Colour Notes
Practical visual direction for warmth, contrast, softness, and expressive character design.
250 articles · Page 11 of 14
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Restriction removes the poses a composition normally relies on, which is a design problem before it is anything else.
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Nothing on a moving body arrives at the same time. The gaps between arrivals are where believability lives.
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A sheet keeps a character consistent and can quietly turn her into a stamp. Both happen, and the second is avoidable.
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The hardest thing in drawing is a form coming toward the viewer, and the solution is not better observation.
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An hour spent comparing your characters as black silhouettes will find problems that a year of drawing will not.
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Every drawn style exaggerates something. Choosing what, and how far, is design; drifting into it is not.
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Rope, lace, chainmail, lattice. Repetition is where hours disappear and where shortcuts are most visible.
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Three materials that beginners paint the same way and that behave completely differently under light.
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Larger bodies are drawn badly for the same reason feet are: nobody practises them, so shorthand fills the gap.
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A thumbnail is a decision tool. Working small forces every choice that matters and forbids the ones that do not.
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A short loop is watched dozens of times in a row, which is a completely different demand from anything else in animation.
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Transitions are the joins nobody notices until one goes wrong, and then they notice nothing else.
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Without clothing there is no wardrobe to characterise anyone, so every job clothing was doing has to be done another way.
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Faces get a thousand hours of practice and backs get none, which is why so many otherwise good drawings avoid turning anyb...
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Speed in drawing comes from removing decisions, not from moving the hand quicker. Most of it happens before any drawing starts.
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Adaptation is not translation. The page controls space and the screen controls time, and everything follows from that difference.
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The first line of a drawing decides more than the next hundred. Most stiff figures were stiff from the first mark.
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The most-watched part of an intimate scene is the part before it starts, and it is usually the part that gets the least attention.