oh damn, okay, so literally last night i was talking with friends about how unrealistic the golden horse in tears of the kingdom is and how it feels like they were just trying to one-up the white horse in breath of the wild, and then i run across this post, do a tiny bit of looking, and—no really gold horses are actually literally a real-world thing!
I remember reading about this breed in horse books. They're indeed very very old (over 3000 years old) and come from the deserts in turkmenistan. The way their hair is built helps them with the extreme temperature changes in the desert.
They're tough, with high endurance and intelligence, friendly and sensitive.
I am such a huge horse nerd and I apologize. :( But I’m really tired of seeing girths that are halfway down a horse’s stomach. This may not be interesting to anyone who is not me, but I like to draw fancy saddles and ridiculously long shanks on bits. Also, horses are the only animal I can draw, so I take advantage of that.
I hope this helps some frustrated non-horsey artists in at least some small way. Remember, when in doubt, add some buckles and some rings. :)
and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE
ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)
PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO
AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS
"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"
Because, my friend, my war on GREIGE will NEVER end.
Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.
Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!
In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.
WHY THE HIGHLIGHTER COLORS? you ask.
CANDLES.
Those colors reflect candlelight and natural sunlight REALLY WELL.
Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.
(STOP MAKING YOUR HISTORIC SIMS 4 BUILDS BE BLAND. STOP IT.)
It really looks like they were inspired by the Romans, with their murals and mosaics and their use of intense colour... is that a likely source of inspiration? I know Pompeii was rediscovered in the 18th century, but how long it took for it to be documented and for books to travel and be picked up on by artists, I'm not sure...
Some studies when I was watching BCS for the first time.
I really enjoy getting a good likeness, not just because it helps with recognizability of the fanart but also because it's a really fun challenge.
Some tips on how I approach this:
You can see how I work through Kim and Jimmy's faces here: First I trace directly over screencaps from the show, focusing on marking the distance of each feature and its placement on their head shapes. How close is the brow to the eye, nose from the middle of the mouth, etc.
After tracing it out, I do some freehand sketches relying more on the shapes and proportions I've mapped out. The little arrows I've drawn next to some of the faces help me remember to keep note of the way certain lines or shapes curve into others. These are great things to exaggerate, because when you keep these things accurate and intact, the illusion of likeness comes through.
Whether you actively recognize it or not, your brain is always making connections to the negative space relationships between features almost as much as the shapes and positions of the features themselves.
Another thing I like to do is collect much more detailed, organized reference of the character I'm drawing and figure out the harmonies of the face. This is kind of a bastardized and oversimplified Reilly method, where I'll draw straight lines connecting each feature of the face to build landmarks. You can see me working though that here, with Barry.
I started figuring out his head shape, but I also found that the midpoint of his furrowed brow creates a triangle shape with the shape of his nose down to the edges of his mouth. Keeping this shape consistent, even in simplified/stylistic depictions of the character, means he will always be a little recognizable, because the part of your brain that knows what Barry looks like connects with that existing shape.
Playing with those abstractions can help you experiment with how you want a character to look. Don't worry if they don't look perfect. That's the fun of study. Here are a handful of Kimmies, each varying in % of likeness (and degrees of success), but all keeping some key points of her "design". You can see where I start to play with features, removing some things, tinkering with others.
Another little note...since we view these people through cameras, different focal lengths can affect the way their features are proportioned (take a look at the perceived width and height of Hader's enormous fucking head in the upper right corner compared to the adjacent images, for example)–– so this is a good way to keep that in check when you're doing studies.
As always, this isn't drawing law. Draw fanart however you please, and feel free to discard all of this information! This is simply my approach, and it is fun for ME!
Thanks for reading.
This post brought to you by my Patrons, who saw this first on July 4 2023.
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