How To Draw Mythical Girls How To Draw A Mythical Anime Girl

Sakimi Chan reveals how to paint a beautiful fantasy manga woman using Photoshop

For this painting I'm definitely 
in the realm of fantasy, to the betoken where the proportions, lighting and physics are not in any mode realistic.

I'll exist focusing mainly on how to draw the grapheme. In the past I've found that it'due south sometimes better to exaggerate their proportions and accentuate their curves, which coincidently improves 
the composition.

Usually the use of curves on any character makes them more highly-seasoned to look at, because information technology presents a very smooth and pleasing shape and line to the viewers.

During my art process I attempt to exaggerate realistic lite and brand it more brilliant and prominent, and then that it puts more focus on the character. A grapheme's face is the heart of any limerick and I unremarkably spend a lot of my time on it.

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The face tells the states what the character is feeling and is usually the first place a viewer looks. Naturally, I e'er start 
off with various versions of the image, just to be certain that I pigment a character 
in a strong pose.

My arroyo towards colours is based on how well they complement each other. Warm colours, for example, are vivid and energetic, and tend to advance in space, whereas cool colours requite an impression of calmness, and create a absurd soothing feeling.

The flim-flam is to experiment with merging the two harmoniously throughout the composition. For case, orangish and blueish (or orangish 
and green) are contrasting colours, all the same complement each other very nicely in nature. The overall lesson is that trying out new things and new tools tin can help 
us artists develop our own techniques and art styles.

01. Establishing the limerick

I create the general shape of the character in one color. This is similar to thumbnailing; you desire to discover a shape that complements the canvass.

I create an South-bend that runs down the spine of the graphic symbol. I also roughly block in the hair by making it very loopy and curved, reinforcing the S-curve theme. For this 
I utilize my favourite brush, the Chalk brush, with the Transfer option checked on, for 
a soft, blendy feel.

02. Colour in the thumbnail

I start applying darker tones to the graphic symbol and the background. I paint the background with a darker colour because I desire the grapheme to stand out.

At this point I just want to have a dark solid colour to paint from, because in the next step I'll be adding lighter shades. I employ this approach for blending colours because having a chief dark colour volition consequence in 
a more uniform finish and will add pleasing pink tones to the character.

I'm using the Chalk castor and the brush next to it, which has a bit of texture already 
on it. This is where you start to see a bit 
of texture in the hair swirls.

03. Showtime blocking colours

I start past blocking in some basic colours I desire my character to have. Usually I envision colours that become well together and so employ them to the character.

In this case I decide that orange pilus and green wings combine quite nicely. In real life, people with naturally red hair tend to have light-green eyes or look skillful in green habiliment. I endeavor to paint the grapheme with warm colours, while the background and wings have more of a cool tone.

Unremarkably an image is more than interesting when 
it incorporates contrasting tones. For this step I'm sticking with the Chalk brush and using a bigger castor size to block out larger areas 
of the image, such equally the wings, pare and the dress.

04. Calculation atmosphere to the graphic symbol

A quick trick I utilize during the color blocking stage involves the Airbrush tool. 
I select the tool, set the Color style to Overlay and apply some highlights to the character.

I then piece of work with a larger brush size to cover a general area of the grapheme, then reduce the Opacity to between ten and 40 per cent, depending on the intensity 
of the overall lighting and shading.

This introduces a bit of variation to the colours 
and avoids making the character looking flat.

05. Lighting and shading

Now that I've got a general experience of my character, I focus on the lighting and the shading. I start blending the colours and option darker tones, using the Chalk brush and sometimes my 'Combo 2' brush.

When blending I commonly keep the Opacity at 100 per cent, enabling me to generate more of a solid and crude experience. 
At this stage I'm at present focusing on establishing a crude overall low-cal and shadow pass to the character.

Keep in mind that if the opacity is lower than 50 per cent for any castor y'all utilise, the blending will be smoother and more even. This blazon of blending is used more towards the end of the process, when I'm finalising parts of the image such every bit smoothing out peel or clothing.

06. Blend and fix

At present that I have a decent rough base information technology makes it easier to find faults in my image and I start changing any elements I find that I'm unhappy with.

In this case I decide to brand her right shoulder more visible, making her wait as if she's leaning towards the viewer a little. 
I start to refine the wings and start blending some of the chemical element of 
the character, such every bit the confront and the clothes. I'll employ my ii Chalk brushes and the two Costume brushes.

07. Focus on the wings

Now that I'm happy with a crude blending of my work, I start blending and smoothing each area of the character. I commencement by refining the wings; here the wings of an insect really inspired me then I decide to make the wings translucent.

I so get-go adding some lines on the wings while picking up some of the background colour and painting it direct onto the wings, therefore making them translucent.

For case, I'm picking upwards some of the dark-brown tone of the tree and painting it onto the wings. Finally, I start calculation highlights at the edge of each fly lobe, which makes the wings stand up out.

Side by side page: eight more steps to creating a fantasy manga female...

Source: https://www.creativebloq.com/digital-art/how-paint-fantasy-manga-female-101517378

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