#i dont know how to draw poses that make sense | Explore Tumblr Posts and Blogs

wasyago · 9 months

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Your art is such a huge inspiration for me , i was wondering if you had any tips on anatomy ? Your way of doing it is so fluid and fun to look at and i struggle a lot with stiffness .

welp, long post incoming, sorry i really didn't want to write all of this on the canvas, so most of it will be in text + pictures

(also please keep in mind that this is not a 100% correct way to do this, but this is how i do it)

first, a little secret you need to know. none of my drawings are actually anatomically correct-- its more about proportions and lines of motion than it is about anatomy (since you said you struggle with stiffnes). now, of course anatomy is important, especially if you're going for something more realistic, but i'd say its not the first thing you should focus on. for me, anatomy is something i learn slowly and gradually as i go and as i need (and forget soon after).

i think proportions are in a way a lot more helpful than anatomy, because you can easily change them according to the character's needs and it'll still look believable. so like.

arms from wrist to elbow and from elbow to shoulder are roughly the same size, same with legs.

character's open palm is the same size as their face from chin to hairline.

the thickness of the neck depends not on the size of the head but the size of shoulders. so, if the shoulders are broad and muscular the neck will be too. if the shoulders are small then the neck will be thinner, etc.

when hands are pressed to the body, elbows are in line with the waist and the palm is roughly below the hips.

length of legs in relation to the body is directly responsible for how tall the character looks. if they're the same size - character looks average, if the legs are shorter than the body the character looks shorter, and if the legs are longer then the character looks taller.

and then for the face.... i literally forgot everything about face proportions uhhhh. well. the ears sit in the middle of the head and are in the same dimensions as the nose. the spaces from hairline to eyebrows to tip of the nose to chin are all the same size. mouth sits on 2/3 between the nose and the chin, leaving more space for the chin. eyes are the same size and the space between them is equal to the size of one eye. (this is much easier to explain in a drawing)

and then to make your character stand out and look unique you change some of the proportions. make their eyes bigger, ears smaller, arms longer or legs shorter. the difference between knowing the proportions and breaking them on purpose vs not following the proportions at all, is that when you know what you're breaking it looks intentional and it has a meaning and it makes sense to the viewer, instead of you breaking all the rules without knowing what they are. just remember to emphasize it enough for your style, because if you overdo or don't do enough it might look out of place. again, its all about balance.

and now for the lines of motion... i dont exactly know how to explain them, because there's not really a correct way to do them? but basically its a line that follows and sets the motion. yeah. its what makes the characters look less stiff. and its not exactly imaginary lines, but they're not simply visible either. its the lines that the silhouette of the character follows, the direction their limbs or elements of clothing create. you're basically creating those patterns that the pose follows, and you know us humans we sure love our patterns, so the brain subconsciously recognizes that there's a pattern and the image then feels more structured, more real in a sense?

i have no damn idea how to put it into words, but. um. diagonal lines are dynamic, straight lines (in relation to the canvas) are stiff. its like a square looks stiff but a rombos looks flowy even if they're basically the same thing. so to make your characters look more dynamic you need to build the pose on diagonals and not straight lines. and if you want the pose to look stable then you need to balance it out with lines of motion that go in an opposite direction. sort of like you put two rocks on the ends of a plank to balance it out instead of putting no rocks at all because the plank will balance on its own. it creates flavor and weight and intention, sort of like "this plank balances because of the rocks" instead of "the plank balances because there's nothing". sorry i get carried away with the metaphors--

you can use the stiff/dynamic thing however you want for whatever purpose you need. for example making the bottom of the character who is standing still be parallel to the canvas, but keeping their body diagonal and dynamic, helps to make the character feel stable and set in the drawing, like they're standing on firm ground. keeping a background or some element of the drawing stiff but making the character dynamic emphasizes the movement and focuses attention on the character. but making both the background and the character dynamic creates a fully dynamic composition and the feeling like everything is in motion. its an interesting balance but the more you draw the more you understand it.

hope this helps :D

#yagotalk #feels like i forgot something...... oh well #if you have any more specific questions feel free to ask #how to yago

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sopuu · 9 months

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I was wondering if you have any tips for your perspectives? i dont really know how to do them that well but it seems you have a great handle on them! Btw I love your art! its soft and happy, I really love your stuff :D

thank you sm!! i love hearing that my art looks happy it's such a nice description 🥺

and for the tips! you've probably heard of vanishing points and horizon lines a bunch of times so i'll try to just give a quick run down of how i understand them + their uses

[2024 edit: just wanted to clarify that this third pic isn’t like a definite rule (none of these are tbf)- the horizon line can be placed at the top and still be close to the ground if you draw the grid right, same goes vice versa!]

tbh once you get the idea of how they work it gets easier to figure out where the points should be. it might help to think that the subject is what determines where the points are instead of the other way round if that makes sense? i learned a lot just by looking at storyboards for fun bc they're everywhere in them jhfkdg

also these grids aren't restricted to being only for the walls or the floor of a room- you can rotate it, put them anywhere you think you might need clarification on where the space around them is etc. just use as many as you need for whatever you need

having multiple grids (like ^ where its above and below the character) especially close together narrows the focus to what's in the middle of them as well!

