You guys the art director has a hand ref sheet if anyone wants some good references
Monterey Bay Aquarium
ojovivo
KIROKAZE
almost home
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Misplaced Lens Cap

titsay

izzy's playlists!
Cosmic Funnies
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Aqua Utopia|海の底で記憶を紡ぐ
2025 on Tumblr: Trends That Defined the Year
Mike Driver
Alisa U Zemlji Chuda

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Kaledo Art

Janaina Medeiros
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@arliedraws-refs
You guys the art director has a hand ref sheet if anyone wants some good references
art books on the internet archive for you
morpho books
figure drawing for all it's worth (+ creative illustration)
framed ink
will eisner comics and sequential art
will eisner graphic storytelling and visual narrative
understanding comics (+ making comics)
folder of various animation production art
burne hogarth drawing dynamic hands
perspective for comic book artists
michael mattesi force drawing
the animator's survival kit
color and light james gurney
be free
danipanteez asked:
Hi Claire! Thanks so much for helping out! I’ve attached the sketch.
So, for some clarification on what’s going on in the scene. It’s very slightly inspired by an old fairy tale about broken porcelain dolls. In the picture I wanted the story to be this girl is holding one of the dolls from the hutch behind her, but the man who owns them has just entered the room, and she looks up at him. Want him to be casting a shadow on about half the comp. (Which you can faintly see in the sketch.)
The thing is. I wanted this picture to be a super drastic angle and really push three point perspective. But I’m having trouble doing so and without it looking too weird. haha! Especially the girl. I keep trying to bring the horizon line down to about her knees. But somehow it just keeps going back to where it was everytime I redraw it. And last but not least, I even tried taking some reference photos and I still can’t quite capture the the angle and perspective I want.
That was a mouthful. My apologies for the novel! So my questions to you would be, do you have any advice in exaggerating an angle that we can’t quite get in real life? Any ideas as to how I can better capture this correctly. And for composition. i still feel it’s a bit weak since I made it a head-on shot. I thought of making the corner of the room visible and so her back is not against the hutch, if that makes sense. But then i worry it might take away from the story I want it to tell? And if i can even pull that off. haha. okay! I’m done now! So sorry for being so wordy!
You can feel free to make a post about it on tumblr, as others can always benefit from a critique! But if you just reply here, I don’t mind either. :) Thanks so much love!
So you found me out, I’m actually a total perspective junkie! I don’t use it a ton in my own work, weirdly enough, but drawing things in perspective is one of my secret artsy happy places. This stuff is like candy. :)
So first things first, composition aside, you do have a nice handle on perspective- while the composition can definitely use some tweaking, there’s definitely nothing innately wrong about your sketch! It’s just a matter of shaking up the camera angle a little bit and being less tied to that idea of “placing the horizon line.”
If you look at your current composition, it’s actually (almost!) a vertical 2-point perspective- if you rotate the image 90 degrees you’ll notice that one of the perspective planes is straight-on! Totally valid composition, but it also lacks the dynamism/imbalance that’s usually associated with full-on three-point perspective:
(Quick aside- props to you for taking the time to design/draw an actual clutch! I feel like a lot of people phone it in when they’re drawing environments, so the specificity and details you’re hinting at are really compelling. Makes the clutch a character in its own right.)
—
Let’s talk about designing three-point perspective in a small space.
So I find it immensely weird that a lot of perspective surveys stop at three-point perspective, or at least don’t touch on the fact that, once you bring the horizon into play, you have to take into account the fourth perspective point as objects start to diminish in the other direction. If you don’t, things look less like proper perspective and more like actual shape distortion:
…I’m not gonna go too deep into this right now but, suffice to say for our immediate purposes, forget the horizon line. Throw it out the window. INTO THE HORIZON you might say, hohohohoho.
In a (confined) indoor space, it takes tilting your head/camera pretty damn dramatically to get the vertical lines of a room to diminish á la three-point perspective. Because of this, you probably aren’t going to be able to see the horizon line from that camera angle- you’re either staring at the floor or the ceiling, so the horizon line becomes less of a tool and more of a crutch that’s limiting your options. That dude’s such an asshole.
So to make your life easier, worry less about horizon lines, and more about your individual vanishing points. When you’re thumbnailing, a great way to solidify your perspective (or come up with new ideas, honestly), is to do this:
If you want to push a vanishing point even further away you can just enlarge the pinwheel! pretty cut and dry.
