A blog for helping you draw more *AND* helping artist draw more (Aka we now also signal boost commission post to help our fellow artist) Feel free to send us any idea you got
So I posted a silly doodle yesterday on twitter and now people think it was a tutorial. So I got upset and made an actual tutorial so noone says I halfassed the yesterday's one 😡😡😡
We did it in color study class on my college and it’s incredible the difference between using red/blue/yellow than cyan/magenta/yellow.
The purple was colored like shit, so as the greens. Than we tried the actuall primary colors and it FELT SO GOOD!
Listen up you fucks because I’m not wasting thousands of dollars on an art degree to watch y’all fuck up basic color theory.
Red, yellow, and blue are the primary colors
If you’re using p i g m e n t.
Do you hear me? When you’re using traditional media, fucking actual goddamn paint, Bob Ross style, your primary colors are!
When you use paint, your primary colors are red yellow and blue and don’t forget it.
NOW THAT CHANGES COMPLETELY WHEN YOU GO FUCKING DIGITAL.
THE DIGITAL PRIMARY COLORS ARE RED BLUE AND GREEN IF AND ONLY IF YOUR WORK IS GOING TO STAY DIGITAL, ON THE SCREEN, AND NEVER LEAVE THE SCREEN, AND OF COURSE IF YOUR WORK IS GOING TO BE PRINTED. ON A PRINTER. WITH INK. THEN. AND O N L Y T H E N.
ARE YOUR PRIMARY COLORS.
CYAN.
MAGENTA.
AND YELLOW.
So say it with me folks!
Red yellow and blue, are the primary colors for traditional pigment that’s mostly used in paints and shit. You use red yellow and blue when you’re painting traditionally, Bob Ross style.
Red blue and green is light, which is what you’re painting with when you pick up your tablet and go digital.
CMYK is ink, and ink only. You could use cyan, magenta, and yellow as your primary colors in paint if you wanted to be a complete dick, but they’re not your primary colors unless your work is going to be printed using. i n k. The only time they could be considered the primary colors in a traditional medium is if you’re using ink.
Also thatswhiskytoyou’s color mixing is bullshit because THIS:
Is my icon. I painted this using RED. GREEN. AND BLUE. AS MY PRIMARY COLORS and they turned out fine. Of course, I used the finger smudge tool first and then the color mixing tool and then the blur tool, but hey what do I know.
Clearly using the blur tool only doesn’t cut it.
“Oh but Leo!” You say. “You used cyan and magenta in that color wheel!”
Well bitch guess what.
this is the digital color wheel. I’d say I mimicked that pretty well, don’t you think?
Oh and one other thing, notice how Blue and Yellow are directly opposite each other on this color wheel? That’s because we’re dealing with light, and with light, yellow and blue are complimentary colors.
Which is why when you mix them, it looks like this:
Which is a pretty neutral gray tone: They cancel each other out on the rgb color wheel when you mix them together.
BUT WITH PIGMENT THE PLACEMENT IS DIFFERENT
If you’ll notice, yellow and violet are now opposite each other, meaning they’re complimentary colors and if you mix them, they’ll make a neutral gray.
But if you mix yellow and blue, same colors as before, YOU GET THIS:
Now keep in mind that the person in the video uses a darker blue, so they get a darker green, but the point is that it doesn’t make that neutral gray.
Now what happens when we mix yellow and violet paint?
Ah yes, you get a bunch of muted colors the more evenly you mix them.
What happens when you mix yellow light and purple light?
They didn’t teach you about red blue green and cmyk in pre-k because when most of us were in pre-k digital art was still in its early stages and what fucking seven year old knows how to use a printer.
The reason the primary colors for light are so dramatically different from the primary colors for paint and ink is because your eye only receives combinations of red light, blue light, and green light. Our eyes do not have a sensor (cone cell) for yellow light. So when we paint with light, red green and blue are our primary colors. Because of our eyes.
Furthermore, paint primary colors are colors that cannot be created by mixing other colors together. For paint, they are red yellow and blue, because you cannot mix orange and green to get yellow. Mixing orange and purple paint does not make red. And mixing green and purple paint does not make blue.
Mixing blue and green paints will make cyan. Mixing red and blue paints will make magenta.
That’s why cyan and magenta aren’t primary paint colors.
