Não temos café

"Seja o que for, ainda é passageiro"

[darhak]

That’s my first (and probably not last) art tutorial! And Steve, well, he does his best.

Note: The blue at the bottom can be used to add some transparency to the fire but it’s optionnal. On the other hand, gaz lighted fires usually have blue. Good luck with you fiery projects!

[art-res]

I’m vibing with this fire tutorial. Lots of good art theory!

[julyziblue]

Demorou, mas tá aqui o resultado:

Tinha colocado a um mês e meio atrás que ia começar a usar hibisco e ver o resultado no meu cabelo. Vamos lá:

Franja:

Antes: 11 cm

Agora: 14 cm

Pega rapaz

Antes: 8cm

Agora: 8 cm (acho que peguei a mecha errada, mas foi esse o resultado)

Nuca

Lembrando que minha nuca era raspada, então o cabelo da nuca é a quantidade total do crescimento do meu cabelo

Antes:7cm

Agora: 9cm

Não senti uma enorme diferença, mas se lembra que meu cabelo cresce só 2cm por mês e consegui 3cm, parece um bom resultado. Fora que meu cabelo está bem forte e volumoso.

Ah, eu alternava bastante o uso, em uma semana usava 3 vezes na semana e na outra usava 2 vezes. Talvez isso tenha interferido.

Bom, é isso. Meu cabelo atualmente está assim após 5 meses de bc

[julyziblue]

Meu primeiro dia de BC e meu hoje, 4 meses depois.

[julyziblue]

Vamos de receita capilares 👩

Você pode pular direto pra receita se quiser, aqui é só um bate papo sobre cabelo.

Vamos primeiros entender uma coisa: cabelo é algo que está morto! Exatamente seu cabelo morreu e você só está tentando deixar um defunto bonito. Calma que eu explico.

Lá nas aulas de histologia da faculdade, descobri que o bulbo capilar é responsável por fabricar nosso fio, que serve pra ajudar no controle da temperatura, auxilia no choque e serve pra embelezar a cabeça de quem os possue. Contudo, quando o fio está pronto e cresce, ele não tem vida, não tem nem mesmo sensores para dizer se há algo errado. A única coisa que possue isso é o bulbo, onde se encontra a raiz do cabelo e onde se é produzindo o fio. O bulbo está vivo e o fio não.

Agora, me diga, pra que tratamentos caros nas pontas se o crescimento tem que ser focado todo na raiz onde estão os bulbos das madeixas? Justamente para melhorar o aspecto, mas se seu cabelo não cresceu saudável, não há muitos tratamento que o ajudem a melhorar.

Todas as receitas que vou passar aqui, podem ser aplicadas diretamente no couro cabeludo, para que o bulbo capilar possa se beneficiar e absorver os nutrientes. Podem ser passados também nos fios, mas ali não haverá absorção de nutrientes, mas sim de água e alguns ions (isso aqui é só pra caso vc queira saber mesmos).

Entenda: se o bulbo absorve, logo a ajuda no crescimento e na saúde do cabelo. Se é pra passar no comprimento do cabelo vamos tentar melhorar o aspecto do fio (ressecamento, brilho e tal)

Vamos as receitas:

Mel de cenoura

O que você vai precisar:

Uma cenoura

Açúcar

Um pote de vidro com tampa

Forma de preparar:

Limpe bem o pote e deixe bem seco. Corte a cenoura em rodelas (não tire a casca). Coloquei uma colher bem cheia de açúcar e algumas rodelas de cenoura, cubra bem as cenouras e vá repetindo o processo até onde achar nescessário. Quanto mais você colocar, mas mel você vai ter. Guarde em um local escuro por 48h. Algumas lugares falam 24h, mas não é o bastante para dissolver todo o açúcar.