another way to do this is to think of the subjects being in a box and looking at them from an angle-

and if you want you can break them down to simpler 3D or 2D shapes to see which parts have to get smaller

if you were looking for more perspectives on poses i talk about it a little at the end here

i hope this was clear enough! it's a bit hard to explain but once i learned not to be too hung up on accuracy (ofc to an appropriate degree) and freehanded the grids it makes it a lot more fun to play around with :)

also take everything i say with a grain of salt bc i too am still learning 👍

#ill be real with you i still don't fully understand vanishing pts sometimes and most of the time i just. dont think of them LOL #just as long as i have an idea of approximately where it is then ill freehand it until i get it looking right #asks #my doodles #obligatory sorry for the long wait i’m still absolutely swamped with work 😔#good news tho my summer course is on its last week! i’ll have free time again soon wooo!!! (losing my mind)#sopuutorials #sopuuart

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ssalballoon · 3 months

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i wanna get better at art but dont know how to start ^^' whats a good way to get into studying anatomy and improving as an artist? tysm 💗 love your art soso much

more art converts 😼 yay!!

i think these asks were sent by different people but they're pretty related + a lot of my advice is the same! so i'll answer these together under the cut (it's so long oh gosh)

ok first of all i'm very flattered that people are asking me for art advice but i'm really not the most equipped person to ask TTOTT I've never been deliberately studious with my art so I feel bad offering advice when I've mostly gotten by with just drawing fanart and ocs a lot... my rate of improvement has therefore been slow, but I've still had an enjoyable learning experience so perhaps from that angle my input may help! i'll mainly refer you to external resources that have helped me

For anatomy + drawing humans:

1) I know I'm not diligent enough to sit down and study muscles, so instead I make it more enjoyable by drawing my favorite characters in a pose that targets the muscles I want to practice! (i default to drawing ppl naked because of this lol) This isn't the most efficient, but it serves as good motivation to get practice in. (honestly a lot of my general art advice has the undercurrent of becoming so obsessed with characters to drive your motivation to draw even when artblocked/ struggling with doubts!)

2) I want to refer you to Sinix's Anatomy playlist! Although Sinix focuses more on digital painting, he gives simplified anatomy breakdowns that include how muscles change shape under different movements/poses, which is crucial for natural human posing. the static anatomy diagrams from Google don't really help for that

3) What's just as important as anatomy is gestures! (especially important if you're used to drawing non-human objects I think!) Making figures look like they have flow to them will sell the "naturalness"(?) to your anatomy. If you have in person life drawing sessions accessible near you I'd recommend trying those out, or if you prefer trying it digitally there's this website!

This helps you not only get a sense of human proportions, but also natural posing! I'd limit the time taken to draw the poses from like 10 seconds to 1 minute(?) for quick gestures, and maybe 1 minute to 5mins(for now!! typically they go much longer) to study human proportions. I'd say don't spend a lot of time on them, repetition is more important!

4) I've also picked up on useful anatomy tidbits from artists online! Looking at how practiced/ professional artists stylize a body helps me focus on what the essential details are to convey a particular form (looking up "human muscles" and being hit with anatomy diagrams full of all the smallest details can be overwhelming! what do you even focus on?! so these educated simplifications really help me) Like Emilio Dekure's work! Look how simplified these figures are, and yet contain all the essential information to convey the sense of accurate form (even though it's highly exaggerated!)

(shamefully admits I've never studied from actual anatomy books so I can't recommend anything in that sense TTOTT)

For general improvement:

1) I highly recommend Sinix's Design Theory playlist and Paintover Pals! (+ his channel in general) You don't have to put them immediately into practice, but I think these are good fundamental lessons to just listen to and have them in the back of your mind to revisit another day. Plus these videos are just fun and very approachable! Design theory fundamentals are essential to creating appeal and directing a viewer's attention, and critiquing others' work/ seeing his suggestions are a good way to practice noticing areas of improvement+ solutions yourself!

2) If you prefer a more formal teaching resource, the Drawabox YouTube course covers all the basic fundamentals of drawing in short lessons. But honestly if I were starting out, this would be a little intimidating for me (and even now it still is! I haven't done all of them) But even if you don't watch them, the titles should give you an idea of the basic concepts that are valuable to pick up. I think it would be nice to keep in mind and revisit once in a while as you learn!

(One lesson I do encourage you to watch is the line control one! A confident continuous line conveys motion and flow much better compared to discontinuous frayed lines which I think is good to practice early by drawing from the wrist and shoulder)

3) As a universal piece of advice: Please please please use references! Use a reference for literally everything, observing is how we learn! You'll find that a lot of things you thought you knew what they looked like are inaccurate by memory alone. Also, trace! This is solely for your practice, tracing then freehanding has helped me grasp proportions when I was struggling! (of course don't post these online if you traced from art)

I've found that being able to compile references into easy to access boards has been very helpful in encouraging me to use references more. For PC, I think they use PureRef (free/pay what you want), and for iPad I use VizRef. VizRef is a one time purchase (which was definitely worth the $3.99 USD price imo)

4) On that note, try building up the habit to observe from media + real life and make purposeful comments about what you see! Like hey, when I bend my knee, the muscles/fat in my thighs and calves bulge outwards, I should draw that next time. Purposeful observation carries over to your overall visual library, and it's a little thing that adds up over time

5) For motivation, get into media you really enjoy, or make your own characters! The way I started art more seriously was by drawing fanart + OCs from anime that I liked ^^ For OCs it really encourages you to draw more because you're the primary creator of their art! Also you gotta see a lot of good art to make good art! Watching visually appealing media (like animation with appealing stylization/simplification) can passively help you learn just by observation.

ok wow I could go on but this is already a lot of information TTOTT my main aim for this reply is basically: don't let anything discourage you from learning to draw!! drawing is so fun and brings me a lot of joy ^^ practicing often will of course help you improve, and the way to incentivize that is by having fun with it! i hope this could help!💞

#my asks #art resources #trying to be concise n failing #i'm mainly worried that like. my art tips make me sound more skilled than my art actually is

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bimir · 7 months

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question for all artists there!

