liweny:

「【なんちゃって】薔薇の描き方」/「あおいS子@ツイ廃」の漫画 [pixiv]

Especially useful for Ib fan artists like me who need a guide on roses badly

helpfulharrie:

Source: FOERVRAENGD

List of tutorials that helped me with environmental painting:
“How to make your own Perspective Grid in PS” <—- this one is the best thing I’ve ever discovered. Srsly CHECK IT OOOOUUUUT!
Snuffen’s Background Tutorial P1More or less ALL tutorials by Griffsnuff is awesome, so make sure to check out the rest of them!
More or less ALL tutorials made by AquaSixio!

List of youtube channels that also helped and inspired me:

FZDSCHOOL - More or less one of the most known concept art-related resources I know on youtube. It’s great to sit and draw and just listen to the talking.

SinixDesign- This guy is also great! He has some design workshops ever now and then where the viewers can send in their stuff for critique! very encouraging and inspiring!

moatddtutorials- This guy is more into drawing than painting, and has a more cartoony style. He has interesting methods when it comes to perspective. And he also challenge himself in some of his videos (the engine block video is a great example of this)

foxOrian- Also known here on dA for his awesome perspective and composition tutorials. He has a youtube channel where he posts some videos that might be interesting as well.

scoreadirecthit:

blingostarr:

I keep telling people this shit in real life and they don’t believe me.
I’ve seen it from multiple sources, and this just adds another (albeit usually unreliable) source.

This is actually legit, guys.  This is how your eyes move when you’re thinking about something.  It’s actually a good way to tell if someone is lying or not, because they’ll look to their left (your right, durr) when they’re constructing false memories, and to their right when they’re actually remembering them.

Yeah, but since I learned this when I have to lie sometimes I just remember to NOT look to the left lol. I don’t like to lie, but sometimes parents, man…

(Source: ssscuttlebuttt)

endlessescapade:

DUNNING-KRUGERDAR: The Schweizer Guide to Spotting Tangents

viccolatte:

drawnblog:

deathbearbrown:

The Schweizer Guide to Spotting Tangents

schweizercomics:

I do compositional lectures a lot in my classes, as well as at the occasional convention.  I’ve been asked to post them, so here’s part one: The Schweizer Guide to Spotting Tangents!

Comic art is, as a general rule, a line-based medium.  I know, I know, there are plenty of artists whose work is painted, or who depict their subject in ink using solely light and shadow.   But these folks are unquestioningly in the minority, as the history of printing technology originally dictated the use of line to depict form in the early days of comics.  This became a stylistic expectation, and it’s an expectation that I enthusiastically embrace, as have many others.  But using line to draw the world invites chances for that cardinal sin of composition: the tangent.

A tangent is when two or more lines interact in a way that insinuates a relationship between them that the artist did not intend.

It can create confusion on the part of the audience as to what it is that they’re looking at.  It can cause the spatial depth that one attempts to cultivate through the use of planes to become flattened.  Most of all, it creates a decidedly unwelcome aesthetic response: tangents are just plain ugly.

There are a lot of different types of tangents, as least according to the way I define them.  In order to make it easier on my students when giving critiques, I’ve categorized them and named them.  This may have been done before, but I’ve not encountered it.  My hope is that, by making this “spot-the-enemy” guide, fewer artists will fall into the tangent trap by knowing what to look for.
 
1. The Long Line


The long line is when a line from one object runs directly into the line of another
This is the tangent that everybody knows.  The one that’s easiest to spot, easiest to avoid.  For a lot of folks, this is the only thing meant when one refers to a “tangent.”
 
Even in the work of the very best comic artists, a vigilant eye can find the occasional tangent.  Even when a cartoonist is constantly on the lookout, a tangent can slip through.  But, as each of strive to better ourselves and the quality of our work and our medium,


2. The Parallel


The parallel tangent is when the containing lines of two objects run alongside each other.  This causes one of two negative outcomes.  Either one object becomes “lost,” as the other overpowers it (figure 1), or one object feels strangely contained by another (figure 2).
This can be avoided by ensuring that any object that COULD run alongside another is angled at least 45 degrees from the first.
The next two are REALLY tough to spot, and most artists have fallen victim to them before.

 
3. The Corner


The corner tangent is when two lines in an object meet in a way intended by the artist, but another (accidental) line runs directly into the place where they meet.
 


