How To Draw The Harley Davidson Logo

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How to draw Harley Quinn

To me, the appeal of digital painting techniques (opens in new tab) are simple. Different traditional media, I can create a piece of art without waiting for the paint to dry.

In my early days of working digitally, I had plenty of fun trying to get to grips with the software and while I explored more than about digital media, it was besides interesting and challenging. I likewise worked on traditional media, which fabricated it easier for me to sympathize what to do with digital art software.

Mistakes will always happen forth the way, but I enjoy the procedure. Sometimes the reckoner crashes while I'one thousand producing artwork, considering the retention is over chapters. That can be painful, but information technology works out in the end when a client is satisfied with the result and I get paid enough to buy a new estimator!

So don't be scared to make mistakes and gear up to get through some creative hurting. It volition ease in time, and and so you can await back at what you've been through... and smile. Enjoy the journeying.

01. The initial idea

Different pose options are sketched out

I already take an idea of how to pose Harley Quinn – it's pretty much what you run across hither. It'southward always hard at the beginning to decide on what pose will be best, so I describe out a couple of options, then cull the best. I place the rough sketch on a default layer in Photoshop with a white background.

02. Build up the lines

A default brush builds up the lines

From the rough, on the same layer, I start to build up the lines. For this process I utilize Photoshop'south default hard Round brush. I draw what is needed for at present, and add together some relevant detail. Simply I also try and maintain the composition's mood and momentum, into the side by side step...

03. Cleaning things up

A new layer is added to clean upwardly the details

I add a new layer on peak of the overlapping line art, and so place the original crude sketch above that layer, which makes it easier to edit if at that place are any mistakes in the process. Next I start to clean up the lines, by tracing exactly along my original drawing of Harley Quinn.

04. Groundwork considerations

Backgrounds tin can add atmosphere and tell a story

After finishing the character's lines, I move on to the background. I introduce a filigree to create a strong perspective and add more layers behind the figure, to ensure the background is clear enough to brand the character stand up out. I'one thousand portraying Harley Quinn continuing in a subway – she'southward bruised and bloody, but victorious. Her enemies' bodies are just out of shot.

05. Applying colour

Colour and light are added in another layer

Now it's fourth dimension for some colour foundation. I add together a new layer again beneath the line art and the groundwork layer, ready for some rough colours. I start with Harley. Using the difficult Circular castor, I place some colour, working out where the lite comes from and how much brightness I'll need. This will assistance me when I render (add together last detail to) the character.

06. Lighting the scene

The Gradient tool is perfect for adding low-cal sources

Next I roughly color the groundwork. Adding a new layer below the background line, I utilize the Gradient tool for speedily introducing a dark to lite graduation. Then I pigment a light source – not the main 1, simply a secondary source – which gives a sure mood to the character and will help explicate the ambient colour in the finished artwork.

07. Enhancing the confront

The eyes are worked on delicately for actress impact

Now I start rendering Harley's face. I utilize a soft Round brush for a smoother touch and my custom castor I call Canvass 001, which gives the artwork a more painterly look and helps me blend areas delicately. I change the optics a little, aiming to create more than bear on with the viewer. This sort of change tin be done whenever you want around the rendering phase, really.

08. Rendering the character

At this phase, rendering tin can afford to be a bit rough and ready

I go on to render the whole character, for at present not worrying about the tattoos that are visible on the line art. I tin sort them out afterward after the whole rendering process is done. I however utilise the aforementioned brush for rendering the character.

09. Don't lose details

Tone is crucial for establishing the character

I realise that I need to take more care when rendering my character. Considering Harley Quinn is the subject of the analogy, I accept to be careful with tone, mid-tone and shadow. A heavy paw and my character volition suffer in darker areas and cause a loss of image item. A delicate use of mid- tones is crucial during these final painting stages.

10. Final touches

Background textures help to situate the grapheme

Now information technology'due south time to render the background. In this case, I use marble and granite textures to lift the mood a lilliputian. Some details have to be stock-still, and I pigment over some unnecessary line work. I fix and clarify the groundwork, and finally, add some lens flare outcome and dust textures, to increase visual interest.

This article was originally published in ImagineFX magazine (opens in new tab) event 137. Buy it hither. (opens in new tab)

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Admira Wijaya has been creating comic and concept art for over 8 years. At the moment he's busy creating covers for Dark Equus caballus Comic's Conan the Barbarian.

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