I dont understand how you guys make something like... from your head? I don't know if it makes sense but I kinda struggle with this thing. I know how to draw realism, i am kinda good too but I quit drawing for like 3 years bc I feel like I am not actually an artist bc all I know to do is like copy-paste irl. I want to go back to drawing, but it's hard bc I don't know from where should I begin. should I learn anatomy so that I can later draw poses from memory? or you guys don't actually do that and use references? and if you use references how do you find the ones you want? ugh its so frustrating bc I don't want to be a drawer, I want to be creative as well but I can't :'D

#how do people draw #artists on tumblr #artwork #digital art #oc artist #send help #please help #help artists #sketch #reference #fanart #painting #drawing #tumblr draw #artist struggles #I'm starting to feel again like ill never be capable to draw what I want

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pokeberry5 · 6 days

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do you have any tips for drawing dynamic poses? i always love the way you draw bodies!!

i know this has been said a million times but the way i draw bodies significantly improved after i started drawing more frequently from reference. if i cant find a reference for a pose on the internet, i'll just use myself or a friend. i spend an unfortunate amount of time just standing in front of my mirror looking at my own joints. pay attention to where your body curves!!

other than that though—honestly my anatomy/pose knowledge is a whack amalgamation of art tips i've accumulated over the years (i miss old school deviantart/tumblr style art tutorials). i also like to look at how artists i admire draw bodies—what details to they include, what anatomical short-hands etc

i think i'm still figuring out how to draw dynamic poses, but here are some cheats i've picked up (under the cut coz this got long again):

gonna use this stray!tim as a base

the easiest way for make up a pose is to start roughly with the head, collarbones, ribcage, and pelvis — you can build everything from there

here's a couple more of what i mean by the ribcage-pelvis deconstruction:

2. push your perspective a little!! imo things look more dynamic if you move your sight-line up or down—the horizontal orange line here. if you look at the panels above, the sight lines tend to be a little low, at around the character's torso or waist. i did the same below with stray!tim

to do this i usually try to get a sense of the space im working in by putting in some sloppy perspective grids

3. S curves!!! exaggerate the lines of the body. the body naturally has parallel horizontal lines—an easy way to get a body to look less rigid is to tilt those horizontal lines which in turn curves the vertical line of the body

this is what a mean by horizontal lines—usually i use the eyes, shoulders, and hips:

i'm gonna use caterina as a better example—usually you want the horizontal lines to sort of zigzag:

i've also picked up a couple visual tricks that don't exactly add dynamism to a pose? but they do give a static pose a little more oomph. a lot of this is done by visually highlighting one specific point of the body

for our purposes, i'm gonna make the focal point tim's face

motion blur! there are a couple ways to do this. i actually dont like working with traditional motion blur because you have to mess around with selections, so i usually fake motion blur using postional perspective blur:

2. gradient lighting—you can add a lot of depth this way. usually i like setting the gradient in the direction of the focal point, e.g. tim's face

below, i added a layer above the base drawing, used an airbrush to get this gradient, and then set the layer to color burn and lowered the opacity. you can also clip the lighting layer to the base drawing and set it to multiply

below, i did the opposite—instead of adding a gradient shadow, i added gradient light. i set the layer to add this time (instead of color burn) and then lowered the opacity again.

this kinda serves to desaturate the parts of the piece that are less important (ish i was kinda sloppy here), driving the eye to face—the most saturated. the motion blur does a similar thing, where the only thing "in focus" is tim's face

the gradient also sort of adds a directionality to the piece—it starts at the bottom right corner and goes up towards the upper left, causing your eye to follow that same path, which drags your gaze up tim's body

here's what it looks like when i combine 1 and 2:

3. chromatic aberration's been pretty popular recently. it does a similar thing as perspective blur but with more eyestrain (although i went with a really exaggerated version below just to show you what it does) but it looks cool!

bonus cryptid tim as a reward for getting to the end :-)

#red talks #sart #art tutorial #YeAH UH this got long lmaooo i was on the bus for a Sec plotting this out so #also i am neck deep in a reincarnation/regression manhwa stress hyperfixation so i havent had the brain space to draw #so you get this instead!#if anyone wants recs lemme know lol #thank you anon :)))

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five-thousand-loaves-of-bread · 3 months

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n in home country. you expected to master foundations before developing personal styles.

as in you need learn tonal drawing of complex still life (fruits & pots & glass & fabric background etc), of plaster statues, of croquis* drawing, of like. tonal still life but with gouache (colored still life?), etc

(*croquis meaning rapid sketch of live models with clothing you suppose capture entire body include face clothing wrinkles pose etc. to illustrate how obsolete, this word in home country language something knew since very young but this word in english literally just now found way word it to search up in google just now learn word. have never heard of it before in english)

art school in undergrad level in home country. admission test is like. similar to US SAT but even more rigorous because like once a year only you go in for idk entire day maybe entire two days (never looked into it because not relevant to me) with millions of people n you get tested on these stuff. then people rank your drawings n give score n that determine what art school you can get into. i think

n heard there absolutely one “standard” style they prefer

which lead to like. expensive bootcamps like stuff where prospective art students live eat sleep draw in studio for weeks months confiscate electronics etc. like that is norm

if you know what home country is then this make sense because this exactly like test for college

vs in US you submit portfolio to each school showcase your art your style showcase individual

know people who got accepted into art school in US without have done any of these type drawings

dont think “have one standard style n have hell boot camp & grade art as if can be objective etc” is answer at all exactly

but having learned even like. a little of these foundations (pencil tonal still life mainly but also colored still life but more bad at that n forgot it so that one lesser). made me better artist.

