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The tag I use on the very occasional off-topic post is #not drawing tips
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@drawing-tips-from
Hi guys!
Welcome to drawing-tips-from.tumblr.com!
The blog I interact from is @b1tch4ss
The tag I use on the very occasional off-topic post is #not drawing tips
really helpful technique ^ once you know how to divide by halves and thirds it makes drawing evenly spaced things in perspective waaay easier:
I too dyscalculic for this type of shit 😭😭
it's honestly a lot simpler than it looks, you're just connecting corners and drawing lines where they intersect. I really recommend you just grab a scrap piece of paper and try it and i'm certain it'll click! It's one of those things that makes more sense when you try it yourself.
The perspective examples I showed above look complicated, but the underlying technique is very simple. You just keep splitting the rectangle until it's divided up evenly as many times as you need it to be.
The stairs were split in half multiple times to divide it into 8, the cell door was divided into thirds and then those thirds were split in half to give 6 lines.
All the torso animated studies.
@factual-fantasy
i'd like to add that the shadow color isnt necessarily dictated entirely by the primary light source, but the bounce light! so for the example of a sunny environment, the reason the shadows are blue are because of the light from the blue sky reflects across the environment; but, if the character were to be under tree cover, the bounce light would be coming from the leaves and thus the shadow would look greener.
Yee yee!!! You got it right on the nose!
Bounce light is something I didn't cover but I adore it!
Gotta work on my bounce light 💪
My good friends this is called using a
Gamut Mask
(image via )
James Gurney is an absolute master and gives really good clarity on colour techniques. Yes, it is traditional paint focused, but the principles are the same. Yes it is informed by the environmental colour but as a painting technique it is achieved this way!
I would also suggest that in digital processing, rather than apply a regular colour layer at a mid opacity, try out the different types of layers, Eg. Screen or Multiply. This can give you at least a starting point to help direct your colour palette.
Layer Blend Modes are so so so important to working in digital art. There's a ton of math that goes into figuring out how the layers should blend together, which is why some of the modes you can pick are literally called Multiply, Add, Divide, and Difference (that's subtraction). The graphics software takes the color values of your base and blend layers and runs a calculation to get your resulting layer appearance. The ones that don't have specifically mathematical sounding names are still doing calculations, but they're more complicated (think linear Algebra and higher). Some of them, like dodge and burn, are named for actual photo editing techniques.
While it's not super important to know about the mathematical side of blend modes, I think it's worth knowing at least enough about how each of the categories of blend modes works and why they do what they do; if for no other reason than having a starting point when you start experimenting with them in your work.
An overview of the basic blend modes and how they work from Genevieve's Design Studio: Accessible with minimal color knowledge; practical and illustration focused. https://youtu.be/kMc87hQrJd0?si=TWCB365pKSfWS8p0. (16 minutes) This creator also has a ton of free resources you can download, including a Blend Modes cheatsheet, but fair warning: you have to create an account to get them!
Want to learn even more about the math-y stuff? It has great film visuals! A video from FilmmakerIQ: You need some basic knowledge of RGB color models, understanding of values/luma, and at least a tenuous understanding of Algebraic formulas. (26 minutes) https://youtu.be/F7_kaTP7_W4?si=x0urqXZ8f51nQVKl
How to Draw Native People: a Tutorial/Reference Guide
As requested, here is a basic guide for how to draw Indigenous peoples (mostly focused on North America)! Also please note that this is not an exhaustive list of Native American phenotypes/features, and more like an intro on very common features that can be found in us, and even then, not altogether at once on a single person’s face. I highly encourage the use of references and care taken into research when drawing. I may do a part 2 that goes slightly more into depth, but for now, enjoy part one.
Resouces:
How to draw Native Skin tutorial (don’t draw us red!)
List of Native American Celebrities, which include their tribe(s) and home country, with 1,250 names, to use for your referencing pleasure
How to draw black people by Peachdeluxe, & Black hair in depth by misslaney for mixed black Natives
How to draw Asian People, a guide by Chuwenjie, for mixed Asian Natives AND because it includes a lovely tutorial on monolid eyes, a shared feature of Native people
get drawin!!
so. i was not happy with the 3D models of horses on offer in the CSP store or literally anywhere else i could find them, i needed one to use for my work, and i went ahead and made my own that is now available for the low low price of FREE in the CSP assets store.
textures included are greyscale basic shapes, multicolor basic shapes, and white with no shapes (but eyes, mouth, nostrils, and hooves emphasized for ease).
shape is ROUGHLY based off the silhouette of an Andalusian. size-wise, it by default stands at around 16 hands, but of course it can be resized to suit your needs. for that, I recommend sizing a human pose doll to the correct height (in centimeters), lining them up on the same plane, and resizing the horse to match the human doll's height. remember that a horse's height is measured at the shoulders!
it also comes with the following preset poses:
if you use CSP and wanna snag it, type 2204263 into the search bar in the CSP assets store. happy horsing!
greatest endorsements i could ever receive quite frankly. i am happy to be of service my lieges. 🫡
So this is the power of umamusume popularity huh
to be honest i just have a dragonborn character that really likes his horsie so i needed to be able to draw her 😭😭😭😭😭
that being said if enough people have a desire for an appropriate umamusume horse i can easily make and release an edit that shapes the pose doll more like a thoroughbred? since iirc they’re all racing horses so a thoroughbred would be more fitting than the vaguely Andalusian shape i went for here? i guess let me know if that’s something that might interest some of you!