4. The Bump-Up


A bump-up tangent is when the containing line of one object “bumps up” against the containing line of another object.   When these two lines touch, it creates a bump-up tangent (and even when they don’t technically touch, if it’s close enough to raise eyebrows, they might as well).
The bump-up gives the impression of containment.  In figure 1, it seems as though her ponytail is physically unable to enter the space occupied by the pole.  In figure 2, it feels as though her elbow is unable to LEAVE that space.

Also, be careful not to let elements of the drawing bump up against your panel borders!  Either give them room to breathe or decisively crop them.  Same goes for letting figures “stand” on the bottom panel border.
 


5. The Directional


A directional tangent is basically just a long-line tangent that’s been broken by empty space.  Now, this one isn’t always bad – it can, on occasion, be used to draw the reader’s eye through the image on a specifically determined path.



6. The Panel-to-Panel


This one is exactly the same thing as the directional (in fact, I shouldn’t even classify it as its own thing), save that instead of empty space dividing a long-line it’s a panel gutter.
My gutters are crazy wide, but with normal-sized gutters this can be a real problem.
 
One more thing…
This ain’t a tangent, but it is a compositional no-no.



Fake Panels


Comics generally have panel borders, so readers are used to having images contained by straight lines.  Some artists don’t allow gutters between their borders.  Though I believe that, as a rule, this can make it harder for new comics readers to follow the story (and new readers are always important), it’s done with enough regularity that we must expect the audience to feel comfortable with gutterless pages.
What does this mean?  It means that we can’t draw a straight line in any panel, either vertical or horizontal, without having some object overlap it.  If we do, readers may think that it is a panel border, incorrectly breaking one moment into two.



See how the overlap of the elbow causes there to be no question?

That’s it for Lesson #1.  Lesson #2 will come around in the next few days. Feel free to use any terminology that I’ve laid down in this one, or feel free to abandon it in favor of better, more accurate terminology.

(Source: curiousoldlibrary.blogspot.com)

Time for some schoolin’, kids! These are great tips. 

Awesome article. 

ryanestradadotcom:

Do it wrong.

Cartoonists, writers, musicians, actors, filmmakers, we all get the same questions. And we all have boring, stock answers like ‘draw every day’ or ‘practice a lot’. Sometimes it’s because we don’t know what we did right. But the real reason is that every bit of advice we give you has an expiration date. The world of art is always changing. The things people like, the way those things are distributed and sold is always changing. By the time you put in all that practice to get good at what someone else told you is the way things are done, they aren’t done that way any more. The only sure way to become great at what you do is to break the rules. Not for the sake of being a rebel, but so that you can make something only you can make, in a way only you can make it. If you do something wrong well enough, it becomes the new right. So here are 5 steps in the right way to do it wrong.

STEP 1: Practice

To become a good artist:

Focus on making perfect art. Don’t show weakness. Use the tools that everyone else recommends. If you can’t draw hands, put them in pockets. If you can’t draw feet, crop them off the page. If you’re not very good at an instrument, play something easier. If you’re not knowledgable in a subject, write about something else.

To become a great artist:

Just make a bunch of crappy art. Do things wrong. Trust me, even the art you think is great, give it a few years and you’ll think it’s crap. So you might as well shoot for the moon. Grab tools that no one else has ever even imagined using, and see what happens. Draw everyone on horses even though you know the legs are going to come out all weird. Perform that long, flowery monologue you know you’re going to forget the words to. Film that science fiction epic even though the only creature effects you can afford are sticking Halloween stuff on your cat. Doing things you know you can’t do well so that you can do them later is the whole idea behind exercise.

STEP 2: Taking criticism

To become a good artist:

Show your only your best work to people you trust. Enjoy the praise, and ignore the haters.

To become a great artist:

Share your work with everyone, even the jerks. Put it online, show it to strangers. Show them the stuff you’re proud of, and the stuff you’re not sure of. When you show just your average art, people have nothing to say, so they just give you empty praise. But show them something that can be improved, and they’ll tell you about it. The stuff they tell you is gold. Don’t just be disappointed, write that crap on a post-it and put it above your desk. Think about it when you work. Each and every one of them gave you a free mini art lesson.  If they were dicks about it, that makes them a bad teacher, it doesn’t make you a bad artist. There’s a very good chance that they are wrong. But thinking about what they said, and why you disagree with it, helps turn that problem into a technique. Sifting through critiques is like panning for gold. Sift through the muck of poor wording and trolls to your own little takeaways. Write it on a post-it note and put it above your desk. Think about it while you draw. Use it.

STEP 3: Improving

To become a good artist:

Did you try something new and get a bad reaction? Oh no! Listen to the advice people give you and take that element out of your work. Make something people like.