n if have learned like, tonal still life of those facial sculptures busts (think ancient roman ancient greece classical style). n croquis. would help so much with draw people

because foundations exactly that. foundation that serve as basic where develop own art own style. light n dark. human body n anatomy. drape. wrinkles. color. environmental colors. etc

still use many techniques learned from tonal still life. for example draw curves with straight lines when sketch. which gives more precisions. or mentally see like complex curvy stuff like apple or face into geometric flat surfaces all pieced together etc. more bad at that one but it really help understand where put lines what direction best for shading for shading line placement etc

#🍞.txt

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knives-blue · 9 months

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ive thoughts abt the b team

ik i already posted abt this but i wanna elab more.

so yall know how in itsv miles throws a bagel at j. ohn, and he becomes the spot, right? and in a deleted scene olivia says "the power of the multiverse in the palm of my hand" in ref to doc oc in spoderman 2. and guess who says that line in spiderverse 2? spot! why am i bringing this up? im using it as an example of the bonkers foreshadowing in spiderverse. Things often go from cameos and gags to something BIG. Like how miguel ended up being the secondary antagonist in spoderverse. He went from popping up at the end in a gag cameo scene, to being the antagonist of the second half of the second act and the entirety of the third act. My point is little things matter here.

That brings me to my next point. Now, I love the B Team, and I jus want to see more of them in the next one so this may be a little biased.

In ATSV, at the start of the third act when Miguel is explaining canon events to Miles, Peni pops up, and is given a single line. Now, most people dont/didnt think of this as more than a cameo. But I am not most people mon frer. They could've done this with anyone else, literally anyone else from the B Team, or just a random Spider-person. They couldve easily replaced her scene with the crowd of Spider People looking at him disappointed. But they didnt. They draw attention to her, they have miles EXPLICITLY Notice Her and even say her name. They show off her new mech and let the cam linger on her face more.

And then, in the third act, when Miles is running through Earth 42's nyc, we see in the reflection of a building he runs past, specifically, Noir, Ham and Peni. Specifically them, even thought they arent plot relevant. You even hear Porker saying "You cant save everyone,", his line from the first film. My question is. Why. Them. The producers couldve easily shown Gwen, Peter, and Miguel, or hell, His Mom, Dad and Uncle Aaron, hell maybe kingpin and doc oc and the spot! They couldve easily replaced Hams line with Uncle Aarons Keep Going line, or Peters Leap Of Faith line that im p sure shows up idk my memories fuzzy, But no. It was specifically *those three. * and That One Line.

And then at the end, when we see Gwens Spider-gang, we see Peni in her crossed arms pose behind Hobie, and Noir / Ham right behind Gwen in front of Margo. And in that very scene, just seconds before, we see Peni, and we see her smirking back at the camera from the corner of her eye. Now why did they specifically decide to give Peni this knowing look? It would've made sense for Hobie, as hes the one who helped Miles get free from Miguels cage, but why Peni. Last time we saw her she looked depressed, she looked tired.

Now, here is the crux of my theory. I believe, that just like in ITSV, BTSV is gonna come full circle, and make the B-Team extremely plot relevant. I feel like the producers are dropping little breadcrumbs relating to the plot, but not making it so obvious we immediately catch on. Much like The Spot and The Bagel Incident and Miguel and Miles' Spider and the constant showings-up of the number 42.

In ITSV, Peni is literally the one that gets them all to their home dimensions, she is the one that made the new goober, and got them all home. So I feel like she will play a big role in defeating The Spot. And call me crazy, but I feel like her standing behind Hobie at the end might mean that she works with him to create something that will defeat Spot, or make something that will help, most likely relating to the collider, since Hobie did make their watches.

And, vis-a-vis, Ham and Noir (along with Peni and SP//dr's dismembered arm), play a part in defeating Scorpion and Tombstone, and while they werent extremely important to the Plot, they where part of the Sinister 6, and they where the antagonists of ITSV after all. Next to King Pin, that is. All three of them also took out the alchemax employees (Gwen got sidetracked seeing Miles come back tho), and since Miguel is more a man of hand-to-hand and melee combat unlike spot and his portal fuckery, I feel as though they will be pretty instrumental to defeating Miguel, and maybe, his Migbot (cuz of the concept art that got leaked recently).

(Another thing i wanna discuss is the possibility of doc oc making a comeback in BTSV cuz last we saw of her she did get hit by a truck, but in a deleted scene it shows her throwing herself into the collider, but thats another subject for another time.)

#glenns talkative madness #into the spiderverse #across the spiderverse #beyond the spiderverse #peni parker #spider noir #spider ham #b team

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lemon-wedges · 1 year

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Just wanted to ask (and feel free to not answer), but how do you draw so much so quickly? I'm always impressed by how fast you doodle or paint. Also, wanted to say that I appreciate your Barok and DGS art as a whole.

and with this ask i have finally reached an artist milestone 😭

Well theres a short answer and a REALLY long answer (which ill put under cut when i get there).

short answer: practice + refs

which.....can be an annoying thing to hear. And as someone who studies art and has bought a LOT of online courses trying to figure out how industry people can just churn out work like nothing. it feels like a let down every time i find out their big secret. just practice and photo refs. Every. Single. Time.