@ali3nboyfriend Thanks so much for sharing this! 🫡✨️💜
I'm an artist who's planning on drawing comics that have horses, and in general I like to have assets for anything difficult to draw for illustration purposes, so I'm definitely interested in any horse assets you might make in the future!
How I paint strawberries! 🍓
New CSP Brushes on my Gumroad!
I made the textures by hand in my sketchbook. They're pay what you want with no minimum.
Enjoy!
It's done! You can find the Absolutely Ripping It Up pack here.
Tear your artwork. Decay it. Blast a giant hole into it. Go nuts. Note that these are compatible only with Clip Studio!
here’s 200+ freebie brushes | and my brush tag is here ✨
you'll get the urge as an artist or a writer to say out loud the things you're worried about "the proportions are off" "kind of out of character" "i'm not good at summaries" "didn't get as much detail as i wanted" "i made a mistake and here's how" and that's the self-conscious part of your brain telling you "it's bad and if you don't tell them you know it's bad then they'll think you're stupid" but you've got to ignore that little voice and pretend you think it's good or else that little voice is going to ruin your life
If you're a writer you're supposed to write a lot of bullshit. It's part of the gig. You have to write a lot of absolute garbage in order to get to the good bits. Every once in a while you'll be like "Oh, I wish I hadn't wasted all that time writing bullshit," but that's dumb. That's exactly the same as an Olympic runner being like "Oh, I wish I hadn't wasted all that time running all those practice laps"
fruits of my labbor
everyone whos saying this is cool - thank you!!
please check out the photo ref i used!!
give it a try yourself too! at least once a year i get in my reps on drawing hands. i think no matter what its a great thing to help you practice volume, esp if your art blocked rn
quick bricks
draw bricks. you know how bricks are patterned. don't draw an evenly spaced grid.
round the corners of the bricks.
add line weight to the bottom of some bricks. SOME. not all.
scuff the bitches
now you have bricks that exist in a physical space
remember... desaturating your image doesn't properly keep the values... you must use a color layer with black/white/gray/whatever
SO much about doing well is just not even giving your brain the time to sabotage you. Like deciding to just get started on a task before your brain could conjure up thoughts like “but there’s always tomorrow” “ruminate on this pointless thing instead” like sometimes you genuinely just have to put pen to paper and do
do you have any advice, resources or practices you recommend for making your art more expressive? I adore how you push expressions and body language, and the way it keeps its weight is phenomenal! I wanna learn how to do that, too!
hey thank you so much <3
one of the most important things that i've learned on my way and that i've kept in my mind ever since is what makani states in [this post] sometimes i go into a drawing and just try to construct it bit by bit, only to realize that the eyes don't fit the mouth etc... then i remember to treat it all as ONE expression and (second very important lesson incoming) i erase everything and start anew (i know it feels bad to just delete a sketch of a head (you don't have to delete it right away, you can always just take another layer) but believe me it not only saves you tons of time, you also learn more when you just start over from scratch. the thing i do is as follows, i keep the bad sketch open and try to figure out what i don't like about it, and put extra focus in those areas in the new sketch. like i think the eyes were too dull in the first try? the solution is to draw them open even wider, turn up that expression a nodge, try to "bend" it). i know this sounds exhausting, you might think isn't it easier to just try to fix the first sketch? i thought so too for many years, but believe me, if you don't like it, start a new one. you will always be amazed on how good it can turn out (and, as said before, the benefit of analyzing your own art and trying to figure out what went wrong and fixing it in a new attempt is HUGE.)
third thought on this is "don't be afraid to push the boundaries". like i grew up being a huge ren & stimpy fan as a kid, i love classic cartoons, i love exagerated expressions so much, eyes popping out, sweat drops flying around, over the top visualisation of feelings. that's my shit (pizza tower i'm looking at you). then on the other hand i also love things feeling palpable and real, hence the weird mix of my style i guess... what i want to say is: don't be afraid to push your expressions a bit. not only is it fun, with the right balance it really adds to it all (in regards of body language and facial expressions likewise).
and last but not least, so important: use references. i often take photos of myself doing weird gestures just to see how the mouth or the eyes would look like for a specific expression, how the nose wrinkles, how the shoulder come up when trying to visualize that someone is tense etc etc. use ref, please, not only photos but also drawings, try to figure out how other artists translate certain gestures in their art, how can you stylize this (everything ofc without copying directly from them... like for personal practice everything is cool and chill, but respect the rules of the artist community)
it is hard to pinpoint down how everything we do in our art lives comes down to what we draw at the end of the day, like everything i post, how it looks, is the result of almost 2 decades of drawing with a purpose, but i hope this helps a bit.