However, you can’t mix yellow and blue ink and get cyan. You can’t mix red and blue ink to get magenta.
And that’s why cyan and magenta are the primary ink colors.
Brighter and stronger paints are created through tints and shades, through a thorough understanding of color theory and a few quality paint recipes. Not by bullshit posts on tumblr designed to mislead you.
hi alie! how are you? i was wondering if you could explain, or link a tutorial that does, how you did the first gif and the checkmarks on this (/post/713604672591659008/pscentral-event-14-your-url-insp) beautiful gifset please?
hello!! i'm good, thank youuuu ♡ and yeah, sure i can! i didn't follow any tutorial for this gifset, so i'm gonna try to explain my process as best as i can.
the first gif is fairly easy, it's just a bit time consuming. the second one for the animated checkmark uses some keyframes. i use photoshop cs5, which is rather old, so hopefully my directions still work for more recent ps versions!
tutorial for these two gifs under the cut:
gifs in text
i'm gonna assume you already have basic gifmaking knowledge, so i'm gonna start from this base gif already colored:
i started by finding a big and very thick font that i liked. for this gifset i used a font called barle. i placed my text the way i wanted it, but i used one text layer per letter, because i wanted one different gif per letter. once i had my 9 text layers placed, it looked like this:
then, you need to create a group with a layer mask for each letter. for this, i simply hold the ctrl/command key and click on the letter layer's thumbnail. it will create a selection of the letter.
with this selection on, i click on the folder button to create a new group, then on the add layer mask button. it will create a group with your letter where you can put anothet gif in.
then you just need to rinse and repeat for every letter.
once you have all of your letter groups done, you can select all of the text layers and put them in another group. we'll use these layers again later.
then you just need to bring your second gif onto this canvas and put it in the right group/folder. i usually just bring a smart object gif onto my main canva, slide it in the right folder, then resize, sharpen, and color the second gif in there.
you can just drag this layer once it's inside the group to position it the way you need it. and also use ctrl+T to resize it (drag the corners while holding shift to keep the right propertions). once the gif is positioned, you can go ahead and disable the E text layer you used to create the mask (but don't delete it!). i kept the coloring very minimal since it's a black and white gif, and the layers should look like that:
and this is the gif so far with the first E done:
then you just need to do the same for all other letters, pretty straight forward! for the first D letter, i wanted eddie's face to show instead of using a different gif, so i simply put a black and white layer in that D group. my gif looks like that at this point:
then what's missing is the outline, and it's pretty easy to make. go back to the text layers you created at the beginning. enable them all, and make sure they are on top of everything else. double click on that first text layer to bring in the layer style options, and add a 1px stroke with the color and blending mode you want. I went with yellow and the hard light blending mode. these are my settings:
back to the layers panel, keep the text layer's opacity at 100%, but bring the fill to 0%. this will make online the online show up on the gif.
to apply this setting to other text layers, you can right click the first text layer and select "copy layer style". then select all of the other layers and right click one of them and go "paste layer style". once all the text layers have their outline it should look like that:
to move the outline a bit, make sure they are in a group and select this group (i renamed mine "outline"), then just nudge it by a few pixels with the arrows on your keyboard. i transformed the outline group by about 4px left and up on mine. i also duplicated the whole group because i wanted a deeper color for the outline.
and this is my final result!
animated checkmark
starting with my base gif, i added some animated text and a little box for the checkmark to go in (drew a shape with the rectangle tool and gave it a stroke, the same way i did it for the previous gif):
for the actual checkmark, you can try to find a brush or shapes to download, but i didn't feel like looking it up lol, so i drew the shape myself with a regular brush that comes baked in with photoshop. the best way to draw a custom shape, in my opinion, is to draw the shape as a layer mask on a color fill layer. that way you can always change the color or add layer styles later (like i did).
