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midnight--siren · 3 days
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"Stuck together, but don't suck together"
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midnight--siren · 6 days
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This is me btw if you even care
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midnight--siren · 10 days
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I forgot to post them here so uuuuhhh...
Radiodust week art dump!
Posted in order of promt, expert the last one. I never finished it enough to share
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Likes and Reblogs are appreciated and give me life 💕
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midnight--siren · 10 days
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I forgot to post them here so uuuuhhh...
Radiodust week art dump!
Posted in order of promt, expert the last one. I never finished it enough to share
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Likes and Reblogs are appreciated and give me life 💕
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midnight--siren · 2 months
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I have to draw a lot of gold and metal for my work, but wasn't happy with any of the metal tutorials i could find around. I prefer really specific instruction, so after some research i put together what i think works as a generalist's guide/tutorial. Not perfectly accurate, but i hope it's helpful!
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midnight--siren · 2 months
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"Any way you want me, baby that's the way you got me"
I'm having a grand time doing these screenshot redraws with more planned 😈💜
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midnight--siren · 2 months
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Because I'm taking EVERYONE to Barbieland!!
Transparent Pen and Cherri are thanks to @TrumpetBWAH on Twitter 💕
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midnight--siren · 2 months
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Screenshot redraw of everyone's favorite deer boy as some shading practice
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midnight--siren · 2 months
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Overlord Tea Time
Likes/Reblogs Appreciated Do Not Repost
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midnight--siren · 3 months
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The Wendigo is Not What You Think
There’s been a recent flurry of discussion surrounding the Wendigo – what it is, how it appears in fiction, and whether non-Native creators should even be using it in their stories. This post is dedicated to @halfbloodlycan​, who brought the discourse to my attention. 
Once you begin teasing apart the modern depictions of this controversial monster, an interesting pattern emerges – namely, that what pop culture generally thinks of as the “wendigo” is a figure and aesthetic that has almost nothing in common with its Native American roots…but a whole lot in common with European Folklore. 
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Keep reading
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midnight--siren · 3 months
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apparently ppl don’t know about waifu2x??? despite its… concerning name it’s literally the most convenient website i’ve ever come across as an artist
it allows you to resize artwork without it becoming pixellated. this is a MASSIVE help if you, for example, make lineart too small or something. it works best with things that 1. have no textures 2. have smooth lines 3. have cel shading, but it still works really damn well for things that don’t fit that profile
here’s an example:
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normal size
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2x in paint
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2x in waifu2x
so like, there’s that. go wild
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midnight--siren · 3 months
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fast rendering tutorial for when you dont want to put in any effort
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midnight--siren · 3 months
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A guide on my process for colouring like in the Arcana which I developed through studying the style.
Now, this is just for sprites or for neutral lighting. In the case of most memories/CGs, you have more interesting colours to use, but the process is identical. There are just extra steps.
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Using my favourite memories for each character as examples (hopefully, you can tell which ones) you can see this process. All of this happens on layers above the base drawing.
Usually, you set a colour-filled layer to the setting “multiply” over the entire drawing, then using a “screen”, “add”, or “hard light” layer, you add the lighting. Depending on the intensity of the lighting, the outline will be coloured to be lighter.
The shading colour rarely changes, aside from slight hue changes.
Misc advice/tips/tricks below. I may update it depending on if I get further questions.
Keep reading
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midnight--siren · 3 months
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If I had a nickel for everytime Keith David voiced a dark mysterious character that is secretly a being of immeasurable power and also has a singing voice that could knock you out cold I’d have two nickels which isn’t a lot but damn am I glad it happened twice
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midnight--siren · 4 months
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tweet
Something like this would be so colossally helpful. I'm sick and tired of trying to research specific clothing from any given culture and being met with either racist stereotypical costumes worn by yt people or ai generated garbage nonsense, and trying to be hyper specific with searches yields fuck all. Like I generally just cannot trust the legitimacy of most search results at this point. It's extremely frustrating. If there are good resources for this then they're buried deep under all the other bullshit, and idk where to start looking.
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midnight--siren · 4 months
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Hey artists, C. Spike Trotman, founder of Iron Circus Comics, just posted an invaluable thread on depicting different types of black hair. I’d do the thing where you screencap the whole thread and post it but it’s just too long (which is great because it’s a whole lot of useful information!) Give her a follow while you’re there.
Anyway, go check it out. I just wanted to save it and share it because I didn’t know how much I didn’t know!