To become a great artist:

Did you try something new and got a bad reaction? Awesome. There are two reasons that people say negative things about your art: because they see something worth improving, or because you’ve somehow struck a chord. Either way, you made them feel something. Figure out how you did it, and how best to use that skill. Did something you did make someone angry? If you offended or hurt someone, you now know how to avoid doing that in the future. But if you made someone feel something about the story or characters, you now have a skill that you can hone and use as a tool at a better point in the story. To make people angry, sad, happy, uncomfortable, or in any way emotional when looking at your work is a skill that few have because we’re so used to beating it out of our work. Many people compensate for this by adding shock value. You can learn to do it with emotion.

STEP 4: Dealing with rejection

To become a good artist:

Find out where art like yours is being published. Submit to them! Rejected? That’s too bad! Try again! Send them your new stuff every year! Never give up! One of these years, it will all work out!

To become a great artist:

Getting rejected is great! When you get a rejection letter, you aren’t losing a job, you’re gaining one. Finding a venue and an audience is now up to you, which is great, because if you’re successful, you’ll be the one getting rich from your work. All of those places were created because someone needed a new place to put a different kind of work. You’re now in the same boat.

STEP 5: Building a career

To become a good artist:

After a lot of practice and study, take all the advice people have given you, follow their lead. Make something you know will be successful, put it in all the right venues.

To become a great artist:

Do it wrong. Don’t do it right just because of all the people around you who say ‘that’s not art,’ ‘that’s not music, ‘there’s no money in that,’ ‘it’s not a real book unless it’s in print,’ etc.  Some of those people will be your heroes. Every generation hates the next generation’s music. Every generation of artists thinks the next generation are hacks. Following the leader is a good way to make art that pleases people in the moment, but doing something that breaks all of the rules is the way be the leader and make something historic. Tell a story only you can tell in a way only you can tell it. When you see a piece of new technology, a piece of ancient technology, an interesting bit of trash on the street and think ‘I could put art on that’, then put art on that. You’ll be reaching new people in places no one else is even trying. There’s no money in ANYTHING until someone puts something great on it. When someone tells you you’re doing it wrong, that’s your clue that you’re doing something that could change all of the rules, and a few decades from now, your style will be the one someone’s drilling into a beginner’s head, and that beginner will be coming to you for advice. Feel free to tell them what you did right, but be sure to also tell them: Do it wrong.

best way to get shit done

purplekecleon:

1) think about what needs doing next and just pick something

2) don’t tell anyone in detail what you’re going to do or else you get the same satisfaction triggered in your brain and it makes you a lot less likely to do it (google this if you don’t believe it)

3) go fuckin do it

4) come back and show everyone

carryalaser:

WATERCOLOUR CHEAT CODES

I made really quick tutorials full of swatches to send my mom who wants to take up watercolour painting for a hobby. I’ll share them here as I find time to type what I wrote her.

—-

The first two pictures illustrate discoveries in mixing skin-tones. I try to find paints that make it faster/easier to mix skin colours - even if you’re adept at making these tones out of other colours, the right combo of purple and yellow can cut out a lot of time and money. The one I have most success with is “violet gray”, then “permanent magenta” for darker and wider ranges, and “purple lake” when I was cheap and it was on sale.

Mix these (sparingly) with raw sienna. The darker the purple the less you’ll need to add to your yellow (yellow ochre works as well). Ultimately, watercolour is tricky to mix so if you’re not confident right away make sure to paint swatches before putting a loaded brush to paper, otherwise be ready to mix with water on the paper.

For a lighter, paler, redder skin tone, raw sienna + brown madder is what I prefer, although as you can see in the first image (about half-way down the page on the left), “cadmium yellow pale hue” and “cadmium red deep hue” work just as well, and might be cheaper on you. With that combo, however, it’s easier to get stuck mixing a ton of orange. 

Back to permanent magenta, it’s great with browns to get darker tones, not just for darker skin but for shading. I keep three browns on my “skin” palette (last pic), “burnt umber”, “burnt sienna”, and “vandyke brown”. Mix it with some skin-tone, even just a little, to keep it from looking straight-out-of-the-tube.

So mix your skin tones, make a few test swatches to figure out how much water you need (every brush behaves differently), and lay down some washes.

In the middle of the first piece of paper is a gradation in a skin tone (violet gray + raw sienna) from really warm (“brown madder”) to really cool (“turquoise”). This was done wet in wet, to show what kinds of tones you get from adding warm and cool colours. 

