Nefelibata

Where Mowsette reblogs stuff (mostly others art, art reference type things, and the occasional funny I want to share with my friends) and may or may not make the occasional useless post. I'll also reblog things with same-sex couples, seeing as I find that all love is beautiful, so if that offends you, you may not want to be here. Anyway, this blog is probably not important at all to be honest, not even worth following, what are you even doing here? :o My main/art blog is this way!!

[erichibbeler]

A long time ago an anon asked my thoughts about drawing backgrounds, so I finally got around to putting this together. It’s more prop-centric, but it still represents my philosophy to backgrounds. 

I’ll try to do something more about drawing actual background spaces in the future! Please let me know what you think, if anything is unclear, or if you have suggestions for other tutorials you might find helpful!

[eschergirls]

Another neat tutorial I thought might be interesting for people who follow this blog! :D

[dilfosaur]

read the full comic here!

filipino family gathering pro strats

[mrhaliboot]

Hello, just want to say I love your art, do you have any suggestions on how to draw poses?

I guess three things I think of when it comes to poses are line of action, straight vs curved, and weight. I’ll use this quick awkward doodle to demonstrate:

You probably know this one if you know animation. Everything in the drawing doesn’t necessarily have to stick to it, but its a good basis for the overall silhouette. Most examples I’ve seen stick to one line, but sometimes I experiment with two if I’m going for a more action-y, dynamic pose. Its best not to go over two (two is risking it) as that would just get too visually confusing.

This one is more for smaller details, such as the arms and legs. Its good if you want to go for a more stylized look, since real life humans never have completely straight lines anywhere on their body. It’s basically contrasting a straight line with a curved one so you get a clearer idea of where the volume is going. Check out this video if you want more info, which is where I referenced from!

An easy one to forget in my experience. A little trick we learnt in life drawing class is that in real life the nose should generally be parallel to where the most weight is, to make it look more balanced. You’ll notice too that the body gets more compressed where the most weight is, ie the left leg here.

Some of my own (colour coded) examples, although I’m still learning to apply these things ~

(Sometimes if the nose doesn’t line up with where the body is leaning, you have to balance it out with the limbs or other body parts. The amethyst one would not work if she wasn’t holding another character on her back)

I recommend looking up these techniques online or in art books as you’re bound to find more in-depth tutorials and examples. But overall I hope this helps!

[americanninjax-deactivated20191]

Background & Movement in TV

Since TV animation tends to have smaller budgets than feature animation, we are often times limited in the kind of animation we can do in terms of backgrounds.  Here are a couple workarounds I have to show movement in a background.  

The first is a tracking shot into cam where our Character is running without gaining away or from cam (but they could if you wanted) The foreground is the ground plane which is just a simple looping set of lines. The BG is actually a static image that would slowly drift down towards the horizon line imitating movement away from the background. 

The second is also a tracking shot where the character is more in profile. This one requires some soft focus and low detail background drawings (usually not a lot, maybe 3 looping images. I only used 2 here but the theory holds.

The last one only requires a single background layout, but we use the camera to imitate action as it pulls out over a static image.

This is all based on my own experience rather than hard rulesets, so you know as usual take it with a grain of salt.

[juliedillon]

Thing I am trying to make myself learn so I’ll stop stressing out so much: 

Just because there are other people out there who could do a better job at any given thing, doesn’t mean you can’t still give it a try. The fact that more talented/skilled people exist doesn’t mean that anything you do will be by comparison worthless/pointless/stupid. Give it a try anyway. So what if you can’t do [skill] the same way as someone else? The world needs lots of different approaches and viewpoints, and everyone has something unique and important to offer. Don’t let your fear of not being as good as others hold you back from participating at all. You’re allowed to jump in and give it a try, too. Besides, you won’t get better if you never actually try it out and do the work. 

[whiteantcrawls]

Bolding is mine, because it bears repeating: “EVERYONE has something unique and important to offer.” Get that? EVERYBODY. If you’re writing fanfics, or drawing, or stitching, or singing and dancing, cosplaying, knitting, making paper flowers—I don’t give a damn what you do. Just do it, because it all has value. Your work has value. 