Vai ficar assim, depois é só coar e fica assim:

Você pode colocar na máscara, junto a óleos ou usar ele puro no couro cabeludo e pontas do cabelo

Vantagens:

Promove o crescimento acelerado dos fios; -Fortalece os fios, tornando-os mais resistentes à queda; -Combate pontas duplas e fios quebradiços; -Deixa os cabelos mais saudáveis, macios e brilhosos. A cenoura também possui vitaminas E, B, C, betacaroteno, magnésio, iodo, cálcio, ferro, cobre e zinco. Por isso,além de deixar o cabelo brilhante, saudável e forte, previne pontas duplas e protege os cabelos dos raios UV e estimula o crescimento capilar.

Mel de babosa

O que você vai precisar

Uma olha de babosa

Açúcar

Um pote de vidro com tampa

Forma de preparo:

O mesmo preparo do anterior. Limpe bem o pote e deixe bem seco. Corte os espinhos da filha da babosa e corte em rodelas (não tire a casca). Coloquei uma colher bem cheia de açúcar e algumas rodelas de babosa, cubra bem a babosa e vá repetindo o processo até onde achar nescessário. Quanto mais você colocar, mas mel você vai ter. Guarde em um local escuro por 48h. Algumas lugares falam 24h, mas não é o bastante para dissolver todo o açúcar.

Vai ficar assim:

Depois é só coar e tá pronto.

Benefícios:

 babosa ajuda na produção de colágeno e, por isso, ajuda a fixar melhor os fios de cabelo no couro cabeludo. Além disso, por possuir minerais e água, fortalece todo o fio, tornando-o mais forte e menos quebradiço

[2urbles]

Do you have any advice for understanding hands better? I’ve been practicing them for years but feel like compared to other aspects of anatomy it’s the one thing I haven’t seen much improvement in. I draw both from life and images and draw nearly everyday but nothing I’m doing seems to help

I personally get by mostly from remembering poses that I’ve already practiced a ton, like I figure out how to draw it once and am able to file that away in my brain and use it again later, and tweak bits of the pose or the level of simplification to suit what I’m drawing. 

I’ve paid special attention to drawing hands for like.... most of my life so I have a LOT of poses I’m easy comfy with now, but when I need to figure out something complicated or new, I can usually work it out by breaking a hand down into shapes, remembering a few key points/”rules” from what I’ve learned about hands in order to help me break it down in a way that makes sense. And if that’s not enough either, then I take photo refs. 

^^^ here is a pose I use a ton. I have a quick way of drawing it from various angles. the first time I had to draw a pose like this, I had to think and figure it out, but in drawing it a bunch of times and having to use various angles like this, I’ve eventually come up with a quick, reliable way to draw it from a few of the most common angles that fits the style I like to draw in. I’m blessed with a good memory for observations, so when I see a beautifully posed hand, I can usually really quickly analyze what I like about that pose and why, and that helps me absorb it so I can recreate my saved impression later. But I know not everyone thinks the same way. it might benefit you to quickly scribble down a study in a sketchbook when you see a pose you find beautiful and want to learn from for later.

^^^ here are some poses I had to stop and spend time figuring out, calling up the “rules” for how hands are built to kind of logic-out how they should look from angles I’m less familiar with. results can be mixed, but... if I end up with something expressive that fits the style of the rest of the drawing, I’m usually really forgiving of fudged anatomy or slightly wonky proportions. as long as the thumb is on the right side and there aren’t too many fingers, that’s a great start lol.

^^^ and here are ones I had to take reference-selfies for. I try to use this as a last resort because 1) it’s a lot of trouble 2) interrupts my drawing and 3) if I’m not careful I stick too close to the reference, and the drawing ends up with the hand looking referenced and the rest of the pose not, which is jarring to me. not to mention I have tiny manlet wrists that without fail, look horrific and emaciated in photos, and the lens distortion makes my fingers look scary too... ugh, photo reference has definite flaws. I actually don’t like the look of drawings for which I can Really Tell the artist drew from photo reference, because most often that means they’re taking the ref too much at face value and incorporating ugly lens distortions into their drawing. so I have to think extra hard not only about interpreting the ref, but also might have to make multiple passes just to get the hand to look normal, AND match the style of the rest of the drawing.

