Spent the last two days working on this little archery guide in art and writing. Considering the rise in popularity of archers in pop culture this hopefully comes in handy for a bunch of fandoms.
YOU ARE THE REASON
Today's Document

Kiana Khansmith
Sweet Seals For You, Always
todays bird
RMH
Three Goblin Art

Andulka

JBB: An Artblog!

❣ Chile in a Photography ❣
tumblr dot com
AnasAbdin
styofa doing anything

#extradirty
KIROKAZE
Xuebing Du
🪼
taylor price
dirt enthusiast
cherry valley forever

seen from Germany
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@octopiref
Spent the last two days working on this little archery guide in art and writing. Considering the rise in popularity of archers in pop culture this hopefully comes in handy for a bunch of fandoms.
Artist Attitude Problem That You Can Fix Right Now
The Attitude problem: “No one cares about my art.” when it’s said by artists that:
Never post their art/post it super infrequently.
If they do post art? They don’t tag it or have a tag for it.
Don’t have an art blog for it.
Don’t link their work.
Delete their work like, two hours later.
Don’t have links on their blog for the places their work can be seen.
Post at like 3am and only post it to tumblr where it becomes lost in the void.
I hate to tell you this but the reason no one cares? Is because barely anyone is seeing it.
You are basically making art and then cramming it in a drawer and wondering why people don’t come into your room and just know you’re an artist.
And it’s easy to fix. It might not get you thousands of new followers but with time? It can up your chances of people actually seeing the shit you make.
How to fix it:
I should NOT have to say this. I really shouldn’t. But post your work? POST YOUR WORK. POST. YOUR. WORK. I don’t care if it’s an afternoon scribble or a 6 month long labor of love. POST IT.
And post it often (if you can of course. This is one I’m lenient on cause ya’ll obviously have lives outside of Tumblr.)
Make an art blog.
Link said art blog on your main blog as a link in you sidebar and header where it can be seen. Most people won’t take the time to go hunt for your art blog if you just post the link and never mention it again. Make that shit AVAILABLE.
Share that art blog with people. Do you have a Deviantart? Link the art blog! Do you have a Twitter? Link the art blog! That way your followers know, consistently, that it’s you on all of those accounts and not just someone that shares your username!
If you don’t make an art blog? Have a tag for your art and link that sucker in your header/sidebar.
Reblog art from your art blog to your main blog. No, you’re not bothering anyone. You are advertising. If some of your followers got an issue with that? Then they’re not respecting you or your work.
TAG. YOUR. WORK. The first five tags count and your work will show up in those tags. Choose wisely.
Don’t delete because you’ve not gotten a lot of notes. Don’t quit on yourself like that. Okay, look, I made a post 2 years ago that recently skyrocketed to 15k notes. Sometimes the right person just hasn’t seen it yet. Leave that shit up!
Posting at 3am? Worried no one will see it? Schedule that shit to post later!
Don’t constantly check for notes. That will drive you crazy. Do other stuff, have a drink, walk your dog, draw more stuff, whatever you want to do. Come back and check it later on.
Don’t let yourself be the reason you work is not seen! Get out of your own way! Work to give your art it’s own spotlight so people can find it instead of burying it in a sea of memes and cute animal posts.
Because trust me, as someone that regularly goes looking at the blogs of people who make these claims? It’s really frustrating when I see you bitchin but I can’t find your work anywhere. I WANT to give you a spotlight. I WANT to share what you’re making. But if you hide it I can’t do that for you! Let people see the beautiful things you make!
Trying to draw buildings
yo here’s a useful tip from your fellow art ho cynellis… use google sketchup to create a model of the room/building/town you’re trying to draw… then take a screenshot & use it as a reference! It’s simple & fun!
Sketchup is incredibly helpful. I can’t recommend it enough.
There’s a 3D model warehouse where you can download all kinds of stuff so you don’t have to build everything from scratch.
reblog to save a life
This is an incomplete tutorial, and it drives me crazy every time I see it come around.
We live in a pretty great digital age and we have access to a ton of amazing tools that artists in past generations couldn’t even dream of, but a lot of people look at a cool trick and only learn half of the process of using it.
Here’s the missing part of this tutorial:
How do you populate your backgrounds?
Well, here’s the answer:
If the focus is the environment, you must show a person in relation to that environment.
The examples above are great because they show how to use the software itself, but each one just kind of “plops” the character in front of their finished product with no regard of the person’s relation to their environment.
How do you fix this?