To the left on the bottom are a couple light washes of colours painted over a skin tone (same ol’ raw sienna + violet gray) to show how different colours look on this mix when applied dry on dry. Blue (I used turquoise again) is great for some shadows, implied stubble, and veins close to the skin, reds and most browns for warmer shading, yellow for jaundice or boogers… you get it.

On the bottom right is an example of really warm vs. really cool shading on the same skin tone mix (just guess). The initial skin tone wash is a bit warm for the cool side, but the contrast makes the shadows really evident. Different colours in shading will have different effects that way. The only surprise here is the use of dark blue “indigo” which is great for coming close to black when mixed with other colours.

On the second page are two more noses, different skin tones, and just three extra passes with skin tone washes - although difficult to tell because I was lazy and didn’t wait long enough for them to dry after the 2nd pass. The extra passes aren’t particularly warm or cold leaning, but simply draw off of the initial tone I placed.

IMPORTANT: These little quick studies serve to be as economical as possible, using few colours but still not looking just like an awkward mix of red and yellow or brown and yellow. For a more detailed or accurate representation of skin tones, a ton more colours might be added - for instance the darker skin tone on the right would have more pinks, and of course different parts of the body appear to be tinted differently. Also never forget no matter what colour or how dark skin is, skin is shiny. Be mindful of even diffused light. At the same time - perfect representation of skin is hardly necessary. More expressive colour treatment rules.

But ultimately - colour in skin - who cares! Just play around with colours you like, build a base that’s easy for you to mix quickly for wet on wet or however you prefer to work. Play with colours on different planes or surfaces of the body, with light, and take everything I say as a tips - not rules - ‘cause watercolour is really unpredictable and that is often the best part.

Another note: I use pencil tins for palettes, it keeps things portable, easy to mix, minimal paint waste, and I can rearrange paints easily to make mixing easier. I usually have three but you could get away with one or two. If you try it out, keep the paints and empty space clean with jut a bit of water and the wipe of a cloth/kleenex.

—-

The third picture shows a really quick, easy, natural black mix I make. It’s simply “Hooker’s Green, Dark” and “Dioxazine Violet” at almost equal quantities. You can mix it with a blue or red or yellow for a warmer or cooler black, depending on which you need. I included some gradation and overlapping swatches. Just keep in mind black can be very powerful in watercolour, or any opaque application of the paint, so use it sparingly and with a plan in mind.

—-

Despite my shitty watercolour sketches up here, I spent a huge amount of being a child working at a cooperative gallery with some contemporary and purist watercolour painters alike so I picked up a lot. If anyone wants me to be more specific about something, or maybe produce a more specific guide or sketch for a problem you have, let me know and I can try to help out.

These were things my mum asked for and that I produced with her knowledge of the medium in mind, so if it really did interest you but you’re stuck on something, or found something I said vague and confusing, let me know.

xenozombiemorph:

supaslim:

because it is the bane of my existence to see artists who don’t even TRY to get bird anatomy right, when they’ll gladly put forth the effort to learn mammalian anatomy

BIRDS ARE SO EASY TO DRAW

THERE ARE NOT MANY MOVING PARTS ON THEIR FACE

NOT LIKE US SQUISHY MAMMALS

still debating if I should make my own HOW TO DRAW WINGZ ref or just link to some good ones I’ve seen, since there are a plethora of both good and god-awful tutorials out there for wings already. I’ll probs make my own because other guides neglect to mention that GASP DIFFERENT BIRDS HAVE DIFFERENT SHAPED WINGS BECAUSE THEY FLY DIFFERENTLY

THIS IS AWESOME BUT JUST ONE NOTE

Almost all birds are capable of moving their upper beak, aka prokinesis, it’s just that parrots have the most obvious degree of it.  prokinesis is the movement of the beak at the point at which it is hinged to the skull of the bird.

There’s like a million different types of kinesis to do with the beak/rhamphotheca/whatever but yeah, parrots aren’t the only ones :D

I can’t find any good pictures to demonstrate but yeah, it’s present in almost all birds.  Loons and ducks are good birds to look at c:

carryalaser:

WATERCOLOUR CHEAT CODES

I made really quick tutorials full of swatches to send my mom who wants to take up watercolour painting for a hobby. I’ll share them here as I find time to type what I wrote her.

—-

The first two pictures illustrate discoveries in mixing skin-tones. I try to find paints that make it faster/easier to mix skin colours - even if you’re adept at making these tones out of other colours, the right combo of purple and yellow can cut out a lot of time and money. The one I have most success with is “violet gray”, then “permanent magenta” for darker and wider ranges, and “purple lake” when I was cheap and it was on sale.

