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#don’t mind me I don’t know how to foreshorten
smilesrobotlover · 2 years
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Love their dynamic
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sanfezu · 2 months
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Hey again!
Soo I was wondering, do you do any drawing exercises to improve?? Like any perspective or foreshortening practice? Or just practicing with drawing poses? If so, can you tell me what you do? I seriously need to get better at drawing the anatomy properly. Also, I'm changing my art style yet again and I'm looking for advice :) Thanks <3
Also I love your art :>
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Salutations!
(Sorry in advance if I said something wrong or if that is not helpful at all, I don’t really know how to give advices so, I’m so sorry for that)
Hm, I’m not sure how to answer that question, to be honest. Because I don’t really practice in private, and I post 99% of my new art here, whatever it is. Usually, I try new things without real practice in private and just, go with the flow. But I can’t say that’s a good thing to do.
As I said, I just go with the flow, whatever comes to my mind, I try drawing it however it will turn out, changing stuff if I don’t like something at all. And most of the time I’m not even sure what exactly I’m doing and going with this or that art. 
I really want to say, that it just took me time to draw something that looks somewhat okay?
Just, draw whatever you want. Whether it is a silly, or a serious thing, something cheerful, something sad or depressing, or something in between.
If you want to draw emotions you can give yourself a theme, like the negative and positive emotions, check what emotions are in this or that list. 
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And just draw them, even if you're drawing just “flying heads”, your main goal is emotions. To understand how to draw them. Try to think how this or that emotion looks like in your head, or use a reference from somewhere. Or, you can draw your own emotions, what you feel at this or that moment: tiredness, sadness, happiness, etc.
Just, try new things, I know saying “don’t be afraid to try” is easier said than done (because I don’t listen to my own advices), but really. Try new things, experiment with whatever you want. 
Try using references, whether it is a reference from Pinterest or any other site, or irl. These are helpful. Even pose, if you don’t want to use references from Pinterest or whatever, and if you have a big mirror, just, I know, this sounds “eh”, but you can also pose infront of a mirror yourself, and just by posing, you could see details in your own anatomy, which I believe could lead you to understand it better.
If you want to try drawing clothes, you can also use Pinterest. If you don’t want Pinterest, then who’s stopping you from drawing your own clothes?
Perspective is… uh… I can’t say anything. I never really learned it, I never really tried even, because I’m… lazy. So, I’m sorry, I cannot really say anything about it.
I’m just saying what I’ve been doing (and what I remember doing before? Though, I may have forgotten to mention something I don’t remember at the moment).
Experiment, try new things, don’t be afraid of stuff not looking good (you are learning after all) even if it may frustrate you, I understand, this may be really hard. But we all are learning and it’s okay to not know stuff.
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And, thank you very much, I am really glad you like it! 🙏💜
Again, I am so so sorry if it was not helpful at all. Or if I said something completely wrong, I’m sure people who know art better than me would say something more helpful and in a proper way than whatever I just said. I am not a pro, I will never be one, and I just… do whatever and draw however I guess…
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herbofthyme · 1 month
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tips on drawing hands? u do it so good!
omg ty!
It definitely took me a while to become more confident with them, and it was pretty sudden when i realized “wait. this isn’t so unpleasant anymore”
I think the most important thing for me was learning not to focus too much on the specific shapes of the fingers, and think more about the vague shape of the hand as a whole. If you zoom in on my more recent stuff you’ll probably notice that often rather than actually drawing fingers, I sort of draw a suggestion of where the fingers are. If the hands do look more detailed and precise, I’ve just drawn on top of the suggestion where it Feels Right. It’s all about vibes! (And half the time the clean lines feel wayyy worse than the loose sketch i had before lol)
I threw together a little thing here:
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Basically, I rely pretty heavily on this funky little 3d trapezoid shape, because it helps me keep the 3d shape of the hand in mind. Then the fingers just kind of… happen. Usually with a fair bit of trial and error. This shape is super helpful to get the vibe of the hand across, but it’s important to remember that it’s a guide, not a rule. I often used to make my hands Way too stiff, because I was keeping the lines on the trapezoid very straight. Bend it! Warp it! Let your trapezoids be weird because hands can be pretty weird.
I’ve seen a lot of tips that say you should separate the pinky and/or index finger from the others, and I often do that. It helps keep the shape just a bit more dynamic, while still letting it be more natural.
An important thing to keep in mind is remembering that the fingers are 3d objects, even if what you’re drawing is still just a suggestion of a finger. I defffinitely used to struggle with this. I’ve placed some red arrows to show what I mean: the base finger should be connecting to the whole face of the trapezoid thing. They have a round base, they aren’t flat. (I know this sounds obvious but it’s SO easy to accidentally flatten them).
Depending on the angle I also will use circles to vaguely represent the joints in the finger, which helps a lot with foreshortening . I tried to show this in the bottom right.
Trial and error is also sooo essential for me. I’m going for the vibe of a hand, not a detailed hand. Lots of erasing and redoing until it feels like a hand. Most of my art is very sketchy in general, so this might not work well for people with more detailed styles or precise line art, but it helps me to keep in mind.
Anyway, don’t be afraid to look at your own hands for reference! Think about how your fingers intersect with the main part of your hand. I hate studying photos (it’s so much effort lol) but it can be VERY helpful. The more comfortable you get, the less you need to look at reference, but I still lift my hand up and contort it into silly shapes all the time! Hopefully I explained this coherently :)
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kate-komics · 2 years
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I think your art style is so cool. Do you think you can share your art process sometime?
Okay, I’m gonna do my best to share my ‘process’ even though I don’t even know what it is 😅 bare with me here!
Rather than give you a step by step (because the steps are never the same for me) I’ll show you one of my speed draws and try to hit a few points about what I consider/ think about while I’m drawing. This will only be for drawing human figures, just FYI.
I’ll use my lil Steddie sketch I did recently since it’s freshest in my mind and I think I did a good job with the posing.
Here’s the video!
Now let's see if I can articulate my thoughts.
I would also like to note that there was no reference for this drawing. This was only a warm up drawing that I developed a little to much because I was having a good time making it
Things I consider when drawing people:
Gesture drawing/ Pose: Make a loose gesture drawing first so you can get a feel for where you wanna go then build off that. Where is the weight of the body leaning? What direction are they facing? As you can see when I first start I keep it all fairly loose until I really figure out wear the body is leaning. Once I have they're torso/ centerline figured out the limbs follow. As you can see I was having a tough time figuring out what position for for Eddie's legs looked the most natural/ interesting. Which brings me to my next point!