so on my canvas, on top of everything, i created a color fill layer (layer > new fill layer > solid color) with whatever color i wanted (you can change this later if you need). you will get a new color fill layer, with a layer mask already attached to it. i put this layer at 75% opacity so i can see the gif under it and it's easier to draw the shape in the right spot:
i then selected the layer mask thumbnail and the brush i wanted to use, one of them (not sure i remember which one, sorry haha!):
with the black color selected, just go ahead and draw a checkmark where you want it on the canva. you can always use the brush in white to erase it and start over with the black color if you're not happy with it. but once you have a checkmark you like, it should look like this:
now you just gotta invert the mask so the checkmark is colored, to do this just click on the color fill layer mask you just drew on and hit ctrl/command + i. the mask will get inverted and it will look like this:
then you can add whatever layer style you'd like to the checkmark (and put the layer opacity back to 100% if you want). i added a gradient and a drop shadow to mine, and changed the blending mode from normal to difference to make it match with the text, so now it looks like that:
animation time! this is where you need to use a bit of keyframes, but i promise it's not complicated.
for this animation i wanted to mimick a checkmark being drawned. when you draw a checkmark, you usually do it in 3 steps right? your startung point, then a line down, and then another line up to the end point. it's what i tried to mimick here.
to animate it that way, you need to draw a shape that will hide the checkmark and then move it around to mimick the drawing animation. to do so, create a new group (i've named mine "checkmark") and add a layer mask to this group. you also need to unlink the mask by clicking on the little chain icon next to the mask thumbnail:
now the next steps are a bit of trial and error until you get what you want, i'm gonna try to explain it as best as i can (bear with me haha):
1- go to where you want the animation to start, aka where you want the checkmark to start appearing. for me it was a few frames after the start of the gif.
2- then, with a black brush that wasn't too big nor too soft, i brushed a bit over the checkmark to erase it for now (you may have to go back and edit this after the animation is done). no need to do a huge shape, just big enough to cover the checkmark. if you go back to the move tool and click on the mask thumbnail you have just created and click and drag in the canva, you should be able to move the mask around. this is what you want for steps 5 and 7. basically, on your mask thumbnail on the checkmark group, what is brushed in black will erase what's in the group, and the white part will reveal what's in the group. for now just make sure the shape you just drew is covering the checkmark.
3- once the checkmark is hidden, click on the stopwatch icon next to layer mask postion to start the animation. this will automatically create a keyframe where your cursor is on the timeline (the yellow diamond)
4- once your starting point is done, you want to go a bit further on the timeline with your cursor.
5- then move the mask shape so it reveals just the smallest part of the checkmark (make sure you click the checkmark group mask thumbnail first before moving the mask). once you move the mask with the move tool, a new keyframe will automatically appear where your cursor is on the timeline (another diamond). make sure you drag the shape down the checkmark to mimick it being drawn.
6- go a bit further again on the timeline, where you want the animation to end.
7- and move the shape again to reveal the checkmark (make sure you click the group mask thumbnail first before moving the shape). again, a third keyframe will be automatically created. i dragged the shape up from the bottom of the checkmark to mimick the drawing of the checkmark.
your animation should be done here after these 2 movements, so play it in a loop and see if you are satisfied with the animation you have created. if you don't like it you have options:
you can go back to the group layer mask and edit it with the black or white brush;
you can also go back to each keyframe by positiong your cursor over it and move the mask around in a different way;
and you can select the keyframes (yellow diamonds) and move them around on the timeline. if you push the keyframes closer together, the animation will be faster, and if you space them out more, the animation will take longer. it's up to you!
this animation thing is really just trial and error. you could probably do the same animation with a checkmark you find online, as long as the image file is in a group and the animated mask is applied to the group. and don't forget to unlink the mask before animating a movement or it won't work properly!
and this is what my animation looks like:
that's about it, i hope that was clear enough omg. never realized how hard it is to explain these things in english lol. let me know if you have any questions! ♡
Hi everybody, as the title suggests: I broke my leg! Its specifically two fractures and a break. Im opening up commissions because I can't work.
Digital headshots for 25$
Full body colored and shaded digital character references for 30$
Full digital pieces for 50$ (depends on the complexity)
Double page Traditional sketchbook pages with full coloring for 40$
Traditional sketchbook pages for 35$
For inquiries message me on tumblr or message my discord! I'm more likely to respond via discord. If you like my work but don't see anything you're interested in we can talk about working something else out
ALRIGHT SO my pal @kalreyno wanted help with drawing fat characters and as a fat artist i felt like i could give a bit of helpful insight on that. there’s also been a lot of complaining about “boo hoo fat characters are hard to draw so i can’t include them in my work Ever” goin on lately so if that’s your case then this is for you too!! and also just for anyone who would like help with fat bodies in general, ofc. anyway, let’s get this show on the road!!
