how to draw 3d om
Understanding the figure
To describe a pose correctly, you don't need to e'er carry an anatomy volume with yous. It's not as hard as it seems: observation and practice are your all-time tools. If at any indicate you get curious about trying something new (which I hope you do), information technology never hurts to take a expect at that beefcake book.
Even if your drawing style is far from realistic, the aspects that make a pose interesting and credible remain the same: strength, rhythm, action lines, construction and perspective.
Observation:
Your closest reference is yourself. If you look at yourself in front of a mirror and start moving, you volition observe that your body works as a single element.
When yous raise an arm, the arm is not the only function of your torso that moves, unlike how the removable extremities of dolls work. The changes in your body don't resemble figure A, right? For instance, your shoulder also lifts, and many other parts of your body accommodate to the move every bit in figure B.
This is what observation ways: paying attention to the details and characteristics of the body.
Forcefulness and rhythm
Your characters move thanks to their inner force. They tin can walk, jump, trip the light fantastic… whatsoever comes to mind! But unless they are floating in infinite, it is not the merely forcefulness that acts on them, equally gravity makes their feet stay on land.
When 2 or more forces interact with each other, a rhythm is set, which provides balance and sense to the movement.
If your character is pushed to the left, his body volition fall in that management (A), unless he puts up resistance to stand (B).
If the character wants to pull something that refuses to move, his trunk will lean in the contrary direction. Obviously, once the cat gives in to the strength, your grapheme volition fall, as the cat was what kept him standing.
Force and rhythm provide a lot of visual data you lot tin work with: the weight of your character (one), the residual of his pose (2) or the lack of it (iii).
Action lines
The action line is the imaginary guide that indicates your character's movement. It focuses on actions and helps to unify the whole figure.
Below you can see a couple of examples where strength, rhythm and activeness lines interact together.
Example 1:
The graphic symbol (1) has a relaxed opinion, resting on her correct arm. In the figure (2), we can encounter her action line, which covers her whole torso upward to the human foot. The shape is slightly similar to an S.
We can see it is a relaxed pose because her weight rests on a single signal (3) and all she needs is to go on the balance with her left foot, which remains taut while the right one is resting.
Case 2:
The next pose is more dynamic, so in that location are more things going on in this prototype.
This fourth dimension y'all can run across three action lines, only the most of import are (one) and (two), the ones that really tell the story. The first one covers the whole figure from head to toe, and the 2d one goes in the reverse direction, keeping the remainder and forming an Ten. The third i simply provides greater stability to the pose.
In this cartoon we tin can encounter that in that location is a force that pushes the character in the opposite direction to her gaze. Elements such as the hair, the clothes and the grit on the floor suggest that the force comes from the right side, and as these elements are low-cal, they are affected by the speed with which this forcefulness acts.
However, this girl wants to overcome this force with her own strength. She has no intention of losing the fight.
Instance iii:
This time, our character is a baseball player. He'southward spinning his trunk to become enough momentum and counter the brawl's force to striking it far abroad. Don't you go the impression that it will be a dwelling run even though y'all haven't seen how the scene ends nonetheless? It's the magic of apprehension. If yous know how to properly handle the strength, rhythm, and activeness lines correctly, you lot will be able to guide the spectator along the path yous accept set. This is very important for any comic artist.
Information technology's of import that y'all don't overpopulate your drawing with too many action lines, because it could confuse the character's intention, make the strength go in unlike directions, and take the accent abroad from the most important activity.
Structure
The body is quite circuitous and information technology is difficult to draw right proportions and move away from the 2D plane. I recommend you shape a base that helps you discern the volume of each element. To do this, we will use geometric figures such as spheres, cubes and cylinders to represent the structure of the body.
These figures tin can be freely rotated, stretched, flexed, and twisted co-ordinate to the pose.
These figures stand for the direction of the different elements of the torso. Yous must pay special attention to the limits of the joints, since at a certain point you have to turn or twist the body to keep moving in that direction, changing drastically the pose.
With practice, this process gets simpler. The better you sympathize how the figure works, the fewer guides you will need.
Perspective
Perspective turns the second plane into a 3D one and adds more depth and visual richness to the composition than just looking at it from a frontal plane.
The middle level or horizon line represents the actual height of the viewer'due south eyes (i), and the vanishing points are the lines projected from a betoken on the horizon (2). The following image has a perspective with two vanishing points with which we tin can appreciate two faces of the figure.
The trunk is more intricate, but the principle is the same. For example, this effigy's anxiety and hands are smaller due to the perspective, and fifty-fifty suggest us how we should project the vanishing betoken lines.
Action poses always wait more dramatic when the perspective is exaggerated. Even when the poses are not entirely realistic, the figures seem credible and the scenes look more interesting.
I recommend you to practice and read about perspective as much as possible, as it is non something you tin master in a solar day. Analyze as many references as you can. Somewhen, you'll end up seeing vanishing points everywhere.
Essential lines
You lot tin can speed up and improve your observation skills by drawing poses using photos or actual people equally a reference and setting a short time limit for it. The aim is to capture the essential data of the figure and, of form, to draw as many poses as possible.
This practise volition also help you to increment your confidence when drawing. Don't be afraid to draw the showtime line, and even if you lot brand a error, avoid erasing the lines. Try to focus and draw clean, clear lines.
Below you can see some examples of poses that I accept drawn within 45 to 60 seconds:
At get-go, focus on drawing the whole body with smooth lines. Then, if you have more than time, detail and build the shape improve.
Don't be afraid to describe what you don't see or what is hidden, equally information technology volition requite yous a amend idea of the figure's structure.
Try to exaggerate the lines. It makes them softer and more credible, yet crazy information technology sounds.
Unless the model is in a very rigid posture, attempt to avoid directly lines. The most natural poses are built with curves.
I hope these tips have been helpful!
If you want to run across more of my work, from these links you tin access my social media pages and my portfolio:
https://world wide web.instagram.com/eri_duh/
https://twitter.com/eri_duh
https://www.artstation.com/eridey
Cheers so much for reading this article!
– Eridey
Source: https://www.clipstudio.net/how-to-draw/archives/156164
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