Keep your first sketches loose, and don't be afraid to test things as you go. As you can see in the video I basically start from scribbles and build off of that. Adjust shoulders, move limbs around, tilt heads, whatever you think would look best. All in all I probably redrew the figures 2 or 3 times before I started on line art.
Shapes! Once I have the pose and sketch to my liking I build off the gesture by making shapes and angles a little sharper. This is, of course, specific to my personal preference in style but I think just slightly exaggerating the shape of a muscle or the point of a feature really takes a drawing to a new level in terms of style. I believe Ethan Becker (highly recommend his tutorials) has a good youtube video about how an elongated triangle shape is a fun dynamic shape to use in cartooning. I just make things a little pointer than they are. That's all.
Line weight! Building off of how I illustrate shapes, I use line weight to exaggerate it even further and also literally show the weight of the figure. Parts of the body that have weight on them or are foreshortened towards the camera get at thicker outline to exaggerate them. (Though sometimes I don't always do this) Parts that are soft outlines (Facial features and clothing details) get thinner lines or a small series of cross hatching lines. It's all about what you choose to put emphasis on. I also like to use exaggerated lines for clothing wrinkles to add to the gesture. Most of my specific art style is in how I do my line work. I use inking brushes with a dramatic taper to get the shapes I do. I highly recommend getting a traditional art inking brush and practicing on paper just to see the cool shapes you can get.
And finally, black space/ shading. I do have rather dramatic shading being that it's just part of my line art. Honestly, it's often rather unrealistic but really what's the point of drawing if you can't make things look really cool and dramatic? When laying out what the black space will be I suppose I think of how it'll frame the figure and what's really important. For example, Steve's back leg its all blacked out behind his front leg because it's not an important part of his pose and I wanted to use it show the surface he's sitting on without actually drawing it. Draw less details to show the details somewhere else, ya know? Use filled in shadows to frame other parts and put more emphasis on details. Admittedly, it does take some practice to get good at inking this way.
Little drawing rules for humans I don't even think about anymore but use all the time
Shoulders and hips always tilt opposite each other. It's what keeps the body balanced.
The main parts of the human body that show expression are the eye's and the hands. Also emotion in the eye's is like 80% in eyebrows.
It's okay to rework something that doesn't look right at any stage in the drawing.
Most average sized humans are 7 heads high and their shoulders. 2-3 heads across (Think this is in every 'how to draw' book ever)
The blank space of a pose is just as important and interesting as the filled space.
Okay! I think that's all I got. I'm not much of a teacher but I hope this was at least interesting and HOPEFULLY mildly helpful.
Thanks for the ask!
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cynopoe · 1 month
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heyyy idk if you remember but I once asked u about your inspiration/how you learned anatomy/draw etc. and I wanted to ask if you have answered that already. ofc you don't have to (you don't have to answer this one either, if you don't I'll just assume you didn't) ig you posted stg about not having time etc to reply and again: i love your art
Hey! I distinctly remember something like that although I don’t think I answered. And I can’t find it in my inbox either. Either I responded it and it got lost in the void or I might have deleted the ask when I was cleaning the box from all the porn bots. Either way I’m sorry for losing your ask 🥲
I will answer it now
I started drawing digitally when I was 15 on an old wacom tablet. I didn’t stop doing traditional stuff until I bought an ipad and got lazy with the endless options it offered me. I still use the ipad with procreate and CSP interchangeably. In my experience Procreate has a better coloring tools be it the colors itself or the brushes, the editing tools. Blending modes are, in my opinion, slightly better than CSP. and CSP inspires me to do more sketches and comic style stuff. I recommend them both.
What I will say now will stay between you and me. Alright? I learned doing anatomy from drawing filthy, filthy pornography. I wasn’t any good at it in the beginning, but honestly it is the best way to learn it, in my experience. I developed so fast when I was doing nsfw art. A lot faster than if I had only been drawing normal stuff. Many of those drawings will never see the face of day, but they’re there. And they helped me a lot.
Other than that I also recommend studying real life. Try to understand where body parts start and where they end. Try to study the “line of action”. Try to remind yourself a body is a 3d form. Foreshortening helps, although I’m not the biggest fan of it. Trace photographs- and I’m not saying like go over like by like. Study photographs. There are many reference pictures online. I often find mine on pinterest.
Redrawing one pose over and over again until you can do it with close eyes, helps, and will drive you up a wall. You will want to break your pencil. But it will help. Compare what you draw with the reference picture. Remember to flip the canvas often. Our eyes get used to our art, good parts and the mistakes.
Sleep on a pose if you can’t get it just right. Your eyes will be kinder to you in the next day.
Yeah using references and being very mindful of them will help you a lot. There are some youtube tutorials. This streamer has been my favorite lately.
About finding inspiration… I’m sorry I can’t help you much with this one. You see, I’ve lost mine and I have been looking for it for a year now. Idk. Get unnaturally obsessed with a media? Get into a moderately large fandom? Have some people around you to keep your interest alive? Idk I haven’t been active in any fandom in years. But when I was, I saw that social interaction of it helped me to stay motivated to create.
Keep your mind sharp: read, study, interact with anything out of your comfort zone. In my personal experience, keeping in my walls never really gives me that rush, that eureka of inspiration. I often get this desire to create when my mind is active. I don’t know if it will be the same for you though.
Thank you for this ask! And thank you for being incredibly patient. I’m sorry again for losing your ask before. I hope I could help even a little 🖤 stay creative, friend.
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trisynine · 1 year
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When did you start making music and art? And do you have any tips for making music and art? I’m not that good at doing both of those things and i wanna improve some more and i was wondering if you could give me some advice, if not that’s fine too, ALSO, i wanna make fanart of your characters but i don’t have any place to share it on because i only have like one social media app but i don’t think you’re on there :((( sorry for making this so long btw....
No worries I probably made my answer way too long lmao. Lots of text again. Click the read more thing for all my terrible tips. As for the fanart, you can maybe link it to me via asks on here, or you can give me your Discord if you have one. I'd love to see what you do, I love getting art from others it makes me really happy 💜
Ok so uhhh ART. I've been drawing for as long as I can remember (yes, cliché). I think I started taking it more seriously when I got a drawing tablet, so 2013 or 2014? I can't remember. Some advice I can give is not to focus on every single pixel, unless you're doing pixel art. I made that mistake when I was younger; nobody is going to see 1 pixel not filled in on a 3000px canvas, it's a waste of time to bother. Focus on simple shapes first then the complex shapes when sketching and try not to do chicken-scratches, try to make continuous lines as much as possible. Here's sketches from 2016 (first) and a sketch from 2022 (second). Just looks cleaner, more dynamic and less clunky. Try practicing that when sketching, it's helped me.