let’s start with some common misconceptions. these are the two main attempts at chubby bodies i run into, so i’ll focus on them.
the Anime Chubby i see everywhere, and it’s just……so wrong in many ways. first of all, there is almost no additional body fat compared to your average thin character - except for where it’s added in “attractive” places (breasts, hips, thighs). the breasts are way too perky, and don’t have the realistic shape fat would give them (though how to draw accurate breasts is another tutorial all on its own lmao). there is still a thigh gap, which usually only happens in very thin people, and bones are still visible on the surface of the skin, which also rarely happens in fat people.
the Michelin Man is better in some ways, but still not that great. it’s a slightly better attempt, but basically all that’s done there is taking a thin character and blowing them up, while giving no thought to fat distribution. the thigh gap is usually still present, and they look a lot more hard than soft - and fat is very soft and pliable.
here’s a chart on how fat usually distributes (if you can’t read my messy writing, “1. next to no fat, 2. moderate amount, 3. most of the fat distribution”). basically, the more muscle an area has, the more prone it is to develop fat, such as the abdomen, thighs, and upper arms. it’s important to note that fat sits on top of muscle, and that it does distribute in different levels, and not evenly across the body as shown in the Michelin Man.
now, here’s an accurate fat body with all of that kept in mind!! notice how the fat isn’t only kept to aesthetically pleasing areas, and how it sits realistically on the character’s body. their breasts sag a lot more, which happens even in thin people with larger breasts, and the nipples are pointing more downwards than straight out. there is no thigh gap in sight, there are no bones in sight, and most importantly, they have fat rolls, which are very important in drawing a convincing fat character!! as far as i know i’ve never met a single person with no rolls at all, and everyone has them, whether thin or fat - they’re just more prominent and more consistently present in fat people. pay close attention to where they are and how they’re shaped.
here are a couple of drawings showing how fat is affected when sitting vs stretching. as seen in the first, the fat specifically on the stomach is distributed a lot more evenly and stretched out, so it becomes “flatter”. the love handles are still pretty visible, though, as well as the fat on the thighs and arms. the breasts are raised with the shoulders, and the fat on the shoulders and near the neck forms rolls as it’s being pushed together.
in the second, there is a lot less room for distribution, so the fat is all pushed together. the breasts sag and the stomach forms rolls and spills into the lap. a good analogy for the way fat works is to liken it to a water balloon, and thinking of how its shape would change when resting flat on a surface, hanging off of a ledge, held upright, etc.
here are a few extra tips i find a lot of people miss!
first on the top is the hip/pubic region. the first circle is showing the way the bellybutton is folded in fat people, as opposed to stretched out in thinner people. the second is the stomach fat spilling over onto the pubic region and creating a separation in the two areas, which is something that’s missing in a lot of art. in addition, the pubic mound also gains fat, making it round as seen in the profile drawing i did up there (i’ve heard people refer to it as fupa?). the last in the hip region is the lack of a thigh gap. i can’t stress this enough!!!! if you’re trying to draw a convincing fat character, make sure their thighs are pretty much always touching!! for reference, mine literally don’t separate until my feet are about 2ft from each other.
the bottom right is showing the double chin, which a lot of people are afraid to draw!! fat does distribute itself here too, and there’s nothing wrong with it, so don’t feel like you shouldn’t give fat characters a double chin in your work for fear of it looking like a caricature.
in the bottom middle, it’s showing how fat affects different types of breasts with the presence of more or less breast tissue.
lastly, at the very right are stretch marks with their usual locations and directions, which i also can’t stress enough!!!!! i sometimes forget to add them honestly, but they’re so important in accurately portraying fat characters, as they literally come from the skin being stretched from fat being gained (and they’re also just rlly neat lookin like why wouldn’t you lmao). some people have less and some people have more, feel free to experiment with them!
the last thing is body types!! there isn’t one single way for a person to be fat, so feel free to experiment with shapes once you’ve learned the basics!!
so there you have it, a tutorial on how to draw chubs!! now go forth and make some accurate fanart or some rad fat characters, because the world could always use more of both. hmu if you have any questions or concerns, and thanks for reading!!
EDIT: someone pointed out the bad wording in the tutorial. thank you for bringing it to my attention and sorry for offending anybody. i’ve updated the tut, so please reblog this one!