Well, here’s the simplest solution:
This is a popular trick used by professional storyboard and comic artists alike when they’re quickly planning compositions. It’s simple and it requires you to do some planning before you sit down to crank out that polished, final version of your work, but it will be the difference between a background and an environment.
From Blacksad (artist: Juanjo Guarnido)
From Hellboy (Mike Mignola)
Even if your draftsmanship isn’t that great (like mine), people can be more immersed in the story you tell if you just make it feel like there is a world that exists completely separate from the one in which they currently reside – not just making a backdrop the characters stand in front of.
Your creations live in a unique world, and it is as much a character as any other member of the cast. Make it as believable as they are.
Great comments and tutorials!
I’m a 3d artist and have been exploring the possibilities of using 3d as reference for 2d poses. I want to add a couple of tips and things!
Sketchup is very useful for environment references, and I assume it’s reasonably easy to learn. If you’re interested in going above and beyond, I highly recommend learning a proper 3d modeling program to help with art, especially because you can very easily populate a scene or location with characters!
Using 3ds Max I can pretty quickly construct an environment for reference. But going beyond that, I can also pose a pretty simple ‘CAT’ armature (known in 3d as a rig) straight into the scene, which can be totally customized, from various limbs, tails, wings, whatever, to proportions, and also can be modeled onto and expanded upon (for an example, you could 3d sculpt a head reference for your character and then attach it to the CAT rig, so you have a reference for complex face angles!)
The armature can also be posed incredibly easily. I know programs exist for stuff like this - Manga Studio, Design Doll - but posing characters in these programs is always an exercise in frustration and very fiddly imo. A simple 3d rig is impossibly easy to pose.
By creating an environment and dropping my character rig into it, I have an excellent point of reference when it comes to drawing the scene!
Not only that, but I can also view the scene from whatever angle I could ever want or need, including the character and their pose/position relative to the environment.
We can even quickly and easily expand this scene to include more characters!
Proper 3d modeling software is immensely powerful, and if you wanted to, you could model a complex environment that occurs regularly in your comic or illustration work (say, a castle interior, or an outdoor forest environment) and populate the scene with as many perspective-grounded characters as you need!
reblogging to save a life
!!!!!!!!!!!!!!
Look at this amazing addition! This is fantastic!
I know you guys have probably seen this gif for like a hundred times BUT did you noticed that Jiang Wen is the one holding the umbrella, for Donnie and Donnie only.
My 3 Unfortunately-Secret Programs for Illustrators
There are a few programs I use on an almost daily basis as an artist and illustrator which I find invaluable, but that seem to be unfortunately more secret than they deserve to be. Which is too bad, because they solve a lot of small workflow problems that I think a number of people would find useful!
I’ll keep this list limited to my big three, but it is organized in order of usefulness. (And incidentally of compatibility, as the latter two are Windows-only. Sorry! Please do still check out PureRef though, Mac users.)
1. PureRef
PureRef is a program specifically designed to make it easier to view, sort, and work with your references. I actually put off downloading it initially because it seemed redundant– couldn’t I just paste the refs into my PSD files? Indeed, the only real barrier to working with PureRef is that learning the keyboard shortcuts and the clicks to move around the program takes a little while. But getting over that hump is well worth it, because it has some distinct advantages over trying to organize your refs in your actual art program.
Firstly, you’re no longer bogging down your actual PSD file with extra layers, nor having to fight with said layers at all– PureRef has no layer panel, so you never have to scramble to grab the right one. All images you paste into the program retain their original resolution data, so you can resize, rotate, crop, etc as needed without distortion. If you find yourself needing to adjust the values, color, etc of a ref image, you can just copy paste it into Photoshop, make your adjustments, and copy paste it back into PureRef.
The other great advantage is that you can toggle the program as ‘Stay On Top’ and keep it above Photoshop (or whatever else)– which was always a problem when trying to make a reference collage in a separate PSD file. I find that I just don’t look at my references as much as I should when they are on a second monitor, and this solves that problem.
I’ve used it religiously for about a year now, creating a new PureRef file for every illustration I do, as well as a few for specific characters, cultures, or settings in personal projects. As you can see in the example above, I like to sort my images into little clusters or ‘islands’ of specific content, so that I can easily scroll out to see the entire reference map, then zoom in to the relevant cluster easily.
There is one big tip I would suggest for using this program, if you have the harddrive space: As soon as you get it, turn on the ‘Embed local images in save file’ option. This will make your PureRef files bigger, but you’ll never have to deal with a ‘broken link’ if you move around the source files you originally dragged in.