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midnight--siren · 4 months
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Tutorial: Expressions~
First off, I gotta start off with the typical Disclaimer.
*ahem*
This is a tutorial based off of MY knowledge and MY experience. My advice is just that, advice, and is not is anyway, shape or form, absolute. I am still learning and do not consider myself a professional or expert. Look at other sources, look at other materials, expand your inspiration, don’t just look at this tutorial and call it good. And most importantly have fun~
Alright, with that out of the way, before I can get to the actual expressions, we need to discuss an important concept known as “Squash and Stretch.” You’ve probably heard of it before. Squash and Stretch was a method that was invented (I use this term a bit loosely) by Freddie Moore, a Disney animator from the 1930s to 1940s. He was the animator for the Dwarves in Snow White and he gave these characters a spongy flexibility that made them feel more real and gave pliability to the face that made them come more alive.
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Even outside the world of animation, Squash and Stretch is essential and you’re going to squeeze much more life out of your characters if you understand and are willing to push the weight and flexibility of their faces. This also doesn’t only apply to cartoons, look in the mirror and make funny faces and strange expressions and you’ll notice how squishy your face is.
The next concept to be aware of is the Acting Elements of the Face. This is a concept I never really thought about until I read Tom Bancroft’s Character Mentor, a book I have recommended many times. The Acting Elements are the basics of character expression and focuses on breaking down the elements of the face in order of importance to properly communicate an expression to the audience.  These are not set in stone and a lot of times their order can be switched around depending on the expression. This is the default order Bancroft uses in his book:
1)      The eyes
2)      The eyebrows
3)      The mouth
4)      The neck
5)      The nose
I’m not going to go into much detail about this; otherwise this tutorial will run on forever, so DEFINITELY give Character Mentor a look for a better understanding.
Here are some expressions I whipped up, notice the different ways each of the above elements contributes to the overall expression. Try to identify which element is strongest in each one. Also notice how some elements repeat (such as the use of the eyebrows in the bottom two) but they’re still different expressions.
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I personally find that I always build from the eyes out when building an expression. Ever heard the phrase “The eyes are the windows to the soul?” well guess what? THE EYES ARE THE WINDOWS TO THE SOUL!  This is why people look away when their embarrassed, why their gaze shifts when they’re lying, why their eyes grow wide in awe.  It’s what makes a hero seem cold when they hold their gaze at the display of heartless behavior or gives a villain a moment of redemption when they turn away from a cruelty.
Part of the reason why Glen Keane’s characters are so incredible is the way he expresses a character through their eyes. He says “If you’re going to make a mistake, don’t make it in the eyes. Because everybody’s looking at the eyes.” He creates these characters that are filled with passion and before that passion translates into body language or into an expression, if bursts out through the eyes.
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Remember when I brought up that the order of the Acting Elements is flexible? As I said, I tend to start with the eyes when expressing and character but sometimes that just doesn’t “work” with the character. Take a look a Max, from Cats Don’t Dance (if you haven’t seen the film, I highly recommend it, even if just for the animation).  His face is almost ALWAYS in the same position, with the same expression, completely stiff. The only thing that moves is his mouth and it’s animated in a way that is both comical and intimidating! This is a common theme with his character, fluid motion against unmoving bulk.  It contrasts and guess what? Contrast creates interest! <——Remember this phrase, because it applies to everything!
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Next, pushing your expressions. Don’t be afraid to add that extra “umph” to a characters expression. Unless you’re animating, you don’t have the luxury of constant motion and steady frames, so make the most of a scene, make it clear to your audience what your character is feeling. Check out some of these simple examples below.
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Now some of you probably thought the first expression was better than the second. And you know, you may be right! Sometimes a subtler expression speaks volumes more than a more obvious one. It’s important, however, to understand to how to make the most use of your character’s face. But in the end it all boils down to the character. Which leads me to my final segment of this tutorial…
A character should express themselves through their emotions. Just like costumes, colors, body language, etc. expressions are ultimately a tool used describe a character, to visually tell a story about them.  When dealing with different characters, try to avoid “recycling” expressions, ESPECIALLY in the same scene/picture/moment. A good exercise is to draw two or three different characters with the same emotion but give them different expressions.
Or better yet, draw them reacting to the same situation.
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Your goal should be to make each expression true to the character. Their expressions should tell the audience something about them. The same way you might bold a word or phrase to emphasize its meaning, a character should express themselves in ways that emphasize who they are.
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