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trying on a metaphor
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Cosimo Galluzzi
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Aqua Utopia｜海の底で記憶を紡ぐ
titsay
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@pepsiarchive
Hello, friends!
I reworked the ol' "Schweizer Guide to Spotting Tangents" lecture from my comics-teaching days, figured I'd share it here. If you want a free, printable PDF for yourself or to share (especially if you're an educator), you can find it at the bottom of this same lesson on my website.
-Chris
I was asked by a friend yesterday if I could offer basic tips about comic paneling. As it turns out, I have a lot to say on the matter! I tried breaking down the art of paneling using the principles of art and design, and I hope it helps you out!
“small thread on drawing plus sized characters!”
Source: Ullaiin on Twitter
Something I try to keep in mind when making art that looks vintage is keeping a limited color pallette. Digital art gives you a very wide, Crisp scope of colors, whereas traditional art-- especially older traditional art-- had a very limited and sometimes dulled use of color.
This is a modern riso ink swatch, but still you find a similar and limited selection of colors to mix with. (Mixing digitally as to emulate the layering of ink riso would be coloring on Multiply, and layering on top of eachother 👉)
If you find some old prints, take a closer look and see if you can tell what colors they used and which ones they layered... a lot of the time you'll find yellow as a base!
Misprints can really reveal what colors were used and where, I love misprints...
Something else I keep in the back of my mind is: how the human eye perceives color on paper vs. a screen. Ink and paint soaks into paper, it bleeds, stains, fades over time, smears, ect... the history of a piece can show in physical wear. What kind of history do you want to emulate? Misprinted? Stained? Kept as clean as possible, but unable to escape the bluing damages of the sun? It's one of my favorite things about making vintage art. Making it imperfect!
You can see the bleed, the wobble of the lines on the rug, the fading, the dirt... beautiful!!
Thinking in terms of traditional-method art while drawing digital can help open avenues to achieving that genuine, vintage look!
ALSO!!
YELLOWING!! Digital art is very blue-light based. Cold, clean, flat. But traditional art has warmth to it. Why?
Over time, paper gets yellowed with dust, oil, dirt, and nicotine from cigarettes! So colors got warmer. This makes art look pretty aged, on top of the slight toned papers and hand made/factory made inks they printed with.
A guide to designing wheelchair using characters!
I hope this helps anyone who's trying to design their oc using a wheelchair, it's not a complete guide but I tried my best! deffo do more research if you're writing them as a character
It's the last brush drop of the year: the Extra Border Trim Brush Pack is live and alive (and free!) over on Patreon.
For posterity, here's a roundup of all this year's freebie brushes:
Border Trim Brush Pack | Flying Flags Brush Pack | More Daggers Brush Pack | Beads & Bracelets Brush Pack | Bloody Bloody Brushes Pack | Starry 🌟 Firey 🔥 Bubbly 🫧 Effect Pack | Texture & Clothing Decorations Pack | Tails Tails Tails Pack | Galactic Brushes | Super Bokeh Brushes | Rainbow Burst Brushes | Shiny Sparkly Jewelry Pack | Grunge Brushes (Krita) | Valentine's Lace Brush Pack | Twiggy Patterns & Brushes | The Pack With Cracks
being a self-taught artist with no formal training is having done art seriously since you were a young teenager and only finding out that you’re supposed to do warm up sketches every time you’re about to work on serious art when you’re fuckin twenty-five
someone: oh yeah, do this exercise during your warm ups! it’ll help
me: my what
What’s up I have an actual college degree in art and I was never ONCE taught to do warm ups.
when i was in undergrad, it was kind of mentioned in and offhand way that we should do warmups, but we were never shown what that meant. And, y’know, we were young so it didn’t matter so much.
Being older now and having an art job it’s…kind of essential.
So: a quick primer for those of you who are like ‘ok but how do i actually go about doing this warmup thing.’
1) you may be tempted to do ‘a warmup drawing’ which is just a drawing that will take longer than it needed to and probably be frustrating and kind of bad because you didn’t warm up first. It’s tempting but always a trick your brain is playing on you! Do not trust!
2) warmups will vary based on what feels good to you/what task you’re about to do/what motor skills you want to practice. That being said, some good standbys:
a) circles. Just a whole page of circles on whatever drawing surface you’re going to be using, whether that’s your tablet or your sketchbook or a drawing pad on an easel. For these circles you should make sure that you’re drawing from your shoulder and not your wrist. In fact, you want to be drawing from your shoulder rather than your wrist most of the time! forever! your wrist is delicate please preserve it!