2. Work Timer
This is such a simple little app that it doesn’t have a very formal name, though I think of it as ‘Work’ or ‘Work Work’ (for some reason.) It’s a timer that counts when your cursor is active in any (of up to 3) program you set it to count for, and stops counting when you change programs or idle. No starting, pausing, stopping, or forgetting to do any of those three things.
I use this one to accurately track my hours, both to inform myself and for commissions or other client work. At the end of a work session, I take the hours counted and add them to the hours I’ve already spent on that image in a spreadsheet.
I have it set to count my three art programs (Photoshop, Painter, and Manga Studio), so based on the settings I use, it doesn’t count time that I spend doing relevant work in my browser (such as looking up an email to double check character descriptions or ref hunting), so to counter that, I set the ‘Timeout’ option in it’s menu to 360. This means it will count to 360 seconds of cursor inactivity before it considers me idle and stops counting. Since it instantly stops counting if you switch to ‘non-work’ a program, I figure this extra time just about cancels out relevant time that it ignores in ‘non-work’ programs by counting an extra minute or so when I walk away from the computer to grab some water or what-have-you.
3. Carapace
I use Carapace the least of these three, since my work doesn’t often have a need for creating perspective lines. But when there is architecture involved in something, this proves invaluable in simplifying that process.
Carapace lets you copy paste an image into it, and then drop in vanishing points and move them around to create perspective lines. (Though you’ll want to scale down your full res drawing or painting a bit to avoid lagging the program.) Like with PureRef, fighting the shortcuts is the worst part of it, though for myself it’s more of an issue in this program because I don’t use it often enough to remember them. Still, it gets the job done, and it’s easy to adjust the points to feel things out until you get them ‘right’. Then you just copy and paste the grid back into your art program and you’ve got that information to use as need be on its own layer.
Of course, using Carapace isn’t a replacement for actually knowing how perspective works– you still have to have a sense of how far apart the vanishing points should be placed to keep things feeling believable. But it sure does save you a lot of trouble once you do have that knowledge.
So, there are my big three recommendations for programs to help your art workflow. I hope people find them useful– if you do, please share so that they climb a little higher out of their unwarranted obscurity! And if you’ve got a favorite tool like this that I didn’t cover, feel free to share it in the comments. I know I’m curious to see what else is out there, too. Also, if Mac users have any suggestions for programs that fill similar functions, feel free to share there as well!
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busket:
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lavisant:
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skintone palettes
Oh hell yes
th-thank you Tumblr
yesss :A:
for any artists following me
i recently deleted all my photoshop swatches on accident and had to go back to the default with no skintones so yES I WILL MAKE IT BETTER THAN BEFORE
I've been thinking about this for a while, but how effective is full plate armour? Was it actually a good way to defend yourself?
Short Answer: Yes.
Here’s a general rule: People in the past were ignorant about a lot of things, but they weren’t stupid. If they used something, chances are they had a good reason. There are exceptions, but plate armor is not one of them.
Long Answer:
For a type of armor, no matter what it is, to be considered effective, it has to meet three criteria.
The three criteria are: Economic Efficiency, Protectiveness, and Mobility.
1. Is it Economically Efficient?
Because of the nature of society in the Middle Ages, what with equipment being largely bring-it-yourself when it came to anybody besides arrowfodder infantry who’d been given one week of training, economic efficiency was a problem for the first couple of decades after plate armor was introduced in France in the 1360s. It wasn’t easy to make, and there wasn’t really a ‘science’ to it yet, so only the wealthiest of French soldiers, meaning knights and above, had it; unless of course somebody stole it off a dead French noble. The Hundred Years War was in full swing at the time, and the French were losing badly to the English and their powerful longbows, so there were plenty of dead French nobles and knights to go around. That plate armor was not very economically efficient for you unless you were a rich man, though, it also was not exactly what we would call “full” plate armor.
Above: Early plate armor, like that used by knights and above during the later 1300s and early 1400s.
Above: Two examples of what most people mean when they say “full” plate armor, which would have been seen in the mid to late 1400s and early 1500s.
Disclaimer: These are just examples. No two suits of armor were the same because they weren’t mass-produced, and there was not really a year when everybody decided to all switch to the next evolution of plate armor. In fact it would not be improbably to see all three of these suits on the same battlefield, as expensive armor was often passed down from father to son and used for many decades.