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Experiment a lot, don't focus on one thing over and over to avoid sameness across drawings, like the same pose or faces. Like I said in a previous ask, study everything around you and the art you see, even when not actively drawing. I have so many references downloaded and things that are aesthetically pleasing or art that I really like. That helps too with inspiration and learning how to do stuff. Another thing that's helped me a lot is doing foreshortening like this, it's a simple technique and I do it a lot. And then all the things you've probably heard 1000 times, study anatomy and color theory and all that boring CRAP. Ok now the MUSIC. I started making music in 2015 (maybe before that if you count Mario Paint Composer lololol). Study MIXING and MASTERING as soon as possible. I never really did that until recently and I get mad at myself that I still can't do it well and think I'm an idiot. I can compose ok, my sound design is sexy, but my mastering is actual dogshit because I didn't learn it early and I've been struggling with it. The technical aspects of music making trip me up so much and I thought it would be okay to not bother looking into it. Learn dat shitttt cuz I didn't and I'm paying for it. It's not all about the composing. I also listen to all kinds of music all day and I try to study everything within the music, like all the instruments and sounds and how they're placed together. Even music I know I don't really like, I can listen to it and appreciate it in another way. Uhh put a limiter on your master track, especially when experimenting with shit. Be mindful of your volume, don't blow ya fucken ears out, take care of your hearing. Experiment with stuff a lot, don't be afraid to learn how to use new things and play around with them. I don't have a lot of tips when it comes to making music lol.
I hope these help somewhat, even if sorta generic. I'm not good at advice and these are just things that have helped me or I wish I knew earlier.
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xtruss · 1 year
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The Uncanny Failures of A.I. — Generated Hands
When it comes to one of humanity’s most important features, machines can grasp small patterns but not the unifying whole.
— By Kyle Chayka | March 10, 2023
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Illustration By Nicholas Konrad/The New Yorker
It’s a classic exercise in high-school art class: a student sits at her desk, charcoal pencil held in one hand, poised over a sheet of paper, while the other hand lies outstretched in front of her, palm up, fingers relaxed so that they curve inward. Then she uses one hand to draw the other. It’s a beginner’s assignment, but the task of depicting hands convincingly is one of the most notorious challenges in figurative art. I remember it being incredibly frustrating—getting the angles and proportion of each finger right, determining how the thumb connects to the palm, showing one finger overlapping another just so. Too often, I would end up with a bizarrely long pinky, or a thumb jutting out at an impossible angle like a broken bone. “That’s how students start learning how to draw: learning to look closely,” Kristi Soucie, my high-school art teacher, in Connecticut, told me when I called her up recently. “Everyone assumes they know what a hand looks like, but until you really do look at it you don’t understand.”
Artificial intelligence is facing a similar problem. Newly accessible tools such as Midjourney, Stable Diffusion, and dall-e are able to render a photorealistic landscape, copy a celebrity’s face, remix an image in any artist’s style, and seamlessly replace image backgrounds. Last September, an A.I.-generated image won first prize for digital art at the Colorado State Fair. But when confronted with a request to draw hands the tools have spat out a range of nightmarish appendages: hands with a dozen fingers, hands with two thumbs, hands with more hands sprouting from them like some botanical mutant. The fingers have either too many joints or none at all. They look like diagrams in a medical textbook from an alien world. The machines’ ineptitude at this particular task has become a running joke about the shortcomings of A.I. As one person put it on Twitter, “Never ask a woman her age or an AI model why they’re hiding their hands.”
As others have reported, the hand problem has to do, in part, with the generators’ ability to extrapolate information from the vast data sets of images they have been trained on. When a user types a text prompt into a generator, it draws on countless related images and replicates the patterns it has learned. But, like an archaeologist trying to translate Egyptian hieroglyphs from the Rosetta Stone, the machine can deduce only from its given material, and there are gaps in its knowledge, particularly when it comes to understanding complex organic shapes holistically. Flawed or incomplete data sets produce flawed outputs. As the linguist Noam Chomsky and his co-authors argued recently in a recent Times Op-Ed, machines and humans learn differently. “The human mind is not, like ChatGPT and its ilk, a lumbering statistical engine for pattern matching, gorging on hundreds of terabytes of data,” they wrote. Instead, it “operates with small amounts of information; it seeks not to infer brute correlations among data points but to create explanations.”
A generator can compute that hands have fingers, but it’s harder to train it to know that there should be only five, or that the digits have more or less set lengths in relation to one another. After all, hands look very different from different angles. Looking down at my own pair as I type this on my laptop keyboard, my fingers are foreshortened and half obscured by my palms; an observer wouldn’t be able to determine their exact X-ray structure from a static image. Peter Bentley, a professor of computer science at University College London, told me that A.I. tools “have learned that hands have elements such as fingers, nails, palms. But they have no understanding of what a hand really is.” The same problem sometimes occurs when A.I. tries to render smaller features such as ears, which appear as fleshy whirlpools without the intricate cartilage structure; or teeth, which sit incorrectly in the mouth; or pupils, which turn out as caprine blobs. A.I. can grasp visual patterns but not the underlying biological logic.
Part of the problem is that most images of people don’t focus on their hands. We’re not awash in closeups of fingers the way we are in pictures of faces. “If the data set was one hundred per cent hands, I think it would do much better, as the model would allocate more of its capacity to hands,” Alex Champandard, the co-founder of a company called Creative.ai, which develops tools for creative industries, told me. One solution may be to train A.I. programs on specialized monographic data sets. (At his company, Champandard is currently building training sets made up entirely of asphalt or brick images so that filmmakers or video-game developers can quickly add surface texture.) Another might be to add three-dimensional renderings to A.I. data sets, Bentley told me. There is currently no 3-D equivalent of a well-tagged Getty Images archive that an A.I. tool can be trained on, but last December the Microsoft-supported startup OpenAI published a paper teasing a tool that creates three-dimensional models, which could help give image generators more spatial awareness—a knowledge of the skeletal structure beneath 2-D skin.
