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How to Draw Your Dragon by Sergio Guinot

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By Sergio Guinot

Does your dragon coil its tail round your shoulders if you happen to sleep? Does it look forward to you after tuition? Does it stay in a riverbed like a eastern ryu—or on the backside of the sea like Tiamat of Babylon? Is it sufficiently small to snuggle into your pocket, or so mammoth it blots out the sunlight from the sky? Does it hoard stolen treasure like Smaug? communicate the Language of construction like Kalessin? delay the realm like Ebberon? Did you discover your dragon in a magic store like Jeremy Thatcher, or hatch it from a stone like Eragon? Or do you summon it with the seven Dragonballs? irrespective of how your dragon seems to be, how massive or small it really is, or the way it entered your mind's eye and your lifestyles, illustrator Sergio Guinot will provide help to Draw Your Dragon during this finished advisor to creating your myths come to existence!

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Once again, short, open lines helped me define the volumes and show the muscle mass, but I left large areas of white for the skin to have a fine and polished sensation. TIP: More ink lines do not always produce a more attractive drawing. When inking, we work with balances between inks and white spaces. The latter are as important as the silences in a song. Light and Shadow I softened the light and shadow of the marine dragon as much as possible, following with the idea of glossy skin like that of a dolphin.

TIP: Observing the finished drawing and stopping to think, looking for the smallest detail that we can add to the illustration, is like having the icing on the cake: it is usually good fun and very satisfying. Wild Dragons We worked for several hours, and after we had studied and catalogued the findings of the cave, we decided to continue our journey. Our mood had changed. Convinced that dragons had at some time in history been real, we now believed the reports. The dragons had returned. However, the descriptions of the beasts did not match.

This is important, as the face of a character defines it, and, when possible, should be illuminated and perfectly visible to the viewer. The source of light can always be on the level of the paper, a higher level than the paper, or a lower level. Let us imagine a character looking at us from a full frontal position. If the source of light is on a level lower than the paper, the light will come from behind it, its face will be illuminated from behind. If the source of light is on the level of the paper, let us say to its left, one half of the character will be illuminated and the other half in shadows.

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