Mix these (sparingly) with raw sienna. The darker the purple the less you’ll need to add to your yellow (yellow ochre works as well). Ultimately, watercolour is tricky to mix so if you’re not confident right away make sure to paint swatches before putting a loaded brush to paper, otherwise be ready to mix with water on the paper.

For a lighter, paler, redder skin tone, raw sienna + brown madder is what I prefer, although as you can see in the first image (about half-way down the page on the left), “cadmium yellow pale hue” and “cadmium red deep hue” work just as well, and might be cheaper on you. With that combo, however, it’s easier to get stuck mixing a ton of orange. 

Back to permanent magenta, it’s great with browns to get darker tones, not just for darker skin but for shading. I keep three browns on my “skin” palette (last pic), “burnt umber”, “burnt sienna”, and “vandyke brown”. Mix it with some skin-tone, even just a little, to keep it from looking straight-out-of-the-tube.

So mix your skin tones, make a few test swatches to figure out how much water you need (every brush behaves differently), and lay down some washes.

In the middle of the first piece of paper is a gradation in a skin tone (violet gray + raw sienna) from really warm (“brown madder”) to really cool (“turquoise”). This was done wet in wet, to show what kinds of tones you get from adding warm and cool colours. 

To the left on the bottom are a couple light washes of colours painted over a skin tone (same ol’ raw sienna + violet gray) to show how different colours look on this mix when applied dry on dry. Blue (I used turquoise again) is great for some shadows, implied stubble, and veins close to the skin, reds and most browns for warmer shading, yellow for jaundice or boogers… you get it.

On the bottom right is an example of really warm vs. really cool shading on the same skin tone mix (just guess). The initial skin tone wash is a bit warm for the cool side, but the contrast makes the shadows really evident. Different colours in shading will have different effects that way. The only surprise here is the use of dark blue “indigo” which is great for coming close to black when mixed with other colours.

On the second page are two more noses, different skin tones, and just three extra passes with skin tone washes - although difficult to tell because I was lazy and didn’t wait long enough for them to dry after the 2nd pass. The extra passes aren’t particularly warm or cold leaning, but simply draw off of the initial tone I placed.

IMPORTANT: These little quick studies serve to be as economical as possible, using few colours but still not looking just like an awkward mix of red and yellow or brown and yellow. For a more detailed or accurate representation of skin tones, a ton more colours might be added - for instance the darker skin tone on the right would have more pinks, and of course different parts of the body appear to be tinted differently. Also never forget no matter what colour or how dark skin is, skin is shiny. Be mindful of even diffused light. At the same time - perfect representation of skin is hardly necessary. More expressive colour treatment rules.

But ultimately - colour in skin - who cares! Just play around with colours you like, build a base that’s easy for you to mix quickly for wet on wet or however you prefer to work. Play with colours on different planes or surfaces of the body, with light, and take everything I say as a tips - not rules - ‘cause watercolour is really unpredictable and that is often the best part.

Another note: I use pencil tins for palettes, it keeps things portable, easy to mix, minimal paint waste, and I can rearrange paints easily to make mixing easier. I usually have three but you could get away with one or two. If you try it out, keep the paints and empty space clean with jut a bit of water and the wipe of a cloth/kleenex.

—-

The third picture shows a really quick, easy, natural black mix I make. It’s simply “Hooker’s Green, Dark” and “Dioxazine Violet” at almost equal quantities. You can mix it with a blue or red or yellow for a warmer or cooler black, depending on which you need. I included some gradation and overlapping swatches. Just keep in mind black can be very powerful in watercolour, or any opaque application of the paint, so use it sparingly and with a plan in mind.

—-

Despite my shitty watercolour sketches up here, I spent a huge amount of being a child working at a cooperative gallery with some contemporary and purist watercolour painters alike so I picked up a lot. If anyone wants me to be more specific about something, or maybe produce a more specific guide or sketch for a problem you have, let me know and I can try to help out.

These were things my mum asked for and that I produced with her knowledge of the medium in mind, so if it really did interest you but you’re stuck on something, or found something I said vague and confusing, let me know.

eiyoko:

birdfeather:

reyairia:

mcdeedee:

Lip-Sync - Mouth reference by *DarkmaneTheWerewolf

YES I NEEDED THIS

REBLOGGING FOR THE BEAK ONE YES YES YES

GOOD YES THANK YOU