we are going to be learning about line art so for line art there are two very minor things you
usually want to keep in mind with lining so the very first thing is your line weighting changing
the thickness of your lines is what line weighting is right so you know a lot of line art that you
see not everything is the exact same thickness line weighting is when you have different
thicknesses and different sizes of your lines that you're using so this is no line weight right every
single line is the exact same width all the lines have the same width here this has line weighting
the line weighting is changing the thickness of your lines a lot of artists will say you know you
need to have light weighting you always need to have line weighting that isn't necessarily true
don't have to have line weighting but you don't have to have line weighting but it can
add new dimensions to a piece if you do decide to add in your line weighting right but sometimes we
don't know where to add our weighting so this is when our line hierarchy comes in our line
hierarchy determines where lines should be thin and thick so our hierarchy kind of how i've set
it up for myself is that you have your main silhouette the silhouette of the main subjects
and then you have your main sections so like the head the arms clothes etc
bigger details and then patterns and minor details so that's kind of what we want to think
of when we think of our line hierarchy it kind of helps organize certain areas and it also
kind of helps the eyes move around your canvas a little bit better if everything is the exact same
thickness it can get a little bit messy but if you don't use line weighting how do you separate it
well it's easy it's with color distinguish with color so that means you'll be using different
colored lines so say if you had like your main silhouette maybe will be in like a really dark
color your next main sections will be in a color that's closer to your base colors bigger details
even closer and patterns and minor details you can use like no lines at all right you can just stick
to only color for that section that's all kind of up to you how you decide to weight your characters
or how you decide where you want the eyes to go in certain sections how much weighting you put
on your lines how thick you make them as a base is all up to you right it's all about style so there
was a poll that was on our community for what kind of character i would be designing and illustrating
and this time around everyone voted for royalty so i'll be drawing a more royal character with
very intense line art but i'm not just going to draw somebody in a dress or somebody like
you know wearing the royal fancy clothing right i want to kind of make it more interesting i'm kind
of feeling inspired by a more fantasy something a little bit more fantasy-esque because you know
royalty doesn't necessarily mean they're always in the same european dress in the same european
country royalty can be anything there's so much you can do with just the concept of royalty
so i'm kind of in this kind of serpenty mood with some kind of fantasy royalty you know
i'm trying to stay as zoomed out as possible so i don't get too caught up on certain areas though
i do know that i will have to get caught up on certain areas during the line art section because
i want to make this very very intensely detailed so i will be zooming in a lot for this one
so i'm going to do a couple of sketch passes because i want to kind of figure out where all
the details are going because especially when something is a little bit more detailed i like
to kind of figure it out as a sketch first before i actually get into the final thing
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feeling a bit like a kind of chinese dragon kind of centaur character centers are such a cool
concept and i love when artists do like centaurs and griffins and everything of like other animals
one of my favorites is like when they take owls and then combine them with like just house cats
those are my favorites
the reason why i keep making it longer and longer even though i have some room is because there's
something called choking and you don't want your piece to be choked that means that it's
too close to the edges of your canvas right so if your piece is choked then it can feel very very
close and very constricted to the edges of your canvas and that's something that you don't want
so you need to be kind of wise with how your piece is centered adding too much
room however to a piece you want it to be close enough so it fills up the whole canvas
but if you make it too far away from the edges it can feel like you're wasting space
so you kind of have to know where that balance is because if you make it too too far from the edges
then it just feels like you're wasting canvas size it can feel a little bit empty you know
so now moving on to sketch pass 2 which is when i'll start to block in more details
i'm also going to have to work with a lot of clothing folds for this one
so it's going to be a lot of kind of secondary lines
so yeah i'm trying to make this illustration very very intricate just the character herself because
i want to focus online work and intricate line work and stuff like that because i love lighting
it's gonna be a lot of fur fur is something where you really need to know how to line
i don't like to take too long with my sketching but now we can get into
the lines so now i can get into actually cleaning everything up
and some people are always like oh man my line art looks terrible after i do all my stuff how
do i fix that well my friend you just gotta turn off your sketches every once in a while because if
you keep your sketch on the whole time you won't be able to see what your lines look like without
the sketch and that's very very crucial right you kind of need to know what it looks like so
constantly be checking without it the face is where you want to be the most careful because
the face is what the eye will lead to first 99% of the time so if you ever want to figure
out where you need to be the most delicate with your lines the face is 100 like almost number one
i have a ton of references off to the side for this character
that i'm drawing right now so don't worry references your best friend
here's me using the line tool because i'm too lazy to do this properly there we go
we are getting there we're getting there
i need to fix her lines actually up here because i should make this a little bit thicker here
so this tail segment i'm using my whole arm to line because it's a long kind of flowing line
right these kind of bigger segments here's where i start to use the undo button more
um these bigger segments are where you want to use your whole arm instead of just your wrist
because it'll get a nice flowing motion it also save your wrist a little bit more
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