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godbirdart · 8 months

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Looking at your recent commissions, those backgrounds are soo pretty!! Do you have any tips for backgrounds? I always struggle with them :>

aAA many many thanks!!

backgrounds can absolutely be a struggle but they don't have to be! they just require a little more creative planning~!

whether it be a commission or a personal drawing, if I'm building an elaborate art piece i focus on establishing the background First.

the background is the stage for your character! planning the background first will make it easier to tailor the character's actions and how they interact with the environment around them.

planning the background first can be the difference between your character standing awkwardly front and center with the setting going on behind them, or actually participating in their environment.

if i'm super stumped for background ideas, i browse stock image sites to get inspiration. sometimes it helps to doodle on an image to generate some ideas - kinda like you're playing with JPEGs like dolls.

that said - while i'm pinpointing WHAT i want to draw, i keep the ideas loose. i don't want to focus on the itty-bitty details until i've got the overall aesthetic and layout in mind, as i might get inspired to add something in later!

THUMBNAILING

if you're planning a big piece it can be helpful to break it down into something bite-sized before you go all in and start lining or painting. these are "thumbnails" - fast little sketches that establish the scene in a way that doesn't consume a lot of time or effort. it's also great as a little perspective exercise as a treat.

here i decided i want to draw a character walking home in a back alley street. with these photo references in mind, i can plan a layout and how the character will act in the scene. is this a candid shot? are they posing cutely? are they looking down at us in a tense way? there are many ideas to be had!

after you've chosen the layout / vibe for your idea, you can scale up your thumbnail to your preferred canvas size and start fleshing out the details. be sure to keep referring to your reference images to get additional ideas, such as storefronts, items, props etc!

3D MODELS

If you're trying to create a unique environment that photo references simply cannot help you visualize, 3D models exist! This gives you that ability to rotate / scale things for better visualization. Clip Studio has a vast catalogue of 3D models to download For Free that you can fiddle around with. i know there are many 3D builder sites out there as well, though i've never made use of them so i'm afraid i cannot recommend any off the top of my head. hell, you can even use the Sims game to design a setting and go from there!

also if anyone is going to come into my house and say 3D models are cheating: they are not. using a 3D model to better grasp an angle or get a better idea for perspective is not cheating. using 3D models to help plan the environment in your art is not cheating. they are no different than brushes; these are tools made to HELP YOU. use them!

PERSPECTIVE

perspective and angles can make a HUGE difference in the art piece. there's nothing wrong with static long shots! if that's what you want to draw, do it!! there's no right and wrong here!

but if you're finding your work to be a little robotic and stiff, slap an angle in there. consider an overhead view. these same techniques are applied to photography and film! nothing wrong with wide shots, but every once in a while it can help to throw in a dutch angle.

if there is one note i'd like to leave off on, it's that your backgrounds do not have to be 100% accurate-to-life to be Good. unless realism is something you're really striving for in your style, don't feel compelled to nitpick every brick and leaf in your art. us artists can tend to over-prune our work until our art looks a little bare and soulless. flaws can give your work character, and that's often a lot more appealing than how accurate the scale ratio between background building A and building B are [again, unless you WANT to go for that realistic look then you can fuss over those details all you like].

i hope this helped a little! MY APOLOGIES FOR MAKING IT SO LONG AH

#art advice #art tutorials #godbirdart #long post

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arseniy-arsenicum33 · 3 months

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All Hermits in Hero Forge!

Season 10 is coming! And I've finished modeling every Hermit (Thus far) in their TCG-cards poses!

Special thanks to Hoffen for their original minecraft models...

You've already saw these eight models in my Life-series minis showcase, slight tweaks and costume changes... I really need to buy Hero Forge subscription, so i can manipulate fingers individually... Now, for the new guys... Guess what?! I've figured out how to make links! Now you can see my references directly! Technology!

Ren got his cool casual look...

Docm77 inspired primarily by Belmarzi's design, such as this... It was very funny to suddenly stop in the middle of this project to model him hugging Snoop Dogg...

JoeHills, unsurprisingly, based on real-life Joe Hills... But I did have this comic by my side while modeling him, for moral support, because modeling someone's likeness is always stressful...

Cleo's pose pose a challenge, It uses a transparent one-legged skeleton inside the main body... Like a real armour-stand magic! I like how it turned out...

I've started watching Zedaph very recently, so both Noxolotl's and Applestruda's portrayals of him were very helpful in forming mine...

Blaise's Hermit line up was used for Cub and Hypno, which you will see down the line... Bee's art was helpful, once again, and these Cub-arts by Sylvan...

My main goal with Jevin was to somehow convincingly make a slime look slimy... I was so ready to make him as rotund as this art, but alas, program restrictions...

This art was used for False at the very beginning, but it drifted so much with the addition of cheekbones, that it doesn't look like it at all anymore...

Hypno had a surprise for me, because before making this model, I've never saw this brown line on his chest as a boob-window... But now, I am convinced... This is the art, that guided me to that conclusion... Ghostea's and Locus's portraits were useful for figuring out his face...

Iskall lifted from this art... Hero Forge doesn't have any cool one-eyed visors, so I've settled on monocle for him and Doc...

Hero Forge also for some reason doesn't have a hand-held flower, so pretend, that Stress doesn't hold a pen, okay? And has a cardigan... Based mainly on this and this art, which was also used for XB...

My best guess with Keralis was that he is doing Edvard Munch's "The Scream" ommage... Thanks to Myra and Cole , without them, Keralis would've looked more like a bug with them big ol' eyes...

Oh, boy, XB... A true enigma for me... Pictured here, lightly jogging... Only you could tell me, if I did a good job with him, I sincerely have no idea... Since this is in part a TCG-inspired project, it would've been wise to use references from the actual TCG-cards... To bad, I've came up with this idea near the end of a project...

I have made so many Xisuma-costumes, and only now I am showing you the main friendly-neighbourhood DoomGuy cosplayer himself... Do I need to credit id Software for this?

WelsKnight is my champion in regards to how many references I needed for him... 1 2 3 4 5 6 7! Despite how many armour options Hero Forge has, making something coherent out of them was difficult... Especially, keeping in mind, that one day I'm going to model HelsKnight as well...

And finally, TinFoilChef, based heavily on this stunning artwork... And somewhat on this skin by Ink-Ghoul... It all comes around...

And the Creator Himself! Beef! And his wonderful portraits: 1 2 3 4...

I actually going to use him as an example, to address something...

Here is how my screen looks, then I am working on a model... My method of creation is derivative by nature, it requires the art and creativity of other people... And I have SO MUCH anxiety about this... Not being an artist, but still trying to make something with my limited capabilities... And post it on the internet, oh horror...

With recent talks about plagiarism and AI-art, it has come to my attention, that I myself not so different from AI, just not so efficient... So, this is why I so obsessively document my influences, it is the least I can do... Credit the artists, that I stole from... Please, check out everyone mentioned, subscribe to them, commission new pieces of art...

And if you've liked my dorky "minecraft youtubers made in DND character creator" models... Thank you...

Sometime later there will be a google doc on my blog with links to every model I've ever made, go nuts with them... Try Hero Forge for yourself, it's fun...