Okay so I am literally about to cry.
I’m not an artist, but I love looking at art. And like. It makes me feel so worthless to see beautiful art with “fat” characters that are just extra curvey because I am so not that, and seeing only the sexy curvy drawings makes me feel like I am somehow the wrong kind of fat.
But this. This is so spot on. I have stretch marks and I have a double chin and I have like a fatty pouch in my pelvic area and my breasts are not perky and my thighs do not touch and just… All of it.
Seeing art of someone who looks like me makes me feel… Worthy. Some artist thought a body like mine was worth drawing, and that is so wonderful and validating and flattering. People enjoying said art is so good too. And like. Wow. I just want to cry.
as promised (thumbs up) heres a lil uhhhh simple breakdown of how i general do fur things! can be applied to hair in general and also clouds and grass depending on how you work it (thumbs up pt2) feel free to request other tutorials
So... I technically drew this 3 years ago but forgot to post it. I think I was going to clean up the end and make a nice recap, but I ran out of steam and then just left it as a wip for years. I got reminded of it because I was talking to a friend about how to draw wheelchairs today.
This covers most of what I view as the most common errors when it comes to drawing characters who use manual wheelchairs. I hope it helps you a lot.
Image description is in alt text, but there is a back up image description under the cut in case that does not work for some reason
[image description: a 4 picture long wheelchair tutorial. the background is white and the text, when it appears, is black and in calibri. each step will be labeled with "Step #" and a description of the drawing next to it, and "text" and then the text that is written to explain it to follow.
Step one text: So, you want to draw a character who uses a manual wheelchair? Awesome! I can't approve more. Drawing characters who use wheelchairs is a bit different than drawing standing characters, because of obvious posing differences. But to start, you need to know what parts of a wheelchair you will draw. So, without further ado, here are 3 wheelchairs!
Step one image: a simplified drawing of a chubby woman sitting in a quickie GPV manual wheelchair and resting her hand on the handrim of one of the wheels. this is labeled "the artist"
step two: next there is a lineart drawing of three wheelchairs. one is a tilite TR series 3. this is an ultralight wheelchair with a bucket seat (the back is lower than the front), a big cushion and a short backrest that kind of contours to the back of the person who would sit in it. the caster wheels (front wheels) are very small and the footrest is just two little metal bars. next image is a quickie GPV. this is also an ultralight wheelchair with a low back, but its caster wheels are slightly larger, the back has regular upholstery (it does not look like it was made to conform to the back of the person who sits there) and the frame is boxier -- there is no bar underneath the seat where the wheels would attach, rather each wheel is attached to the side of the chair. the next wheelchair is an invacare tracer. it is how most people imagine wheelchairs when they hear 'wheelchair'. it has no cushion and it has a high backrest with handles. it has high armrests that would be comfortable to rest your elbows on if you were just sitting. the wheels are not bicycle wheels like the previous two but are rather plastic. it has big footrests and big caster wheels.
text: the wheelchairs on the left are the ultralight, sporty kind. I have one of them (the quickie). the one on the right is a more standard one you might find in hospitals or as the public wheelchair in grocery stores or the mall.
step three: first is text to accompany the tilite. "This wheelchair has a really thick cushion - it's pressure relieving, which you need if you use your chair ufll tiem and especially if you have a spinal cord injury. This wc has the smallest caster (front) wheels. They are hte most handy for turning in small circles." next there is text to accompany the quickie gpv: "This one has the one I use -- it isn't pressure relieving, but is still useful." next is text to accompany the invacare: "this wheelchair has no cushion - you do not want to sit on it for long. This one has the biggest caster wheels - they are useful for not 'tripping' when your front wheel gets caught on an obstacle.”
step four text: like with all complex drawings, you want to break it into simple shapes first. I normally have a box underneath the seat, a rectangle for the backrest, and a trapezoidal thing for hte area from the box to the footrest. these are the most important shapes, because your character will rest on them and they will move with your character.
step four image: the lineart of each wheelchair has been put on reduced opacity, so we can see the square representing the backrest of each seat (the square is the smallest for the tilite and biggest for the invacare), the box for each seat and area underneath it, and the trapezoid for the footrests. the next step labels the images of these simplified shapes as the lineart is removed. "Note the proportions of each set of shapes is not the same - just like how you wouldn't draw all your characters with the same proportions on their faces!"
step 5: we see the same shapes to form the wheelchair, but now with blue circles drawn where the back wheels would be.
text: next shape is the wheels - two circles
step six: next we see the wheels and shapes have been reduced in opacity and the basic structure of everything about each wheelchair: footrests, caster wheels, upholstery details, axles has been drawn on in orange.
text: the next stage is everything else that's structure - front wheels, handlebars, cushions, footrests.
