labubu was meant to be hanging off a kindergartners backpack filthy as fuck with no eyes left
No title available
No title available
Cosimo Galluzzi

shark vs the universe

Love Begins
Monterey Bay Aquarium

tannertan36
RMH
Claire Keane
we're not kids anymore.

⁂
he wasn't even looking at me and he found me

★

pixel skylines
🪼
I'd rather be in outer space 🛸
sheepfilms

祝日 / Permanent Vacation

Product Placement
Peter Solarz

seen from Spain

seen from United States

seen from Germany

seen from Malaysia

seen from Malaysia

seen from Malaysia

seen from Germany

seen from Singapore
seen from United States
seen from United States

seen from Malaysia

seen from Netherlands
seen from United Kingdom

seen from Malaysia
seen from China
seen from Bolivia

seen from United States
seen from United States
seen from United States

seen from Malaysia
@brave-attempt
labubu was meant to be hanging off a kindergartners backpack filthy as fuck with no eyes left
Crosshatching Tutorials by bryanthegirl
Support the artist on Patreon!
Some drawing tips previously posted on twitter. More drawing tips on my patreon. Hope some of these can be helpful.
Why do artists refuse to use references why why why.
It’s not a contest to see who can get by without them. It’s not cheating to look at a thing in order to know what the thing looks like.
You don’t get stronger or better by pretending. Nobody is impressed by the awkward whatever-it-is you just drew. Use references.
I don’t think a lot of people know that it’s not cheating. I recall seeing so many piece of art called out because they referenced a pose, someone recognized it, and then proceeded to shame them for it. There’s this belief, both by creators and the audience, that artists should just be able to translate the ideas from their head to paper, and if they don’t, it’s plagiarism, or not true originality (spoiler alert: there’s no such thing).
I myself didn’t start using references until very recently, because even I was under the impression that it was frowned upon. And that belief has seriously crippled and stalled my ability to improve as an artist.
As a restarting artist, I can confirm. I just never knew. I thought you were just supposed to know how to draw the body correctly and if you didn’t you had no talent.
(( I am going to say this again, loud and clear for everyone:
USING REFERENCES FOR ART IS NOT ‘CHEATING’!!!
If you can draw/paint without references, great! But if you need to use them, and feel that your art can be bettered by using references, please, use them! This is one of the biggest tips I can give to artists, is USE REFERENCES!
Anyone who would dare to attack someone for using references after ‘recognizing a pose’ is a dipshit, who doesn’t know a thing about art.
Do you know who else used references for their art?
Norman Rockwell
Alphonse Mucha
Gustav Klimt
Toulouse Lautrec
Vincent Van Gogh
Paul Gauguin
Edgar Degas
Gil Elvgren
Frida Kahlo
Pablo Picasso
Disney Studios
And thousands of others! So, artists! Go forth, and use references!!! ))
Reblogging as a constant reminder to my followers: You will never get better if you don’t use REFERENCES from life!! References are your friend I use them all the time and have nearly one terabyte for poses alone.
You can even use other artists work, it’s just a matter of respecting the artist. Just be very careful and ASK (if you can) before posting any art you made that directly references an artists work. If you cannot contact them, let people know or link to the reference you used. Do not claim the work is your own or let people assume it by not saying anything at all-that’s where the call out culture is. Emulating master works was REQUIRED for half my undergrad classes in painting- and my original work was so much better because I studied someone with more experience and knowledge of the craft.
Unless you have a very good grasp on your subject matter trying to draw everything from memory is just going to hinder and frustrate you.
Study the masters.
Study real life.
Practice. Practice. Practice.
Your work will thank you for it.
I don’t add to reblogs ever, but I’m gonna mention for a hot minute that in my studio art classes I took before uni and during high school when I still thought I may have been going into art for college collecting references was a REQUIREMENT or else you wouldn’t be allowed to carry on with the project at all. They actually counted towards a small part of grade in fact. Yea proving that you were not just winging it counted for something. They wanted to know that you knew what you were doing so you weren’t just somehow guessing and pulling it out of nowhere… Anyone who says looking at references is cheating clearly doesn’t know what tf they are talking about. That’s just ridiculous.
A few people have asked for tips about clothing design. These are just some things to consider while designing outfits for characters.
I would also like to add that the best thing you begin with is gorging yourself on costumes, historical clothing, current fashion, etc. Take some time to look around, collect information, and get a good idea of what works. Then, apply what you know, and have fun with it.
Free to use, from my archive!
- PoseMuse.com - Paperbacks (500+ of my published pose references): https://www.amazon.com/Justin-R-Martin/e/B01DPY0PZW/ - Digital PDF Ebooks: https://gumroad.com/posemuse
Thanks for your re-blogs
Double Arch Study - step by step by Thorsten-Denk
How to paint gold - tutorial by LenamoArt
Support the artist on Patreon!