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lowkeyrobin · 2 months

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MCYT with artist reader and like R makes them art all the time weather it's using them as an art reference and having a bunch of doodles of them, or painting full portraits of them, or like painting pictures of their pets🪩🩷🥹🛸

ooooo I'm an artsy weirdo so here you go!!! thanks for the request ; also this is the day I figure out the ufo emoji existed

MCYT ; artsy reader

includes ; tommyinnit, tubbo, ranboo, badlinu, nihachu, quackity, & foolish gamers

warnings ; language

masterlist

TOMMYINNIT

bro u got a whole sketchbook dedicated to doodles of him and his character versions in mc smps (dsmp, osmp, etc)

you love painting him in watercolors 🫶🫶

you made him a watercolor portrait thing with the HTBAB logo behind him, freddie & jack

he treasures the art you give him

literally frames it and hangs it on the wall or puts it on the shelves in his office

sometimes he'll take a picture of them and posts them w ur consent to show off your talent

"look what y/n made me 🫶" or "now wtf why can't I have this kind of talent?"

will chill out with you while you're drawing/painting etc

you go over to his parents house ONCE and make a family portrait + the dogs for them

that painting hangs above their fireplace, his parents look at it everyday

he does little drawing competitions with you on stream just to bond with you a bit and make you laugh

like the "we go back to school" video, the paint gets everywhere because of him LMAO

will straight up show off your sketchbooks on stream too

TUBBO

absolutely loves that you draw him

and the fact you have so much q!tubbo and sunny fanart 💔💔

he hangs all the physical art up around his house

you made a little oil pastel portrait of you two with tommy, freddie & molly under you like they were your kids 😭🙏

it hangs in a frame in his background so everyone watching stream can see it

he absolutely loves your character designs and your art style/s

you straight up animated the life by the sea music video as a little present for his birthday

took 5 months but you got it done 💪💪

genuinley rewatches it a million times

he posted it to his YouTube as well to show off your talent

adores watching you draw/paint in silence

and he loves posing for you to help you get a good reference

beware cause he'll start complaining after 30 seconds

RANBOO

absolutely loves showing off your art and praising you for it

you've made them so much genloss fanart

you even made them a few channel banners, especially after the rebrand (and they will never change them ever again omg)

gives you a bunch of ideas for drawing

you love drawing the lanky d!ranboo and gl!ran especially w the mask and wide arrangement of wires and stuff

you made a textured painting of genloss!ranboo and it sits on one of the shelves in his office

he's obsessed with touching it and feeling the paint

its like feeling the hours of work you put into it, something just for them

also loves posing for you

they will get so extravagant and unique with it LMAO

FREDDIE BADLINU

anything you make for him is a treasure

you made a little portrait of him and his closest friends, and it hangs on his bedroom wall where he can see it constantly

shows off your art and totally praises you for it

does silly poses for you to reference

you've made him a couple screensavers and stream starting soon pages

he absolutely loves your color pallettes good god

Freddie in acrylic paint>>>>>

"guys look at what my amazing partner made me today 🫶❤️"

sends you links to Instagram shorts or whatever to little crafts/ideas if you're having artist block

he finds a notebook full of sketches and random blurbs of/about him when you get bored and shit and have nothing better to do

absolutely head over heels because the fact you spend so much time making art of/for him, omg

if you bleach-paint shirts yk damn well he's wearing whatever you made him 24/7

NIKI NIHACHU

absolutely loves your character designs for her characters, they're all so unique and different and she loves it

your designs of osmp!niki are her favorite, considering she's literally a mermaid

the art you make with all her tattoos and piercings>>> omg

either totally adorable or totally badass

"more biker! niki bc she needs to learn how to bike rn... @/nikinihachu"

"amazing as always y/n/n 🫶 maybe I will..."

loves just quietly watching you do your thing

her and watercolor paints will never not be perfect

you make a whole mural for her because you got bored...

it's an abstract kind of goth-ish mermaid kinda thing on one of her office walls, and 'nihachu' spread across it in white, kinda cursive lettering, it's amazing

always making silly little doodles of her too

ALEX QUACKITY

cant even comprehend how talented you are

he always sees you drawing him and painting him and he's like "bro go touch grass u spend too much time thinking about me"

you also made a textured painting for Tiger

it's his prized possession, he loves it to much

almost broke down and cried when you gave it to him

loves looking at all the little doodles, drawings and character designs

his favorites are the ones of him with dynamic arm poses, even if you think they're bad

he thinks it adds a lot more personality and makes him look better LMAO

he loves and appreciates that you spend so much time on something about/for him, and so often as well

he looks so good in gouche paints that's all I'm saying

and in a kinda graffiti style as well omg

FOOLISH GAMERS

absolutely adores all the art you make of him

he'll even pose so you can get references and shit LMAO

him and watercolor paints... lord

AND COLORED PENCILS

any painting you've made for him is hung up on the wall

loves seeing your character designs for his dsmp/qsmp etc characters

he also shows them off online and points out all the cool things you've added and shit

even if it's just simple doodles of him, you'll add a splash of color w a marker or highlighter and he thinks it looks so awesome

you have post it notes all over your wall thatre just doodles of him and shit

you painted his shark logo on a giant canvas for him for a YouTube video

like 59 hours later you completed it and gave it to him as a birthday gift

he doesn't shut up about it after that

literally brags about it like he's a 15yo who just got a girlfriend for the first time before all his other friends

#lowkeyrobin #mcyt x reader #mcyt preferences #mcyt oneshot #tommyinnit x reader #quackity x reader #ranboo x reader #badlinu x reader #tubbo x reader #freddie badlinu x reader #foolish gamers x reader #niki nihachu x reader #nihachu x reader #gn reader #gender neutral reader #they/them reader

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the-cat-and-the-birdie · 2 months

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I don't know who needs to hear this, but you should make an OC.

You should make an OC. Specifically a Spider-Sona. Like now. Preferably yesterday. [A MEDIUM-LONG essay about OC's, fanfiction, and how to enrich and better your writing skills in literally every sector. Throughout this essay I reference my two characters Disco-Spider and Inca-Spider as examples of the way OCs can be used.]

_________________________________________

"But no one cares about OCs -"

OKKAYYYY??

IDK about ya'll but fandom is NOT my final destination no siree

I feel like a lot of the time we get so caught up in posting and notes we forget that for many artists and writers on this platform - fanfiction is not the true end goal.

Many of us write and draw fanart for years -

But the fact of the matter is if you want to be an author someday, if you want to be a graphic novelist, an animator, etc, etc - You're going to HAVE to make OCs.

If you want to study English in college or publish books - you're gonna have to write an OC at least once. If not hundreds of times.

If you want to study art - chances are at some point you're gonna have to fill a portfolio with original pieces, including some of OCs.

If you want to do something with your writing, if you want to get better - or make a career out of your art, you HAVE to make OCs at some point.

And this is especially true for fanfiction writers.

You can get very very very good at writing in your specific fandoms, you may have the emotions of the characters on point, and the ability to describe the scenery.

But if you don't know how to create and design a character - if you don't know how to worldbuild, or come up with scenarios without the help of characterai and ChatGPT - you won't be able to write a book.

If you're an artist and you don't know how to draw an original character from scratch, how to match colors, how to draw certain skin tones, certain hair, wheelchairs and mobility aids, how to design a character from looks, to clothing - it's going to be so hard to expand your art outside of fanart. You'll always be beholden to the notes and popularity of your particular fandom.

Do it - even if you've never written or never draw before. Even better.

That's why I CHAMPION Spider-sonas so much. They're basically OCs on easy mode.

Can't write backgrounds yet? Here's a bucket on canon events to pick from? Can't draw faces? Blank mask with eyes.

Hell, if you're really really new about it - just pick a character and make a slightly different variant. Make a Hobie of your own, make a Peter variant. Make a Mary Jane variant. Pick a something you like and turn that into a character.

Can't write? Just fill-in the 'My name is [blank], I was bitten by a [blank]' script that Miles does. Can't draw, just draw out a basic shape of a body and color-out the suit, no fancy pose needed. That still counts!!

Make a self-insert. Make yourself fit into the story, design your suit, write out how you fight crime, how you'd act at the Society, meeting Miguel or Miles.