LONG ANSWER:

its how you studying your refs. heres how i do mine

sorry if this is rambly. but ill try my best to at least be clear. BUT THIS is the EXACT way i taught myself how to be quicker.

I do not know if youve taken any art classes but essentially one of the ways to study gesture drawing is by first tracing ur photo ref to get a sense of the flow/proportions of the body. youve probably seen a billion of these tutorials floating around:

So last year around hmmmm june/july? i was NOT looking to get better at my anatomy or gesture. i was actually trying to get better at clothes. but my problem was it took me so long to draw out a figure (which i was fine with cause i liked how my people looked at the time) that i could never really just focus clothing part.

So i told myself look. ur not looking to draw in this style like this forever. so for now SIMPLIFY SIMPLIFY SIMPLIFY!!!! I WANT THE BAREBONES OF A HUMAN HERE TO MAKE A MANIQUIEN FOR CLOTHES OK

but how do i do that....

Im gonna use this piece as an example from my rise and yosuke fashion palooza month. FIRST u see i got all my photo refs together. i like those poses on the right and i want to switch out the clothes for the other ones i picked out. i trace out my poses. kind of like the tutorial up top but since this is about draping i was focused the exact places their waist/arms/legs/etc would bend.

and like the tutorial u turn off the photo ref and do a drawing based off that traced piece.

then i would turn on my refs and add on my clothes

And after a month of just doing that over and over and over. i was surprised to find that figures and poses were so much easier to understand when i would break them down like this. and once u get familiar with them the faster and more confidently you'll draw them.

I and still do this btw. heres my otasune from the last week

i used photo refs for all my sketches. if i cant find anything online to match what i want i just take photos of myself. and some might say well arent u just relying on reference TOO much?

AND AGAIN take it from someone who has spend a lot of money buying classes from their fav artists in the industry. The Secret of how they churn out so much cool work so fast always turns out to be this. practice and photo refs.

Every. Single. Time.(tho this is omitting a lot. im not getting into like they way they stylize their art work. that actually the fastest and funnest thing to do once u have ur base down)

Now PAINTING

The thing is, i dont actually post up all my work on this blog. So theres a ton of stuff you havent seen me do. These are some paintings i did 2 years ago for a class.

I already know how to pick my values and set up lighting. When you see me painting my figures now. i am not focused on learning these basics im actually just honing a technique.

you might see me post readmores with these kinds of wips. I lay in all my colors and lighting with the lasso tool. ALL THE MAJOR DECSIONS ARE DONE HERE

(the little miniature i add on the side basically tells me what the overall feeling is going to be when i blend in the lineart to be cohesive with my colors) ( also if you had any questions on my prepainting process tho. feel free to ask!!!)

and if you compare this wip to my finished piece youll actually find that i dont stray that far from what i've laid in.

everything happening at THIS stage is about feeling out how i want the textures to blend with one another and getting funky with some brush strokes.

and thats it? im not sure if any of this is helpful but if anything. i hope you come away from this feeling like what ive been doing here is nothing special. "THATS IT???? THATS ALL THERE IS??? well i could have done that :T"

exactly man. you can do ALL OF THIS aND MORE!!! I BELIEVE IN U :D

but ill let this be the last thing i leave u with my friend: my barok sketch and the refs i used for his boobies

#asks #ITS A LONG BOI #art advice #?

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twigs-sprigs · 2 years

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oo when i think of ur art i definitely picture the cool poses and expressions!! u use very vibrant and neon colors and that kinda stands out for me. and the fact that u add a tail to some of ur designs gjdkgkd thats such a fun detail

WAU WG H HGG HG GG G THESE ARE SO NICE... also.. cool tumblr person acidsaladd asked me a thing .. .woah ,, , , such a big fan of ur art and stuff BJDWGJHJHDW AUGH

ANYWAY TYSM!!

(omori art spotted in the corner HJKDWHJKD dont mind it its fine its ok)

poses!! yeah i love dynamic poses a lot.. its hard for me to make characters sit still (is that the right word??) like-

a while ago (literally if you scroll down on my blog to older pieces ive made) i feel like everything looked a little odd and stiff? its hard to explain exactly, but for a long time ive had this FEAR of everything i make looking the same, like every character and every pose being basically the same with different colors.

and my first response to that fear was: "okay. ill draw more dynamic things then. so they wont look like the same thing over and over!" and now it just kind of evolved in me getting huge enjoyment in drawing all sorts of dynamic/fighting poses or whatever!! i like expressions and poses being exaggerated and very shape-based

explaining my art is so hard JDJWKHWD because i always completely SPACE OUT while i draw, so when the drawings done i literally dont know how i did that KDKJDWJKHDWKJ

and colors too!! yeah i do love using more vibrant colors. i like glowy things and i feel like they can give otherwise bland color schemes i tend to do some life! i dunno the exact reason WHY i use the colors that i do, but hey if yall like it i must be doing good!!!

(literally posting random shit from my doodles canavas and hoping it makes sense. yipee. also hey that nya design is from the pa au. in case anyones interested HJKDWKJWD)

and,,, as for tails on characters,,,

i really cant explain that. i just like tails BJKDWJKHKJDW

and i guess... i add them where they'd make sense in my head??? JKBWDKJD

literally rambling abt my own art. ill stop now JBDWJB SO SORRY AUGH H

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corpsoir · 1 year

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hii!

hope it’s cool to message you, I need some art advice again.

so I wanna do a pinup style drawing of some of the jojos but I’m having difficulty finding what I want for a pose with the mens pinups. I did find it in the women’s pinup though or least closer then the guys.