Hi! I love your art. In particular your edges are really sharp, but still lineless (if that makes sense?). If it's not too much to ask, would you be willing to share some tips for achieving those edges on digital? Thank you, and have a nice day! :)
Here’s a few tips^
Also, not included in the pic: Make sure you’re not working on a small canvas. For instance, 1000x1000 pixels will probably result in some unintentionally soft edges, because you won’t be able to zoom in to refine the painting. I usually use 4000x4000, for reference.
Sorry, if you've answered this before, but do you have any tips on drawing mouths and lips?
Hello anon! :D I’m not the best at making tutorials and giving tips but I’ll do my best to answer your question! ^^
I sure do love drawing lips! It might be in fact my favourite part of the face to draw.
Let’s see what makes them so irresistible ;)
tip 1: let them shine! that tiny shiny spot does wonders for the lips - it makes them fuller, softer and more three dimensional. It also makes the lips look slightly wet. Sexy!
tip 2: Build the depth with some darker spots. Quirking corners are great for that, and if you make the darkest spot in the middle of the mouth it seems like it’s about to part. And maybe whisper something seductive ;)
tip 3: The very middle of upper lip is my favourite area, it gives the mouth its distinct character. It’s also a great spot to play with shadows, one lighter stroke, one darker stroke and you have a very dramatic shading going on!
tip 4: When drawing lineart it’s good to keep the line varying in width and pressure. Equally thin, flat line might look good in anime, but even there it’s rarely the case. Making the line thicker in the shadowy part of the mouth adds depth to your drawing.
General remarks:
I almost never outline the upper lip, it tends to look weird. Just a thin “U” shape in the middle is usually enough.
Upper lip is usually in the shadow, at least half of it. Lower lip tends to catch the light, especially with pouty plump lips. The more shadow you add under it, the fuller the lips look.
When drawing male characters I usually play around with skin tones instead of pink and red (see the third row of examples). But it’s not a rule. Some boys rock them rosy lips. ;)
Never paint the teeth white, never. Gray, yellowish and pinkish tones are great.
And the final tip: use reference! Look for pictures of people with beautiful lips, with thin lips and full lips, try to see which line goes where and how it changes the shape and expression. I hardly ever draw without a reference.
Good luck! 👄
Attention anyone who needs hairstyle references
I want to introduce all of you to this amazing place called the ukhairdressers style gallery.
It’s basically a massive database full of high-quality images of different hairstyles. I mean, look at all the options in that sidebar (and part of it’s cut off):
In total they have 976 pages of hairstyles with about 17 styles each, that’s about 16592 hairstyles to look at.
Look at all the stuff they’ve got! Long hair:
Short hair:
Straight hair:
Curly hair:
Afro hair:
Men’s hair:
Hair on older models:
Extra-fancy hair:
Even crazy avant-garde hair:
So if you need help with designing a character or you just want to practice drawing hair, this is a fantastic resource.
Receding objects in perspective.
Have you ever been trying to draw tiles on a wall or on the floor in perspective, but notice that after you’ve drawn them, they don’t look like they’re all the same shape or size? Well here’s a tutorial on how to fix that. Your picture probably looks like this, right?
Well, i’m here to tell you how to fix that…Let’s start out with your basics.
The gray line is the horizon line, and the black dot is your horizon line. These are essential for the first steps of perspective. Without these, your perspective may turn out wonky and just not flattering to the eyes. Right now we’ll work in One point perspective.
Now let’s pretend we’ll be drawing a hallway. Draw a vertical line where the edge of the wall is.
Now, from the tips of the bottom and top of your wall, you’re going to need to draw a line extending all the way to the vanishing point. If you’re working in photoshop you could either use the line tool, or shift+click. If traditional, you’ll need to use a ruler.
Now that we have the wall that’s in perspective, it’s time to draw the rest of the lines. here I’ve drawn the wall facing us that’s closest, the ceiling, the floor line, and the end of the hallway. ASSUMING that you are working in one point perspective, all vertical lines are straight and parallel to each other, and all horizontal lines are straight and parallel to each other.
Now here I have erased the lines that extended beyond the back wall, and found the center point of the edge of the left wall. From there, you draw an extended line just as before towards your vanishing point.
now make a vertical line where your first “tile” is.
now this may be a little hard to explain. Now you’re going to draw a line coming from the corner of the wall, through the corner where your line meets the tile you just drew, and all the way to the ground line.
You see where these two lines meet? you’re going to draw a vertical line to the ceiling from here.
Like so!
Now rinse and repeat! you should have perfectly even spaced tiles now! And if you have tiles on the ceiling
Just draw horizontal lines connecting to the vertical lines!
Now just erase anyhing you don’t need and…viola! Perfect tiles in perspective!! I hope this helps!! :D
