There are multiple ways to separate a drawing with line weight, even within the same drawing. Watch the full lesson here on RU-vid! #drawing #art #shorts
This is very common in old animation: any object that a character is interacting with has a very heavy outline, and sometimes looks like it's on a completely different layer to everything around it, so it draws your attention😊
As a child, I noticed that the backgrounds in old cartoons were often painted. (Tom & Jerry comes to mind.) So, any background element that had flat colors and a different outline was very obviously going to come into play later, because it was drawn to be animated, unlike the static elements around it. I think in those cases, it would have been better if they weren't noticeably different from the background, which would have made it harder to predict what's going to come into use later. But they would only be able to achieve that by simplifying the background to the style of animated objects, and I quite like the painted environments. I bet the animators and artists did too, since they decided to go with that instead of simplification.
Coloring a drawing used to be my favorite part of the drawing process but after learning how to do linework properly it's actually the funnest and most relaxing part to me. Sometimes I don't even want to color my drawing because I prefer just the linework. 😅
I remember doing this to my art in Jr high. My art teacher graded the drawing with a note that said 'dark lines don't make art". 10 years later, and it's a part of my artstyle. 😂
It's really tough when art; a subjective medium where you can draw practically whatever the heck you want, now being walled in, funnelled through the hell that academia in general, is. Art in academia for me in my own experience was nothing short of hell. Still am recovering from the burnout from associating drawing from something I enjoyed doing because it felt good when I drew something that tickled my brain in a nice way, to something I was forced to do, to stress severely over and I'm out here, feeling like an actual ghoul from fallout. But yeah, your teacher's words were utter bullshit, even 10 years after the fact and I am overjoyed you managed to give the middle finger to them 10 years later. Fair play.
The koi fish tattoo on my leg I designed like this; the koi itself has the thickest outline, the (japanese style) waves he's swimming through have a thinner outline. So do the cherry blossoms trailing it. (Did the same for a traditional b/w rose tattoo + a traditional style b/w diamond) I love that it emphasizes the shape - and it draws your eye to it (even though roses and diamonds are some of the most basic oldschool tattoo elements you can have tattooed) Also: No mention of Alfonse Mucha? (: (I was kind of expecting that) Love the explanation, though.
You’re soo right mentioning your tattoo. For traditional and neotraditional tattoo artists this method is a daily basis. It came from ukiyo-e art and the one and only Alphonse Mucha (fist neotraditional artist imho😉)
@@evilyvonne Do you mean it's normal for traditional / neotraditional Japanese style? Because I'm fairly sure western traditional (sailor tattoos and onward) don't ever do the 'thick outer edge' thing; It's more like thick, consistent linework (#5 or #7 liner needle).. For both the rose and the diamond, the bosses of the 2 seperate shops basically told the guys that were inking me "what the hell are you doing? That is not how you're supposed to tattoo that", after which (both times) I had to explain that I specifically asked for the thick outer edge... That it was my own design... After which they, in turn, made their apologies (to the tattoo artists - both apprentices at the time - not to me, of course ;) They thought I was an idiot. But I still love those tattoos) As for the ukiyo-e; I think I have seen examples of what you mean, but the 'thick' outer edges were a little more subtle there. (Oh, and according to tattoo artists, my koi is an abomination. Haha ;) . It's based on Japanese traditional stuff, but more 'illustrative'.. more 'blocky'/angled linework than smooth curves, if you know what I mean.. And the koi's eye looks fierce / menacing, because a traditional fish eye looked too tame for what I wanted. All abominations, and 10+ years after... I still love them all. They are exactly what I wanted :)
TYSM! line art my absolute favorite. But the difficulty with it is that the width always represent shadows and forms also. Not an easy way to draw from life. Plus it needs a huge amount of creativity.
IMHO, line hierarchy helps a figure/ object read quickly and smoothly (it's my jam), but it was way too "pre-meditated" for an artist like Kim Jung-Gi to use consistently, often requiring multiple tools/ PS brushes. He really seemed to value a more stream-of-consciousness style, with his one brush and some homemade ink wash. Instead, he seemed to have used it as a loose guideline and made sure anyone who spent extra time visually processing his art would have tons of delightfully textured detail to digest. For him, it was probably an easy trade. 🤙🏾
I'm in art school and trust me when i say i learn more from you than our professors, please keep posting these amazing shorts it's so informative yet short and straight to the point. Thank you so much
I always used to play a game with myself when watching spongebob that involves the use of line weight in the shows art. If anyone has ever seen the show you've probably noticed most of the background art has very little if any line weight at all. But objects that the characters would interact with would often stand out a bit more. So I'd try to guess what objects in the scene would be interacted with before they are actually touched by the characters. Weird I know but it was kinda neat to see.
He's no longer teaching us just drawing. He's teaching us philosophy and way of life. Contrast, emphasis, changing the emphasis. Just like how you, in tough times, have created the contrast between yourself and the world. Reversing that. Looking outside. Emphasis on the details of the environment outside to understand the intricate details left out by you. Heavy on the outside is just one way to organise line weightage.
This is literally the only time anyone has explained this to me. Everytime I looked for tutorials on line work, I would get told to just practice until I figure it out. Thank you so much!!!
I found a collection of Mucha’s ad work on lithographs at a library sale and have been absolutely obsessed ever since. Can’t believe how many fonts and designs he innovated.
Any time we show the work of other artists, you'll see their name shown on screen. You can see the name of the two other artists featured here in the upper left hand corner.
maybe it can also be used to hide an easter egg in a picture by having a different exaggerated item, making that item be focused on more than the secret.
I first time noticed that in my childhood when I used to watch a cartoon named something like 'Kemon nache'.. I was never sure of it's name.. Cuz he used to dance in the intro and sing this name 'Kemon nache'. I thought his name was 'Kemon'..and 'Kemon nache' means 'Kemon dances' cuz 'nache' means to dance in hindi.. 😅 Edit: I just searched it on yt and his name is 'Keymon Ache'.. I was soo close 🙈
Next part of this lesson wpupd definitely be how line weight indicates shadow. The contour line can vary in thickness to show where the light source is coming from.
You're right! It's in there! You can see the full lesson right now on, here on RU-vid: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7m3wGbPMSUY.html
In cartoon when they were finding a book or something in the bookcase, I would almost always know which one it was because it was outlined since it's going to get moved unlike the background.