Just like any new technology, however, as production methods improved, the product got cheaper.
Above: The Battle of Barnet, 1471, in which everybody had plate armor because it’s affordable by then.
So if we’re talking about the mid to late 1400s, which is when our modern image of the “knight in shining armor” sort of comes from, then yes, “full” plate armor is economically efficient. It still wasn’t cheap, but neither are modern day cars, and yet they’re everywhere. Also similar to cars, plate armor is durable enough to be passed down in families for generations, and after the Hundred Years War ended in 1453, there was a lot of used military equipment on sale for cheap.
2. Is it Protective?
This is a hard question to answer, particularly because no armor is perfect, and as soon as a new, seemingly ‘perfect’ type of armor appears, weapons and techniques adapt to kill the wearer anyway, and the other way around. Early plate armor was invented as a response to the extreme armor-piercing ability of the English longbow, the armor-piercing ability of a new kind of crossbow, and advancements in arrowhead technology.
Above: The old kind of arrowhead, ineffective against most armor.
Above: The new kind of arrowhead, very effective at piercing chainmaille and able to pierce plate armor if launched with enough power.
Above: An arrow shot from a “short” bow with the armor-piercing tip(I think it’s called a bodkin tip) piercing a shirt of chainmaille. However, the target likely would have survived since soldiers wore protective layers of padding underneath their armor, so if the arrow penetrated skin at all, it wasn’t deep. That’s Terry Jones in the background.
Above: A crossbow bolt with the armor piercing tip penetrating deep through the same shirt of chainmaille. The target would likely not survive.
Above: A crossbow bolt from the same crossbow glancing off a breastplate, demonstrating that it was in fact an improvement over wearing just chainmaille.
Unfortunately it didn’t help at all against the powerful English longbows at close range, but credit to the French for trying. It did at least help against weaker bows.
Now for melee weapons.
It didn’t take long for weapons to evolve to fight this new armor, but rarely was it by way of piercing through it. It was really more so that the same weapons were now being used in new ways to get around the armor.
Above: It’s a popular myth that Medieval swords were dull, but they still couldn’t cut through plate armor, nor could they thrust through it. Your weapon would break before the armor would. Most straight swords could, however, thrust through chainmaille and anything weaker.
There were three general answers to this problem:
1. Be more precise, and thrust through the weak points.
Above: The weak points of a suit of armor. Most of these points would have been covered by chainmaille, leather, thick cloth, or all three, but a sword can thrust through all three so it doesn’t matter.
To achieve the kind of thrusting accuracy needed to penetrate these small gaps, knights would often grip the blade of their sword with one hand and keep the other hand on the grip. This technique was called “half-swording”, and you could lose a finger if you don’t do it right, so don’t try it at home unless you have a thick leather glove to protect you, as most knights did, but it can also be done bare-handed.
Above: Examples of half-swording.
2. Just hit the armor so fucking hard that the force carries through and potentially breaks bones underneath.
Specialty weapons were made for this, but we’ll get to them in a minute. For now I’m still focusing on swords because I like how versatile the European longsword is.
Above: A longsword. They’re made for two-handed use, but they’re light enough to be used effectively in one hand if you’d like to have a shield or your other arm has been injured. Longswords are typically about 75% of the height of their wielders.
Assuming you’re holding the sword pointing towards the sky, the part just above the grip is called the crossguard, and the part just below the grip is called the pommel. If you hold the sword upside-down by the blade, using the same careful gripping techniques as with half-swording, you can strike with either the crossguard or the pommel, effectively turning the sword into a warhammer. This technique was called the Murder Stroke, and direct hits could easily dent plate armor, and leave the man inside bruised, concussed, or with a broken bone.
Above: The Murder Stroke as seen in a Medieval swordfighting manual.
Regular maces, hammers, and other blunt weapons were equally effective if you could get a hard enough hit in without leaving yourself open, but they all suffered from part of the plate armor’s intelligent design. Nearly every part of it was smooth and/or rounded, meaning that it’s very easy for blows to ‘slide’ off, which wastes a lot of their power. This makes it very hard to get a ‘direct’ hit.
Here come the specialized weapons to save the day.
Above: A lucerne, or claw hammer. It’s just one of the specialized weapons, but it encompasses all their shared traits so I’m going to only list it.
