Drawing Butterflies Volume 2 How to Draw Butterflies For the Beginner Learn to Draw Series

Parts of a Butterfly
It is better if you recognize the parts of a butterfly. In this way, you will know what parts you should
include to properly construct/draw a butterfly. Some parts can be disregarded, but some should always
be included.

The visibility and obviousness of some certain parts of a butterfly depends on its angle or position and
colors/shades.
The lines on the wings should be curved, especially on the tips where it connects to the side edges of
the wings. The counts of the interspaces are usually 8 to 12. This can be adjusted if you are going to
draw a butterfly, to avoid the struggle of properly placing and distributing the curved lines (just
remember that it should be at least 8).
The segments and lines of the costal area are often disregarded, since it usually contains a dark (usually
black) color and it is hardly distinguished on most butterflies.
The discal cell is always present to any butterfly, but there are cases in which it is hardly seen (in rare
case, completely hidden due to the folds of the wings, such as the long-tailed skipper's wings). But if
the discal cell is visible, it usually occupies a quarter half of the wing (halfway across the wing).

Atrophaneura Semperi

This black butterfly is an uncommon sight for butterfly collectors and breeders. Atrophaneura semperi
usually lives in thick forests of continents with fairly hot and rainy climates (lands with tropical
climates). It belongs to the family of papilionidae, and this butterfly is rarely seen in butterfly gardens
and galleries but can be found in Indonesia, Philippines and other parts of Asia. They are commonly
referred as batwing butterflies.
The primary colors of this butterfly are a combination of black and red. Their bodies are covered in red
fur with parallel sections of black on the abdomen which is a good combination for its black legs and
long black antennae. There are spots of black on the sides of its body that are aligned with black
segments at the underside of its abdomen. The wings of athrophaneura semperis are mostly black.
Some have white detailing/sections on their forewings, and their hindwings contain some short broken
sections of red markings. The hindwings of females have a faint color of pink prints instead of red. The
edges of their hindwings are ruffled in an organized manner. Some of their kind contains color
markings on the underside of their wings only, and just plain black on the upper side.

• Make a rough sketch of the butterfly.
Establish the position and the sizes of the parts of the butterfly. Just simply sketch the body and the
angle of the wings without its wavy edges.
The hindwing should overlap the forewing since you are drawing the view of the underwing.
• Refine the outlines of the shape of the butterfly and establish the details.
Re-outline the shape with better and smoother outlines. Establish the soft ridges on the lower edges of
the hindwing including the short wingtail. Draw the print on the batwing's hindwing, and make an
outline of the abdomen's markings.
The marking on the butterfly’s forewing is like a contour outline of the wing's curvy edge. There is a
continuous curvy marking that resembles the waves of the lower edge, with its spikes/ tips filling the
spaces of the wing's protruding tips including the wingtail.
The wing print of the forewing has two (connected) rows, occupying the lower half of the forewing. On
the first three interspaces (coming from the inner margin), the tips of the first (upper) row are
connected to the lower row, then the print breaks (the upper row breaks first) into irregular mark/dots
(one mark on each interspace).

• Color the design of the wings.
The wing prints on the forewing is orange-red, so is the body/base. To be able to portray this properly,
use colors that can be a brighter and lighter value of red.
Use brown as the dark tone of red. Apply brown color to the sides and portions that should be darker.
Color the edges of the interspaces (occupied by the wing print).
Fill the area (wing print) with red. Apply more pressure to your hand strokes as you color the darker
areas, and lighten your hand strokes on the areas that should be brighter (mid-portions of the
interspaces).
Burnish the entire wing print with orange. Overlap the red (and brown) with heavy strokes of orange.

• Apply the same rendition of red value to the body.
Use short signatory line strokes to contour the texture of the body. Apply brown on the farther sides
and fill the rest (overlapping the brown) with red short lines. And just like what you did with the red
wing print, burnish the entire body with orange.
• Define the primary parts and darken the black marks of the body.
Establish the black bar marks at the segments of the abdomen's lower area and mark the black spots in
each segment (one spot per segment) on the side. The head features (antennae, proboscis and
compound eyes) are also black.