My question is how do i translate it into a male character, i struggle with making men look masculine & not just some bimbofied version, i can get the pose without to much trouble but making it in a way it still reads as a guy is where I struggle?

I don’t know how else to word it shsbs but if you have any advice or tips I’d appreciate it

sorry it took me a while to answer this hehe

so yeah, first off i gotta say, whenever you see tutorials where people draw men and women like different species, click away thats not a place of honour theres nothing of value there. you know the kind of tutorials i mean, men have a thousand billion more muscles than normal and women have a thigh gap and somehow still thick thighs but also no internal organs and boobs for days. sure, muscles are fun to draw, curvy bodies are fun to draw, but everyone please trust me you will not get better at drawing if youre using these kinds of tutorials hgjdsghs you wont learn anatomy from them, theyre not only anatomically incorrect theyre also just..... bad

OKAY ANYWAYS. i based these following sketches on a painting by donald rust (i think, i dont know anything about american artists sorry) when i find a pose to use for a drawing but the person in the drawing looks different or has another body shape, i try to imagine 1) whats the skeleton inside them doing? and 2) what are the basic shapes here doing?

and to be clear i NEVER sketch things with like, lines and balls!! ive said this before but i honestly dont think thats a productive way of sketching, so i rather think in oval soft shapes for the body. if that makes sense

so, take this pose as an example. as ive written in the sketch, pinup art is, at least as far as i can see, about pushing a pose to look more pleasing. the hips and waist are doing most of the work here, but if we want to draw say, oh, idk, a stiff lanky neapolitan cowboy with no ass and broad shoulders, we could let the upper body do most of the "pose-pushing" instead!

this way, instead of drawing the eye to the hips and waist, the shoulders are in focus! its still the same pose and i wouldn't say its the manliest of poses, but it still reads as a man. i guess. does any of this make any sense?

on an ending note i do think bimbofying male characters are fun and we should do it more idc put that man in silly little poses or whatever. he'll loosen up with some yoga im sure

OKAYYYY i hope this helped at least somewhat! im not the best teacher but hopefully me visualising it helps a little

#i actually think its very fun sharing little art tips and the way i think about art #i gotta finish this gyro sketch someday this actually turned out pretty cute #gyro zeppeli #art tutorial #art tips #corps.art #ask #long post #i guess

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gothibara · 1 year

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Okay, so related to that one post abt somebody with plant powers not really being able to control ibara, how DO you think she sees the world?? Like to be honest i live your interpretation of her quirk and could read a whole book on it. You said it was kinda translated right? so how would she expreince her senses then??

Haha, thats a really good question! Ive actually been reading a book on plant perception lately (What A Plant Knows, by Daniel Chamovitz) so while i cant say i definitely know everything, its helped put things into perspective. also for the sake of Not Being Buzzkills obviously horikoshi didnt think abt this its just hc im using canon to supplement and draw conclusions dont be silly

also um. im putting this under a cut because it really is a book's worth of meta. i got really excited.

But i think, from how we see Ibara, a large part of it is going to be filtered through religious experiences+delusions. It already seems like how she talks and understands thing is subconsciously put through this filter (i dont think shes calling shishida "apocalypse beast" out of spite or to be inflammatory-- there is religious theory that the beast of gevaudan may have been god-sent, albeit this theory is rare and far from widely accepted. Ibara doesnt seem to follow any specific doctrine, though, and i really think parts of it are just kinda her brain drawing connections in line with her deeply personal beliefs as opposed to dogma. To her it may just be that she believes theyre saying the same thing in essence, while he does not)

But on the topic of sensory experiences specifically, I would also say that Ibara is experiencing exponentially higher levels of sensory input than most people, so i cant blame her for being a space cadet. And while the fainting is an anime-only gag presumably to show her delicate sensibilities or whatever i personally am choosing to interpret it as an incredibly reasonable consequence of her brain hitting the limit. Like cut the cameras im OUT!!! It's documented frequently in the history of religious ecstasy and other spiritual experiences, so adding an assload of input i can imagine only heightens your chance.

And so onto your question about how that manifests-- its hard to say! But i have a few ideas.

Firstly, i think we should address what the plant is perceiving, and how. In a base function, we can say that they respond to stimuli in certain forms (light, sound, smell, balance, touch, etc) which loosely correlates with our own senses. They differ in the organs used, though, but Ibara having a centralized animal brain both simplifies and complicates it.

Plants don't "see" pictures-- they have sensory cells dedicated to seeing both light and different wavelengths of light (which helps control their circadian cycle and even flowing schedule! Even a small disruption of flashing a certain color light during the night can allow farmers to delay or change when certain plants flower), but these arent rods and cones connected to an optical nerve connected to a brain. But at the same time, they... ARE connected to a brain.

I think for Ibara, plant sight is like a murky, back-of the mind addition to her normal range of vision. It's not a picture the same way her Eyes work, but she knows intuitively theres light, shadow, and colors around her, and can focus in on it a little more if she tries. Details and motion that doesn't block light wouldnt be part of it-- the plant can only see what blocks light covering it or reflects light onto it. Ever-periphery flashes of shadowy shapes and colors. (and conversely: i think the prayer pose, with eyes closed and hands clasped makes it easier to focus on the information filtering through)

sound is also different-- while the studies about plant growth and music are bunk, plants do react to sound. the mechanics of it are still heavily under-explored, but we know they do, just so long as its sound that may be relevant to a plant, like running water or insects chewing. I don't think Ibara could do what Hawks does-- where he can focus in on sounds through his wings and hear conversations. The vines aren't a dedicated sensory organ, they just communicate signals back that are of relevance. She may KNOW there's sound somewhere, but it's background noise until it's something that triggers a response. The question is really what would be deemed important enough to do so.