These could be one-handed, two-handed, or long polearms, but the general idea was the same. Either crack bones beneath armor with the left part, or penetrate plate armor with the right part. The left part has four ‘prongs’ so that it can ‘grip’ smooth plate armor and keep its force when it hits without glancing off. On the right side it as a super sturdy ‘pick’, which is about the only thing that can penetrate the plate armor itself. On top it has a sharp tip that’s useful for fighting more lightly armored opponents.
3. Force them to the ground and stab them through the visor with a dagger.
This one is pretty self-explanatory. Many conflicts between two armored knights would turn into a wrestling match. Whoever could get the other on the ground had a huge advantage, and could finish his opponent, or force him to surrender, with a dagger.
By now you might be thinking “Dang, full plate armor has a lot of weaknesses, so how can it be called good armor?”
The answer is because, like all armor is supposed to do, it minimizes your target area. If armor is such that your enemy either needs to risk cutting their fingers to target extremely small weak points, bring a specialized weapons designed specifically for your armor, or wrestle you to the ground to defeat you, that’s some damn good armor. So yes, it will protect you pretty well.
Above: The red areas represent the weak points of a man not wearing armor.
Also, before I move on to Mobility, I’m going to talk briefly about a pet-peeve of mine: Boob-plates.
If you’re writing a fantasy book, movie, or video game, and you want it to be realistically themed, don’t give the women boob-shaped armor. It wasn’t done historically even in the few cases when women wore plate armor, and that’s because it isn’t as protective as a smooth, rounded breastplate like you see men wearing. A hit with any weapon between the two ‘boobs’ will hit with its full force rather than glancing off, and that’ll hurt. If you’re not going for a realistic feel, then do whatever you want. Just my advice.
Above: Joan of Arc, wearing properly protective armor.
An exception to this is in ancient times. Female gladiators sometimes wore boob-shaped armor because that was for entertainment and nobody cared if they lived or died. Same with male gladiators. There was also armor shaped like male chests in ancient times, but because men are more flat-chested than women, this caused less of a problem. Smooth, rounded breastplates are still superior, though.
3. Does it allow the wearer to keep his or her freedom of movement?
Okay, I’ve been writing this for like four hours, so thankfully this is the simplest question to answer. There’s a modern myth that plate armor weighed like 700 lbs, and that knights could barely move in it at all, but that isn’t true. On a suit of plate armor from the mid to late 1400s or early 1500s, all the joints are hinged in such a way that they don’t impede your movement very much at all.
The whole suit, including every individual plate, the chainmaille underneath the plates, the thick cloth or leather underneath the chainmaille, and your clothes and underwear all together usually weighed about 45-55 lbs, and because the weight was distributed evenly across your whole body, you’d hardly feel the weight at all. Much heavier suits of armor that did effectively ‘lock’ the wearer in place did exist, but they never saw battlefield use. Instead, they were for showing off at parades and for jousting. Jousting armor was always heavier, thicker, and more stiffly jointed than battlefield armor because the knight only needed to move certain parts of his body, plus being thrown off a horse by a lance–even a wooden one that’s not meant to kill–has a very, very high risk of injury.
Here’s a bunch of .gifs of a guy demonstrating that you can move pretty freely in plate armor.
Above: Can you move in it? Yes.
Here are links to the videos that I made these .gifs from:
https://www.youtube.com/watch?v=vi757-7XD94
https://www.youtube.com/watch?v=NhWFQtzM4r0
https://www.youtube.com/watch?v=5hlIUrd7d1Q
Tom Hiddleston for W Magazine. Photos by Mona Kuhn, styled by Patrick Mackie.
Attention ALL artists!
You sure have seen this post. It has spread like wildfire over the past few days so I doubt there is any artist out there who hasn’t seen it. But even if you didn’t, you should read on because I’m about to tell you a handy little thing that can help you to protect your art from such assholes as the anon who submitted this bullcrap, as well as art thieves in general.
The magic word is Metadata.
Metadata is like an invisible signature that is embeded into a file. It can contain all kinds of information, like Title, date, keywords for online seach engines, and copyright information. And the best thing is, since this information is “hidden” in the code of your picture, it’s hard to remove it.
There is a nice basic tutorial on how to add Metadata, or “additional file information” to your images in photoshop. It’s really, really easy so check it out!
“Adding Your Contact And Copyright Info To Your Photos With Photoshop” on PhotoshopEssentials.com
I’m not sure if you can do the same with any other art program. If you know how to do this in other programs / can confirm that it works the same way there, please tell me so I can add the information to this post.