—
Using compositional hierarchy to reflect narrative.
So now that we’ve covered the actual mechanics of three-point perspective, let’s talk about how to make it work for the story you’re trying to tell.
Option no. 1: (see above) My first instinct would be to consider shifting the camera angle so it’s looking down on her, as opposed to the other way around. It puts us, the viewer, in (or near) the position of the figure in the doorway, and has the added benefit of making her smaller and more vulnerable in the composition- it visually traps her in the space of the room by showing the surrounding walls.
Option no. 1b: never overestimate the value of tilting/canting a composition for a quick Dutch angle! Kinda cheating if you use it too much, but WHAM POW instant drama.
Option no. 2: There are an infinite number of variations on this idea- a sharper angle, cropping in closer on her, etc.- so my solution is by no means the PERFECT BEST COMPOSITION EVER, but it gives you some idea of a different direction you could take with this piece while maintaining your sense of drama/tension.
Option no. 3: Aaaaand of course, as I defiantly drew the previous angles, I started thinking about how it could work from her perspective, kinda closer to your original piece. I do agree with your concerns about a straightforward, “head-on” composition, so I’d imagine at that point you’d have to show the figure silhouetted in the door- your main character would be reacting either to his shadow, or turning to face him.
This methodology for finding narrative compositions is by no means an absolute rule of illustration, by the by- visually “choosing a side” is a great way to immediately interject some drama into an image, but it’s also entirely up to you! You want to end up with something you’re happy with.
—
Being a “fly in the room.” One of the best pieces of advice I got from one of my professors, Mary Jane-Begin, was to be a fly in the room. We all tend to settle on certain camera angles, either out of convenience of experience, so letting your mind wander and just sketching out some absurd alternatives can help you stumble across something unexpectedly cool. :)
So tl;dr, it feels like you know what you want out of this piece- these might not be the exact solutions for your tastes, but they might be enough of a push in the right direction that you don’t feel like you’re stalling anymore. I hope all of this is helpful/relevant!
Best of luck, and I can’t wait to see the finished piece! CLAIRE OUT <3
Some hand sheets I made for the animation team! I looked at how Dana drew hands a lot and coupled it with my own anatomical knowledge of hands.
After posting my Black Tie and White Tie notes here’re my Regency evening dress notes. Hope they can be useful. Tell me if I got anything wrong.
!! ART TUTORIAL !!
This is my first real attempt at doing a walkthrough for one of my landscapes, I’d really appreciate some feedback!
it is pretty much my workflow process, there’s always something slightly big to change during render I should have solved earlier!
Anyway everyone, feel free to message me if you have any questions and I hope this helps anyone!!
Okay I JUST realized I never posted these on here—- BUT BASICALLY, about a year and a half ago I started doing these experimental black hairstyle posts that were threads long on Twitter, to give artists a source of inspo for their black ocs whose hair they wanted to try something new with! There’s more to black hair than just the selected styles portrayed in media, and I thought it would be fun to show people how much texture, shape, fades, length, and style can be combined when drawing black hair—-cause it’s a kind of manipulation our hair can do irl! The OG thread from when I made these a year ago were lost with the hacking of my original Twitter account (@/bagels_donuts) but I’ve since reuploaded the whole thread to my new Twitter (@/ItsDonutsFR)! I hope artists on tumblr find these useful, sorry it took me so long to post them here😭🙏🏾 I’ll upload them all in parts!
Part 1: Long masc hairstyles + playing with fades
💬 2 🔁 715 ❤️ 1008 · Part 2: shape, style, and length with femme styles!
a couple snippets from a presentation i gave at school this past week on storyboarding!!
‼️DISCLAIMER: I am still a student and have only worked on student and indie projects! This is just stuff that I personally find helpful as an amateur, so feel free to take it with a grain of salt!
Happy boarding, friends! ✍️💕
animation run cycle notes for my upcoming 2D animation video course package
What’s your process? How do you control your edges? When I apply my strokes it just goes everywhere and doesn’t look as sharp as yours, what layer type do you use? Thanks from a mediocre artist T_T
That’s a pretty broad question but I’ll try to give some pointers!
I tend to make heavy use of clipping masks when first establishing a painting to avoid it turning into a confusing mess. I start by “masking out” (coloring in) the subject and then creating clipping masks on top which basically allows you to only color inside the subject and nowhere else. To create a clipping mask, just right click on a layer and choose “create clipping mask”. You can mask out other elements as well, in the golden retriever painting I masked out the lighting on the dog with some large brushstrokes (3rd pic on the process shots below) and then added different hues to it on a clipping mask.