When writing prompts for A.I. generators, users often aren’t very exact. They might enter the word “hand” without specifying what said hand should be doing or how it should be posed. Jim Nightingale, a former copywriter living in New Zealand who has become an A.I. consultant, told me that he advises people to “imagine how the training images might’ve been labelled, and reverse engineer your prompt from there.” Nightingale suggested naming “recognizable gestures,” such as a clenched fist, and traits, such as hairy knuckles, to help generators isolate more specific or detailed source imagery. Such tricks don’t always work, however. One client of Nightingale’s was an author who needed a digital book cover. The A.I. generated a convincing human figure but had trouble producing a specific hand gesture that the author had in mind, so Nightingale brought on a freelance human artist to paint them into the A.I. image manually.
At least thus far in generative A.I.’s life span, users tend to seek images that get as close to reality as possible. We judge A.I. based on how precisely it replicates what we’ve already seen. Looking at gnarled A.I. hands, we fall into the uncanny valley and experience a visceral sense of disgust. The hands are both real—textured, wrinkled, spotted, with more detail than most human artists could achieve—and totally at odds with the way hands are supposed to be. The machine’s failure is comforting, in a way. Hands are a symbol of humanity, “a direct correspondence between imagination and execution,” as Patti Smith recently wrote. As long as we are the only ones who understand them, perhaps our computers won’t wholly supplant us. The strange contortions of A.I. hands make me feel a sense of anticipatory nostalgia, for a future when the technology inevitably improves and we will look back on such flaws as a kitschy relic of the “early A.I.” era, the way grainy digital-camera photos are redolent of the two-thousands.
Over time, we’ll have fewer clues about which images were generated by A.I and which were made by human hands. As Champandard told me, of the proliferation of odd fingers and incomplete claws, “I think this is a temporary problem.” Soucie, my art teacher, pinpointed a similar novice’s problem in the A.I. images and in her pupils’ drawings. “A student who’s in eighth or ninth grade, when they draw their hand, they always concentrate on the contour,” she said. A young artist tracking the wiggly line of wrinkled skin gets distracted from thinking about the hand’s over-all form, its three-dimensional quality. Like any struggling art student, A.I. tools will benefit from more training. “There’s a point when the structure and the contour come together for a student,” Soucie said. “That’s usually, like, the second year of college.” ♦
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hillnerd-art · 3 years
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how to draw faces
So awesome human being @smallpumpkinboi​ posted an wonderful WIP sketch earlier and said ‘Can someone please explain to my why, everytime, without fail, my eyes are always too high??’ I offered to give my two cents, and asked if it was ok for me to make it a public post- they said yes :) This ended up going long- but hopefully it’ll be handy for people. :D 
BEFORE YOU DRAW- some tips to keep in mind:
1) do some warm ups! (sketches and drawing exercises)  yup! artists need warm-ups just like athletes! :D)
2) Get the structure drawn first!  don’t get into details, shading, or color until you have the structure DRAWN (Aka, the major features are all placed, the pose is in place etc)
So let’s look at some heads, y’all! :D
what’s with that ball so many people draw before they do a portrait? You know the one:
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In and of itself it’s confusing. It’s like,  Faces aren’t shaped like this. Where am I supposed to put the eyes? The mouth? The nose??  HERE ARE SOME HEADS I VERY QUICKLY DREW USING THE ‘CIRCLE METHOD’
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Wait a moment! Do you see what’s going on? Do you see how I messed up? OH NOOOO - I wasn’t using the circle method consistently! Look at those proportions!!! Look at the placements! There’s all using different ratios!
Look at how the noses were placed in different ways
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Omg! And the eyes too. 
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Oh my gosh! What do I do to fix this? How can I do it the same every time? Which is the RIGHT way to draw a face?
Want to know how to draw using the PERFECT ratio?
Here’s THE secret:
THERE IS NO ‘PERFECT RATIO’
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Depending on the face shape, depending on the style of drawing, age of the character being drawn etc. you might change up the placement of eyes, noses, mouths etc. But the one thing you need to know is:
Faces and heads are all different.
Some people have tiny little squished faces, some people have LONG faces. They’re all different.
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‘AHHHHH!’ HILL- YOU ARE MAKING THIS MORE CONFUSING FOR ME!!!’
I know! I’m sorry! But wait wait wait. I’m getting to stuff that’ll help. I swear!
Even though there’s ‘not a perfect ratio’ there are ratios that play into certain styles better.
Cartoons, especially, can be all over the place on how they do ratios. Like, look at Prince of Egypt and how they place the eyes SUPER high on heads- vs, like, Disney- who likes to place eyes for heads super low (they love to give women the proportions of doe-eyed children.)
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            __________________________________
A ratio I generally like is what I use for REALISM/REALISTICALLY PROPORTIONED PEOPLE
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Here I’ll be going into a general breakdown of the proportions for an ADULT head.  
Remember- every face is different!!! There is ENDLESS variety to faces. The variety can and does affect every feature- from eyelids, to noses, to brows, to foreheads etc.
These varietes vary person to person, and also there are varieties and commonalities you see more often in certain populations- be it race, sex, or ethnicity. 
I am not giving examples of ALL these varieties here today as this is just a general guide to proportion. However if anyone wants me to go more in depth on this topic I’m happy to. :D Let me know in the comments.
________________________________
THE PROPORTIONS OF A  HEAD
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                  __________________________________
NOSE
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            ________________________________
EYES AND EYEBROWS
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               ________________________________
JAW, CHIN and MOUTH
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             ________________________________
EARS
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            ________________________________
WE TEND TO THINK ABOUT DRAWINGS IN A 2-D WAY
Which makes sense. It’s a 2-D drawing!
BUT HEADS ARE 3-D
Heads are a three-dimensional object. When it’s a straight on portrait like above you can get away with not thinking about it as much. A bit of shading here and there- and bam! You drew a face! :D 
 But what about when that dang head has the AUDACITY to TURN?
All of a sudden it’s a whole lot harder to draw.
            ________________________________
3/4 VIEW OF HEAD
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ahhhhhhhhh the proportions feel different now!!!! 
DON’T BE SCARED. They aren’t different, they have just TURNED. 
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Ron here has slightly different proportions to Hermione up Above. 
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He has a longer face, longer nose, a bigger more defined jaw, slightly lower brows, thinner lips  etc.(
I made the ‘circles’ the same size- but in reality- his head is bigger than hers. REMEMBER!!! People have different size heads!)
But even with all that, a ton of his proportions are the same as hers.
When you turn a head, the main things people forget to take into account are:
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And some are getting FORESHORTENED- aka- they look all SQUISHED AND SMALL.
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a lot of the time with my ‘cartoony lines’ this little sliver disappears altogether.