That's still character design, that's still worldbuilding.

We always hear people say 'Make art for yourself' and yeah that sounds nice - but people also misinterpret it.

Make art for yourself doesn't just mean making art that you personally like.

Making art for yourself also means making art that develops your skills even if no one gives a fuck. It's about making art as practice without the intention of it being 'completed', making OCs that never get used, drawing locations you see or writing a random ass short story then shoving it into your Google Drive forever.

Making art for yourself means making art that invests in yourself.

It means making art that interests you, challenges you, or helps you develop.

And making OC's helps develop your fanfic writing skills.

In may fandoms we begin to fall into these routine 'tropes' between characters and their personalities. This is usually known as the 'fanon' characterization.

Because when you have a set amount of characters and people, there's also a set amount of interactions and relationships between those people.

Writing OCs and having those OCs interact with canon characters allows you to dig deeper into sides of the canon characters we'd never otherwise see.

That's why I wrote Disco-Spider Diane like I do. Often, we see Hobie characterized as the chaotic, rowdy, confident type - which is perfect characterization for him. But in almost all of his interactions - he's the wilder, bolder, extroverted one. I wanted to put him in a situation where for once, he was the calmer one. I wanted to explore more grounded and chill sides of Hobie, one where he's the one grounding the other, and thinking logically - because in canon, we're hinted at a side of Hobie who's way more methodical and slow-paced and willing to stop and wait it out and play it off. And I wanted to see that. I wanted to explore what he'd do if he was faced with someone just as chaotic, who put on a cheeky ironic act - just the same as him.

Because no other characters serve that purpose in canon.

If there are elements of a character or concept you think are interesting but outright ignored by canon and fanon, you can create an OC to explore those parts.

For Disco-Spider: I wanted to explore how someone like a militant Black Panther would handle being Spider-woman, when Spider-people are usually shown as pacifists - what that would look like or how it'd shape her morals based on era, etc. For Inca-Spider: I realized there were so many culture based Spider people like Pavitr and Spider-UK. But none for indigenous communities, and NONE from countries that only existed in other universes. So, I created an indigenous character from Tawanti - a country that's located where Peru would be for us.

You can give a canon character a sibling, to explore how they'd interact with family. Give them a partner that acts totally different than their canon partner, write how that'd change the way they show love.

OC's make your original writing better, AND your fanfiction writing too. They can help you understand canon characters on a deeper level.

And sure, nobody likes your OC. NOW.

But every single character you write about, is someones OC. Every character you write about was once treated that way. Once upon a time, Dean Winchester was just some rando character in the pilot script of a show that hadn't picked up yet. Probably no one gave a fuck until CW picked it up.

The writers had to not only make him and develop him - they had to BELIEVE in him enough to pitch him to a TV show channel to make people care.

That's always the first step. Believing your character's story is worthy enough of being told and presenting it as such.

ESPECIALLY if your OC represents a demographic you don't see represented. Cause yes if there isn't any black women in canon then I'll Thanos this shit and do it myself.

Make OCs.

Write them. Draw them. Even if it's bad. Who the hell cares. Big Mouth is on Netflix with multiple seasons, have you seen that show?? 'Ugly' art is not a crime.

Make piccrews, fill out OCforms or take quiz's as them. Write little blurbs of them hanging with canon characters then post it in the tag.

You don't need a huge Spidersona sheet or a long long fic explaining their backstory. They can just be there.

MAKE OCs.

Make them to explore more in your fanfiction, make them so future you can write that novel or draw or that comic or sell those prints or whatever it is you plan to do.

Make it so your fanfiction AND original writing can grow stronger. It isn't just about notes and content and follows.

Make an OC. Make a Spidersona. Literally you have nothing to lose but your chains.

"Nobody cares-"

Oh they'll care when you pop out with that 6-book publishing deal. They'll care when you're designing big characters for movies. Cause that's how it happens. Watch.

ANYWAYSSSS if you made it this far I hope this inspired you to at least play around with the idea of OCs and Spidersonas in general.

Here's Hobie.

BYE.

If you want to make a sona and are kinda lost on where to start, lemme know!! Because I think they're amazing starting places for those who have never written or drawn before. Or if you have a sona but want to develop them further.

I haven't seen a guide to spidersonas and i wonder if that's something some people might want/need.

Seriously if I can even get one person into writing or drawing I'll be over the goddamn moon.

MAKE OCS PLEASE.

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habken · 1 year

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How do you think up poses? Especially full body 💀

The best way to think of poses, is to already have an idea of what you want in mind, not just going in blind. Everything from action to emotion influences what a pose will look like, so think about what you’re trying to convey before you start drawing.

Don’t be afraid to use references and don’t be afraid to look at other artists’ work for inspiration! You don’t have to pull a pose out of thin air, it can be influenced by outside sources.

Practice A Lot, it becomes much easier to think up and churn out poses when you've already done it thousands of times lol. Life drawing sessions are great for building up your understanding of anatomy and offer you the chance to draw poses while directly referencing a real live model, which I personally find is better than referencing from photos. There’s tons of other resources for figure drawing/posing out there on the internet as well!

Also, I often do upwards of five poses before I get to the final drawing, I don’t usually ever go with my first idea because often my first sketches suck lmao, for instance, the bunny bkdk stuff I made:

I did a lot of exploration before settling on poses I liked, and these few are just the ones I didn’t end up deleting :’) You won’t always have a solid idea the first few times around, so don’t be afraid to do copious amounts of sketches until you have something you like

tldr: have an idea of what you’re drawing already in mind, practice over and over again, use the resources available to you, don’t think you have to come up with one single finished idea

#Hope that helps ? I’m not always the best with advice lol #but I hope that what I’m saying makes sense and answers your question a bit #ask #art advice #art tips

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umbrvx · 22 days

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i like ur art. its great and interesting!! i really like your artstyle and i really like the way u draw hsy, yjh, and kdj. you captured them so well in terms of vibes/character. also i was wondering do u have any advice to improve on drawing anatomy/poses/faces?

wahh thank you so much...!! i feel like im still trying to figure them out in a lot of ways but i do really like ironing out my visual interpretations of them so im really happy to hear if people like what im coming up with

also anon you super activated the part of my brain that cant help but yap about art theory... i spent some time writing as many tips as i could think of. unfortunately i dont think i have the time currently to do a fully illustrated guide, but ill still try to include some visual examples:

[incoming wall of text lol]

ANATOMY:

to preface i think that like 100% of the time you should reference a real life photo for anatomy rather than other artwork or drawn references. the best way to learn the body is by… well, actually looking at the body! but also artwork is informed by a person's own artistic ability/stylization choices/sense of idealism, so while looking at art can help give you an idea on how to break down forms, i think you would be best served observing real life references. i labor on this point because i do think that having over relied on drawn reference material and avoiding photographic references on the basis of not being interested on realism hindered me as a largely self-taught artist as a kid, so i want to encourage live or photographic reference since anatomy is one of the foundations from which everything else is built on. that being the case, all of my doodles i'm doing for this are going to be for the sake of example rather than to strictly say how you should or should not be drawing something

-> when you are doing a study of a photo, just try copying it as best as you can. pay close attention to the natural lines and shapes of the body -- the S-curve shape of the leg, the triangular shape of the forearm, the trapezoid shape of hips/thighs when they sit, and so on. note where the body folds or squishes or pulls; how mass will shift to accommodate a certain position. if a form is hard to visualize, focus on the negative space and carve that out, rather than strictly drawing the positive space.

don't expect to get it perfect the first time. in fact, iterate on it multiple times to build understanding. try doing it to a timer of 15, then 10, then 5 minutes. doing this will force you to have to prioritize the most important shapes. you can help reinforce this by using a thicker brush or a brush with no pen pressure (no joke ms paint works great for this) to force you to be loose and not become preoccupied with details.

