How to Draw Harley Quinn Full Body Step by Step

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How to draw Harley Quinn

To me, the appeal of digital painting techniques are simple. Unlike traditional media, I can create a piece of art without waiting for the pigment to dry out.

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, information technology was also interesting and challenging. I likewise worked on traditional media, which fabricated it easier for me to understand what to do with digital art software.

Mistakes will always happen along the mode, simply I enjoy the procedure. Sometimes the figurer crashes while I'g producing artwork, considering the memory is over capacity. That can be painful, but it works out in the cease when a customer is satisfied with the result and I go paid plenty to purchase a new computer!

And so don't be scared to brand mistakes and set up to go through some creative pain. It volition ease in fourth dimension, so you can look back at what you've been through... and smile. Savour the journey.

01. The initial idea

Dissimilar pose options are sketched out

I already have an thought of how to pose Harley Quinn – it'due south pretty much what yous see here. It's always hard at the beginning to decide on what pose will be all-time, then I draw out a couple of options, then cull the best. I identify the rough sketch on a default layer in Photoshop with a white background.

02. Build upward the lines

A default castor builds up the lines

From the crude, on the same layer, I start to build up the lines. For this procedure I utilize Photoshop'south default hard Round castor. I describe what is needed for now, and add some relevant detail. But I too endeavour and maintain the composition'south mood and momentum, into the adjacent step...

03. Cleaning things up

A new layer is added to clean up the details

I add a new layer on top of the overlapping line fine art, and then place the original rough sketch above that layer, which makes it easier to edit if there are any mistakes in the process. Side by side I start to make clean up the lines, by tracing exactly forth my original drawing of Harley Quinn.

04. Background considerations

Backgrounds tin add atmosphere and tell a story

Later on finishing the character'southward lines, I motion on to the background. I introduce a grid to create a strong perspective and add together more layers behind the effigy, to ensure the background is articulate enough to make the character stand up out. I'm portraying Harley Quinn standing in a subway – she's bruised and bloody, but victorious. Her enemies' bodies are just out of shot.

05. Applying colour

Color and low-cal are added in another layer

Now it's time for some color foundation. I add a new layer over again below the line art and the groundwork layer, ready for some rough colours. I kickoff with Harley. Using the difficult Round brush, I place some colour, working out where the light comes from and how much brightness I'll need. This will assistance me when I render (add final detail to) the character.

06. Lighting the scene

The Gradient tool is perfect for adding low-cal sources

Next I roughly colour the background. Adding a new layer below the background line, I use the Gradient tool for quickly introducing a dark to low-cal graduation. Then I paint a light source – not the main one, merely a secondary source – which gives a certain mood to the character and will assist explain the ambient colour in the finished artwork.

07. Enhancing the confront

The eyes are worked on delicately for extra touch on

Now I start rendering Harley's face. I use a soft Circular brush for a smoother touch and my custom castor I call Canvas 001, which gives the artwork a more painterly wait and helps me blend areas delicately. I change the eyes a little, aiming to create more impact with the viewer. This sort of change tin can exist done whenever y'all want around the rendering phase, really.

08. Rendering the grapheme

At this phase, rendering can afford to exist a bit rough and set

I continue to render the whole character, for now not worrying about the tattoos that are visible on the line fine art. I can sort them out later after the whole rendering process is washed. I still utilise the same brush for rendering the character.

09. Don't lose details

Tone is crucial for establishing the graphic symbol

I realise that I need to take more intendance when rendering my character. Because Harley Quinn is the subject of the illustration, I have to be careful with tone, mid-tone and shadow. A heavy hand and my graphic symbol volition suffer in darker areas and cause a loss of image detail. A delicate use of mid- tones is crucial during these final painting stages.

ten. Last touches

Background textures aid to situate the character

Now it's time to render the background. In this case, I use marble and granite textures to lift the mood a little. 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 issue and dust textures, to increment visual involvement.

This commodity was originally published in ImagineFX magazine upshot 137. Purchase it hither.

Admira Wijaya has been creating comic and concept art for over eight years. At the moment he's decorated creating covers for Dark Horse Comic's Conan the Barbarian.

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