eyes, it's done, your drawing, the accuracy of your drawing is done at 80% here, so take your time. Then you see, I structure my drawing in a very very very simple way, in the silhouette with the lines of rays. In fact this way of doing it has a big impact on the final result because I will mainly draw the movement, as I often talk about it, it is the first thing to do is to look for the movements, understand the movements, understand the history of the pose, what a story tells. So here we could say that it is a woman who is sitting on a chair and who is posing. You can create a lot of stories and so obviously if you add a character, if you create a character with a story, there will be accessories that will accompany the story. So here we stay simple in the pose and we try to have at least the right proportions. If you do a work on realism, if you are in cartoon, obviously you can modify some proportions and so obviously the first layer with light blue pencil allows you to test shapes and erase, make mistakes, stay very light. This is the second step, so modify the elements. Then the third step, what I often do is when we are on realism, so I check the volume well. Sometimes we don't need to check the volume because you are in 2D, cartoon, a little bit Franco-Belgian, but here we try as if I had to sculpt it, that it must have the right volume, so I often make shortcuts. You see that I had made a circle arc just on the left there, in fact it allows you to structure the silhouette first. It's like you're starting from a big block of stone and it allows you to compose and rebalance the composition of the model. So here I go again, I'm going to take a polychromos, a little bit of Bordeaux, a little brighter than Bordeaux. There I restructure the drawing well and I often start with the head like that, I tell myself that I detail the maximum in this area and then I start by drawing the outline and the shadows. You see I go very slowly at the start, there it is especially to structure and determine, I don't draw it in more detail than the head, so I start with the head and then it becomes more natural. And normally I do the same steps as the previous videos, if you want to see the same steps, if you want the more detailed steps of what I do, you will watch the previous videos. So here you see I give it an outline on the shadows and you see I try especially to capture his gaze, his gaze because it is important, so in addition it is post-photo so it's interesting. The problem with the gaze is that in a living model, with a real model, the gaze changes a little too often so try to quickly capture his gaze and then it's easier. You base yourself on this gaze to work on the composition of your drawing. Then we continue with the line, there it's interesting because you see with the red we distinguish well with the blue at the bottom so it's a little easier to draw in this way. You see if I started with a blue color to make the final rendering, I start with yellow, you will have a difference of color, it's a little more interesting and much easier to see. You have to know that often the professionals when they draw, by force of drawing, by force of drawing, in fact they do not do this process of very blue, they go directly to the ink, to the final ink, but in fact they spent a lot of time drawing with several layers. I do it because I like it and it allows you to test designs. I know that Stephen Silver, one of my favorite artists, is the one who draws the characters of the anime Mission Impossible and he does a lot in his sketches of several layers. For example he starts with red and ends with black, I prefer blue. You also have others like Kernias who starts with blue and ends with fusion. After others too, he remains pencil, then it's fusion. The process is a little bit like you want. Then there is also in terms of material which is important in the creative process. For example I am more on printing paper because it goes well with colored pencils. I do not recommend sandpaper with colored pencils because you will need to press too much on it, it is really really not recommended. So take sandpaper. In English it's smoothed. In America you only have this paper which is smoothed, which is 100% smooth, so there is no grain. So that's great for drawing but that's not in France unfortunately. So the smoothest paper is the printing paper. I advise you the Clairefontaine if you want, it's the best quality paper. After the quality, we don't care, you can even take recycled paper. But as long as it's smooth for colored pencils, it's interesting. Obviously you can't draw on fusion on sandpaper, it's not going to stick. It's not going to stick the fusion. Then here I like to do the backgrounds. I like to do square backgrounds, a little bit of anything and not surround the character. Often the classic way is to color the background in its entirety, uniform. I like to make squares like that. It's inspired by minimalism in the background, where there are only squares. You also have Watts, I know that Jeff Watts, it's a drawing of Jeff Watts that I copied. Jeff Watts he puts drapery behind. He does the drapery to mix the composition. It's very interesting. And you see, I harmonize it with the background and the shadow of the model. That's what's interesting and that's how we're going to go more and more in the gradient afterwards. But you see, I stay between, I pay attention here to this step between the background and the shadow. I assimilate the model with the background. It allows you to design, to modify the shapes and give much more interesting shapes than that. For example, on the model's left arm, compared to the model, it's on the right there. The drawing, the line, it fits into the shape. It's as if the model has been bitten. But in fact, it allows you to give more volume to your body. Then at this stage, you see, I really work on the outline. I give a lot more strength to the outline and harmonize the background at the same time. I'm looking for a few lines that can add volume to all of this. I'm not working on the illuminated part of the model yet, but in this process, we work well on the shadows and we flatten things well. We just try to have a line, to make things interesting, just with a single value of shadow. The game is to give interesting shapes in this way, without going into the details too much. And there you see, I'm starting to blur. This is where we draw shadows. This is a very painterly way of doing this. It's as if I was holding a brush. I think it was Tim, I don't remember who, who said to see his pencil as a brush. And that's his way of doing it, it's to see his pencil as a brush. In fact, he draws, but in fact, he thinks he's painting. And when you paint, you really work on the value. When you have this impression of working, of drawing, as if you were painting. And really, we work by mass, by area, and we go into the gradient more and more. There, I went into the gradient. I hope you see. I think I was a little too enlightened, so we don't see the gradient that I'm doing. But here, I'm trying to degrade well. Here, with hindsight, I tell myself that my drawing is a little bit bad, not proportionate, but in perspective, maybe a little weird. I see in another screen, so I notice all my mistakes. That's why you have to get used to seeing your drawings on other media. On other media, that is, you take a picture, you look, you look elsewhere, or else you reverse it, you look in a mirror, it corrects your mistakes. And in fact, you're used to it. In fact, when you draw, you easily fall into your mistakes. So find a way to look at your drawing differently to correct it. Often, artists have the process of looking at the drawing backwards and also comparing the values. That's interesting to do. And here, I'm doing the gradients, you see. I slowly go into the gradient. And there, it's the part where I like the most, in fact. In fact, we rebalance everything a little bit. You see, that's why it's interesting to do the steps. I repeat, often the steps are super important. Even with the steps, of course, we make mistakes. But you see, there is always a rebalancing to do. But if you don't do the steps, you will see that the rebalancing of the values ​​takes a lot of time. And that's what's hard. So it's important to do the steps. I remind myself again, but it's super, super important. The steps, the steps, the steps. And that's also how you stay organized in your way of creating. And also in your way of creating your style. Because each step has a style, determined in our style as at the beginning, with the movement drawing, the gestural. Then you saw that I used a brush to blend a little. In fact, it allows you to spread the value and harmonize everything. I like to draw, but especially with the date, but not with my first name. Because a drawing, you know that you did it. So no need to draw with your first name. If you like it, I advise you, don't forget to subscribe to this channel. And if you want to go further, to learn how to draw characters in a much more professional way, there is a small link in the description. You click on it and it tells you how to receive my advice by mail. It is by mail that I detail more the notions. Like that, you can write and I think it can also help you. It's like a class. So I'll tell you right away on the link.