-> pinterest is a great resource for finding and compiling photo reference material

-> organic shapes are curved, so embracing/emphasizing that (particularly for the extremities) can help make your drawings look more natural or fluid

POSES: -> it all begins & ends with contrapposto… you've probably heard of the line of action, which is related. if you're offsetting the shoulders & hips, it: makes poses more natural, more dynamic, and helps the pose sort of "draw itself" -- the legs will follow the direction of the hips, and you can use the arms to reinforce the angles

-> context is key. don't ask: what pose should i draw? instead ask: what do i want this character to convey? what does happiness, anger, sadness, and so forth look on this particular character? how do they express that? consider these drawings: these are both ostensibly the same pose, but look at how changing just the shape of the spine recontextualizes it.

for more on pose design i recommend watching Tracer & Pose Design 101 - The Animation of Overwatch by New Frame Plus (i promise this is a genuinely super informative video).

to expand on this, in general, all of the components of a piece (background, composition, pose, etc.) are best considered in conjunction rather than separately. it is difficult to choose a pose and then choose a background because they are missing the context that would make a piece cohesive. when you are planning a drawing, try to begin with your general concept/idea/prompt and then do several thumbnails -- small and quick doodles that should take no longer than 5 minutes each -- developing it: you may find that the pose and bg will naturally fall into place.

-> silhouette: the degree to which you need to push this varies by style but generally speaking the pose needs to be readable; i.e. instantly recognizable. try to keep important elements of the gesture outside of the silhouette. for example, if the character is pointing, keep that arm out of the interior of the body. the same pose can be more or less readable or dynamic depending on where the character is pointed in relation to the viewer

-> exaggeration!! goes along with the previous point. push the pose as much as you can (and what makes sense for your style) to communicate your pose as clearly and as intensely as possible.

FACES: -> i highly recommend the app Handy Art Reference Tool by Belief Engine for all things related to drawing hands/heads/feet. its on both android and ios. it isn't free -- it costs around $3 -- but that is seriously such a small price to pay for the amount of utility you get out of it: the hands models are fully poseable (there's also pose presets), you can rotate the head models however you want, and there is 3-point customizable lighting. it is really helpful for getting those super tricky and hyperspecific head angles that you just can't find a real life reference for. that being said given that there's only a few different head model variants, bear in mind how differences in features can affect what exactly a face will look like in those angles.

-> i still recommend doing studies of real people. as with anything else, learning generalized proportions is important, even if you are going to later on bend or break this depending on style

-> as for my own approach... it kind of depends on the style i'm doing at that particular time. for my paintings (what id consider my main style) i approach a character with a few real-world features in mind and then apply them to the best of my ability. it usually will take a few iterations to land on an interpretation i really like as i try out different things. a lot of the face also gets developed during rendering rather than through my initial sketch too, as i adjust for lighting and correct proportions on the fly

(look how much this image changes between sketch and render lol)

if i were to recommend anything, i think it would be to nail down your most distinct features first -- the ones that will make your character's face recognizable, and could apply regardless of art style. in my case with kim dokja, i knew when i first started drawing him that i wanted to give him a longer face and down-turned eyes. when i decided to do the disco elysium inspired set, in which i was breaking out of my comfort zone by letting go of any idealizations focusing on conveying characterization/making them feel "real", i landed on some more specific traits (defined lower lids/perpetually tired eyes/eyebags(?) the crease there idk how to describe it) which i continue to try to evoke even if im drawing something much more cartoony

(pictured are my first kdj -> disco elysium style -> my post de-style kdj)

as a side note, this very same process changed yjh much more dramatically

(^ that first guy is mad someone else)

those handful of key features will be the thing that you can then take into a simpler style and simplify or exaggerate to whatever degree suits you. you can also play with shape theory (square = sturdy/solid, circle = natural/smooth/welcoming, triangle = energetic/dangerous). shape theory doesn't necessarily need to be so rigid -- you can combine shapes as you please to convey whatever vibe you're going for -- so please think of it as a tool that may help rather than a rigid law you must abide by.

-> expressions: exaggerate them. thats kind of it!! make it big!!! you wanna be able to really feel those emotions. the principles of squash & stretch help here: think of how the muscles move when you, say, open the eyes or mouth really big. as one side of the face stretches open, the other side squashes to accommodate it

even without changing the position of the jaw here, moving the nose and scrunching the eyes will sell the expression

you can also play with squash/stretch to break proportions to sell a feeling more

since expressions are just, well, poses for the face, everything else for poses applies here (and facial expressions & pose should also be considered in tandem). while the term contrapposto itself just refers to the offset of the shoulders & hips, the similar principle of asymmetry also carries here as that will help make the expression a bit more dynamic.

and i think... that's it!! all i can think of at least. i hope it helps anon!!!

#umbrvx.ask #sorry the reply took a minute i have been writing this post since i got the ask im so serious #i tried to determine what advice i could give that would be the most immediately actionable #also sorry its a huge wall of text im a little crazy about learning and discussing art theory . oops (the yapper)

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bananadramaaa · 1 year

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hey im a beginner artidt and i was wondering how did you get your style? As well as how you do such good and fluent body positions!I have no idea how your so good at accurate bodys! Also your art is jaw dropping!!!!

Hi! Thank you so much🙏✨ I'm flattered✨

To your questions:

🪶Often, your artistic style is a combination of elements that you like in other people's works, for example, and your visual experience (films, art, etc.). In many ways, my artistic style has been shaped by my analysis of the artists I like. My big five: Edward Gorey, Tim Burton, Patrick McHale, Allan Gilbert and Rene Magritte.

I've looked up some visual techniques in their works, how they used shapes and colours, and tried to take advantage of them. I'm a self-taught artist; I didn't go to art colleges or schools before university(I'm finishing my degree in visual design and animation these days🙌). So analysing artworks of other artists really helped me and shaped my drawing style.

Of course, as well as practice. Don't be afraid to use references. From them, you can understand how our body works. And, accordingly, your knowledge of anatomy, colour theory and compositional techniques will only simplify your artistic path.

I usually "warm up" before I start drawing anything. Especially when I haven't drawn for a while. It's just quick sketches of different poses or emotions.

Again, it's good practice. Then you can easily draw different poses without reference because you've had experience with them before. Something like a muscle memory XD Also a good thing to draw every day for 5-10 min, even something simple.

🪶 Aaand for Spotify playlist. I've made one with songs that I usually listen while I'm drawing Wittebros. So here you go✨:

https://open.spotify.com/playlist/5ndMbGhEyImj8rnxUWKV61?si=gFsdAjhZRwuDW6mu-LcVEA&dd=1

Thank you for your questions!

#ask

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spearxwind · 8 months

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Since you're on the topic I have genuine question about AI art designs from a non-artist.

In your opinion would using an AI tool to generate a reference for a commission (whether it be for character design or pose) be an appropriate use of said tools?

I thought about this as well and I gotta say, personally I don't think so.

Barring for the purpose of this ask the whole "AI art is stolen art" thing (which I stand by fiercely), AI generated images are really janky, especially reference sheets. There are details everywhere that make no fucking sense, anatomy is deformed, they have a lot of nonsensical parts to them so its just one big jumble of nothing.