Your work has value.

[chirart-deactivated20181203]

Warm-ups. FF7, Zack and Aerith.

relationship goals tbh

[paulcastera]

[paulcastera]

[monsterlings]

Safety is important on the river.

[evelmiina]

Some more game sketches. It’s just fun to do color doodles lately, I feel much more relaxed.

Pokémon HG/SS, The Legend of Zelda: Ocarina of Time, Okami.

[bryankonietzko]

It looked something a bit like this on the way home yesterday.

[sarahmarino]

Here’s a matte painting of the entrance to Zeta’s lair I painted for the new season of Shimmer and Shine at @nickanimationstudio! Season 2 premiered this week! Check it out :)!

[allthingseurope]

Deia, Majorca, Spain (by catarinamaria)

[allisonperryart]

Creating a Portfolio for Entertainment Design, Concept Art, and Visual Development

FACEBOOK VERSION

EMAIL: [email protected] | PORTFOLIO: allisonperryart.com

Find me on FaceBook, Instagram, Tumblr, ArtStation, & Twitter @allisonperryart​

DISCLAIMER: While this document is a collection of my observations as a student, teacher, and designer, following these instructions does not guarantee you acceptance into any particular college or company. I wrote it as a syllabus for a college portfolio prep class I teach and thought others might be interested. All images in this document are created by me.

INTRODUCTION TO STORY-TELLING AND WORLD-BUILDING

A good portfolio is a collection of strong work; however, a great portfolio is a collection of strong work with a coherent idea! When it comes to concept art and visual development, colleges (as well as employers) aren’t just looking for the ability to create beautiful illustrations—they’re looking for an ability to build worlds and tell stories. In order to showcase this ability, you will need to think of a story you want to tell and use your portfolio to “pitch” that story and the world it takes place in.

Keep reading

[allthingseurope]

Taormina, Italy (by TuAnh Nguyen) 

[trisketched]

How to Make Your Art Look Nice: Lighting

Think your drawings are lacking that extra “oomph”? Maybe adding a little bit of lighting can help!

_________

The “How to Make Your Art Look Nice” Series

Flow and Rhythm | Thumbnailing | Mindsets | Reference and Style | Color Harmony | Contrast

[fuzzypuppets]

Vis Dev advice from CTNx

This year I was fortunate enough to be able to go to CTNx in Burbank CA. It was a truly incredible experience and I’m already thinking about plans for next year. I took a visual development portfolio with me and got reviewed from everyone I could, so I thought I’d share and spread the wisdom!  These are the big take aways I got from the reviews: * Show something imaginative. A unique voice will win every time. * Show the development process, a finished illustration isn’t really important. * Clearly communicate what you’re trying to describe. Materials and textures should read instantly, otherwise it will always look unfinished. This does NOT necessarily mean it has to be fully rendered though. * Maintain consistency throughout a section, but show variation throughout the book. * Simplify designs when possible. * Seriously, nobody cares about a finished illustration if you’re not planning on being an illustrator. Focus on the development process. Thumbnails, sketches, technical drawings, explorations, composition, color studies, ect. * Not all critiques should be weighted equally, put more stock into the critiques from artists who work where you want to work.  * It’s okay to include simple drawings, and in fact they are often preferred! * If you know what you want to do, make your portfolio only that thing. * Always practice your life drawing ( I heard that one a lot…) The biggest thing to remember for next time will be to always go with questions prepared. It’s impossible for the reviewer to give you the information you’re looking for if you don’t ask for it. Jesse Cowan recommended that next time I ask, “Do you see any patterns in my work that I should try to avoid, or continue to develop?” <- if only I had that ready at the start of the expo.  To those who reviewed me, thank you so much for your advice and encouragement. (It’s going to be the fuel that will get me to next year!) My only regret is that I didn’t ask more people. Call it nerves, or fear, or panel lines (curse you panel lines!) but I just didn’t get to ask many of my favorite artists. Lesson learned. Overall, CTNx was simply wonderful. You have a year to save and prepare, everyone should be going if they can!