CWKL0068 - Girl Samurai

• Tools used: Wacom Cintiq Pro 27", Clip Studio Paint

CWKL0074 - Elden Ring Reimagined - Latenna, The Albinauric

• Tools used: Wacom Cintiq Pro 27", Clip Studio Paint

CWKL0078 - Piercing Gaze

• Tools used: Wacom Cintiq Pro 27", Clip Studio Paint

CWKL0085 - Pippa in Space

• Tools used: Wacom Cintiq Pro 27", Clip Studio Paint

CWKL0087 - Little Aomame in Air Chrysalis

• Tools used: Wacom Cintiq Pro 27", Clip Studio Paint

CWKL0088 - Punk Girl

Tools used: iPad Pro 2024 with Apple Pencil Pro, Procreate, Photoshop

CWKL0090 - Ultimate Bunny (The First Descendant)

• Tools used: Wacom Cintiq Pro 27", Clip Studio Paint

CWKL0095 - Freyna, The First Descendant

CWKL0107 - Tools and Smart Effort

Front view. Slightly tilted low angle. A 30-minute practice session before going to bed.

CWKL0109 - Three-quarter view

I've started shading, but just lightly for now. I'm still not very confident with my line art. Without shading, line art alone misses too much of the essence of the subject. However, immersive shading takes too much time and defeats the purpose of practicing line art. So, I'm trying to find a balance between the two. Most of the shading is done in Photoshop.

CWKL0111 - Reversed three-quarter view

CWKL0113 - Three-quarter with Line Art Weighting

I tried all three line weight methods: hierarchy of importance, light and shadow, and depth and form. Challenging but pretty satisfying.

CWKL0114 - Mantis, the Vengeful Badass

Sketched from imagination, inspired by a mantis in my terrace garden, sporting a killer ass.

"Chaos Witch Quelaag" from Dark Souls and "Romina, Saint of the Bud" from the Elden Ring DLC also contributed to my imagination.

It's been a great exercise. Inspiration -> Research -> Explore Ideas -> Sketch -> Final Design.

It was a simple one, but the process would be just the same for any work.

Remember, there is no 100% original creation. You create something new out of something you've experienced. You can't create anything out of nothing unless you're a god.

CWKL0116 - RJ1042 - Semi-profile, High Angle

• R.J. is my original character for the sci-fi series "The Debugger." Her line art is still in the works, but I'm practicing her head construction from different angles.

In contrast to a low angle where the chin rises as much as the eyebrow line from the center, at a high angle, due to the head's rotation axis, the chin goes down less than the eyebrow line from the center. Therefore, simply adding the distance the eyebrow line travels from the centerline to the chin won't give you its correct position and will make the whole head look off.

If this is confusing, look at the rotating head from the side, at a profile angle. After a certain point, the chin starts to move in towards the neck.

From the eyebrow line down, the facial features wrap around the head following the tilt implied by the slanted eyebrow line, with each distance between the features decreasing as they move towards the chin. But don't go overboard with the distance unless the angle is extreme.

Nostrils are not visible from a high angle, but visually, a hint of the nostril might look more appealing.

High angles come in two flavors: the character tucks in the chin, or the camera itself is angled down from above.

When the character tucks in the chin, rotating the head down, the shoulders still face front, but the head tilts down.

When the camera is angled down from above, the shoulders should reflect the perspective of the camera angle.

If RJ tucked in her head with the camera still facing her from eye level, the shoulders would be parallel to the ground. If the camera is angled down from above, the upper plane of the shoulders would be visible.

Moreover, if the character is looking up or down, the neck muscles will reflect this one way or another. When the camera itself is angled without the character moving, the neck muscles will stay neutral.

That's the difference between the two high angles.

Tools Used

Blackwing Pencils, Prismacolor Erasable Colored Pencil, Canson Sketch Book, Wacom Cintiq Pro 27", Photoshop, Stable Diffusion

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0117 - Female Skull - Front View

The Maxillary Sinus Ostium is a small opening or passageway that connects the maxillary sinus (a large air-filled space in the cheekbones) to the nasal cavity.