See, the thing with plants is that they don't have emotions, or even a centralized brain, as we've established. Animals can and do. humans especially. Things deemed important by a person can be important for a variety of reasons, beyond just survival. While Ibara uses the vines as an extension of her limbs, it doesn't change the built in systems of stimuli response the plant has, but the plant isn't a brain in the sense that it will decide anything. So the question of What Ibara Hears from the plant is an interesting one. Personally, I don't think she hears the sounds "as is". Ibara doesn't HEAR insects chewing, because the cells are communicating a stimulus and response, so it would be an interpretation of the response. Sort of a plato's cave issue-- I think ibara may say she "hears omens of danger" or "tidings of great joy", but it's not like she's being told a Coherent Thought By The Vines. it's sound of water = good = we are safe and can find safety + an avidly catholic teenager = the angels bring tidings of joy. it's thing she "hears" but doesnt hear because its never actually touching her own aural organs or nerves. She may not be able to pinpoint what the sound itself is, just what it evokes or what her brain fills the gap in as, like talking.

Taste and smell are both something plants do, but defined slightly differently, as we associate these things with specific nerves in the human body that plants Dont Have. to define it the way my book does, we're going to say "taste is the reception of chemical signals through touch" and "smell is the reception of chemical signals dispersed through the air". and plants do taste, and taste one another-- many parasitic plants show preference for certain species, like the dodder vine. other vines, especially those that climb, will avoid climbing their own species because they know that the support is unstable. this is something they figure out by the chemicals they release onto their surface. This is something that would really be tightened up by ibara having an actual real world plant on her head but trust me trying to find anything that matches is a mess. more on that in a bit. but we know, in theory, she can "taste" other plants, and maybe even other type of similar compounds through these vines, which i think would then also manifest in at least a vague idea of a taste in her mouth-- once again, platos cave of sensation, although honestly its probably a bit more in line with what the actual thing would taste like. (tomatoes, for example). this taste may also correlate with a signal that associates emotionally, but ill touch on that in the pain part of this.

Smell is similar- once again, just detected through the air instead of touch. (The smell of cut grass? An airborne danger signal. Ibara probably can't stand being around freshly-cut lawns, it must feel like a giant panic attack. How this would manifest? Not sure! The smell of blood? As a sound instead? It's hard to say what could compare to the scope of fear that kind of flood would cause). I won't go into depth since it's the same as above, but I would also like to add carbon dioxide as a mention. Plants can detect levels of CO2 (and it can decide how they photosynthesize!) in the air, and I think because for Ibara, photosynthesis has to be accelerated (due to the faster growth and usage of energy being more akin to that of an animal instead of a plant) and she and the plant share an exchange of signals and nutrients.

I'm going to diverge briefly into the realm of digestion and nutrition. Firstly because I love it. Secondly because it will circle back to our carbon dioxide talk.

Ibara's vines are, as we see, leafless. This is quite relevant. Leaves, as most people know, are responsible for the majority of photosynthesis. While chlorophyll in any parts of the plant can photosynthesize, leaves are by far the most effective way thanks to the broad surface area and certain specializations. Leafless plants (especially in the case of vines) tend to be parasitic. Plants that evolve photosynthetically-inefficient leaves tend to be carnivorous, which I would like to explore a little.

A plant is defined as carnivorous if, typically, it shows a form majorly inclined towards having prey-trapping mechanisms, and receives a substantial amount of nutrition from doing so. They tend to grow in areas that have high sunlight and water levels, but with incredibly nutritionally deficient soil. Nutrients like nitrogen, phosphorous, and proteins, which are found in meat (bugs included)

Now, Ibara's vines don't have visible roots, so I think it's safe to assume the root system is within her body, and goes deep below the surface. Water, nutrients, and neurological signals all need to be shared; and so I think her entire body is connected to this root system. Ergo, all the nutrition the plant gets that isn't photosynthesized comes from what Ibara digests-- which is also why I don't personally subscribe to the vegan or vegetarian Ibara headcanon-- because nitrogen and phosphorous are INTEGRAL to stem growth, and baby, she's all stem. In fact, I think she probably loves meat-- second only to bread, which provides long-term energy in the form of complex sugars. I personally think Ibara would dislike sweets in the traditional sense of candy and desserts outside of winter-induced cravings from a drop in photosynthesis, but that would be because the sugars her vines produce for her already maintain a decent level of homeostasis, so it would cause her blood sugar to spike and make her feel ill. Conversely, bread breaks down and is stored much more long term, so it would both benefit her and the plant, which is inefficient at photosynthesis compared to a plant of the same size with leaves, and would need a boost given how much energy it uses to grow, detach, and move.

I know this girl can put away a MEALLLL after training. Yaomomo style.

I think you could argue Ibara (and her quirk) qualifies as a carnivorous plant. Her vines lack leaves and instead have developed extensive thorns (which can be a type of modified stem-- its complicated and varies plant to plant), and we never see them branch off of each other, so they may not even be capable of developing stems. She also doesn't appear to have any flowering mechanism (nor does she need one!), although I will say I'm a sucker for the idea of Ibara having psuedo-blossoms that aren't functional flowers, but rather an indicator of health. Either way, the heavy focus on the vines for strength, complex movement, and grasping through pointed extrusions makes me think you could convincingly argue that they are the "trapping mechanism", which is a requirement for carnivorous plants.

