DADS DADS DADS DADS. (Read below for a short written scene to add context)
Lucifer purses his lips, echoes of his daughter's words jarring daggers from behind his mind's eye.
“They’re our people too, dad. People with—with hopes and dreams, and—and fears. Like you, and me. I have to do something."
That had been months ago. Same day she left home, along with most things in her room and the knickknacks that had innocently scattered around the house. Once overlooked, now the fractures that chiselled the crack in the wall.
From the corner of his eye, the man’s brow tightens. Lucifer watches shoulders stiffening under a black suit, a red beak pulling into a frown. The imp's eyes remain cemented in the same spot of the table, however, an empty murkiness tredging the edges. Too recognizeable. Too familiar.
Lucifer closes his eyes. Fine. Okay. Okay.
“Uh.” He clears his throat. “Hard day?” Perfect.
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heyyy I hope it's okay to send an ask! I just wanted to know about your art process, if you got any advise. Because I'm in love with your SH doodles, they're so dynamic and lively and the shading is such a nice accent yet it remains somewhat minimalistic? I'm relatively decent at realism but want to develop my own character in drawing more and I'm wondering how you arrived at yours, did you have a method? Thanks in advance^^
love to talk about DRAWING......
The short answer is that because I want to draw them a lot, and have limited time, I can't be too precious about how the final result looks! So a lack of perfectionism and a desire for speed ends up forcing me to simplify and stylize them. This was an organic process (if you scroll down my art tag you can see I was drawing them with a bit more detail, finish, and care a few months ago - I was illustrating vs what I'm doing now, cartooning).
Ideally when you are cartooning, every line of the character's face is doing work to make them THEM, and to tell a story. No unnecessary lines! I find that story is best expressed through eyes, eyebrows, and mouth (this might be different for you). Those features can and should change shape to express emotion. They are usually what I draw first, to figure out the emotion, and they're what I spend the most time tweaking.
The rest of the features - face shape, cheekbones, nose, forehead, ears, hairline - are less emotive, less 'plastic', they don't change shape much. These are doing work to make the character recognizable. I try to keep them simple and have a few simple rules that I can remember about each character.
(Watson is tricky because of his mustache! I've found that treating it as part of his mouth rather than a distinct piece works best, but even so it makes his face less emotive - which, honestly, works for the character, as he is less demonstrative than Holmes)
I'll usually do a simple underdrawing to figure out what the body is doing - trying to capture the energy of a pose and, again, thinking about what story the body is telling.
Then I 'ink' in the clothing, following the lines of the body and gravity. Victorian clothing is fun to draw, I find that the structure around the shoulders and neckline lends itself to expressive poses. I did a bunch of Victorian clothing studies a few months ago and felt like I built up a 'library' in my head so that I don't need to reference it every time.
Shading is incredibly minimal and quick. In really simple drawings, its purpose is usually to distinguish characters from the background. In more detailed ones, it's to give them a little dimension and focus the eye to the faces.
Every choice I make is in service of readability rather than beauty or accuracy, if that makes sense. So it is quite a different mindset than when you're drawing realistically or painting.
I hope this was helpful! I am a professional artist but whenever I get sucked into a fandom I find myself making leaps and bounds in my craft because I want to draw so MUCH and don't care about making it polished...truly shout out to hyperfixation for the gifts it brings
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funni poster thing for violet illusions au which is basically how scout sees things in the beginning:
Red scout begins seeing his teammates as monsters and finds he has a respirator affixed to his face, and he can't take it off. The other mercs seem unaware of their condition and the masks on their faces. Miraculously, Sniper is completely unaffected by the masks or the mutations, but is very reluctant to acknowledge anything is wrong. Doesn't help either that the Heavy's been following scout everywhere.
Is scout losing his mind? Is any of this real? Or is he the only one who can see what's really going on?
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a LOT of people wanted this on Twitter, so here it is on Tumblr too!
A small tutorial/mostly style study of how I draw the Smiling Critters, using CatNap as an example!
And for the person who asked for help with expressions, that will be part 2 to this guide ^^
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