• Maxillary Sinus: This is one of the four pairs of paranasal sinuses, located in the cheekbones. It helps lighten the weight of the skull, warm and humidify the air we breathe, and enhance our voices.
• Ostium: This term refers to the small opening that allows for drainage and ventilation of the maxillary sinus into the nasal cavity.

In the context of drawing or understanding facial anatomy, this opening is generally not visible because it's covered by soft tissues, such as fat and skin. It's more relevant in detailed anatomical studies or medical fields rather than in typical portrait drawing. As people age, changes in skin elasticity, fat distribution, and muscle tone can affect the overall appearance of the face, but the maxillary sinus ostium itself remains hidden and doesn't typically become more prominent.

The most prominent features from the front view include the zygomatic arch, the nasal bone, the frontal bone, the mandible, and the maxilla. The maxillary sinus ostium is not visible from this angle.

The keystone area of the skull is the area around the nasal bone and the frontal bone. It's called the keystone because it's the central piece that holds the rest of the facial bones together. The nasal bone is the most prominent feature in the center of the face, and the frontal bone forms the upper part of the skull. Note that the nose is mostly composed of cartilage and soft tissues, so it's not part of the skull itself.

When you speak or chew something, only the mandible moves. The maxilla is a fixed bone that doesn't move during these activities. The mandible is the only movable bone in the skull, allowing for functions like talking, chewing, and facial expressions.

In movies like The Mummy or The Mask, jaws drop as if they melt or dislocate. In reality, the mandible is a strong bone that doesn't dislocate or move as freely as shown in movies. It's connected to the skull through the temporomandibular joint, which allows for controlled movements like opening and closing the mouth, chewing, and speaking. Essentially, you rotate the mandible around the temporomandibular joint, not dislocate it. That is, when you draw a character with an open mouth, remember that the mandible rotates around the temporomandibular joint. Don't let the jaw just drop like a rock.

The eye sockets are slanted downwards from the front view and pretty large to hold the eyeballs. Only part of the eyeballs are visible with the eyelids draped over them. The eye sockets are formed by the frontal bone, the zygomatic bone, the maxilla, and the lacrimal bone. The zygomatic bone is the cheekbone, and the lacrimal bone is the smallest bone in the face, located near the tear ducts.

All these landmarks are essential for drawing realistic portraits or understanding facial anatomy. The skull is the foundation of the face, and knowing its structure helps in creating accurate and detailed drawings.

Even if you don't shade or render the skull, understanding its structure and features can greatly improve your portrait drawings. It's like knowing the blueprint of a building before adding the details and decorations. The skull provides the structure and foundation for the face, guiding the placement of features like the eyes, nose, and mouth.

For instance, the jawline you draw is not just the silhouette of the lower face. It's the outline of the mandible, the bone that forms the lower jaw. The cheekbones you sketch are not just random curves. They represent the zygomatic bones, which give the face its structure and shape. More importantly, these lines are not 2D lines on paper. They represent the 3D structure of the skull, which gives depth and form to your drawings. The chin line should jump out more than the receding mandible line, for instance.

Don't mindlessly trace lines of the facial features. They all have volume, mass, and depth. Consider what every line or even a single dot represents in the 3D space. A drawing session is a never-ending decision-making process.

Line weighting is the best example of this.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0119 - Three-quarter, Extreme Low Angle

That should be the limit for a low angle view. I tried pushing it a bit further, but it looked awful. I get that there's a need for such angles, but who wants to show nostrils all the time? 🤣

I also tried to reinforce some insights from the master studies, specifically Takehiko Inoue's hatching style. Didn't dare to ink her hair, though. That's a whole different level of meticulousness on paper. I'll stick to digital for that.

Workflow

Three-quarter, extreme low angle to my tolerance limit.

A 30-minute practice session before going to bed.

Manual drawing refined in Photoshop

#cwk_1000_lineart_self_assignment

Tools Used

Blackwing Pencils, Prismacolor Erasable Colored Pencil, Canson Sketch Book, Wacom Cintiq Pro 27", Photoshop, Stable Diffusion

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0125 - Portrait, Observational Drawing

CWKL0129 - Head Construction + Observation, Semi Profile, Low Angle, Tilt Up

This should be one of the most challenging angles to draw. Not refined in Photoshop or AI-feedback yet.