Even though there’s suddenly foreshortening happening to the features of the face
YOU CAN SUDDENLY SEE SOME THINGS BETTER
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BROW BONE
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EYELIDS, BROW BONES AND BROWS ARE VERY VERY VARIABLE FOR PEOPLE- LOOK CLOSELY AT IMAGES OF DIFFERENT PEOPLE OF VARYING RACES, GENDERS, SEXES ETC.
Again, this is just a general guide.
So now we’re going to look at  @smallpumpkinboi​ ‘s awesome WIP piece
(gonna refer to them as SPB when talking about them later :) )
LET’S PRAISE THIS DRAWING, BECAUSE IT HAS A TON TO PRAISE
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As you can see, they have been VERY SUCCESSFULLY using the ‘circle method.’
They have some wonderful proportion going on! Look at those brows, eyes, nose and jaw! They are very well placed.
Also, look at some of this early shading they started? It’s very effective and really gets across MASS well. :D 
Also, the expression? It’s really well done. Like, super arresting!
You should be very proud of this Work in Progress, SPB!!! 
Earlier SPB said “Can someone please explain to my why, everytime, without fail, my eyes are always too high??’”
Your eyes are NOT necessarily ‘too high.’ 
I think what’s happening here is you are applying ‘straight on 2-d proportions’ to a turned head, but aren’t entirely familiar with how to do this. This is making you struggle a bit with certain features when they are at an angle.
Source images are very helpful, but also remember that source images can be at weirder angles than just a head turning left to right.
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The image you were working from was actually INCREDIBLY challenging, as not only is it 3/4 view, but the model’s head is slightly turned UP.
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look at all that angle happening! super hard to draw :P
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So the artist has a choice here: 1) change the drawing so it matches the pose
2) use the source image as inspiration for color/shading/expression- but find a simpler pose to work from that more matches the angle drawn.
Either choices is a valid one! :D But it’s probably easier to do #2
So here are some things you could edit
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And define the brow bone, so that it hits the corner of the eye. That’ll fix your ‘eyes too high’ problem really quickly! :D 
For a drawing of a face, the eyes are correctly placed as far as height goes!- but they are very different from the proportions of the model.
For future drawing keep in mind proportions- like eye distance, mouth size, and think about defining jaw/ear shapes. Getting structures  (like eyes, ears, mouth and nose) firmly in place before you start shading/putting in details will help a lot! :D
HOPE Y’ALL FOUND THIS HELPFUL
If ya’ll would like other tutorials, or want help with your drawings, let me know! :D 
My hands aren’t all the way well, but I’m the road to recovery and love helping people- so while I can’t draw-draw much right now, I can do this! 
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inksandpensblog · 2 years
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Sticktober 20: Art
“I don’t get it, how is fighting an art?”
Red tossed Orange a towel. “Well, your sketches are art, right? The animation that you’re teaching your animator is an art, right?
“Yeah.”
“What makes those art? And don’t,” he added, “say ‘because it looks good,’ I get enough of that from Green.”
Orange tilted his head in thought as he used to towel to pat himself down. “Well...uh, there’s, different ways to do it, but following certain steps makes the end result more effective…”
Red pointed at him. “That, yes,” he declared. “There’s techniques. That infodump you went on about foreshortening the other day? Fighters have to put just as much consideration into stuff like stances and leverage and breath control.”
Orange nodded, tilting as he stretched out one arm, then the other. “I suppose.”
Red continued. “And would you say, being an artist, that you look at the world differently?”
“I mean…I guess?” Orange surmised, reaching for his toes. “I know Alan’s talked about having a different understanding of life since he started studying in earnest.”
“And do you work to hone your craft?”
“Oh, definitely.”
“There you are,” Red reiterated. “Fighting is a discipline. The body has to be maintained, the mind has to be skilled, and the heart has to be driven. And it all comes together.” He walked over, joining Orange on the floor. “Just like when you draw.”
“…it’s not just a hobby for you, is it?” Orange guessed as they linked hands, Red pulling him farther into the stretch. “It’s a lifestyle.”
Red beamed. “Sure is, for me at least.”
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mcrmadness · 3 years
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Madness draws: Behind the Scenes of the “Alleine in der Nacht” die ärzte fan comic.
A few weeks ago I posted this comic:
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This post is yet again just another drawing behind-the-scenes post but You can go and reblog the original post here.
And as always, all my ramblings are under the cut!
This one was relatively easy to do because I just woke up one morning and internally died from laughter because this idea just happened like a random pop up window in my brain. I wrote it down to my phone notes and later on also into my sketchbook:
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I was laughing out loud when I was drawing those images, Bela’s face still is cracking me up :D And because I��m yet again trilingual with my comics, there’s only one word in my mother tongue and it’s: Bela laulaa = Bela sings.
And other fans might recognize the lyrics of the song, I needed to write them down in order to decide which ones would fit the comic the best.
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This one is then again me trying to see how it will fit on a A4 paper. Originally I saw it in my head more like a short, regular comic strip with 3 panels but somehow I couldn’t get it to fit into 3 panels. And 4 panels was too many in a row so I decided to go for a full page then. That caused bits of trouble to me because I normally don’t draw the comic book faces THAT big and it’s surprisingly hard to draw them in bigger scale. (With pencil drawings it’s the opposite, the bigger the better. It’s much easier to draw an eye the size of a finger instead of a size of a tip of a needle.)
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Here’s the first sketch! Just the shapes to see how and what I need to draw. Sorry for the awful photo quality again, my phone’s camera has really gotten really bad after these 3 years of use...
Anyhow, the third panel caused me some troubles because I knew how I wanted Bela’s arms and hands to be but I didn’t see them that good in my head so what I did next was to try different postures into my sketchbook:
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I also tried this foreshortening technique I saw in a video of after a Tumblr post, even tho I don’t find that too hard to do myself anymore but it was still interesting and can really help making the eye and brain to see the image in 3D. So here I finally figured that I wanted Bela to have is arms like he was singing something very theatrically. I think it turned out pretty good.
Next I struggled with the bedsheets and I figured that I am a bit too good at blocking out information when I draw because I tried to draw unmade beds from reference photos and I’m able to follow a line but also able to completely not see any other lines around the line I’m following. Like I’d often follow a line to somewhere and suddenly notice that wtf there’s SO MUCH MORE lines all over the place in the photo but I just did not see them.