And, it's pulling from designs created by existing artists and warping them to fit your prompt. It's work that another artist already made, used by an AI that's trained on a specific dataset. It also pulls from popular things that people enjoy: tried and true color combos, the most popular shapes that big artists use, theres a LOT of waifus, and a lot of the art genuinely comes in the same painterly style that's really hard to color pick from. some even come with color swatches that don't match the colors on the reference

In short, it's just a machine generating something that looks neat at first glance, and then is actual hot garbage when you just... look at it closely. Not to mention that an AI prompt can be iterated, and the AI pulls from everything it has, for every prompt, so what you end up getting is completely samey designs with small changes. Good for concept art assistance, but not if you want to create a Legit Character. The AI will give you something that it has already spit out a thousand times over and then some, with no regards to composition, design technique, color theory, because all it knows is what it has been fed and what the artists its ripping off of know (meaning if they have mistakes, the AI will as well. But in a far less human way)

Meanwhile, when you commission someone you are likely to go for someone whos art style will actually fit what you want to get, or someone whos art style you enjoy. Usually these artists will be people you've followed for a while and you at least know them enough to know what they can do. And they are also reactive, you can tell them to actually change and tweak details of what they're making for you. And not taking into account the bad actors out there (as there are always bad actors in every discipline) you will have something that has been made specifically FOR you, not just what a machine thinks you would perceive as eye candy.

As for poses... just draw it badly in ms paint. The AI will not give you the pose you want for the aforementioned reason: broken anatomy (and also because it will pull from its dataset of poses it can warp features onto. It's a lot more limited than you think.) If you want a pose prompt for a commission just draw it really badly in ms paint or on a napkin and write annotations for the artist (arm goes here, this guy is grabbing this thing, etc etc) Most of us if not all of us will GLADLY interpret your pose for you and draw whatever you want us to.

And like. Literally if you're going to get commissions anyway, why not commission a design first thing of all?? Or buy an adoptable from people who already make them by hand? It will genuinely be so much better than just hoping a machine does all the work for you. Please support artists

#ask #anon #AI literally destroys peoples livelyhood btw like just dont use it its really easy #artists get their styles stolen and sold off as things they didnt draw. voice actors get their voices stolen to say things they never said #we live in an actual fucking hellscape of generated content because it is not regulated and we NEED regulations because it gets sm worse #the best thing you can do with AI is just not fucking touch it at all. my final message goodbye

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iraprince · 2 years

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Hi Ira! Do you have any tips for drawing characters in perspective/foreshortening? I’ve been trying to learn recently but I keep feeling like the characters end up way out of proportion.

sure! it's a complex thing that i'm sure other ppl have covered more thoroughly/coherently than i have, but i can try to throw together some quick notes on the stuff i tend to keep in mind.

the first one is one i'm sure you already know about and that everyone is sick of hearing but i'm reiterating it anyway bc it's just that important: REFERENCE!!! ref ref ref!!!! even though the intent is often to exaggerate or stylize well past what ref can offer, it's still a great way to train yourself and to start to build up a kind of visual library in your head of how certain body parts tend to behave in perspective, what overlaps look like and how to stylize them, etc. if you can't find reference that suits what you're drawing, try to take it yourself -- this can be tricky w foreshortened poses but if u have a housemate etc who can help you it's worth it. (i always feel kind of goofy when i'm taking my own ref but like, nobody ever has to see it. do it for the art)

the thing w ref tho, and i think this comes out with exaggerated posing/foreshortening even more often than usual, is sometimes u can really faithfully follow ref and stuff STILL looks bad/wonky/just OFF -- because sometimes in real life things just look dumb! that's how it is! that's when it becomes our job to just fudge it, and a reliable way to do that is by returning to basic construction.

so here's an example of a wip layout where i had to figure out a bunch of bodies in perspective. the camera is above the group, looking down at the central figure -- that central figure laying on the floor is not foreshortened, because it's laying flat and kind of directly facing the "camera," but all the figures standing up around it have to be foreshortened bc their heads are much closer to the viewer than their feet. when you think of them as just a bunch of complex bodies, that is really overwhelming.

what helped me a lot was to remember that you can put basically ANYTHING into perspective if you shove it into a box! then you can use those boxes -- which are MUCH easier to accurately draw in perspective -- as a guideline, and basically make sure everybody's respective body parts "fit" into those cubes.

you can do this in conjuction with using perspective rulers/setting up vanishing points/etc, but with enough practice you can just eyeball it and you'll already find yourself way ahead in terms of simplifying stuff and giving yourself guidelines. this is also really helpful with more complex poses -- in this case, the figure in the top right is standing pretty square, with all the different segments of her body facing forward, but hopefully you can imagine how breaking the body into boxes like this can help immensely in cases where, for example, the shoulders are twisting one way and the hips are twisting another, etc. simplifying all these different parts of the body (which are frequently putting themselves into DIFFERENT perspective by moving independently from each other) as boxes or other simple shapes stacked on top of each other lets you organize things visually and figure stuff out one piece at a time, instead of the mental nightmare of "oh my god i have to draw all this wiggly organic stuff all at different points in space"

here's another example. i freehanded this one, but i can try to kind of retroactively break down what i try to keep in mind when drawing stuff like this; a lot of it boils down to just trying to be consistent about how different body parts relate to each other + how that's all framed from the viewer's pov (stylized below as a camera angle):

it helps a lot to think of exaggeration in size as just a tool you're using to tell the viewer how close something is to the "camera." (if you've ever struggled to draw a leg in forshortening because the ankle is thinner than the thigh and trying to honor "closer thing = bigger" while still keeping that in proportion -- this is where using basic shapes in perspective helps!)

i'm struggling a little to explain it in words so i hope the diagram helps; basically, dole out the heaviest foreshortening to the parts that "deserve" it most (are coming most aggressively toward the viewer/"camera"), and worry about it less on body parts that aren't doing anything crazy (for example, in the main image, the torso's relationship to the camera is pretty neutral, so the body is drawn without much foreshortening or exaggeration. in the little camera angle diagram i drew in the top left, though, the body IS heavily foreshortened, because viewed from the front in this pose the head + torso would be sticking out straight ahead.)

this is a way more loosey-goosey approach than the boxes in perspective of the first example; i found this pose less difficult than a multi-character situation so i was winging it. is the "perspective" of this body probably correct? i'm like 99% sure it isn't. but 99% of illustration is just making sure things LOOK right, not necessarily actually DRAWING them right, and you can gloss over a LOT if you just try to make sure the spatial logic in your drawings is like, more or less consistent. once you've tricked the eye of the viewer into being like "sure, i buy that one leg is further back than the other and we're looking UP" or "yeah, it looks like we are looking DOWN at the tops of these character's heads", you can pretty much get away with murder in terms of actual perspective/anatomy, esp if u have a very stylized art style. be brave!!!!

#tutorial #i am fully incapable of being concise lol

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mrs-monaghan · 8 days

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https://www.tumblr.com/mrs- monaghan/734984629938946048/i-was- looking-through-tkk-blogs-to-see-what- they?source=share

The person who's blog that is i have seen them sharing jaymina's tweets as proof or as reference so you do know damn well how it goes.I read their post about what makes them think tk are real than jk and i gotta say there's literally nothing they said that could make me go "oh they have a point" cause it's just their pov and how THEY see tk but like there's no difference in there?? They said when jk kisses jm's ear it's a friendship for them cause they have been frnds for 10+ yrs, so according to them everything jkk do is friendship cause jkk are also good frnds or close frnds but that's just friendship but the same thing done by tk is "romance" how? They said it's because tk's stays behind longer, when they cuddle it's longer, when they do this that it's longer like really??? It's always been jkk who left the stage later than every other members, it's jm who's bitten jk to the point it left a mark like hickey, the person said when tk sleeps together they woke up interwined when? I remember two incidents only and both of them were not Tangled up but just them sleeping side by side and the one in ITS is tae sleeping while hugging jk. Thing is tae needs something to hug when he sleeps and that's why it might look like that but when did they saw jk working up spooning tae? But i did saw jk sleeping while spooning jm. Both jm and jk does not have a habit of hugging someone while sleeping so they might not woke up tangled up but tae literally is the same with his whole wooga so like am i supposed to think he's dating and there's romance between whole wooga? What kind of logic is this?