Just wanted to gauge how far I could go with head construction and observation combined.

I'm pretty satisfied with my progress so far.

Workflow

Hand-drawn head construction/observational drawing practice. Semi-profile, low angle, tilt up.

A 30-minute practice session before going to bed.

1. Manual drawing as is.

#cwk_1000_lineart_self_assignment

Tools Used

Blackwing Pencils, Prismacolor Erasable Colored Pencil, Canson Sketch Book, Wacom Cintiq Pro 27", Photoshop, Stable Diffusion

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0133 - Mathilda, Observational Drawing

It's still challenging to achieve likeness using graphite without additional shading in Photoshop.

I'll be switching to smoother paper for better results. Croquis paper is too rough for detailed shading and blending.

Tools Used

Blackwing Pencils, Prismacolor Erasable Colored Pencil, Canson Sketch Book, Wacom Cintiq Pro 27", Photoshop

CWKL0138 - Three-quarter View, Graphite Shading

To manage all the necessary values naturally from a value scale with at least five steps, you'll need an appropriate range of pencils. Start with a 4H. Avoid using a 2B or softer pencil until you're confident with your initial blocking. As you progress, gradually move to pencils with higher hardness. The quality of the paper is essential because it affects how well it takes the graphite and responds to the pressure applied. Removing graphite is just as important as applying it. Low-quality paper won't allow you to remove graphite effectively, leading to a muddy appearance in your drawing.

This was a practice session to figure out my own shading workflow on paper using graphite pencils without any digital refinements.

It was pretty rough, but the sessions gave me enough confidence to move on to the next level.

The only obstacle would be the amount of time I can dedicate to the process.

Workflow

Three-quarter View. Observational drawing with head construction. Graphite shading.

Not refined.

Tools Used

Blackwing Pencils, Strathmore Smooth Paper Sketch Book

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Faber Castell Pencils: 4H ~ 6B

CWKL0139 - Self Portrait

It's my first attempt at drawing myself—pure observational drawing from a reference photo I took while on a train to or from Matterhorn in Switzerland.

In terms of shading, it's not much different from using graphite on paper. You can use just about five values to create the illusion of depth and form.

Workflow

Self Portrait. Observational drawing from a reference photo.

Not refined.

#cwk_1000_lineart_self_assignment

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0142 - Sakura

One of the most challenging portrait angles is any smartphone selfie. The distortion and camera angle can significantly alter how a face appears, sometimes to the point where it looks quite different from reality. In this case, I can identify the person in the reference photo because she's a celebrity, but the exaggerated wide-angle close-up has made the area from her left eye down to her chin look noticeably bloated. She likely took the selfie with her left arm extended.

Capturing faces from these angles is difficult, especially for untrained eyes, even with well-established guidelines. The distortion can be so extreme that it surpasses an artist's intuition. To make matters worse, the lighting in most selfies is often poor, making it challenging to accurately identify facial features.

I drew this purely from observation, with some assistance from head construction principles, using graphite pencils ranging from 4H to 6B. However, I found that beyond 4B, it was difficult to achieve darker values due to the smoothness of the paper. For darker values with graphite, you need more tooth in the paper.

Pressing harder would only damage the surface of the paper.

I'm now confident that the 4H to 4B range is sufficient for any portrait. Additionally, you can always adjust values and refine your drawing further in Photoshop.

Photoshop has got your back. You can simply enjoy the drawing process without worrying too much about the final result.

On a separate note, I've grown to prefer Blackwing pencils over any other brand I've tried. They’re perfect for my drawing style. With careful control, you can create anything using just a single reasonably dark pencil.

Workflow

Sakura. Observational drawing from a reference photo. Graphite shading. Refined in Photoshop.

Tools Used

Strathmore Smooth Paper Sketch Book 400 Series

Staedtler Mars Lumograph Art Drawing Pencils 6B-4H, Set of 12

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Wacom Cintiq Pro 27", Photoshop

CWKL0143 - IU

I needed darker values, so I added them in Photoshop.

Workflow

IU. Observational drawing from a reference photo. Graphite shading. Refined in Photoshop.