Anyway, here are some of the ““rules””” I mentioned earlier that I fall back on to help me figure out more complicated poses:

1. probably seen this before, but basic proportions. the palm is usually half the total height of the hand. obviously you can mess with this purposefully. 

2. I think of joints as like, ball joints or hinges. I find that easier than trying to remember bones & muscles. here’s a drawing of the wrist as a hinge. note that when you’re thinking of it this way, it’s a shortcut, but a shortcut is only good if you use it with precision. notice the pin for the wrist hinge is not just halfway, it’s closer to the top of the hand. being precise about that is what allows this shortcut to work. the heel of the palm juts out, while the top of the hand transitions into the wrist quite smoothly.

3. simplified planes. planes are important yo. in super simple terms: top is flat, bottom is round. this works on the fingers too, actually. the tops are bony and tendony, and the bottom is where the fat is, so it’s rounder and soft

thinking of the hand as abstract shapes REALLY helps simplify the task of drawing hands, and is just as helpful even if you are drawing from reference. I can say “the palm is a box” and obviously the palm is not really as simple as a box, but if I think of the palm, wrist, and each finger joint as various shapes of box, then all of a sudden, psychologically, my task is SO much easier. I’m not drawing a Hand, which is hard, I’m drawing boxes, which is easy.

4. that prominent knob some people have on their wrist? that’s on the pinky side.

1. the knuckles aren’t really a flat row on top. the hand is like a cup right, so your palm can hold water and things. so we can think of the hand as a box to make figuring out the pose easier, but when it comes down to it, you’ll want to make it more of a curve. this curve is why you can see multiple fingers in a side view

2. when curled up, the fingers nestle together. the fingernails also turn slightly toward the center. even if I’m simplifying the hands significantly, I usually still draw the fingernails because they are SO useful for communicating the pose of the hand effectively.

3. lots of people suggest to think of the hand as a mitten, grouping the pinky/ring/middle fingers and singling out the index finger. this works great, the index finger is more independent from the other three. on the flip side, those three are really stuck together; if you’re drawing the pinky curled up all the way, then you better not draw the ring finger sticking straight up, cause that would HURT. anyway, singling out the index finger leads to more interesting poses in my experience.

1. this is another illustration of top = flat and bottom = curved. this is a really easy way to organize your line quality. straight lines and sharper angles where there is bone, and soft gentle lines where there is muscle and fat. your drawing as a whole will read very clearly if you find some guidelines like that to stick to, as it means all your lines are intentional and thoughtful.

2. this one’s about overlaps. when forms overlap, it makes a crease, and when you draw that crease you’re communicating which form is in front of the other. in the second drawing I reversed all the creases, and it looks.... messed up. think about how pieces connect.

so when you’re trying to make up a pose without using specific reference, I think it’s good to think about the.... flow of energy through the pose. honestly, I know it’s really abstract, but if I have an ability to make interesting poses that communicate weight and movement, the things that make people say your character feels ALIVE, like they really EXIST in a space... it’s because I started to think of poses this way. imagining streams of energy bouncing through the body, flowing down the limbs and out through the fingers. this is why hands are so important to me, cause they’re where the kinetic energy of the pose ultimately ends up. I talk about it when drawing the torso and arms and legs, but an interesting drawing has a bounce back and forth between opposites: for every curve, an opposing straight line, alternating back and forth down the entire body. if you’re sensitive to the energy of the pose, then even very simple poses will be interesting to look at.

anyway, with regards to hands, I imagine the energy getting sort of cinched in as it passes through the wrist, and then emanating out through the fingertips. I hope my drawing at least SORT of communicates this imagery. it makes sense because that’s BASically how the bones in the hand are anyway. and then the right side of the image above is just demonstrating some highly simplified gestures. see how the fingers fan out and curl in, rarely parallel to eachother. when you’re figuring out the pose, using a line to stand in for the row of knuckles is super valuable.