• The color of the prints of the farther wing should be darker.
This can be done by applying more brown before coloring the area with red (exclude the orange).
• Shade the other wing and the remaining portions of the hindwing.
The remaining areas of hindwings and the forewings are black. The discal cell on the hindwing has line
marks that are continuations of the linings dividing the wing interspaces. Each interspace contains a
white bar, starting at the lower lining of the discal cell and half-way to the edge of the forewing. The
lining on each interspace (parallel to the line divisions) become visible because of the white bar.
Define the other lines included in the forewing and thicken the outlines of the interspaces, shade the
near surrounding areas of the lines and the up to the far edge of the forewing, leaving the middle area
of each interspace as is (to define the bars).
• Smear the shading.
Carefully distribute the shades on their respective areas. Slightly smear some of the shades to the edges
of the white bars.

• Darken the areas of the wing that should appear deeper.
Apply another layer of shade to the farther and deeper areas (conveying the contour shape/perspective)
of the wings.
• Do the same process to the other (farther) forewing.
The shade of the farther wing should be darker. After smearing the first layer of shading, re-darken the
areas with another thick layer of graphite/charcoal (whichever medium you used). Smear a thin layer of
shade to the white bars of the farther wing (using the stain of the smudge stick only).
• Make the final retouches to finalize your drawing of the batwing butterfly.
Re-define the main outline and cast a shadow with the used smudge stick (to produce a fair gray
shade).

 

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Drawing Frogs Volume 2 - How to Draw Frogs For the Beginner

Much the same as some other subject for illustration, the most straightforward approach to build up the structure or figure of any sort of frog you wish to draw is by utilizing the least difficult shape you can think about that can speak to its mass and structure. Consider articles, for example, organic products, triangles, or any shape that you can without much of a stretch render effortlessly (like a pear or a shelled nut, a correct triangle or any basic polygons).

The distinction long of the fore legs and rear legs ends up clear when the frog hops. It would extend its rear legs generally amid and right now of jumping, and afterward rapidly returns to its normal squatting position as it lands. 

The distinction long of the fore legs and rear legs ends up clear when the frog hops. It would extend its rear legs generally amid and right now of jumping, and afterward rapidly returns to its normal squatting position as it lands. 

The diagrams characterize the figure and structure as the shades depict the measurements. this essential thought is the any subject you wish to draw. The light and dim qualities are additionally connected to shaded representations. This is started by utilizing diverse shading esteems on a solitary base shading. the change among light and dim should likewise be possible by utilizing distinctive illustration apparatuses, such as utilizing a charcoal based pencil to apply the shades and after that applying the hues. 

To demonstrate to you the procedure, here's a case of illustration a purple fluorescent frog. 

Build up the fundamental blueprint of the frog. 

Characterize the form state of the frog's figure. Build up the folds of the appendages and see what divides are covered. The bends and inconspicuous projections of a frog's body shape diagram is well-demonstrated when it is seen in an upper-side view point; the strong eyes, the slight bulge of the covering on the storage compartment, and the round tummy. 

At the point when the extents are appropriately characterized, refine the layouts with smoother and darker lines. 

• Characterize the body markings with purple. 
• 
  
• The body of a fluorescent frog is set apart with sporadic purple rings. The checking are increasingly obvious on the appendages, wrapping every leg and down to the toes. There is likewise a purple band beginning directly underneath the eyes and down to the frog's ventral side. Utilize a purple (pencil) shading straightforwardly while building up the markings, or a violet with a light/brilliant esteem. 

• Apply some straight shading. 
• 
  
• The violet shade of the frog's body is dull; for this situation, you have to apply a primer shading to obscure the tone estimation of the shading you will apply later. 

• Smear the shades. 
• 
  
• Cautiously smirch the direct shades with light writing hand strokes. Keep the features wipe and just even out the shades to extricate the edges made by the portals. 

• Apply the violet shade of the body. 
• 
  
• Top off the regions with the frog's dull violet body shading. Control the heaviness of your hand strokes; the weight you apply on the (shading) pencil relies upon the region you are shading. Utilize light hand strokes on the edges of the body and the center zone of the legs. Utilize overwhelming hand strokes to cover the obscured zones. 

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Finish the illustration by obscuring the eyes (observe the unpretentious shine at the inside) and cast a shadow. Reclassify the principle diagram and tidy up the external zones. 

