Varying Line Weight, any useful tips? |
  Nov 20 2009, 11:31 AM
Post
#1
|
|
|
|
Hello
 I'm working on a drawing for the Paper Trails sketchbook at the moment. It's quite detailed, with lots of different parts. When I do my final copy in pen I'd like to vary the line weights because it seems appropriate. I've never done this before though. I have a rough idea of how to approach it. I know that thicker lines pop forward and enhance a thing, and thin lines are suitable for softer parts and areas which are not to be the main focus. I still feel a bit intimidated by the task ahead. I know it's hard for you to give me input without a picture to see. I'll describe some aspects of it. There is a girl who, among other details, is holding a dagger and a goblet. Her clothing has various different features such as some frilly/soft transparent fabric and also more solid/thick areas. I think I'm pretty clear on the more obvious aspects of which lines should be heavy and light. I suppose I'm more curious about how many different line weights are considered suitable. Would three different thicknesses of outline be ok? Sorry if this question is dumb. New territory 'n' all Any other general tips or rules for deciding how to vary line weight? (It's a cool pic btw  )
|
 |
 
|
 |
Replies
(1 - 14)
|
Nov 20 2009, 11:43 AM
Post
#2
|
|
|
|
The way I usually go about this is to play it by ear. Ink the piece without thinking about line weight at all, just start with either the thinnest or medium line weight. Once done with that, take a look at the piece as a whole and decide from there what needs to happen. I usually put a thick line around the outer edge of the whole piece, then slowly add thin/thick lines where ever it seems they need to go.
Honestly, I don't think this is something you can explain how to do effectively. You can explain the theory behind varying line weights and why certain thicknesses work where, but when it comes down to it, I think it's a matter of trial and error, what works vs. what doesn't work. -------------------- |
|
|
|
|
Nov 20 2009, 03:18 PM
Post
#3
|
|
|
|
From the sounds of it you may have more than a few "lost lines" as well.
Thoughts, -------------------- If you ain't livin' on the edge, you're takin' up too much space.
|
|
|
|
|
Nov 20 2009, 04:25 PM
Post
#4
|
|
|
|
I dont think there's a set number of diferent line weights you should use. I use ALOT of diferent thicknesses in lines in my stuff.As a general rule I try to keep the fatter lines where there would be shadows and lighter lines where there is light. sometimes I mix it up and do the opposite. I suggest you look at graffiiti to see a wide range of line weights and how theyre used to achieve different looks.
Also. another thing I do is give the edges of the main picture (whatever im drawing) a fatter outline and keep the background with thin lines or none at all. It makes your subject pop out more IMO. Ill be posting in a couple of days a little something Im working on that has a ridiculous amount of line weight variations. maybe my last post can help you with the folds in the clothes and how to approach them? http://forum.ink-trails.com/Oracle-t16773.html This post has been edited by Moon: Nov 20 2009, 04:26 PM -------------------- |
|
|
|
|
Nov 20 2009, 04:44 PM
Post
#5
|
|
|
|
Im gonna have to dig it up but I think Guy Aitchison has a section in his book about different line weights.....come to think of it...where the hell did I put that book??
-------------------- Just my 2 cents
Rob |
|
|
|
|
Nov 20 2009, 04:45 PM
Post
#6
|
|
|
|
Find this book. This will give you all you need to know about line weight, creative layouts and perspective from two point, three point and / fish eye and how to plot it.Perspective layout
-------------------- |
|
|
|
|
Nov 20 2009, 05:03 PM
Post
#7
|
|
|
|
posted this piece awhile back in art class, its lightboxed from a comic book style character that has different line weights. I just used a regular mircon 2mm and kept going back in to fatten up lines where they needed to be fat.