aaand finally, here’s two hands where I intentionally neglected correct anatomy and proportion because I felt it worked better for the style of the whole drawing. Left side: since this is a really simple and cartoonish style, I was thinking back to kids’ and shoujo manga I have read where the style was very solid and distinctive, but definitely NOT overly concerned with correct anatomy, or even really drawing hands, uh, “well” at all. to me, that sort of approach has a Look that I like to invoke sometimes, since for years I felt like I learned a bunch of anatomy and proportion and drawing from life actually in detriment to the liveliness and appealness of my drawings. this hand is mushy and makes very little sense, but it turned out as intended. Right side: sometimes I like to pretend fingers only have 2 bones in them, cause i am a Queen and i do what i want

and there you go. I hope that helped, like, at all? Look at real hands and photos of hands and hands in motion, but also look at drawn hands as well. find what you like, and work towards expressing that yourself. and remember the hand is part of the whole drawing. not only in the art style like I’d been talking about, but because the angle and placement of the hand is reflected in the angles of the arm, which in turn reflects on the angles of the shoulder, which affects the whole torso, etc etc etc. and the techniques you can use to understand and draw the rest of the body, works on hands too. as you improve everything else, your hands will improve as well.

DISCLAIMER: I whipped up these diagrams quickly, they’re not meant to be good drawings or accurate refs, just diagrams to illustrate my thought process lol

[julyziblue]

É, chegou a fase ruim da transição.

Exite algo que eu temia na transição: o momento em que nada me deixa bonita.

Tá, todos podem dizer que estou bonita, mas não sento isso. Meu cabelo não tá grande, não tá curto e acordo nesse nível aqui:

Nada nesse mundo ajuda, meu cabelo não tem corte e não quero cotar para não perder os meus tão amados centímetros. A solução é ou por tranças ou acelerar o crescimento.

Como estamos em uma pandemia e eu não sou nem louca de passar 9 horas com alguém respirando encima de mim, vamos de acelerar

Procurando em tudo que podia, achei uma receita que nunca havia testado na minha primeira transição, então vamos de hibisco

Resolvi fazer o tônico que é nada além de ferver água e colocar um punhado de flores de hibiscos, coloquei uns 15 pauzinhos de cravo pq vi que ajudava também.

Deixei descansar por 24h e ficou assim

Vou aplicar duas vezes por semana e fazer um shampoo bomba ainda não decidi com o que

Para saber se fez alguma diferença, aqui vai as medidas do meu cabelo:

Franja: 11cm

Cabelo na frente da orelha: 8cm

Cabelo da nuca: 7cm

Lembrando que meu cabelo tem o crescimento natural de 2cm por mês.

Então é isso, tô usando o tumblr pra não perder esse momento que comecei do zero. Na última vez não fiz um BC tão radical, então os sentimentos são bem diferentes.

Me deseje sorte

[julyziblue]

Três meses de BC ❤️

[pawkatoon-deactivated20260804]

[endivinity]

A tutorial on meatspace I made for my patrons last year! Making things exist in the same space believably is a difficult process, but hopefully this will help drawing softbodied subjects interacting together a little easier!

[julyziblue]

1° mês depois do grande corte

[souratgar-deactivated20190925]

I made an art tutorial on how to draw hijab and hijabis!

[julyziblue]

Aquele teste rápido com cores e um oc novo. Essa é a Flora 

[julyziblue]

Ok, vamos aos fatos:

Fui a cabeleireira pra cortar meu cabelo e queria mais curto dessa vez. Adivinha, a transformou isso:

Nisso:

Eu fiquei muito, mais muito p#t@. Agora me sinto o ser mais feio do mundo e, depois de chorar e tudo mais, peguei a tesoura e arrumei, deixei mais curto a frente agora é esperar... Esperar e esperar meu cabelo crescer.

Então, resolvi documentar essa minha revolta e fúria e essa espera. Meu cabelo tem um bom crescimento, por volta de uns 2 cm por mês, e agora como estou revoltada vou querer virar Rapunzel e me vê com o cabelo na bunda.

O problema?

Meu cabelo é mega cacheado e isso vai levar uns 2 anos e meio, 3 anos. Então, vai ter muita coisa pela frente.

