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 Paint with Airbrush For Beginners (Tangerines Fruit Basket)

by John Davidson January 17, 2019

As a matter of first importance thank you for picking this book, as it demonstrate your earnest enthusiasm of the subject about 

Enhancing with Photoshop, Second is that I'm here to direct you to demonstrate that it's anything but difficult to learn, as what other 

misinterpretations encompass it from what you heard previously, that you must be a genuine craftsman to utilize it, well 

as everybody who began it, starts as self-educated, perusing books and doing it experimentation, until they 

goes to a point, they are truly doing likewise again and again and Boom. They're great in 

Digitally embellishing, Third recall that legitimate aptitudes and right systems give a substantial rate for 

singular achievement in digitally embellishing, so stay with me, I will acquaint you with artificially glamorizing and things 

you have to pick up, including the correct materials and different apparatuses, to make you're craftsmanship a genuine bit of 

Artful culmination. 

So Read this eBook cautiously and comprehend, practice the activities particularly for your trigger control 

consistently, for your own one of a kind advantages, at that point work the Airbrush practices straightaway, so Good Luck and have 

fun. 

Exercise: 

Tangerines Fruit Basket 

For this activity we will enhancing with Photoshop a still life, similar to a genuine painting, and yes we will render utilizing a 

Gouache paint. So set you're up devices and materials.

Transfer this image to your working board and paper, and take note of the details and the shaded parts
and areas, include that also when drawing your outline by marking it lightly.

Steps:
1. Prepare your Gouache paint for the background, mix a Yellow Ochre in a small amount of
water to thin it, begin by painting the background, don’t worry about the even tones, since we area after
the its texture.

-Including the foreground area below, but with a light strokes.

-This serves as the under layer of our work.

2. Lightly spray some areas on the background with Dark Green .

3. Let it dry, and then soften the area with kneaded eraser.

4. Add another color for the background with Burnt Umber 90% + Black 10%= , again with light
strokes, spray it on the left side and some on the right, note that the light is on the left side, so dark
areas are evident on the left than the right side, and let me remind you not to cover the whole area.
-Erase any over spray using your Abrasive Pencil Eraser, and be very careful not to ruin the paper.

5. Spray a Burnt Sienna color on the light areas.

This is how it looks like after the spray.

6. Paint the Tangerines with Yellow color with your Paint Brush, take note of shaded tone, and
imagine that this is the only color we will be using.

7. Next paint the leaves with Leaf Green color.

8. Add highlights on the Tangerines using the Electric Eraser.

9. Paint another color for the Tangerines, using Orange color, this time use your airbrush, since
you will be spraying close to the surface, and decrease the pressure in the air regulator, and don’t forget
to apply masking fluid on the basket to avoid the overspray.

-Use the picture below as your guide.

10. Have an early correction on your work, as you see below, some background paint seems to looks
darker when dry, so I paint the area with White to lighten the mistakes.

-Also I lighten some areas on the leaf using the Abrasive Pencil Eraser.

-After some minor corrections, see our painting in progress.

11. Finished some details on the leaves, and the fruits, using Green Variant and Yellow Watercolor
Pencils.

12. Next is to add details in the basket, by painting it with browns such as Burnt Umber and Burnt
Sienna with Paint Brush, notice below I mist some water over it, to prolong it’s moisture.

13. After that, mask the area above including background, basket, leaf and the Tangerine on the right
side, spray the surface with Burnt Umber color, notice I used a tracing paper for this to see the
contrast, also I place a half size index card for my test spray.

14. Lighten the area with Abrasive Pencil Eraser, with horizontal strokes.

15. Then add the cast shadows, by spraying with this mixture- Burnt Umber 85% + Orange 10% +
Green 5% (note that proportions may differ since, since some brands of Gouache paint differ, so make
some necessary adjustment when mixing ), spray it on the Basket and also on right side for its shadow,
same thing for the Tangerines and leaves (including the right tangerine and left leaves cast shadows).

16. Now add some details on the foreground below, first draw a small dot, then create highlight, using
the X-Acto scratch below it.

17. Add more details such as highlights: using the White paint spray the highlights for the tangerines,
also leaves and the long horizontal line below the foreground, add another light spray of color for the
background with Blue Green 90%+ Gray 10% color, and don’t forget to draw the cracks using your
Dark Brown Watercolor Pencil, and some thin lines with White Watercolor Pencil.

-Check your work, and when you’re done take a break and be ready for the last exercise and this will
be in watercolor, so prepare your materials and get ready for the finale.

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