Increasingly shaded models and nitty gritty directions are accessible in "Drawing Frogs Volume 2 - How to Draw Frogs For the Beginner" . The book is a follow up for the "Drawing Frogs Volume 1" which talks about how to draw with pencils. Much the same as the first, the means are separated cautiously so even a non-experienced craftsman could without much of a stretch pursue, and then some.

Learn to Draw Books and Videos

Learn How to Airbrush Animals For the Beginner

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Presentation: 

As a matter of first importance a debt of gratitude is in order for getting this eBook as a guide for you in the realm of enhancing with Photoshop, as you need to figure out how to enhance with Photoshop creatures, essentially you have to get the best possible materials in the event that you need to learn it, and this eBook is about it, an Airbrush workmanship is far not the same as other media as you see the impacts you get when working with an Airbrush is limitless, it can paint the best to a broadest subtleties that you require in any craftsmanships, you can see it's persuasions in world "Popular Culture"- Posters/Pin ups, Commercial Illustrations, Movies enterprises, Clothing, Body craftsmanship and Signs/Graffiti in the city. So "How might one begin Airbrushing?", great you require an Airbrush and Air Compressor to begin your Airbrush craftsmanship (more insights concerning this later), and your devotion, since you have to assemble your Airbrushing abilities, I comprehend if your first splash will resemble a wreck, so you require a train legitimately and that is the means by which this book is going to encourage you fundamental aptitudes moving to Intermediates and Advanced( it will be depend in your enhancement as you fabricate your experience when taking care of your Airbrush) , as even all ace began a similar way, so what you need to do is to peruse this, and practice, it's the key for your prosperity. So have some good times Airbrushing. 

Panther 

For our fourth exercise test is to render it with delicate and hard edges, as you see the image sharp edges is on the middle and as it moves away it's changing to delicate as the idea of a camera when you're shooting a subject and modifying it center, the side will be out of core interest. Also, we're going to utilize some Masking Fluid in this activity, so how about we begin.

Transfer the image to your paper, and take note of the areas that has hard and soft edges.

 

Steps: 1. Mask first the whiskers with Masking fluid using a brush (use a brush only for Masking fluid, not the one you normally used), and start by painting the middle tone of our painting which is Yellow= , take note of the areas that are painted below.

2. Next is to use Yellow-Ochre= , to give a darker tone to the areas.

3. Work the background with a Burnt Sienna 60% + Black40%+ 2 tad of yellow(similar to the size of medium size brush tip)= . Also lightly spray the Iris of the eyes, nose, mouth areas, and spots with this color to see the constrast as you’re painting.

4. Then spray the back and anterior area below, with Red-Orange=  first, and lightly spray with Burnt umber 95% + Payne’s gray 5% (just to darken the value of the color) =  left side corner.

5. Spray Light Gray= lightly on White of the Eyes (a.), now take your Black Watercolor Pencil and work the eyes (make sure to leave white areas for the catchlight (the white reflection on the pupil of the eye), Russet Brown/ Light Brown for the outer areas of the eyes (b.).

-Also start shading marking starting on the Forehead and working down with Russet Brown and Black Watercolor Pencil. 6. Now define the areas of the mouth, use Watercolor pencils for this around the teeth with Black and Dark Brown, White pencils for the white areas and small thin hairs, Spray the tongue with Pink= , then darken it by adding drops of Gray and Violet to it, too add values making it achieve this target color as seen in the picture below. Then whiten the side with White Watercolor Pencil. Don’t forget to add some thin white hair lines below the mouth. Also note the sharp teeth are not completely white so shade some yellow and pink below each tooth.

7. Remove the mask on the whiskers, work the nose using the Watercolor Pencil, Black, Brown, and Russet Brown pencils, take note of the light and dark areas when defining the nose, shade areas on the ears. Also continue defining the markings on the snout and forehead making it sharper, compared to the areas on the side of the snout and below the face which are softer and looks diffuse. Add wrinkles on the bridge between the eyes with Orange and a hard line using Russet Brown.

8. Spray lightly the anterior part below with white color as seen the picture below, define the whiskers, and check the value of the color in your painting.

And you’re done, as of now you are getting better and better. Now take a rest before working for the next exercise.