The tk's stares are longer bro belive me when i say that taehyung looks at all members the same cause Whenever i see any video of vmin all armys says "why does taehyung looks at jm's lips all the time?" "Why does he looks at jm like he wanna eat him?" Which is true cause there's plenty of clips of tae staring the same way to jin and jm too.

And let's talk about how jungkook does a whole 90degree whenever he sees jm's talking like he Hardly does that with other members but with jm he's consistent and only with jm he's that consistent. He looks at jm even when jm is not looking at him and that tells you alot.

all the things tae has done for/with jk he's done with so many people for example the pictures from jk's listening party the way he's clinging to jk which we know he gets when he's drunk, so he's done same poses with hobi in the photobooth and let's not forgot the paris pictures when he went to pfw like if he can get THAT clingy with literal men he's met first time why is it different when he's clinging to jk who's his frnds for 10+ yrs?? whole army twitter was calling tae gay or queer because of the way he was so touchy with all the men in those pictures lol so show me and tell me why is it different for jk???

all the things or sightings tk has done this yr are all already done by jkk already in the past so why is tk special but jkk not?? all the tk do for e/o they have done with jm but what jkl do with e/o they haven't done it for anyone.

All what i got from the post is that it's op's point of view why they think tk are romantic but if i see it from neutral point of view then I'm seeing no difference and when you use jaymina's account as your go to proof then yeah you have already lost it then and there.

the only thing good there is that op atleast think jkk are close frnds unlike other tkkrs who straight up call jkk fanservice, comapny ship and coworkers.

You've summed it up perfectly my lovely. When Jikook do something they do with other members we don't latch onto that as proof. Can't say the same for these morons. To think JK sees all this during his lurking

#sigh #ask shaz #bts ask #the vermin #taekook is not real #the fuckery #jikook

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legend-of-binkus · 2 years

Text

5 LoZ Details You Might Have Missed in the LU

You know… I’ve seen a couple posts about Zelda lore recently and it got me thinking… it’s fun to write head canons and explore theories and stuff (I definitely indulge in the theory side of the fandom quite a bit) but I also really want to show my appreciation for canon and how well Jojo incorporates it into the LU.

Jojo really understands the source material. There’s obviously more references than just these five, but these are a few that I think are really cool. Also... I've been wanting to make something like this for awhile… just been lazy.

—

1. Time uses a mix of OoT's spin attack and TP's jump strike to protect Twi.

When wolfie goes down, Time is pissed. He demolishes a horde of monsters like it's nothing by combining two iconic zelda moves. The jump strike in particular is cool because it's one of the Hero Shade's Hidden Skills— moves he describes as "forgotten ways that do not leave our bloodline."

Love little details like this. Twi doesn't use magic, so it seems the shade actually adapted his techniques when teaching them to fit Twi's fighting style better and I kinda love that.

2. Sky's mannerisms

From friendly jabs at others hair, to talking with his hands, to how he holds adorable creatures that want to maul his face off, Jojo nailed Sky's character.

Sky's handling of tiny creatures in particular is quite funny to me, because we went from Twilight-Princess-Snow-White-Link-Animal-Whisperer-Extraordinaire to Skyward Sword Link holding the little gremlins as far away from himself as possible.

3. Time's pose mirrors his statue from the Wind Waker

Within Hyrule Castle in the Wind Waker there's a large stone statue that is meant to be a monument to the Hero of Time. Wind grew up hearing the legends of the hero and it's part of the reason he's so in awe of Time.

Seeing him mirror the pose, it's no wonder why immediately after he began questioning Time about his original adventure.

4. Hyrule's magic

Taking a 35 year old game and trying to transfer details over isn't exactly easy, but the way Jojo worked around some of this is pretty cool. For Hyrule's magic Jojo modeled it after the Champion's abilities from BotW (which Nintendo modeled after the spells in zelda 2, so full circle!).

Healing magic in past games was usually pink, but Mipha's magic emanated blue from her hands and so Hyrule's magic followed suit. Urbosa summons lighting with a snap of the fingers, and so does Hyrule. I imagine the jump spell is meant to be Revali's Gale (which Jojo did great job of transferring an 8-bit model over for), and if Hyrule ever performs his shield/reflect spell, I'd bet you anything he'd achieve it by either clenching his fists and holding them out or pounding his fists together like Daruk.

5. Two Master Swords?!

Interesting how Legend hasn't said anything about this... because he has to know, right? (gonna be delving a tiny bit into theory territory here)

Unless you've played his games, you probably wouldn't be able to tell that the sword on his back is the Master Sword. But it's an... upgraded(?) version of it. Well I suppose within LU context it's more like a patch job. ALttP was the debut of the Master Sword but it's iconic design didn't come around and stick until OoT.

The small hints that Jojo has given us that the Master Sword wasn't in "perfect condition" for Legend is super interesting! Looking at the way Legend found the sword compared to Twi, it appears like much of the blade had to be redone. The cross-guard is missing its little spike, and the grip has already been covered by what appears to be cloth or leather. The rain-guard (the part that connects the blade to the hilt) seems to also be missing a piece.

Legends sword is now called the Tempered Sword, but there's still hints as to what it was. The cross-guard had to be replaced but it's kept its blue hilt. The pommel is the same and of course the sword still bears the mark of the Triforce.

It also freaking glows when in the presence of the fully powered Master Sword!

Now why is this? My theory is because the previous hero died. The whole reason Legend and Hyrule exist is because there's a universe where Time fails to beat Ganon and dies.

I want to really delve into this deeper in a future theory so... shameless self promo. Stick around, check out my other LU theories in the meantime!

And of course let me know your thoughts and favorite zelda references! I'd love to hear them! <3

EDIT: Here's that Legend's sword theory!

The Master Sword of the Downfall Timeline

#linked universe #linkeduniverse #lu time #lu sky #lu wind #lu hyrule #lu legend #the details!

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feyspeaker · 2 months

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Hii me again. I'm not sure if I sent the ask I'm talking about on anon, so maybe that's why you didn't see it? It partially got answered with a recent ask you got anyway so no worries. I was just wondering if you use 3d in your process and if so, how? I've seen other illustrators use it to varying degrees and it seems like a really helpful tool to push your work.

Oh that's so weird! No I periodically go through my asks in chunks and I didn't see anything like that. I've had a few people in the past few months send me asks that looked like the second half of something else with no context, so maybe it's Tumblr fuckery. Sorry!!

I recommend learning Blender so you can help sculpt shapes and render lighting onto them in order to get the weirder/more complex shadows right. You can also apply colors onto the things you sculpt in order to see how the colors act in different lighting. It's pretty much an invaluable tool to me as it keeps me from having to problem-solve too much. I did a lot of digging around in my house to build references to photograph but it was just impractical to achieve the things I want to a lot of the time. I still do that, and you would not believe how many goofy photos I have of my husband in the poses you've seen me paint Astarion in lmao...

I do think that it needs to be used in moderation if you are a more beginner artist- I think that using 3D is DANGEROUSLY close to becoming a massive crutch for a newer artist and improper usage or over reliance on it can lead to stiffness or artificial looking colors. You need to be able to train your eye to create compelling compositions by bashing things together, and train your hand to replicate/add/subtract as needed from your references with an organic feel.