How I pratice drawing things, now in a tutorial form. The shrimp photo I used is here Show me your shrimps if you do this uvu PS: lots of engrish because foreign
As requested! A tutorial on faces will be coming soon as well.
Do you have any recommendations for inking? I love your line weight variation, do you aim for one fluid stroke or do you go back in and touch the lines up? I'm really interested in hearing what your process is!
So A LOT of it is just second nature for me. Let’s just use this this pic I did on twitter recently of roadhog:
Tyson Hesse complimented me on the line weight variation made a lot of visual depth (background/foreground/near/far/etc), and I felt bad because hooooooo boy I did not intend that at all. I just kind of… inked it until it looked good. It was a happy accident, and now I’ll try applying that on other things. So a lot of it is… just that I actually really like to ink and have been doing it for a long time, so I don’t think about it a lot and don’t have a lot to say.
What I can say though is how you can ink smoother lines.
SO first things first: You are holding your pen wrong. That is okay! because I am also holding my pen wrong (stick with me on this. I promise I’m going somewhere with it):
Because we live in the modern world this is how we were taught to hold a pencil. The obvious application is for handwriting. We can use our fingers to make intricate movements to produce tiny letters a centimeter tall or so. This is not how you should hold a pencil for drawing, but it is, and it’s probably reinforced if you draw digitally with a tablet because with the exception of Apple’s tablet pen, I’ve never actually seen one designed to resemble a pencil over a pen. Here is how you should hold a pencil:
I know that might look weird, but stay with me for a little more! I promise I’m not going to yell at you like I’m some kind of art snob! I just want to provide context!
You see. The way we hold pencils is great for small precise writing, but draw literally means “pull”. When you’re making a drawing, you’re making a pulling with a pencil. or you’re supposed to at least. If you’ve ever heard the term draw with your arm, not your wrist or fingers, here’s why. This is proper drawing technique:
When you use your big and with your arm you give yourself beautiful, long, broad strokes that give you long, beautiful, clean, lines. When you try to make long lines with your fingers, it’s constrained, tight, and tends to involve pushing a pencil around at least at some point. Let’s look at the difference here:
It’s important to note that, again, I did this pulling motion while holding the pencil in the handwriting hand position; I’m not telling you to stop holding it that way. What I am saying is:
Draw big!
Pull the pen! Don’t push!
Draw with your arm! Your fingers and wrist can supplement that movement, but the arm should be your primary drawing muscles!
now let’s go back to our large pig friend. Specifically his head and the size I exported it at:
Well that ain’t big at all! but here’s roughly how big his face was when I inked him:
This is 150% magnification at 600dpi. If I’m working at 300 dpi (you should be working at at least 300 dpi) I’m usually zoomed in at 300% or more. This is also done in manga studio which allows me to rotate the canvas which is a god send.
By zooming in that much I can:
Make larger strokes of the brush making smoother lines
and because it’s zoomed in, any gitter from the tablet’s smooth surface is distributed over a much larger area making even smoother lines than if I had done it at 100% magnification.
It’s also a very good habit to zoom out and look at your progress from time to time to see if you need to make lines thicker or if you’re putting too much detail into smaller objects. Digital art has created the potential for an infinite canvas, so try not to get too lost in drawing all the stitches on a pocket in a drawing at 300% magnification. When you shrink it down to 72 dpi (web resolution) it might be a centimeter tall and all the work will be for nothing.
And because it’s worth pointing out:
You only see the end product of my work. An example I like to use here is Jackie Chan and the incredible stunts in his chinese movies. He says he’s not that good and goes further by saying you too could make his movies if you’re patient and willing to film enough takes until you get one that’s perfect.
I hit Ctrl Z/Undo A LOT. I am willing to hit undo as many times as possible until I get the line pacha meme just right. Maybe I get a line down in one try, and maybe because tablets are slippery and stupid and it takes me 50 tries. Don’t get discouraged if you work a little harder to get a line you like.
Hope that helps people!
Hi there! I was wondering if you could make a tutorial on how you go about making a sketch of a character? (How you do it and all) Maybe use sam winchester as an example?
Oh man I’m not sure if there’s much to show bc I do a lot of eyeballing and mental measurements. x: If I’m drawing for likeness I usually just put down a few a marks for feature placement
And then I just start drawing stuff in. I always start with the eyes and move my way down haha. I never learned how to draw a face with the full frame thing they always teach you and at this point I’m too used to BSing everything so whatever :C
After the features I usually draw the face shape and then block in the hair. Again it’s mostly eyeballing but I’m thinking about the spacial relations and stuff
Once I’ve marked the important parts I just fill it in. I’m always changing things too as I see fit
And then just clean it up a bit. ta da!