Beyond that, it’s just a matter of using a decently large brush and making confident brushstrokes. Lower the flow setting instead of opacity if you need a softer brush. And if you need a sharp edge, don’t be afraid to get in there with a hard brush and make it happen.
HEY ARTISTS!
Do you design a lot of characters living in not-modern eras and you’re tired of combing through google for the perfect outfit references? Well I got good news for you kiddo, this website has you covered! Originally @modmad made a post about it, but her link stopped working and I managed to fix it, so here’s a new post. Basically, this is a costume rental website for plays and stage shows and what not, they have outfits for several different decades from medieval to the 1980s. LOOK AT THIS SELECTION:
OPEN ANY CATEGORY AND OH LORDY–
There’s a lot of really specific stuff in here, I design a lot of 1930s characters for my ask blog and with more chapters on the way for the game it belongs to I’m gonna be designing more, and this website is going to be an invaluable reference. I hope this can be useful to my other fellow artists as well! :)
holy shit
need-
HELL YEAH !!!
OMG
Non-Boring Environments that need Fantasy Representation
Tropical Rainforests
Scrubland/Dry Forests. For extra effect make them the sort that burn very often; some native plants never germinate until after a fire, and some animals not only rely on fire to smoke out prey, but may even start them themselves.
Savannas/Tropical Grasslands
Temperate Rainforests. I almost didn’t include this bc New Zealand is covered in them, and that’s where they filmed Lord of the Rings. But tbh, no one really knows about them, so it belongs here
Taiga Forests
Barren Tundra, perfect for some extreme seasonal dichotomy
Polar Ice Sheets
Desert-Grasslands (arguably the same as Scrubland but Australia’s good at adding its own twists)
Barren Desert
If you like Cacti, look at American Deserts like the Sonoran
Salt Flats
Soda Lakes and Alkaline Lakes
Madagascar’s Karst Limestone Formations
Madagascar’s Spiny Forests
Madagascar’s Baobab Forests
Madagascar’s Subhumid Forests (Madagascar is cool as hell ok)
Danxia Landforms
Badlands/Mountainous Deserts
Steppes and Highland Prairies
Flood Basalts
Newly-Formed Islands, still rife with Volcanic activity
Now for Underwater Environments, sure Coral Reefs are cool.
But there are SO MANY other kinds of environments for aquatic settings, it’s unbelievable:
Seaside Cliffs
Archipelagos. Not just Tropical Island chains like Polynesia (Moana anyone?) but also Coldwater Archipelagos like the Aleutians.
Tidal Flats
Bayous/Cypress Swamps
Tropical River Basins, AKA Seasonally Flooded Rainforests
Mangrove Swamps/Deltas/Beaches
Kelp Forests
The Open Ocean
Coastal Seabeds
Rocky Beaches with Tidepools
And there are a LOT more I could name but this post is already obscenely long as is, if you’d like to toss in your own go right ahead, but my point is if you limit yourself to European Deciduous Forests you’re a wimp.
art cheats
hello i am here today to not lose track of the art cheats i have discovered over the years. what i call art cheat is actually a cool filter/coloring style/way to shade/etc. that singlehandedly makes art like 20 times better
80’s anime style
glitch effect
glow effects
adding colors to grayscale paintings
foreshortening ( coil )
foreshortening ( perspective )
clipping group (lines)
clipping group (colors)
dramatic lighting ( GOOD )
shading metal
lighting faces
that is all for today, do stay tuned as i am always hunting for cool shit like this
guys stop reblogging this these are cheats the CIA will come for you
Again this is my personal take on color! It really depends on the situation and what you personally value, and in the end practice is your best friend.
links:
genice’s color practices
color palette challenge (one iteration of it; there’s lot of people who made them)
(not mentioned, but helpful)
Patrick (H) Willems’s video essays on color in film; specifically his ones on
Wonder Woman and Marvel
I thought he had one on John Wick too but I can’t find it. If you like saturated colors though, check that movie out!!
those are only a couple of exterior references, there’s lots out there!! so good luck & I hope this helped!!
One of the tutorials from last month’s Patron Pack. This one was a fast look at gesture and line quality.
Little things to remember when practicing your gestures and drawings!
More tutorials and comics on Patreon