Tools Used

Strathmore Smooth Paper Sketch Book 400 Series

Staedtler Mars Lumograph Art Drawing Pencils 6B-4H, Set of 12

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Wacom Cintiq Pro 27", Photoshop

CWKL0144 - KJW

Not all pencils are created equal. Even within the same range, pencils can vary in hardness and softness. This is why it's important to test each pencil before using it in a drawing.

Personally, I prefer Staedtler Mars Lumograph Pencils over Derwent Graphic Pencils. Personal preference plays a significant role in choosing the right tools for drawing.

Workflow

KJW. Observational drawing from a reference photo. Graphite shading. Refined in Photoshop.

Tools Used

Strathmore Smooth Paper Sketch Book 400 Series

Derwent Graphic 24 Pencils Set: 9H ~ 9B

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Wacom Cintiq Pro 27", Photoshop

CWKL0145 - KGE

"Cretacolor Cleos Fine Artists Graphite Pencils" are pretty good for shading.

As for my preferences:

Blackwing > Staedtler Mars Lumograph > Cretacolor Cleos Fine Artists Graphite Pencils > Derwent Graphic Pencils

Workflow

KGE. Observational drawing from a reference photo. Graphite shading. Refined in Photoshop.

Tools Used

Strathmore Smooth Paper Sketch Book 400 Series

Cretacolor Cleos Fine Artists Graphite Pencil Tin Set of 24 Grades 9B to 9

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Wacom Cintiq Pro 27", Photoshop

CWKL0146 - KYJ

Begin by lightly sketching the overall basic shapes of your subject. To accurately capture these shapes, avoid viewing the subject as a head, object, or anything specific you recognize. Instead, focus solely on seeing everything as simple geometric shapes—lines, curves, and angles—without attaching any preconceived ideas to them. If necessary, flip the reference photo upside down to disrupt your brain's tendency to recognize familiar objects. This technique helps you see and draw what is truly in front of you, rather than what you think you see.

Once you've laid down the basic shapes, move on to blocking in the shadow shapes. This step is crucial for adding depth and form to your drawing. Pay close attention to where the light hits your subject and where the shadows fall, as these will help define the structure and give your drawing a three-dimensional feel.

After establishing the basic shapes and shadows, begin adding details and refining the shapes. However, before diving into the details, double-check the overall proportions and the placement of the major shapes. Ensure these are accurate before committing to any finer details. This will save you from having to make significant adjustments later and will provide a solid foundation for the rest of your drawing.

Workflow

KYJ. Observational drawing from a reference photo. Graphite shading. Refined in Photoshop.

Tools Used

Strathmore Smooth Paper Sketch Book 400 Series

Cretacolor Cleos Fine Artists Graphite Pencil Tin Set of 24 Grades 9B to 9

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Wacom Cintiq Pro 27", Photoshop

CWKL0147 - LJB

Remember to take breaks now and then to gain a fresh perspective on your drawings. It’s easy to become so focused on the details that you lose sight of the overall composition.

Sometimes, just stepping away, even for a quick bathroom break, can help you return with a clearer view.

Try squinting your eyes or reducing the size of your drawing to assess the overall composition. Even looking at a thumbnail version can help you better grasp the big picture.

Workflow

LJB. Observational drawing from a reference photo.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0148 - NYS

It's darkness that reveals the light. Without shadows, light loses its significance. To make your drawings more realistic, give more attention to the shadows.

Thumbnailing offers a broader perspective on your drawing. It allows you to easily spot mistakes and make adjustments, even after you've begun the final piece.

Keep in mind, drawings are never truly finished; they are either abandoned or published.

It was my first time seriously trying out the Wacom Movink 13, and I found it to be a fantastic alternative to the Cintiq Pro, especially for those on the go. However, it's just a bit too small for aging eyes.

Workflow

NYS. Observational drawing from a reference photo.

Tools Used

Strathmore Smooth Paper Sketch Book 400 Series

Staedtler Mars Lumograph Art Drawing Pencils 6B-4H, Set of 12

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Wacom Movink 13, Photoshop

CWKL0154 - J

I was surprised when a senior flight attendant approached me and praised this piece. At first, I thought she was going to ask me to put my iPad away before landing. But when you’re drawing, everything else fades away—time just flies. Instead of scolding me, she complimented my work. She mentioned she'd been watching me draw and was impressed by the result. Well, she might not have been as impressed if she knew who I was trying to draw 😂. Still, her kind words made my day, and I sincerely thank her for that.

