queans:

I’ve had the question pop up a couple times asking how I colour, unfortunately I only have the process of a 2012 piece D: I still pretty much use this process now so it still applies lol. Apologies for the copious amount of spelling/grammatical mistakes <: B

Sidenote: check out skoptsy<3 she is the queen of values<3 *A * and needs all zee love <3

beastofthewest:

Some hand references.

Sources 1 2 3 4 5 6 7

Redid a post by fucktonofanatomyreferencesreborn with sources because they never source anything and I don’t want to reblog that post because I don’t want to support blogs who don’t give credit to people

(No, stating that the art is ~not yours~ and ~came from elsewhere~ IS NOT PROPER CREDIT. Many of these have usernames and such on them but not every single one and you still ought to link back to the specific piece)

I couldn’t source the last one so I didn’t include it.

thesilvereye:

If you would like to request a tutorial, you can do so on this post over here!
Eye Coloring Tutorial by me | Other Eye Tutorials: 1 2 3 | My Resource list for Faces and Heads

So I know someone just asked about the broken glass effect, but I'm still confused on how you did it. What do you mean you drew the lines over where you cut them? Can you please explain it again? Sorry if I'm bothering you.
Anonymous

synnesai:

to get this effect…

Read More

where do u get all the cute textures that you use in you drawings?
Anonymous

tearzah:

i use THESE for actual textures and THESE if you mean the screentones

spookpolice:

I just started making some references for myself, but got carried away hahah… ha :’D

I figured I’d share. I’m hoping to make a series of these things for all the drawing bits that give me trouble: woman torsos, hands, wings, different body types, etc.

I hope you also find them useful!

I was wondering how you manage to make your faces actually look like the person they are meant to look like? Some of my facial features always end up looking the same, and yours are so perfect... *showers you with love* You are my art guru.
Anonymous

thetuxedos:

art guru!!!!

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ART GURU.

BUT NO in all seriousness, thank you! You’re a sweetheart! ;O; Proportions are pretty awful to get down when you’re just starting out, and while there are a bunch of ways you can start practicing with it, it’ll be difficult to be absolutely precise. I still struggle with proportions occasionally. Fun fact: I don’t post all of my work. I only post the work that turned out okay aHA. So basically don’t be frustrated when every single piece doesn’t turn out. Here are a few tips.

Let’s use this picture of Laurence and Hugh because why not.

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They’ve both got eyes, a nose, and a mouth, so why do they look different?

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These lines are the generic way of mapping out where to put things together. I used this when I was starting out and it’s a helpful way of getting your hand and wrist to work together. At this point they both nearly look the same. I say this a lot, but I think it’s important: shape is what puts a drawing together.

Compare features of the face to help you figure out placement.

For example:

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The bottom of his ear lines up right to the middle of his nostril. His tear ducts line up right at the corners of his mouth. Then you can get super technical and say, oh, the outer corner of his eye lines up with that fold in his collar and then from there you can see other things like the approximate distance from the edge of his mouth to that connecting line from the eye to the collar. They don’t meet so his mouth is smaller than the width of his eyes, etc, etc. Whatever works, man.

This is a favorite technique of mine so lemme use another example:

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Eventually you get to the point where most of your proportional accuracy will come from just looking. You will eventually adjust your eye to see what makes a person who they are by the shape of their features.

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Laurence has narrow, oval shaped eyes, while Hugh has more of a diamond shape. Not everyone has perfect almond shaped eyes. You can capture an entire character personality through their eyes alone, so shaping them out is extremely important.

The way you draw your lines is also important. Sharp and smooth lines will give your drawing personality. Reveals the character, in a sense.

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Other things to consider: the shape of the nose.

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Mads’ is flat and goes down in a steady slope, while Hugh’s juts out in a smooth, almost concave curve.

SHAPES SHAPES SHAPES. Use shapes and structure to find proportion.

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I did a lot more than I anticipated omg. Oh gosh and I have a feeling I kinda just rambled and didn’T MAKE ANY SENSE AH. Let me know if you need more help or if I was speaking gibberish I am so bad at putting my thoughts into words aHHHH. But gosh I hope this was at least vaguely helpful. You’re a darling and thank you for your kind words!

Good luck on your artistic endeavors! /hugs

You may get asked this a lot, so please excuse my ignorance - but how do you go about constructing character expressions and body language and such? Thanks!

sketchchump:

degamo:

makanidotdot:

Besides The Basics (construction of heads and skulls and muscles and skeletons and how they move), I’ll go over some things I’ve been trying to work on myself lately:

1. Treat expressions as a single gesture of the face/head, as opposed to a head and then individual features dumped on a plate and arranged into an expression.

First, just get down the big shapes of your expression, just like you would for a pose.  

So say I wanna do a low angle angry pose.  I know the features are gonna be all mashed down at the bottom because of perspective.

 Scribble it down

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start to put on features

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fix stuff

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put on more stuff

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fix stuff again

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erasing and flipping and stuff a whole bunch until you are happy with it or stop caring

Whole head is a gesture!image

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2. Just like a facial expression, jot down where the important parts of an entire pose goes first.  You can force the rest of the body to fit the pose.

So here I knew I wanted the shoulders tilted a certain direction, and te hand to be in that particular position in front of her face. 

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That’s the simplest explanation I got.  Don’t be afraid to push and pull faces and bodies around! Worry about being “on model” last!

I’m feel really strongly about this right now and I weirdly enough think about this a lot so I’m gonna word vomit a little buuutttt

Makani is seriously like my favourite artist ever and I think when it kind of comes down to it probably had the biggest hand in teaching me how to draw?? I’ve been looking at her stuff ever since I started going on the internet when I was like 2 years old (I feel like this is common) but kind of never really thought about it aside from consuming as a  fan however I guess getting into tf2 and meeting makani on the chan seriously changed how I drew entirely and it’s really bizarre to think about how such a huge factor in the way I draw today was from playing around on tf2chan LOL I feel like I never would’ve drawn characters/ interactions/ facial expressions/ etcetc if it wasn’t for that.

Anyways I guess makani has just stayed consistently impressive and incredible and I still just go look at her art like every day and start deliriously laughing because she’s so fucking good LOL Thanks for coming to my TED talk on makani 

Makani is my hero. Also for those of you who ask me about expressions and body language, here’s some extremely helpful advice!

Hi! Do you have any tips on drawing body figures? Especially the length of the legs? And do you have tips on drawing hands? Thanks!

makanidotdot:

Only way to learn figures is to look at them and draw them.  I’ve taken figure drawing and anatomy for artist classes in addition to drawing a lot.  Take them if you can!  And I fuck up legs more than anything because I don’t draw them enough.  Easy springboard though is searching for Andrew Loomis books.

Same with hands, though there are some fairly easy to describe formulas for hands so I drew up a couple rq

First of all, for probably 90% of the hand poses you’re gonna draw, think fingers like the petals on a pinwheel.  They all curve the same degree, in relation to the previous.  

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