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^Here’s two pages in my other sketchbook that I got for the comic stuff especially because the paper is actually white. The bigger sketchbook has light yellow tint to the paper so it can mess up with the colors when I need to try out and look for perfect colors from the colored pencils. (This sketchbook is also smaller aka A5 because Derwent sketchbooks are expensive but this was the only A5 one with a bit grainy paper in white. The A4 one is cheaper and from Mont Marte.)
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After a while I was done with the besheet and the rest of the second sketch. I don’t have a photo of the comic with just the lineart, only a photo where the first panel is already colored and now I actually need to talk about the coloring.
That caused me lots of trouble because I really love playing with lights and shadows in everything (drawing, photographing... everything) and I do know how to do the night effect in black and white, but I have only once before done that with colors and it’s never that easy. Plus that one was my first comic when I started drawing again in 2018 and it was not that good to begin with.
I run some tests with the pencils, as well as some shading tests:
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Käsi = hand, iho = skin. I use Derwent Flesh Pink (I have a 72 set of Derwent Watercolour pencils) for the skin color and was then trying out other colors to see which one would look the best for shading. It was actually really difficult to do and my sister suggested that I’d use only cold colors but like... how do you use cold colors on a skin without making the character look dead? :D
I imagined that there’s a moon shining in from a window that would be behind the “camera”. I almost ruined the first panel because I wasn’t exactly sure what was I even doing and what did I want from the colors:
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Here’s the lineart and almost finished first panel in colors. I really liked the lineart and this would have looked so nice in black and white too, maybe even better. But I just saw that blue background so strongly in my mind that I just had to go for it.
The first panel was really difficult to do like I said and I almost ruined it at some point. But it also taught me something because with the rest of the panels I knew to start with the skincolors and end with the black (I started the first panel with black, I think... kids, never do that, always start with the light colors! :D) and I think the last panel is the best what comes to the colors in the final comic. I also added light blue here and there to make it look more like the colors of a moon at night:
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I’m actually very happy with all of the other colors in this panel! It also reminds me of a book I had and used to read as a child. It was about this girl that went to an appendix surgery and all the images were drawn with either colored pencils, pastels or crayons and it looked grainy the exact same way as this one too. It also had lots of red and orange and brown colors in it. (I wonder if I still have the book here...)
Then there’s also the title and “Das Ende”. Originally I was going to do the late 80s logo they have e.g. on the 80s live vhs/dvd but then I just saw another post in my dä blog’s queue and I just needed to do this logo instead!
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I had just a couple of weeks prior ordered a pack of white Sakura Gelly Roll pens and needed to test what would make the best compination and with which black!
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I also had bought a white paint pen but it’s useless. As you see, it just looks grey after it dries and it just... doesn’t look nice. Plus it takes so much time to dry AND it’s extremely messy and I have paint more in my hands and a puddle on the paper but barely none where it should be. So my choice for the logo was to use either Pigma Microns or Promarkers (I think I chose the latter) and the thickest Gelly Roll aka 10. This was the result:
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And I’m actually super happy about how it came out! Couldn’t do that good looking spots on the letters because can’t make splashes with a gel pen so I did a few bigger ones here and there and then just poked everywhere with the pen to make it look more random. You can actually see how it’s slightly whiter than the paper if you look closely, but it’s not too strongly whiter so it looks pretty nice like this.
So, this was less work than the “Widumihei” one but it was also an interesting piece to draw. And I think I have now this comic drawing more freshly in mind so that drawing the next ones (there’s three waiting for sketching already) will be much easier as well :)
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howtfdidthishappen · 3 years
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Howdy hey, I’m Threa, and if you know about my other blog I went on a trip where I had some art lessons, and I’m gonna share a bit of what I learned in three posts going by day.
So my first day I received a lesson from a professional artist named John Thomas. What it was he gave me five basic tips on how to draw accurately. And of course this is for realistic drawing, but can also be applied to any and all forms of drawing, painting, etc.
1. Use a reference and look all the time. You should always have some sort of reference in order to properly gain proportions, shapes, angles, and positions. You should constantly be looking up at the reference. John himself said around every 3 seconds, but I thought that was a bit much so around every 10 seconds should be fine.
2. Measure and compare. When looking at a big reference, let’s say a person, you want to try to get the proportions accurate. Simply put think of things like, how long is the leg compared to the arm? How wide is the head compared to the shoulders? How wide is mid torso to bottom and top torso? How long is forearm compared to upper arm? Then scale them to your own drawing.
3. Check lineups/spacing. How would objects react in comparison position to others? Same thing I said about the clothing before, it will interact with each other in some way and flow some way and you’ve got to keep that in mind. Even completely solid objects like metal or stone still have their general flow to them, don’t forget that.
4. Check angles. This is especially important for things like depth, helps with shading, and makes things look a little less like lines and more like a picture. If someone’s leg is behind them as their walking, then what angle is it going at? Remember stuff like foreshortening, the back leg will get smaller at the bottom compared to the front leg, perspective people.
5. Last but not least draw negative shapes/space. This is to keep drawing A) interesting and B) keep the creative side of your brain active. Example, instead of drawing the iris and pupil inside an eye, why not draw the whites of the eye? You may ask, “well what’s the difference,” but for the most part it’s mindset. You’ll still end up drawing the same lines but it keeps you active and immersed in the drawing, it’ll help you develop style, craftsmanship, and more confidence, as it’ll seem like you’re doing something more complicated even when you’re not.
That’s mostly what I learned on the first day. We also do shading, but I don’t like how he did it so I’ll give my own advice on that later.
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sootbird · 4 years
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Hey Rox, random question. How can one learn to draw? I mean, I got the whole take a pencil and a paper and practice everyday but I mean, after doing that you understand proportions, light, perspective? Naturally? Just by practicing everyday?
Artists telling people just to practice art and not giving them any solid starting place is a bullshit cop-out and something I’ve probably said at some point, but I’m going to rectify it now by giving you a comprehensive guide to starting art.
Some people may disagree with me (and honestly I recommend asking other artists this same question to see what they say and what you yourself agree with), but I think no matter what kind of 2D art you want to make, you should start with traditional, realistic drawing or painting. The reason for this (aside from anecdotal evidence of it working for me) is that learning to draw things that occur in real life gives you a foundation for branching out into different styles or media down the line. Even if you want to draw cartoons or anime, learning realistic drawing will help you, because it will familiarize you with the complicated shapes that more cartoony drawings simplify or exaggerate. For example, if you learn to draw a realistic nose, then you can see different ways to turn that realistic shape into a simplified version of itself. Practicing realistic art can also help train your eye and get you accustomed to different techniques such as line quality, shading, color theory, composition, and various types of art materials, or media, as I will probably begin referring to it as.