Step seven: we see the lineart on top of the lowered opacity sketch.
text: you can then do detailing like axles, spokes, upholstery, etc and lines
step eight: next we see three drawings of different characters. there is patience, a skinny white woman sitting in a blue invacare wheelchair. kelley, a slightly chubby black woman wearing a stripey dress sitting in a red quickie gpv wheelchair and doing a wheelie while smiling. then luke, a white man with short blond hair wearing khaki pants. he is sitting in a tilite chair.
text: once you get your wheelchair basics, you need to find out which kind your character uses. here are three characters who each use one of the example WCs. patience uses the invacare. she needs one with a better cushion, but circumstance prevents it. Notice the chair is a bit wider than her hips - it's not custom fitted. Also notice she has to turn her elbows out awkwardly to move. the high armrests prevent a smooth push. her wheelchair has big caster wheels and far-back back wheels. it is made for stability and difficult to turn,but also difficult to knock over. Her chair indicates a lack of resources or temporary injury, and is primarily a transport chair
kelley uses a wheelchair like mine - it is fairly sporty, but has a box-y frame underneath. this makes it heaver than if it didn't.she has a mediocre cushion - it protects her, but only some. her back wheels are further underneath her body than Patience's, which makes it possible to do the wheelie (demonstrated here). her wheelchair is supposed to look line one you'd use full time, but it is a little old.
luke has a spinal cord injury. he has a very thick pressure relieving cushion for medical reasons. his chair is also ultralight, with no boxyness under the frame. his chair is the newest and lightest - it indicates his wealth/resources, but also that he needs to use on full time.
step nine: just a drawing of me sitting in my wheelchair holding my hands up to show fingerless wheelchair gloves. we're looking at me from above.
text: when you're choosing what wheelchair to give your character, think of both their disability and their resources and go from there. questions to ask yourself: is it made specifically for them or is it mass-produced or a hand-me-down (if it's custom, the seat will not be too wide or narrow in comparison to their body and their feet will rest on the footplate naturally). do they want more stability (further back back wheels, big caster wheels) or maneuverability (the inverse). do they need a pressure relieving cushion? how long are they using their wheelchair per day? how long have they needed a wheelchair? Do they have health insurance? do they have access to a lot of spending money? How much can they spend on their wheelchair? are they athletic etc etc
posing steps:
step one: a sketch of two people standing up. one just shows the outline of a person's body, with legs that are ind of triangle shaped, the other shows a sketched pelvis and rib cage to go along with the bones of the legs and arm. text: step one: Most people have this sketch anatomy they put before drawing their characters for real. I kind of scribble around like on the left, but some people use skeletons on the right.
step two: there are now too sketched pictures of people in wheelchairs. one shows lightly traced human form (arms articulated, curve for a stomach, legs that are kind of triangle shaped and pointing down) sitting in a wheelchair that is just the sketch of footrests and wheels. the other sketch shows the sketch of a body with a circle for hips and an oval for a rib cage and the person doing a wheelie (lifting the front end of the wheelchair off the ground and leaning back). their wheelchair is also sketched out and defined by a circle for their wheels and 2 lines, 1 of the seat and 1 for the backrest. text: you need one of those for your wheelchair character. important: they should have both the person's main anatomy features (Usually upper body and at least hips) and the wheelchair's. for me, these are the back wheels, footrest, and seat. why simplify to just those features? Take a look at this incredibly quickly drawn wheelchair.
step three: there is a lineart drawing of a manual wheelchair with slightly cambered (angled towards the seat) wheels, a backrest, and a footrest. the frame is light and there are no handlebars. there are labels pointing to different parts of the wheelchair: Backrest, handrims, wheel, axle, seat, footrest, and caster wheels (the ones in front). text: there are a lot of parts, and not all of them are essential to your pose. trying to draw the whole thing straight out of the gate will frustrate you.'