So, once again, we've established that there's a complex nutrient exchange both from Ibara to the vines, but from the vines to Ibara. And because of this, I think there's an added level of complexity to her digestive system-- specifically regarding the stomach's direct connection to the brain. Just like her own nutritional needs can trigger certain responses like in any person, but the plant probably has the same access to these hormone signals. Things like craving sugar and being irritable in winter because of the inability to produce her own as much, but also conversely, I think the plant can trigger a digestive response to prepare for the influx of sugar being photosynthesized. A "heads up, we're about to start sending this your way" to help maintain proper levels.

So, back to carbon dioxide finally. When plants detect higher carbon dioxide levels in the air, they may photosynthesize more. This may result, in my opinion, to "phantom smells" and a trigger to the digestive system, resembling how our own mouth waters when we smell food. Whether it's just an ambiguous food smell or one specifically (maybe bread?) to Ibara I'm not sure, but what I'm saying is that if Bakugou's explosions over the course of an hour can produce about the same amount of carbon dioxide as an entire person throughout one day, she probably thinks he smells fucking delicious and for no reason why. It's funny to me.

Ok! On to touch. I think it's obvious that Ibara's vines react to touch and that's transmitted to her, given how she knows that she's found someone and is pulling them out in JTA. Plants definitely can feel touch, and respond, but I'd like to note that plants can't feel pain. They don't have the ability to feel pain. They can react to adverse touch, certainly-- for example, grass releasing their smell when cut, but they don't feel pain. It's solely for survival, and feeling pain isn't really important for a relatively stationary being. Nor do they really have the factor of emotional association with pain that typically is bundled together. But in the case of Ibara; who, once again, has the burden of the complex mammalian brain... maybe she does feel pain, even if it's not "real"! It likely has to do with whether she has the expectation of and emotional association of fear/pain/etc, so simply cutting away the vines aren't likely to make her hurt. But I don't think phantom pain is out of the question, especially for someone already as high-strung as Ibara and who has so many wires crossing at so many times because of the nuance of the signals transmitted from cell to cell.

And related to touch... a fascinating and storied study in plants includes gravitropism and proprioception, or-- balance and how they know what's up and what's down! People have incredibly complex proprioception systems (most people know about the inner ear, but it goes far deeper than that!), and plants, too, make use of this ability. In fact, it's integral for plant growth.

Plants have two main mechanisms for gravity sensing. The root caps, and then in the stems, the endodermis (which is also responsible for osmosis in cells, sorta) both have genes that develop statoliths, similar to the otoliths we have in the inner ear. These statoliths tell the plant which way gravity is pulling. The root caps make roots grow down, the endodermis makes the shoots grow up.

I think for Ibara, her vines have become an extension of her own balance and ability to know where she is in space. Losing all of them suddenly would result in something similar to a damaged ACL-- having to readjust and being wobbly for a while. Not only that, but I think quirks that impact someone's sense of balance would seriously waste Ibara. While Ibara does move her vines in more ways than up and down, the ability to tell what's what still relies on the individual cells in the stems and roots. While Ibara would still be able to produce the growth hormone and self-amputating mechanisms that detach her vines (i have to look more into this, honestly-- autotomy has only been recorded in one type of plant, and even with abscission ibara's vines dont follow typical patterns. smh my head.), there would be little if any control over the movement, especially if the balance reduction hits the endodermis in more ways than one, because that would impair the hydrolic movement that causes movement in plants.... Either way, Ibara's quirk would be rendered functionally useless. Deidoro Sakaki has this one. And in my opinion, with Uraraka's quirk, they would grow, but wouldn't show proper gravitropic bending, and so may also be impaired in their ability to perform actions.

And I think a complete removal of Ibara's vines would honestly feel like... overwhelmingly suffocating? Imagine having so much of the senses you're used to having cut off, it's probably incredibly jarring and upsetting. I don't think she would prefer it to the every day life she lives, because it seems like she's generally not that impeded by her own world view and strict standards, even if others oppose it (OCD queen lets go #1).

So...as a TLDR; I think Ibara experiences normal human sensory input, she just has another layer that bleeds into it. While I often refer to the plant separately in the above, that's solely for clarity of biological mechanic explanations-- they're one and the same, the same way we started reproducing mitochondria despite their likely beginning as a different organism. She may see things that aren't there (like in the case of warning signals from other plants, or in her mental translation of all sorts of things), "hear" things in her mind, smell or taste or even feel pain... while the mechanics aren't the "real" ones we associate with the senses in question, she's still reacting to stimuli she is receiving, and I think she's learned to adapt to it. It's hard to explain, because it almost has a sort of eldritch feel... but really, Ibara is Ibara, she's a bit stubborn and translates everything into her world view, and so that determinative personality probably helps streamline the constant influx of information. Angels, music, emotions, memories-- those are things she assigns to the experiences, but they are no less validated by the biological machinations behind them. Human survival also relies on our ability to feel and the more complex machinations of the brain, the social advantages of more refined expressions and speech, and Ibara's just as human as her classmates, and her quirk ultimately is another part of that, even if we know the individual cells of the plant are without that same neurological function.

#ibara shiozaki #shiozaki ibara #bnha #bnha meta #quirk analysis #yes im adding a lot of tags im proud of this.

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