A bit of an excuse for the poor likeness: I only had a quick glance at the reference photo and drew the rest from memory.

Drawing is a great way to pass the time during a flight, but it comes with its challenges. The environment isn’t exactly artist-friendly—the lighting is poor, turbulence can be annoying, and the space is cramped. The hardest part is dealing with the constant shaking of everything around you. But if you can push through these obstacles, you can create something beautiful. More importantly, you can find joy in the process, even in the most uncomfortable situations, like flying.

This piece is just a quick fix of the original drawing I did during the flight. I wanted to refine it a bit more before going to bed, but I'm a bit tired after the flight, so I had to stop here.

Yeah, her compliment inspired me to work on this piece a bit more. It’s amazing what a little kind word can do!

Workflow

Tilted, low angle. Based on a reference photo.

Drawn during a flight from Jeju to Seoul (Gimpo) in about an hour using iPad Pro, Apple Pencil Pro, and Clip Studio Paint.

Refined in Photoshop.

Tools Used

iPad Pro, Apple Pencil Pro, Clip Studio Paint

Wacom Cintiq Pro 27", Photoshop

CWKL0155 - JYS, The Tyrant

A quick fan art of the main character from 'The Tyrant,' a Disney+ series. She's a badass with immense potential for remarkable character development.

Workflow

Drawn from a reference poster in Photoshop.

CWKL0156 - Archer

One brush should be enough to describe and express anything. Get used to it.

Where there's light, there's shadow. Where there's shadow, there's light. Highlights can't exist without shadows. Keep this simple rule in mind.

Workflow

Drawn from a reference photo in Photoshop.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0157 - KJS

Shadow shapes are essential in creating a realistic drawing. By first shaping the shadows, you establish the form and volume of your subject. Then, by adding highlights, you bring out the details, making your drawing stand out and come to life.

Workflow

Drawn from a reference photo in Photoshop.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0158 - JWS

When drawing a face, always ensure at least one side is visible, showing just the rignt amount, at right angle.

For the eyes, begin by marking four or five key points to define the corners and apexes, then connect these dots and refine the details.

Remember, eyelines aren't just lines—they're shapes. In fact, every feature should be viewed as a series of shapes.

And remember, black is beautiful.

Workflow

Drawn from a reference photo in Photoshop.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0159 - KSH

Real people rarely have perfectly symmetrical facial features, particularly when it comes to their eyes. This natural asymmetry is what makes each person unique and adds to the accuracy and character of a portrait.

Workflow

Drawn from a reference photo in Photoshop.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0160 - LBH

When using a reference photo, it's crucial to maintain the aspect ratio of the original image. Even a slight stretch can significantly impact the final result. I often widen the image slightly, which can cause the subject to appear a bit fatter. By carefully measuring the proportions, you can avoid this problem.

Workflow

Drawn from a reference photo in Photoshop.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0161 - SJK

If you’re not noticing the shapes, something’s off.

So, what defines a shape? Values. Essentially, if you’re not recognizing the values, you’re missing the point.

You need to train your eyes to discern the range of values: average out the values within the shapes you see. Avoid the common pitfall of overusing mid-tones. Typically, about five value steps are enough to define any realistic shape.

Line art alone won't achieve realism or likeness. Understanding the values that make up the shapes is crucial.

When people see faces, objects, landscapes—anything—they’re actually seeing values.

Colors? They’re just the finishing touch. The core is the values. If you can’t accurately see the values, you can’t color effectively. Simple as that.

Workflow

Drawn from a reference photo in Photoshop.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0163 - NN

The moment she realized something insightful was like a light bulb flickering on in a dim room, casting a clear view of everything she had previously overlooked.

Workflow

Drawn from a reference photo.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0165 - KYJ

Do we know each other from somewhere or... perhaps from some time in the past?

Workflow

Drawn from a reference photo.

Tools Used

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Wacom Cintiq Pro 27", Photoshop

CWKL0166 - HB

The moment he realized he shouldn't have left her alone...