 get some pictures from the internet with different line weights and trace them you'll learn something for sure This post has been edited by Tez: Nov 20 2009, 05:06 PM -------------------- "Life is the hardest teacher, she gives the test first and the lesson afterwards"
|
|
|
|
|
Nov 21 2009, 12:46 AM
Post
#8
|
|
|
|
QUOTE (natebot @ Nov 20 2009, 08:43 PM)  The way I usually go about this is to play it by ear. Ink the piece without thinking about line weight at all, just start with either the thinnest or medium line weight. Once done with that, take a look at the piece as a whole and decide from there what needs to happen. I usually put a thick line around the outer edge of the whole piece, then slowly add thin/thick lines where ever it seems they need to go. Honestly, I don't think this is something you can explain how to do effectively. You can explain the theory behind varying line weights and why certain thicknesses work where, but when it comes down to it, I think it's a matter of trial and error, what works vs. what doesn't work. Yes. When I look at the picture I do mostly feel that I could get it more or less right on instinct, but there are a few areas that got me wondering/scared that I'd jumble it up. QUOTE (Stoneface @ Nov 21 2009, 12:18 AM) From the sounds of it you may have more than a few "lost lines" as well. Thoughts, Huh? Do you mean lines that shouldn't actually have a hard edge but would just be shaded in? If that's what you mean then I agree. This piece is just going to be a line drawing for a while, so there will be some lines which I'll add for clarity but which would ultimately just be shaded areas. E.g. where there is some see-through fabric in creases over the skin. Or did I miss your point? lol QUOTE (Moon @ Nov 21 2009, 01:25 AM) I dont think there's a set number of diferent line weights you should use. I use ALOT of diferent thicknesses in lines in my stuff.As a general rule I try to keep the fatter lines where there would be shadows and lighter lines where there is light. sometimes I mix it up and do the opposite. I suggest you look at graffiiti to see a wide range of line weights and how theyre used to achieve different looks. Also. another thing I do is give the edges of the main picture (whatever im drawing) a fatter outline and keep the background with thin lines or none at all. It makes your subject pop out more IMO. Ill be posting in a couple of days a little something Im working on that has a ridiculous amount of line weight variations. maybe my last post can help you with the folds in the clothes and how to approach them? http://forum.ink-trails.com/Oracle-t16773.html Helpful! QUOTE (poconosrob @ Nov 21 2009, 01:44 AM) Im gonna have to dig it up but I think Guy Aitchison has a section in his book about different line weights.....come to think of it...where the hell did I put that book?? That rings a bell but I don't know why since I don't have the book. Actually... heh I think I downloaded a .pdf of it a few months ago but it was too hard to read so I decided to wait and buy the book when I can. So I am going to buy it! lol (Even if he can afford to get ripped off now and then in the name of art  ) I don't make a habit of downloading tattoo books btw, but I think it's fair to want to take a peek before purchasing something pricey.QUOTE (Mario AKA mark @ Nov 21 2009, 01:45 AM) Find this book. This will give you all you need to know about line weight, creative layouts and perspective from two point, three point and / fish eye and how to plot it.Perspective layout Not gonna turn down an excuse to add something to my wishlist. Cor, it looks a bit expensive/hard to find. Are there any alternatives you can suggest? Still, I'm up for spending a bit if it ultimately improves my artwork a lot 'coz it pays off in the end.QUOTE (Tez @ Nov 21 2009, 02:03 AM) posted this piece awhile back in art class, its lightboxed from a comic book style character that has different line weights. I just used a regular mircon 2mm and kept going back in to fatten up lines where they needed to be fat. get some pictures from the internet with different line weights and trace them you'll learn something for sure Cool. It occurred to me in bed last night that comic books might be the most suitable source for helping with this particular drawing, since it is just lines until I feel clever enough to paint it. Thanks for all the helpful and varied replies
|
|
|
|
|
Nov 21 2009, 05:03 AM
Post
#9
|
|
|
|
i think the lost lines are wher lines normally would connect,but are in a highlighted area,so the thin out as the approach the highlighted (and possibly round or other shape/ contour) and then do not actually meet in the middle they just suggest they are meeting to the viewer's eye,hinting at it gives sublety and is a cool trick to use,got any pics would be easier to help ya if ya could put sumthin up for us to guide ya with,when i do my drawings i just play around with the pic to get the linewidths as i go,if it don't look rioght i use the electric erasure and redo it till it's right
|
|
|
|
|
Nov 21 2009, 05:28 AM
Post
#10
|
|
|
|
 here's a reference,not the greatest but to get a general idea,still a workin progress,but basically,thicker outline on the outside of the face and beard,thinner inside for details,thicker contoring lines outside of the body,but varying throughout the different elements,gun bein the most heavily outlined as it is closer and inner detail lines would have thinner than outside but thicker than the inner lines in the beard to show it is closer,not my best reference fer ya but hope it helps,and i know the gun sucks as do the suspenders,but still not done |
|
|
|
|
Nov 21 2009, 08:10 AM
Post
#11
|
|
|
|
Cool, thanks jrf134
Aah I get the lost lines thing now - didn't know there was a name for it! I'm not posting a pic 'coz it's for the Ink Trails sketch book so it's a secret you see
|
|
|
|
|
Nov 21 2009, 10:26 AM
Post
#12
|
|
|
|
No alternatives for this book. There are many on perspective but this one is not boring and it's for the illustrator try to find else where or on eBay
-------------------- |
|
|
|
|
Nov 21 2009, 11:21 AM
Post
#13
|
|
|
|
QUOTE (Mario AKA mark @ Nov 21 2009, 07:26 PM) No alternatives for this book. There are many on perspective but this one is not boring and it's for the illustrator try to find else where or on eBay Well I trust your judgement, so it's now on my list of things to hunt down Thanks for the tip.
|
|
|
|
|
Nov 21 2009, 03:07 PM
Post
#14
|
|
|
|
QUOTE (Stoneface @ Nov 20 2009, 04:18 PM) From the sounds of it you may have more than a few "lost lines" as well. Thoughts, when you say,lost lines,do ya mean what i mentioned earlier,or the actual losing of the lines in the transfering of the stencil,or the finished tattoo based on intricacy and missin em as you work, |
|
|
|
|
Nov 21 2009, 04:35 PM
Post
#15
|
|
|
|
http://www.youtube.com/watch?v=FPz8Xyt3z-w...player_embedded
start at 8 minutes and he talks about the different types of edges/lines |
|
|
|
 |
| Lo-Fi Version | Time is now: 22nd March 2010 - 01:01 AM |
Skin designed by IPB Forum Skins