Download the entire book with illustrations

Learn How to Airbrush Aquatic Animals

Learn How to Airbrush Aquatic Animals for the Beginner-Learn to Draw Series (Humpback Whale)

Thanks for purchasing this eBook, as you show a genuine interest in the world of Airbrushing “Aquatic
Animals”. Back when I was learning to draw aquatic animals, I liked watching the wonderful scene
inside the aquarium, of my pet “Goldfish”. At first I was amazed at the features and colors, but when I
kept seeing more details as it moved, an idea struck inside my head. I thought about adding some colors
to my drawing. I kept the drawing for a while, since I’m still learning to paint in acrylic, and after a few
months of browsing some of my files, I saw my drawing again. I decided to paint it in colors with
acrylic using an airbrush, since by that time I already knew how to use an airbrush. I painted it with a
very satisfied result, and later on I saw it hung on the wall of my best friend house. I was so glad!
I’m not encouraging you to give away your masterpiece, rather the point I’m making is that with your
airbrush, you can make limitless fantastic art. If only you could imagine this tool’s greatness with its
capabilities. So, I made this eBook for you to learn the basics of airbrushing that every beginner needs
to know and practice to master it. I made this book also, for an airbrush artist who wants to learn to
paint aquatic creatures. We will be using some other materials to complete our artwork like; Watercolor
pencils, masking film or other masking materials that are available, and many more. First, you have to
invest a little by getting a good airbrush and a reliable air compressor for you to start painting. I also
included all the materials needed for our work, and I’m sure they are available at any art store.
Make some time to read and practice all the exercises in this eBook, and in no time you will be a great
airbrush artist in painting Aquatic Animals. Remember to have fun when spraying with your airbrush!

Airbrush Exercises:
Humpback Whale

Now let’s start airbrushing for real. We have a nice subject, including the background, the water, and
the splash effect on the back of the whale.

Scan the image below, and print a copy using your printer. You may enlarge it to around 130-150%, as
the larger is your work is, the better you can add details to it to make it realistic. Transfer or trace the
image below to your working paper. You may use a projector, tracing table or the method I mentioned
earlier. Be sure to include important details for the moving water or that small water wave, as it’s
random. Just trace the more evident with small horizontal lines strokes.

TIP: Careful planning must be considered before starting airbrushing such as; how to create the skin or
texture of the subject.
-There are times I will mention White color, and I usually mean Opaque Titanium White acrylic paint.
Whether you dilute it with water or apply it thickly, it is Opaque White acrylic that I use. Unlike other
colors it is usually transparent paint, unless I mention that you have to use an Opaque paint of that
color.
Steps:
1. After you trace the image, take your kneaded eraser and erase the dark lines that you just drew,
slightly (make sure that you don’t erase too much).

2. Apply Frisket or masking film over the paper.

3. Cut the mask of the Green areas of the mountain; leave the other areas with mask.

- Spray Ultramarine Blue + Opaque White (to lighten a little) = on the mountain.

Remove the mask and next spray another color, Light Green= , to the green areas (Green with a few
drops; 2-3 drops of white color) on the mountain.

4. Using your Watercolor Pencil in white, lighten some areas of the mountain.

5. Now let’s move to our subject, and mask the top area again. Use paper and masking tape for this,
and cut and remove the mask of the whale.

6. Apply Masking Fluid using a ruling pen to the white areas of the whale: areas of the eye, mouth,
flipper, dots on the back.

7. Mix the color for the whale body using Blue-Green= (Blue 50% + Green 50%). Spray the body
of the whale and take notes of the light and dark areas of the body, as well as, the transition or
gradation.

8. Erase some overspray using your pencil eraser.

9. Apply the next color for the body which is Dark Blue= (Blue 95%+ Black 5%)

10. Remove the mask and define the white areas of the patch, and dot near the eye with the X-acto
Blade.

11. Now add details on the features of the whale with Dark Blue and Black Watercolor pencil.

-Blue variants for the lower part of the whale including the splash on the side of the flipper and at the
back.

-For the water just draw some small horizontal lines to create the water effect.

12. Add highlights for the splash with Opaque white Acrylic (just add drops of water to soften for the
soft effect). Note: I just used a Chinese brush, you may use any brush or a Sable Brush for this.

13. Spray Light Sky Blue= (Blue 20% + White 80%) to the back of the mountain and mist some to
the areas on the water on the top of the whale.

14. Check your work for any corrections, like if you need to darken some areas or lighten: spray or use
Watercolor pencil for details.

Take a break and after that prepare for the next exercise.

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