step four text: take a character in heavy armor: if you draw her pose without taking her armor into account, her armor will clip through her body. if you draw a wheelchair using character without keeping her wheelchair in mind from the beginning, the pose won't make sense.
step four image: next we see two lineart drawings of different characters. one is a bulky woman wearing plate armor. her hand is on her hip and she is trying to scratch her back with the other hand. there is the label "shoudlerpad clips through face" and "thumb clips through chestplate." the next drawing shows a woman in a wheelchair with one foot rested on her knee and her arms rested back, such that they would be rested on the back of a regular chair, but the back of her wheelchair is not wide enough for them to actually be resting on anything. the text here reads "elbows not resting on anything" and "foot not on footplate"
step five: there are two images, one is lineart on top of a 3d modelled apartment with sketchup, the other is a colored in version of that lineart with the background also colored in and no longer a 3d modelled screencap two characters, one old woman wearing a green jacket and one younger woman wearing a white shirt and blue undershirt, are sitting on a couch. the old woman is leaning forward and the young woman is resting her arm on the couch. behind the young woman is a bookshelf.
step five text: you may say you'll just draw the chair first and then the person, but while that works for regular furniture, it doesn't work as well for most manual wcs. take this comic panel with characters on a couch for example - I 3d modeled the room and then drew the characters on the furniture. it works because you don't move furniture in most poses - you rest on it. but your wheelchair needs to move with you, especially if it's an ultralight one.
step six image: there is a flat color drawing of barbara gordon in her wheelchair. she is wearing a black sportsbra and black shorts. in the first image we see she is doing tricks in her chair, zooming through the air (as if she has just launched herself off the ground in a skater park or somethign) while her left hand is resting on a structure and her right hand is heading towards the right handrim. the next image shows her right hand planted on the ground and her chair and body above her, such that she is briefly doing a one-handed handstand, but the motion line indicates that she is moving and this will not last. her left arm is near the handrim of her left wheel.
text: take exercise Oracle - she is doing tricks. Her WC is an extension of her body. That is crucial to getting natural looking manual wheelchair users after posing.
step seven: we see a lineart drawing of paula from young justice. she is sitting in a standard manual wheelchair with high armrests (goes up to the bottom of her ribs probably) and a high backrest (goes up to just below her shoulderblades). she is setting her hand on the armrest, leaning forward, and holding her other hand out.
text: of course, there are exceptions - if you have a clunky WC, it is harder to move with your body. Take Paula from young Justice - here, i drew her resting her hand on her armrest, because she has a clunker wheelchair. her pose is already mostly static - she's sitting down - and she poses around that.
I would definitely start with looking at goat legs and drawing lots of hind legs then slowly adding those to torsos. Legs are the real key to knowing if it’s a satyr then faces are a style choice!
What program/brushes do you use? I love the texture in your art
Thank you!! It took a lot of trial and error to get to where I currently am with rendering, so I’m really glad to hear someone notices and even likes it! 🥺🖤
The programme I use is Procreate for iPad!
The brush I use for lineart is mostly the brush pen, found in the Procreate Calligraphy brush set. I find this one has the best fluidity and weight, while being very clear and soft. When I’m looking for a rougher line however, I will turn to the chalk brush from the same brush set.
The base colours are always set with the flat brush, found in the Procreate Painting brush set. I sometimes use the studio pen from the Inking brush set to make an outline and fill it in later, but that’s only when I’m feeling really nitpicky LOL
All the shading is done with the flat brush as well, but the highlights I do with the brush pen. The “highlights” here are the bass guitar strings and belt details, leather and metal shine, chain, and hair strand highlights.
And finally, I achieve the dynamic backgrounds by using the grain 1 brush from MiksKS’s 12 Grain brush set (link here) It’s probably my most used out of all the brush sets I’ve got downloaded, I absolutely adore it! :D
And here is an example of the chalk brush in action! I absolutely love this brush when I’m trying to achieve rougher lines and textures. I love the grittiness and sharpness of it, while it holds the same weight and fluidity as the brush pen.
And while I didn’t think it was relevant to your question, I’m adding it in as well just in case; when I’m making simple anatomical sketches I’ll usually use the flat brush, and when I’m making more detailed sketches I’ll use the brush pen :)
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