I will say this as a total committer of this crime myself in the past, it's VERY easy to tell when an artist relies too much on, for example, Clip Studio Paint posed models as bases for pieces without a good enough grasp on their fundamentals. And I also used to prickle when I saw more advanced artists warn of this, so I do think maybe it just has to run its course sometimes, because I know that using 3D for reference seems like an easy-button.

I've taken a lot of in-person classes for live figure drawing and painting, as well as just totally done drills, basically, on sketching and painting from life before relying too much on static imagery/3D/etc.

I often fret over every piece I do looking too stiff even still.

You have to do a LOT of the boring hard stuff the old fashioned way. And I regularly go back to it over and over when needed.

For example, I recently did a stupid amount of rose petal/flower studies deconstructing and painting ugly little paintings/doodles over and over because I know that I've been horribly weak at painting flowers for years (actively avoiding them). And I've been doing a lot of floral stuff lately due to that.

Whenever I start a new piece in new territory, I know it's going to mean several 3AM nighters where I have two other tabs open on Photoshop where I test out different textures or do a couple of studies. I'm working on a piece of my OC right now that has a lot of gore/medical instruments and I've been working on testing out different methods for shiny metal painting and some anatomical studies. I'll come to a snag in a painting and go "here we go" and work through it one piece at a time.

My Halsin piece, "Secret Spot" in the hot spring, was a massive undertaking with a lot of these moments. The Karlach x Dammon piece took 3 times longer than it should have due to me just having to go back and fix things knowing I could do better after doing some studies.

Ultimately I personally find art tutorials to be quite useless overall once you get to a certain point, unless they are teaching the use of a tool/software because you HAVE to figure out what works for you. And even then I use Blender like a monkey with a keyboard, I suspect, because I've just bruteforced through it, so I could probably use a tuneup from a good teacher on that haha. I hope this helps some, and sorry if I overstepped if I sound preachy.

#ask

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crookedkryptonitebeliever · 3 months

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I’ve spent the past few days eating up all the Yves content I could find on your blog he’s just so perfect oh my god??? I don’t know how to put it but he sounds like the type who’d always have the best posture and the way he walks would feel feathery.

I did not see this question from the gazillion asks I read but if something similar has been asked before you can ignore this.

How would Yves be with an artist reader who mostly has time for him but completely becomes detached for hours or sometimes days while working on a drawing? Sorry if it’s too specific you can go with different scenarios too.

Also sorry if I randomly drop a fanart of him one of these days

oh man i would be honoured to receive a fanart of yves and hell yea i love yves thanks for reading thru the madness, yea hed like walk so fluidly n shit its like unreal

but anyways getting to da meat:

He would be happy if you have a lot of time to spare for him. Yves would never take a single second for granted and he will cherish every moment with you.

Through his observation and your own assurance, he is secure in the relationship. So he wouldn't mind you disappearing into your room for days on end to complete an art piece. He will let himself in to provide you your meals or do parallel work; he will bring his laptop over and do his own thing while you do yours.

There is an invisible timer that dictates when you should go to the bathroom, eat, rest, or sleep. If you're cooperative when he greets you with a kiss and reminds you to come to bed, eat dinner or to relieve yourself after an entire day of not visiting the toilet once, he will continue to use that method. He doesn't mind having to babysit you for ages, Yves actually likes it.

He would take pictures of your progress. When you start to think that your work looks horrendous, Yves will show you the photos of your earlier stages. Praising you for how far you've come, telling you that he personally thinks it's beautiful. But he is in no way a pure 'yes man', it depends on your goals. If you want to create photorealistic paintings or drawings, he will provide the best constructive criticism on how to improve your proportions. You can simply describe what you want to create, Yves could be your muse if you want him to. He is willing to stay in a singular, muscle-straining pose for hours if you ask him to. Or, he could gather reference materials for you. Yves does have a strong background in photography too. No concept is too absurd for him to capture or even sketch.

However, if you react negatively to his reminders, such as harshly shoving him away or screaming at him to leave you alone, Yves will be resorting to reality bending. Depending on how much you hurt him, he will either make you cry 'on your own' by manipulating you into thinking that your work is terrible no matter what you do. You can't accuse him of saying derogatory remarks, because he wasn't even in the room. You shooed him out earlier.

He messes with the lighting to make your artwork 'ugly' in your eyes. Yves toggles with the humidifier or dehumidifier to make it harder to work with your art medium. The temperature in Yves's studio either seems to be sweltering or freezing. But the thermostat says otherwise. Either way, you can't create in these atrocious conditions. So you give up and retire for the day.

Everything will be back to normal tomorrow, but if you pay closer attention, you will start to feel upset over your artwork every three hours. Specifically, 12pm, 3pm, 6pm, and inevitably give up by 10pm. You would only have the urge to continue after enjoying breakfast with him past 7am. Strange, don't you think?

During your breaks, you would automatically seek Yves out for lunch, tea time, and dinner. He will not visit if you express your extreme displeasure with his presence while you work, Yves gives you the 'freedom' to choose to meet him in his office. He is always there if you need him.

Regardless, in the end, you will never fail to appreciate your own work no matter how tough the journey was. Yves ensures that you know your creation is valuable. He is supportive of your passion and is willing to finance any and all of your essential (and nonessential) materials. You could even ask him for advice, unlocking a previous chapter of his life where he used to paint under a pseudonym, for the wealthy, the enthusiastic, and the eccentric. Best to keep your mind open and not undermine him in anything, or else you might miss out on fascinating Yves lore. He wouldn't bring these up on his own if you never asked. It's always a good thing to learn from someone much older than you are.

Your jaw would be on the floor if you knew that his old canvases were now retailing for billions of dollars at auctions. But he deems it unnecessary for you to learn of that, all you need to know is Yves can draw human hands wonderfully and accurately in any pose, in under five minutes with no reference.

#yandere male #yandere concept #yandere oc #yandere x reader #yandere #yandere x you #tw yandere #yandere oc x reader #male yandere oc x reader #oc yves

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draagu · 5 months

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Teach me the ways of the dragu art

yeah I'll use what I'm currently drawing for this hold on

really long tutorial on how I draw below

step one: sketch

my sketches usually start with a circle for the head and I build from there! generally I just use the circle if I'm familiar with the character and the pose, but it is always good to use more shapes for the rest of the body!

sketches are also a good phase to play around with proportions, the nice part of digital art is that it's really easy to erase or select and stretch/move parts that look funky. play around till it looks right, don't be afraid to use references

step 2: lineart

linearts my worst enemy sometimes, so occasionally I just resort to cleaning up the switch or just making the lineart really sketchy and messy

here though I just follow the sketch to the best of my ability, i don't always do it but I shade in shadows sometimes

also on spots that are like folds or something, I make the lines gradually thinner the farther away from the edge they get. if that makes sense

step 3: color (which is incomplete rn my bad)

I unno what to really say for this one uh

easy trick to coloring everything fast, and if your art program lets you, make a giant square that covers everything behind the lineart, erase or fill any openings in the lineart, select the outside part of the colored square with the wand tool or wtv, and erase/delete. then boom you got a filled color base to go off of, go you!

otherwise if the wand tool doesn't exist, I just draw around the insides of the lineart and fill

step 4: shading

im not planning to shade this drawing so i have to scrounge up old stuff now ouh

shading ! is fun sometimes

i start by picking a bright color that fits nicely with the rest of the art, n choose any spots that would be blocked from the light (i cannot explain this m sorry)

then i put the blending setting on the layer to multiply, set the opacity down until it looks fine

and congrats you've shaded

sometimes i also add a slight blur or like every so slightly softening lines which i do not have an example of right now. i just do this on the ends of the shadows because i think it looks nice

the rest of the art is up to you, color the lines, add a gradient over everything, go crazy.

