*sees smooth digital art* what a kickass style i want my art to be like that

*sees effortless watercolor art* what a kickass style i want my art to be like that

*sees sketchy, angular art* what a kickass style i want my art to be like that

*sees bubbly, stylized art* what a kickass style i want my art to be like that

*sees blocky, bright art* what a kickass style i want my art to be like that

*sees realistic, detailed art* what a kickass st

I rlly love your art! I like to draw too but I'm having trouble with chubby/fat characters. Is there any advice you could give? (Sorry if this is weird or annoying, if so you don't gotta answer it.)

I get this question a lot, and for once I’m going to try to give a proper answer. 

I what most people get wrong is how to distribute fat. People gain fat in different parts of their body, but no one gains fat in only one part. I often see people draw “fat” characters by just drawing a skinny character and making their belly stick out, like in the picture below.

as you can see, the first drawing  looks kinda weird and unnatural, and it certainly does not look “fat”. in the second drawing the fat distribution is more natural, with fat on the characters’ sides and chest as well as the belly. if you want to get better at drawing fat you should practice adding fat to those areas, as well as the arms, face and neck. another thing that makes the first one look strange is how “hard” the fat looks. there’s a really visible border between the “skinny” part of the body and the “fat” part. fat doesn’t work the same way as muscle. fat is soft and doesn’t have any strenght - meaning that unless you physically lift it up its going to hang and sag. a lot of people are afraid of drawing fat that looks fat - as in fat that bulges, sags and gathers in rolls. that is a shame, because you can’t really skip that stuff if you want to draw natural looking fat.

like you see in the drawing above, adding rolls and visible sagging makes the fat look, well, fatter. all I can say is; don’t be afraid of making your fat look like real fat!

TANGLED ROOTS BY PHILLIPE FARAUT | 2008 Earthenware clay sculpture by Philippe Faraut, 2008. Click Images to Enlarge

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Ref Recs for Whump Writers

Violence: A Writer’s Guide:  This is not about writing technique. It is an introduction to the world of violence. To the parts that people don’t understand. The parts that books and movies get wrong. Not just the mechanics, but how people who live in a violent world think and feel about what they do and what they see done.

Hurting Your Characters: HURTING YOUR CHARACTERS discusses the immediate effect of trauma on the body, its physiologic response, including the types of nerve fibers and the sensations they convey, and how injuries feel to the character. This book also presents a simplified overview of the expected recovery times for the injuries discussed in young, otherwise healthy individuals.

Body Trauma: A writer’s guide to wounds and injuries. Body Trauma explains what happens to body organs and bones maimed by accident or intent and the small window of opportunity for emergency treatment. Research what happens in a hospital operating room and the personnel who initiate treatment. Use these facts to bring added realism to your stories and novels.

10 B.S. Medical Tropes that Need to Die TODAY…and What to Do Instead: Written by a paramedic and writer with a decade of experience, 10 BS Medical Tropes covers exactly that: clichéd and inaccurate tropes that not only ruin books, they have the potential to hurt real people in the real world. 

Maim Your Characters: How Injuries Work in Fiction: Increase Realism. Raise the Stakes. Tell Better Stories. Maim Your Characters is the definitive guide to using wounds and injuries to their greatest effect in your story. Learn not only the six critical parts of an injury plot, but more importantly, how to make sure that the injury you’re inflicting matters. 

Blood on the Page: This handy resource is a must-have guide for writers whose characters live on the edge of danger. If you like easy-to-follow tools, expert opinions from someone with firsthand knowledge, and you don’t mind a bit of fictional bodily harm, then you’ll love Samantha Keel’s invaluable handbook

1) Width. Add it.

2) Width. Just. Yeah. If you want to draw a really big guy - do it. The third guy is ok, but it's just a small guy with belly!

3) Gravity! More fat - more soft - gravity goes brr.

4) Basic shapes and clothes would definitely help you to draw a big comfy soft guy!

Miaou

💜✨Asexual Sticker for everyone!✨💜

HAPPY PRIDE!!! ❤️🧡💛💚💙💜

what I really like about all these vintage couple’s portraits is that there is a very certain romatic decorum kept up – certain themes and poses – which, while of course being the mainstream preferred view of couples repeated throughout many studios, are just… so nice to look at. 

this staged affection, a mix of theatricality and intimacy, the couple holding still for a couple of moments and now immortalised in a very set sequence of embraces and kisses. there is a charm to it even when I can’t tell whether this was a genuine couple portait or just actors hired by the photographer.

the kiss on the bare shoulder (eyes perfectly averted), the cheek caress, the piano and the violin, the interrupted embrace, the woman tilted back as in a half-stopped dance…

Cats painting studies by Paul Rabaud

I think one of the reasons drag kings aren’t as popular as drag queens, aside from the fact that straight women don’t like us, is that people are uncomfortable acknowledging masculinity as a performance. Like we as a society know that femininity is a performance, with its own costumes and rules. Masculinity is also a performance, and nothing makes that more clear than someone making an exaggeration of it

Making a glass rabbit

[eng by me]

so I go to animation school now

Improbable Compatibility Store / Patreon

Daisuke Samejima, “Flatball 2019 No.03“

rhinoceros beetle

I’m not normally an admirer of tattoos.