Workflow

Drawn from a reference photo.

Tools Used

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Wacom Cintiq Pro 27", Photoshop

CWKL0167 - AS

"Listen, and understand! That Terminator is out there! It can't be bargained with. It can't be reasoned with. It doesn't feel pity, or remorse, or fear. And it absolutely will not stop... ever, until you are dead!"

"You still don't get it, do you? He'll find her! That's what he does! That's ALL he does! You can't stop him! He'll wade through you, reach down her throat and pull her fuckin' heart out!"

Workflow

Drawn from a reference photo.

Tools Used

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Wacom Cintiq Pro 27", Photoshop

CWKL0168 - Quiet

The moment she realizes how much she cares about Big Boss.

"I did not choose to be Quiet. I wanted to express my feelings to you. If only we shared a common tongue. Vengeance is what drove me to them... The only language left to me, revenge. But the words we shared... No, that was no language at all. That is why... I chose the language of gratitude instead, and go back to silence. I am Quiet... I am... The absence of words."

Workflow

Drawn from a reference screenshot.

Tools Used

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Wacom Cintiq Pro 27", Photoshop

CWKL0169 - MB

I'm gonna make him an offer he can't refuse.

Workflow

Drawn from a reference photo.

Tools Used

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Wacom Cintiq Pro 27", Photoshop

CWKL0170 - Three-Quarter, Down Tilt

I ache for someone, but I can't remember who.

Workflow

Began with a reference photo, but as the process unfolded, my imagination took the reins.

Tools Used

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Derwent Graphic 24 Pencils Set: 9H ~ 9B

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Wacom Cintiq Pro 27", Photoshop

CWKL0182 - Semi-Profile

The moment she found something so adorable, she couldn't believe her eyes.

Workflow

Drawn from a reference photo and using head construction techniques.

Tools Used

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Derwent Graphic 24 Pencils Set: 9H ~ 9B

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

Wacom Cintiq Pro 27", Photoshop

CWKL0191 - Quick Sketch - Fourth Sister, Black Myth: Wukong

Yeah, she's stunning and elegant, but don’t let that fool you—she's also a lethal spider.

Workflow

Quick sketch of Fourth Sister from 'Black Myth: Wukong', based on a screenshot from the game.

CWKL0192 - Quick Sketch - LYT

Including her in any game will instantly brighten it up, no matter how dark the storyline may be.

Workflow

Quick sketch of Li Yitong.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0193 - Quick Sketch - LYT

A smile that instantly makes you smile back.

You once fell in love with her... fell apart... and yet, you’re still in love with her. But for reasons beyond your control, you can never be together. Can you live with that broken heart?

Workflow

Quick sketch of Li Yitong.

CWKL0194 - Quick Sketch - Fatal Attraction

The moment he laid eyes on her, he made his first fatal mistake.

Workflow

Quick sketch.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0195 - Quick Sketch - Fatal Attraction 2

The moment he welcomed her into his heart was his second fatal mistake.

Workflow

Quick sketch.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0196 - Quick Sketch - Fatal Attraction 3

The moment he failed to let go of her when he had the chance was his third and final fatal mistake.

Workflow

Quick sketch.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0197 - Quick Sketch - Fatal Attraction 4

He will never break free from her fatal grasp.

Workflow

Quick sketch.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0198 - Quick Sketch - Fatal Attraction 5

Her piercing gaze left no doubt in his mind: 'I own you.'

Workflow

Quick sketch.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0199 - Quick Sketch - Makima

言っただろ。お前は俺のものだって。逃がしはしないよ。

Workflow

Quick sketch.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0201 - Quick Sketch - Front

Slightly low angle.

Workflow

Quick sketch. Front. Head construction.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Strathmore Smooth Paper Sketch Book 400 Series
Staedtler Mars Lumograph Art Drawing Pencils 12B-10H, Set of 24

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0203 - Quick Sketch - Three Quarter

Slight tilt.