Bom, se alguém acompanhar, vou colocando tudo que uso com as receitas.

Bom/boa dia/noite/tarde

[misselaney]

How to draw Dreadlocs!

See Part One: Rendering Natural Black Hair Coming Up Next: VOTE by sending to my Ask box!  (Until March 1st). Feel free to suggest any style or subject matter within drawing natural hair!

Questions? Comments? Tell me all about it!

Please help me concentrate more on this awesome tutorial series by subscribing to my Patreon!

[brutamente-meiga]

[julyziblue]

Essa semana achei isso nas lembranças do Facebook, de quase 3 anos atrás.

Eu pensava assim, pensava que quem tirava seu filho de seu ventre era um monstro... Mas eu pensei em me tornar um.

Quando pensei em está grávida, quando minha menstruação atrasou e eu pensei que havia alguém dentro de mim, logo dentro de mim que não tinha emprego, não tinha entrado na faculdade ainda, não estava nem na metade do técnico. O desespero foi gigante, foi horrível pensar em tudo que ia passar com uma criança, o peso que eu iria aguentar do julgamento de uma família evangélica. Foi desesperador, foi horrível e eu pensei em tirar, sabia como fazer isso.

Mas era um alarme falso e desde então eu percebi o quão fácil é acusar alguém sem pensar em seu desespero... Não são assassinas, são mulheres desesperadas. Eram como eu

[rapidpunches]

[aishishii]

rapidpunches:

SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE

I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.

My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.

I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.

If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).

Roughly… the steps to making your comic is

WRITE

PLAN THUMBNAILS

DRAW

…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:

How does it end?

Does the protag succeed or fail?

What is the turning point of their story?

What the protag do that led them there?

Where does it start?

Who is this protag?

EXAMPLE:

Guy gets mauled by a bear.

This is a fail on the guy’s half.

The bear must eat something or he’ll starve to death.

It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.

The guy is yodeling in an avalanche zone.

The guy is some guy.

CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.

This guy yodels.

Echoes roll.

Snow slides down.

Avalanche buries the mountain.

Cabins are engulfed.

This bear has no access to cabin food and garbage.

Bear eats this guy.

Expand. Blow up important beats for emphasis. Keep less important beats brief.

This guy is hiking in the snowy mountains.

He comes across an avalanche warning sign.

There is nobody around but him.

A dumb expression forms over his face and he yodels.

Echoes roll but nothing nearby is moved.

At the top of the mountain the snow drifts twitch.

Guy, satisfied, hikes away from there still yodeling.

Frozen snow cracks.

Snow puffs billow and great slabs of ice crash down the mountain side.

Guy sees this and hightails it to safer ground.

Animals, people, are all panicking and getting pushed over by the rushing snow.

Cabins are destroyed.

The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.

Avalanche dies down.

A lone bear shambles over from the other side of the mountain.

The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.

Bear forlornly eats a food wrapper.

Bear tries to dig.

Guy comes down from the rocks he as climbing and sees bear.

Bear stops digging and sees him.

Guy runs.

Bear chases him down.

Bear eats the guy.

BEAT SHEET COMPLETED!!!

After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.

Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.

Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.

Next is translating the beats to pages…

STRUCTURE OVERVIEW:

[1] point of entry, in media res, hero intro

[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation

[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)

[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”

[12] resolution/final end/cliffhanger

[front cover][interior] [interior][back cover]

——————–

My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.

remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.

———-

…DRAW IN THIS ORDER:

Page 12,

Page 6 and 7 (this is typically one large image that takes up the space of two pages),

Page 1,

and then the rest.

ONLY “DEVIATION” ALLOWED:

Page 12 and 1*

Page 6 and 7,

and then the rest.

*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.

Cover is dead last.

———-

(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)

——————–

FURTHER NOTES:

Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.

You at most only need one establishing panel of the setting and environment (scene) per page.

Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.

You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.

Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)

Know your light sources. Control the blacks. Control the values.

TIPS | COFFEE? :3 | dA | IG |  ♡ |  ❤ |  ⋆

(more coming soon 11/22/2016)