Adding the Metadata will not stop idiots from taking and reposting your art. It also won’t make them stop editing out your signature. It WILL however, help you prove that you are the original artist whenever you have to. Always remember my friends. You, the artist, are protected by law. No one has the right to take your intellectual property and hard work and repost, use or edit it without your permission. Ever.
OP is talking about something images can store called EXIF data which tumblr can actually parse and that most image tools preserve no matter how much the image gets edited. Tumblr shows camera-related exif data as the little “i” on the bottom of images and not much else will show besides camera-related data(Author or Image Description fields aren’t immediately shown) but you can edit the camera name and model to source your art if it ever gets reposted to tumblr. This only works on JPG images. Right click your image and go to properties and go to the details tab and edit the camera-related exif metadata and it will show up when uploaded to tumblr. Even if the image was to be edited in photoshop or whatever.
Not sure if Mac users can do this as a native feature but they can use this [http://thexifer.net/]
Daredevil Countdown: 26 Days
Daredevil VS Punisher Reading Recommendations
If we know anything about the upcoming season of Netflix’s Daredevil, it is that Matt Murdock and Frank Castle will be doing a lot of fighting. In preparation for this, here is our list of recommended reading for anyone wanting to familiarize themself with Daredevil and the Punisher’s tumultuous history in the comics. We’ve included a few genuine team-ups on here as well, just for some variety, as those are often even more interesting than the punching.
Daredevil vol. 1 #183-184: Matt and Frank’s very first encounter, in which they clash over how to handle a criminal who is giving drugs to children.
Daredevil vol. 1 #257: Another major fight between Matt and Frank over the fate of a criminal they are both pursuing– with some interesting color commentary on the situation from the criminal’s point-of-view.
Punisher War Journal (1988) #1-3: Frank tries to take down one of the people involved in the murder of his family, while preventing the man’s son from taking justice into his own hands. Matt, meanwhile, cannot mind his own business. A great look at their relationship from Frank’s perspective.
Daredevil vol. 1 #292-293 (not digitized): Matt VS Frank VS Taskmaster and Tombstone.
Daredevil VS Punisher: The title says it all. Matt and Frank get in each other’s way in dealing with a local gang leader.
The Punisher (2000) #3 (”Welcome Back, Frank”): The promotional material for Season 2 has been heavily referencing this particular encounter. Frank takes some extreme measures to get Matt to understand his point-of-view.
Daredevil vol. 2 #82-87 (”The Devil in Cell Block D”): One of the absolute best instances of Matt and Frank teaming up. Frank gets himself arrested to provide Matt with some much-needed moral support during his hellish stay in prison.
”The Omega Effect” (Avenging Spider-Man #6, The Punisher #10, Daredevil vol. 3 #11): A three-issue crossover event, in which Matt, the two Punishers, and Spider-Man face down all of Megacrime. Matt tries to teach the new Punisher, Rachel Cole-Alves, some of the lessons that he has failed to instill in Frank over the years.
Ultimate Marvel Team-Up #7-8: This takes place in the Ultimates universe, so Frank’s background is slightly different (he is an ex-cop, instead of a war veteran). Frank goes after the man who killed his family. Matt tries to stop him.
Powerless: In an alternate universe without superheroes, non-superpowered Matt ends up in a battle of wills against the Kingpin when he tries to prevent Frank from being convicted of a murder he did not commit. This is not specifically a Daredevil or Punisher comic, but their plotline is so interesting that we would have felt bad not including it on this list.
The Punisher Kills the Marvel Universe: This is an extremely painful, fascinating alternate universe Punisher story. Frank Castle’s family is caught in the crossfire of a superhero battle (instead of being killed by mobsters), and he has his revenge by attempting to hunt down and kill every superhero. Matt, who in this universe has known Frank since childhood, tries to talk him out of it. This is the most violent and potentially disturbing title on this list, so be warned.
How I draw hands
Nobody asked for this, lol. Here we go.
Loads of new 360 Anatomy reference.. High res images on our blog. http://www.anatomy360.info/anatomy-scan-reference-dump/
Just a few thoughts on eyes that might help when designing or animating. Though as the adage goes ,there are no rules , just tools ! (at Walt Disney TV Animation)
Some people asked me if I can help them draw Steven Universe characters and how I went about it. Here’s a bunch of tips on how to draw them!
Sorry I didn’t have enough room to include other characters but I hope this is useful!
[pixiv] [part 2]
Rocketbook Wave is a cloud connected notebook. more information here
You hit ‘em and they get back up. I hit 'em and they STAY down! - The Punisher/Frank Castle