Workflow

Quick sketch. Three Quarter. Head construction from a reference photo.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Canson Sketch Book
Staedtler Mars Lumograph Art Drawing Pencils 12B-10H, Set of 24

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0204 - Quick Sketch - Semi-Profile

Typical semi-profile angle. As always, the quality of the paper and pencils can make a big difference in the final result, at least in terms of analog work. However, when you transition the work into the digital realm, the quality of the paper and pencils becomes less important.

Workflow

Quick sketch. Semi-profile. Head construction from a reference photo.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Strathmore Smooth Paper Sketch Book 400 Series
Staedtler Mars Lumograph Art Drawing Pencils 12B-10H, Set of 24

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0205 - Quick Sketch - Three-Quarter

Typical three-quarter angle.

Workflow

Quick sketch. Three quarter. Head construction from a reference photo.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0208 - Quick Sketch - Three Quarter with Long Hair

A 30-minute quick sketch session at a café.

Workflow

Head construction from a reference photo.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Strathmore Smooth Paper Sketch Book 400 Series
Staedtler Mars Lumograph Art Drawing Pencils 12B-10H, Set of 24

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0209 - Quick Sketch - Three Quarter, Low Angle

A 30-minute quick sketch session watching TV.

Workflow

Three quarter. Low Angle. Head construction from a reference photo.

Refined in Photoshop.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Strathmore Smooth Paper Sketch Book 400 Series
Staedtler Mars Lumograph Art Drawing Pencils 12B-10H, Set of 24

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0210 - Quick Sketch - Upper Body

Practicing gesture drawing helps develop a strong understanding of the human form. In addition, anatomy studies are essential for comprehending the structure and function of the body. Quick sketches, without time constraints like in gesture drawing, are also vital for capturing the essence of a pose without getting bogged down in too much detail.

Consistent practice helps refine the accuracy of lines and achieve effective basic shading.

It's important not to become overly reliant on a single reference. Instead, use multiple references to ensure you fully understand the concept.

Run your rough sketches through AI tools if needed to gain a clearer perspective on the pose and anatomy. This can help in identifying potential improvements and refining your understanding of proportions, angles, and the overall structure of the figure.

Start by sketching nude figures and then layer clothing over them for works intended for NSFW sharing.

1. Quick Sketch
2. AI Rendering (I2I, ControlNet with Line Art Model + ADetailer Face Refinement)

Workflow

Upper body construction using both reference drawings and photos.

Tools Used

Wacom Cintiq Pro 27", Photoshop
Stable Diffusion

CWKL0212 - Quick Sketch - Upper Body

Reimagined lighting and shading from a reference photo.

Workflow

Upper body construction using a reference photo.

Tools Used

Wacom Cintiq Pro 27", Photoshop

CWKL0216 - Quick Sketch - Upper Body

A 30-minute quick sketch of a running pose, drawn while sitting at a cafe.

Workflow

Upper body construction from a reference photo.

Refined in Photoshop.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Strathmore Smooth Paper Sketch Book 400 Series
Staedtler Mars Lumograph Art Drawing Pencils 6B-4H, Set of 12

Blackwing Natural/Grey: HB ~ B
Blackwing 602: B
Blackwing Pearl: 2B
Blackwing Black: 3B ~ 4B

CWKL0218 - Quick Sketch - Semi Profile Upper Body

A 1-hour quick sketch of a semi-profile upper body.

Workflow

Reconstructed from a reference photo.

CWKL0221 - Quick Sketch - Three-Quarter Upper Body

This sketch represents a single brush challenge, where I used one sketch brush for the entire drawing. It's a brush I've been consistently using in Photoshop for some time now. Fortunately, these brushes can now be imported into Clip Studio Paint, though some fine-tuning may be necessary.

I'm still weighing my options regarding which software to use for drawing. While Photoshop remains the industry standard, Clip Studio Paint offers more user-friendly tools for digital painting. However, there's a potential drawback: becoming overly reliant on convenient digital tools might lead to a decline in traditional drawing skills. It's a delicate balance to maintain.

Perhaps the optimal approach would be to utilize both Photoshop and Clip Studio Paint, each for its specific strengths and purposes. This way, I could leverage the advantages of both platforms while maintaining a diverse skill set.

Workflow

Testing out Clip Studio Paint's again.

Tools Used

Wacom Cintiq Pro 27", Clip Studio Paint