the best way to get 'better' is practice! doodle whenever ya can, i doodle on homework and notes all the time. find your own little strategies and tidbits to add to your art! just have fun with it in the end!

also when in doubt: add more fluff /j

(my old nightcat design compared to the new)

#asks #my art #art advice #i unno

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myrmica · 26 days

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do you have any tips for getting better at drawing anatomy? your poses are always so fluid and realistic

first of all THANK YOU!!! that makes me happy to hear!

under the cut because i got long winded... i hope something in here is useful! some of it may stray from the point, and i have no idea what stuff you already know.

in my experience a lot of it is about paying attention to form/volume. at one point or another i realized i vastly prefer art that emphasizes this, as opposed to flatter more stylized anatomy, as far as things i want to emulate in my own work go (flat styles can be cool when other people do it; this is a huge thing with art i think, developing a sense of discernment when it comes to the art you Want To Make versus the art you like but wouldn't want to mimic...)

so i add contour lines to everything i draw as i sketch because it helps me figure out where the object is in space, in relation to the viewer. doing this immediately establishes where the subject is in relation to the "camera" because lines curving one way mean you're looking up at something, and vice versa. if you've ever seen the coil method of foreshortening before, it's the same principle.

while construction lines won't always be there in a finished piece, you can communicate form in the curves of your lines. the round end of a sleeve is a countour line, so are fabric folds (although they have their own volume too), etc.

the feeling of looking up at someone, or their arm moving towards you, or their back turned away from you, that's where a lot of tension and dynamism comes from--some of the "fluidity."

another thing is to focus on weight, and how things interact when they touch... if you grip someone's arm, how does the skin fold/warp under pressure? can you actually draw it doing that, instead of leaving the arm being grabbed unaffected? stuff like that. a huge inspiration for this (and i think it shows in some of the artistic choices i've been making lately) is margot maison's work. like, check out this panel from bora the brain:

or this one of mine, where i just grabbed my own arm like that to see how it felt and what the skin did...

these are both examples of smaller details but the same principle applies any time you're drawing two people touching, or even a bent leg where the thigh and calf meet. i'm more interested in how skin/fat moves around than i am in getting the nitty gritty details of muscle groups and bones right. knowing the muscles and bones certainly HELPS; my personal favorite bones are the radius and ulna in the forearm, and keeping the way they move in mind Is useful because it reminds you that the arm isn't a uniform tube shape, it's a flat rectangle type thing, and it'll look wider or narrower depending on the angle... etc. see pronation/supination gif below:

they get recomended all the time but the morpho books are my favorite reference for doing actual intentional anatomy practice & in redrawing stuff from them a ton of tricks for constructing bodies have stuck in my head. like, here i was focusing on how they simplify the shoulder/armpit in relation to the ribcage:

(you can download most of 'em for free off of libgen btw.)

you can also get something kinda special drawing bodies from life. if you don't have other people to draw, your own hands/legs work too, and it's good for foreshortening and perspective because you're always seeing them in relation to your own viewpoint:

granted both this and the morpho studies are things i find fun to do. on the off chance that you're someone who finds studies tedious or boring, rather than pushing through it you might want to paint a character you like onto the pose you're practicing or something like that to keep yourself invested?

i also use references gratuitously. usually many pictures at once, where i'm combining them to get the pose i want. either just referencing different photos as i draw different things or literally editing them together depending on what it is. over time, i've gotten better at coming up with dynamic and interesting poses without a ref, because using them has built up my understanding of the body (it's actually way easier IMO to draw a dynamic pose without a ref than it is to draw a dude just standing there without one ?!)

there's sort of a push and pull for me between accuracy/realism ("can the arm Actually bend that way???") and exageration/stylistic liscense ("if it doesn't, does it look cooler like that?") where it helps to KNOW if you're drawing something that isn't technically "anatomically correct."

there's also a lot to be said for tracing over photos for practice!

thank you for the question, i love to talk about these things ^_^

#m #asks

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wanderingblindly · 27 days

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Oh are we doing Director Cuts again? I'd love you to tlk more about Something In Seattle please!! Anything you want, but I'd like to know what inspired you for the forest scene?

Tbh it can always be director's cut time, i fucking love talking lol, so thank you for asking!!!!!!!!!!!! On to some more info dumping about Someone in Seattle's forest scene :)

Inspiration for Lando's Styling:

This is a bit layered. It started, I think, back in January with my regular rewatch of 2005's Pride and Prejudice. Of course, that naturally lead to the question: how would I make that into a landoscar fic?

After talking about it on tumblr, @redcowboy1 made the horrifically influential comment: "AND u can imagine lando in the iconic 2005 white outfit with pearls... in his curly hair!". It ruined me. It's still ruining me. It will always ruin me. I don't even know if I've told him how much that comment ruined me.

I thought of direct Pride and Prejudice fics, I thought of Pride and Prejudice inspired fics, but nothing really stuck? So when I realized this was the moment where I could do it all (ethereal white outfit, pearls in the hair,,, fae-like blush,,,,) I went IN.

Shockingly, that isn't the only super loose 2005 P&P reference in that scene. There's also this:

Giving in to childish instinct, Lando jumps up onto the stump; Oscar’s arm follows him like a guide, a gentleman helping his lady into her carriage. Lando’s fingers flex against his. Realizing his mistake, having breached professionalism, he drops it.

Hand Scene, anyone? No?

The Setting:

This was actually really heavily inspired by my own childhood. I grew up with my home backing onto a massive forest that you could explore via a broken fence post :) Just like in this fic :)

Almost all the key elements are lifted from my own experience in the forest, like the creek with the massive tree fallen across it. That was real!!!!!! it's actually the center of a lot of my happiest childhood memories.

In the winter, my sister and I used to go exploring in the woods -- the feeling of a river so cold that it makes the air around it painful is so visceral to me. We used to walk across the tree that Lando posed on to the get to the other side, though I fell off more than once lol.

Something that I tried to capture is the extraordinary alien-ness that comes with the Pacific Northwest's forests. They're incredibly dense, with a mix of obscuring low-crawling plants like ferns and massive evergreens like nothing you've ever seen before. It truly makes it feel like the air is green, like you can't see the sky -- and even if you could, maybe it wouldn't be the same sky you saw elsewhere.

I guess, in a way, maybe I kind of wrote it from the perspective of a small child. I kind of gave the impression that Lando and Oscar are dwarfed by the nature around them -- like I scaled the entire thing up, because that's how I remember it.

Anyways, enough rambling. I found a few pictures that inspired me while I was writing: the tree stump pose, general foliage 1, general foliage 2

Other Fun Facts:

Atypically of me, I wrote this fic out of chronological order. I started it when I was sick (yes, at the same time that i started the wildly different Choking on Greatness), and my fevered brain just produced a bunch of random little scenes. One of those scenes was a solid chunk of their time in the forest.

Honestly, that's probably why this scene feels like the "main event" -- in terms of how I wrote this fic, I really wrote most of it around this moment.

Another fun fact is that I tried to imply that Lando was waiting for a doorknob confession when they got to their cars; he wanted Oscar to come kiss him.

Lando’s hand is on his car’s door handle, but he’s looking at Oscar like there’s something left to say – to do. His lips part slightly, not enough to talk but maybe enough to tempt, if things were different, if he wasn’t here because he’s doing Oscar a favor. Lando’s eyes flutter closed, only opening when Oscar speaks.

don't think I actually nailed it, but hey. Can't win 'em all.

#THANK YOU OP FOR ASKIN!!!!#god if i could fucking draw #you know i'd have lando in pearls and a slutty shirt NOW #you just KNOW #ask me :)#Someone In Seattle #Landoscar #directors commentary

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