So, the next step is to figure out how the hell to start learning to draw realistic stuff. I will help, using written descriptions, tips, and videos I have found online to help you.
First off is Materials/Media.
You can make art with practically anything. Anything from the humble paper and pencil to the most expensive and high-end art supplies. You can burn a piece of wood in a fire for a bit and then use the charred end to make marks with. You can use mud to paint with. You can dip your toe in ink and use that as a paintbrush. My point is that you can really get creative with it and I think creating art should be a joyful experience, not a painful one.
Art supplies can be very expensive, so for beginners I really do recommend a paper and pencil. Not a mechanical pencil either, but one of those wooden ones. They work well for drawing because you can use both the point and the side of the lead to make marks with. I also recommend getting a good eraser. My favorite kind are the grey kneadable ones, because you can squish them into any shape you need for any particular area that needs erasing. I’ll link to some on Amazon later on.
You can practice pencil drawings on lined paper (I have a whole lot of sketches I did in high school that are just on lined paper), printer paper, cardboard, etc, or you could invest in a sketchbook. Cheap sketchbooks are pretty easy to find, like they have them at my local grocery store, but you can also find them online for fairly cheap. Sketchbooks are made of different paper depending on the media (drawing materials) that you’re using. Paper intended for pencil drawings tends to have quite a fine grain for smooth blending, whereas paper in watercolor sketchbooks is rough and absorbent to suit the wet medium. You can get a sketchbook with any paper you want, really. I’ve done pencil drawings on pastel paper before, because it was the only paper around, and it still looked nice, just different than it would on finer grain paper. What materials you choose to use depends on the look you’re going for, and you’ll figure that out more with experience.
To start with, just grab some paper and a pencil and start making marks on it. See how many different looking marks you can make on the paper. I’m not really talking about shapes persay, but literal marks with the pencil. Thin lines, thick lines, scribbles with lots of pressure or just a little bit of pressure. Scrape the side of the pencil along the paper and see what it does. Try blending the lines with your finger. Just take some time to play with the material without getting hung up on creating anything. Do this sort of experimenting with any new art material you’re introduced to. The first thing you should do with a new tool is acquaint yourself with it, and that’s what this is doing. Get used to how the pencil feels in your hand and what motions feel comfortable with it. Keep in mind that you don’t have to hold the pencil the same way as if you were writing. Often if I’m shading with a pencil, I will hold it with all of my fingers around it and use my thumb to put pressure on it.
Now, shading.
Shading and mark making go together, because shading is basically using the marks you’re making with your pencil or pen to indicate lightness vs. darkness. To practice mark making and the techniques that are used for shading, I recommend watching this video and drawing along with the exercise. The artist uses pens in it but you can do it with pencil too! 
When you’re ready, you can start trying to shade basic forms (shapes). Shading gives a two dimensional shape a three-dimensional look. It turns a flat circle into a sphere. Once you learn how to shade basic shapes, you can pretty much figure out how to shade just about anything. For example, once you learn how to shade a sphere, you know how to roughly shade a head! And what is an arm if not a cylinder? A nose if not a pyramid?
There are lots of videos online for practicing this. Here’s one that’s pretty good.
This is where I recommend starting. Once you are more comfortable with that, here is a list of things that you can look up and try to get a handle on, in what I think is a pretty alright order.
Perspective (one-point, two-point, three-point)
Value, Tint, Shade
Drawing negative space
Foreshortening
Composition
Drawing from life
Color theory
It would take me a very long time to outline all of this stuff, which is why I’ve given you that list of stuff to look for online. There are a lot of great resources out there and I recommend searching for them and comparing them. I can’t go into depth on everything right now because there’s a LOT of stuff, but I hope the little outline I gave you will help give you a foundation and know where to look and what to look for! If you have any questions about specific stuff, feel free to come and ask me about it and I’ll try to help.
Here are links to some cheap art materials on Amazon:
Grey kneadable eraser
Sketchbook for pencil
Pen set
There are lots of other listings for stuff like this online, so do check around for what you want! The ones I linked are just options.
I hope this helped! Thank you for the ask anon, and good luck!
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ninelivesart · 3 years
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Happy New Year
This last year has been pretty crazy for all of us. Even though it’s been such a wild experience, I feel like I made jumps with my art that I never thought possible. I was finally able to launch my Etsy shop and my Patreon. I got a permanent place to sell my art at a local vintage store. And I was also given complete creative control over a project at work!
However, this year also came with a lot of hardships. My grandpa was diagnosed with cancer early in the year. He managed to get through it and finished chemo in the summer. Homeschooling has drastically cut back on my drawing time. I lost access to state benefits because I can no longer put in the amount of work time needed (because I’m homeschooling). My depression continues to rear it’s ugly head. But these last few weeks have been, by far, the hardest.
My grandparents both came down with Covid. My grandpa, the recent cancer survivor, is miraculously asymptomatic. Aside from feeling a little more tired than usual, he’s been able to keep busy. He’s just very very lonely and isolated.
My grandma, however, is not doing well at all. She was hospitalized a few days before Christmas. She had internal bleeding so bad that they told us to just get her affairs in order and prepare for the worst. I think the hardest part about this experience has been knowing that she’s awake and lucid but we still can’t talk to her. The hospitals in California are so overworked that they no longer have the time to keep up with family phone calls.
I don’t know how to process these feelings. My grandparents are very important to me. They basically raised me. They’re just about the only people in my life who have loved me unconditionally since the day I was born. I don’t know what I’ll do if she doesn’t make it home. And I’m so exhausted with trying to placate people who aren’t taking this seriously. I’ve had enough.
Thankfully, she’s making a lot of improvements. She’s still bleeding internally but not nearly at the rate she was before. There’s reason to hope again. My aunt was able to talk to her yesterday (to convince her to use her bpap) and she’s feeling very isolated and alone. It kills me to think of how she must be feeling right now. She doesn’t want to keep going. She hasn’t had contact with her own family in over a week. It breaks my heart.
But I think talking to my aunt helped her. At the very least, it gave her the push to keep fighting. She still has some work to do before she can come home but they’ve given my aunt permission to call her again today. She’s going to send along some messages from us and some pictures to try and boost her morale. And she’s going to see if we can write her letters. I will write her every single day if that’s what helps her get better.
So, as you can imagine, creating has been far from my mind all week. I’ve been riding a constant roller coaster of emotions. Alternating between crushing grief and absolute rage. I don’t want anyone to know what this feels like. I don’t want anyone else to have to die alone in a hospital with no contact with their family. We need to do better.
Either way, this update wasn’t meant to be a lecture (although I really hope you take it to heart). I wanted to take a moment to reflect on the last year and my plans for next year. My dream has always been to make graphic novels. Or at least complete a web comic. So I’m really going to be pushing myself to understand things like perspective, environments, and foreshortening. 
Unfortunately, with everything that’s happening in my personal life, I also recognize that I need time off. I just don’t have the juice to produce a lot of art right now. And I’m still grappling with the feeling of being stuck. It’s a rut I’ve been in for over a month now.
I don’t plan for this to be an extended break. I’m not going to suspend my Patreon or have a specific date to be ready by. I’m still going to push myself to draw at least one thing a day. But unless I have something completed, I will probably only share them on Patreon. The point is that I’m just not going to prioritize it. My grandma’s health, my own mental health, and helping my son deal with his grief and mental health. Those are all the most important things to me right now.
But once I have something completed, I’ll share it.
In the meantime, I hope you all have a happy and safe New Year’s. Please stay home and stay safe. I’ll see you next year.
Tawni
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one-last-puku · 3 years
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I hate so much how I just can't grasp how to not make awkward looking drawings.
Why can't I be fast like other people?
Why do I still get flashbacks to highschool when I sketch?
Why do I feel like I haven't improved much in over 10 years?
Why do other people get to have started 3 years ago and vastly improved?
Why have I been drawing all my life and I can never be good?
Why can't I just get it?
Why can't I finish most of what I make?
Why can't I understand coming up with dynamic poses or foreshortening or dimension?
I've been doing this my whole life, but I don't get basic effects, or style. I just don't know, I just don't know.... ugh
Been drawing all my life, I didn't give up, I went to art school, but I'm just not enough. I'm just not good enough to make it a career.
I'm not good at art and all along that was my thing! If I don't have that, I have nothing!
Me just bitching lol don't mind me.
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psychiccongress · 4 years
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Weird Headscapes
I have all these weird headscapes (just realized that scape and space are anagrammatic) that are somewhere between hallucination, dream and synesthesia. How do I describe it? They are places, in my mind, I think, but they have their own mood, their own sense of history transmitted by their structure and patinas, and I can feel their dimensionality. They are not, as it were, projections in the screen of my mind. They are more like dynamic full-scale models, which is to say indistinguishable from real places except for the obvious difference that I enter them without going anywhere. One of the first weird headscapes was an empty black expanse in which a sphere of everyday objects—cars, trees, small structures like retaining walls and iron gates, with smaller things, blenders, one of those old mcdonald’s styrofoam soda cups, used clothing, stuffed into the gaps—floated just some two feet off the ground or so.
There was a wooden door with two concrete steps and a tiny stoop warped into the outer curve of the sphere, and as the great mass, maybe a hundred feet in diameter, rotated so the door passed me, I could open it and walk in. But I never got very far. I never had the concentration, and it was dark anyway. It became a maze of foreshortening tunnels, and as I looked down the winding passages I might catch sight of the odd street lamp bending around and silhouetting a stuffed and mounted bison head, or having passed someway down another passage would emerge into a hall of knick knacks and mattresses under which half a ‘57 chevy’s headlight would pierce through an old scarf to glitter off the porcelain clowns and theater jewelry.
The place had its own special type of confusion. At once it was the heart of security, like being under thick blankets on a car ride home late at night, when you’re a kid and your dad thinks your asleep, back before we had cars with good heaters, or maybe he just liked the windows down—but at the same time it remained foreign, clustered, helplessly unstable, inconsistent and on the verge of collapse.
That’s all I want to write for the moment, but I also want to try to fix this headscape I can feel right now. It’s very, very old, for me. It’s a world that belongs to childhood. Somehow remembering an elder Latina lady who used to babysit me helped bring it back (I looked up her name online, and it means refugee, and this all fits). Somehow, this space is like an open hall that circles a tropical garden, but it has old rooms branching radially away from the center, and though it is night in the garden and hall it might be anytime at all inside the rooms.
There are alters with candles. Something about the place signals Los Angeles. Roses are red and dogs are black. Someone eternally sweats out heroin withdrawal there. Remedios and Refugios are two brothers looking either way like the twin faces of Janus there. 
Anyway, this is how I write. This is how I have always been able to write. I don’t know why I gave it up. I guess I lost touch with it. My heart, that is. 
Something about that headscape echoes a presentiment, as though I knew then without understanding what it was to try to keep a fire going in the rain so many years later. 
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allbeendonebefore · 4 years
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artist ask random numbers: 3, 6, 11, 19, 22, 28
3. How many classes have you taken?
Since high school, no formal classes aside from online tutorials. i’d really like to try out a class or a live drawing session when I’m able to though, I regret not going as a post-secondary student. 
6. What’s your least favorite thing to draw?
Lately I really don’t like drawing different angles or the same comic panel over and over again, but it’s hard to break out of. I also get easily overwhelmed by landscapes (cityscapes in particular) even though I keep forcing myself to draw them. Also don’t like any kind of foreshortening or drawing shoes, lol.
11. How many art-related blogs do you follow?
Not a clue, but I do try to fill up my feed with illustrators as much as possible! 
19. What is the most difficult thing for you to draw?
Legs, still. I won’t say I’m good at drawing hands or finished learning how to draw hands but I’ve sort of made my peace with them; unfortunately I really struggle with legs and putting people’s feet on the ground so they don’t look like they’re floating and it frustrates me a lot. 
22. Are you confident that you’re improving steadily?
Yes and no haha, I’m in a bit of a burn out post-school and here in quarantine, I wouldn’t call it a block but a previous issue of trying to pick a focus of study has been greatly exacerbated this month by not really having a good private spot to work on my art. But when I look over the stuff just in the course of like, the last five years, I am pleased with what I see and I know now that I’m out of school I can do more and get faster and see more improvement like I did the last time i was shut in at home and had no friends xD;; but this time i have good friends to encourage me and to bounce ideas off of. If I’m improving for an audience of 3, I don’t mind xD
28. For traditional artists: what medium do you like most? (Pencil, charcoals, etc)
Watercolour remains to be the one thing in my life that I still pursue even though it’s really frustrating. However, I think acrylics and gouache also accurately represent a process I really like and usually use in digital art as well- I just don’t have access to my paints because they’re in another province. I haven’t had a chance to practice gouache at all, really, but I can see it being a fast favourite.
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