In order to ensure that you’re drawing from your shoulder, when you’re holding your pencil or whatever drawing tool you’re using, the only part of your hand that should be touching the drawing surface is part of the last two fingers–some people prefer the finger tips, but I tend to favor the first knuckles. Either way, the fingers should really be ghosting over the surface, providing guidance rather than support.
I usually start with big circles and then go to smaller circles and lines of ellipses, and then try to fit circles and ellipses inside other shapes i’ve already drawn as a precision exercise, but i don’t do that unless i’m feeling loose
b) spirals! i don’t always do spirals, but if i’m stiff and the circles just aren’t cutting it, spirals are a good fall back. I start from the center and work outward, going both clockwise and counterclockwise until i feel comfortable with the whole range of motion. Some people really care about getting perfect spirals but for me it’s all about making sure i’m comfortable with how i’m moving so who really even cares about how the spirals look. Not me!
c) lines! straight lines! in parallel! i do a mix of vertical, horizontal, and diagonal. These are often more from the elbow than the shoulder, especially if I’m working on a smaller surface. For this exercise, I recommend holding the drawing tool perpendicular with the surface
d) connect the dots. This is a precision and accuracy exercise and takes two forms. The first is to draw two dots and then draw a straight line between them. The second is to draw three dots and draw the curve that connects them. This sounds a lot simpler than it is in practice. Take time to ghost over the line you plan to draw before actually committing to your line. (I don’t always remember where I picked up my warm up exercises, but I’m pretty sure I got this one from Scott Robertson. His how to draw and how to render books are very technical but also accessible and worth checking out)
e) cubes, spheres, cones, and cylinders. These help get your brain into a more volumetric space. I draw multiples of each, rotating the forms around, and I’ll often take the time to do some rough shading on at least a few of them
f) spidermans! This one is really good if you’re going to be storyboarding or working on dynamic poses. Just fill a page full of spidermans doing all sorts of acrobatics.
g) beans. I don’t do beans too much anymore, but I know a lot of people like it so I’m mentioning it here. Fill an area with different size bean shapes without lifting your pencil off the paper.
h) short medium and long line repetition. draw a short, medium, and long line on your page, and then draw directly on top of them 8 to 12 times, doing your best to exactly trace what you’ve already drawing. Repeat with a wavy line. I’m bad at this one, which means I probably need to do it more.
And there are lots more options too! Hit up youtube to see what other people recommend, put together your own go-to list, mix it up when you’re getting bored, etc.
This is a long list, I know, but I usually don’t take more than 10 to 15 minutes to warm up, and I can warm up one handed while I’m drinking coffee, so, multitasking hurrah.
Sometimes I’ll advance to a precision warmup and find that I haven’t loosened up enough yet; it’s totally ok to go back to an earlier exercise! Also, all of this has the added benefit of kind of ritualistically getting you into the drawing mode so even if I’m not feeling it before I start, by the time I’ve gotten to the end I’m usually Ready For Drawin’. Brain hacks.
so, yeah! that’s a lot of words, but! Warmups are important! Save your joints, take less advil, do better drawings!
How on earth are you supposed to draw from a sholder? might as well tell me to draw from the foot. It makes no sense
https://youtu.be/pMC0Cx3Uk84
https://youtu.be/NBE-RTFkXDk
:3
Reblogging to save a wrist
hello gamers i made a second, cooler art blog
I have officially closed the kofi membership, at least for now, so… nothing holding me back from sharing the chibi tutorials (so far, I'm going to be updating it in the future~) 🤗 ENJOY! INTRO
PEA CHIBI
BEAN CHIBI
(tbc...)
Everyone liked the color charts I test printed for Basilisk so much, I felt compelled made a nice version! Great for anyone that has an interest in Risograph printing, historical pigments, or weird medieval marginalia.
(buy it here)
HELLO I am deeply n irrevocably in love w ur art I was just wondering if you have any colouring/choosing colour palettes tips ? Hearthands
thank you sm!! i really adore color theory its like a mean wife to me. the way shes my everything but she never collaborates. anyway i made a little diagram. kindly note this is just how i taught myself color theory:
im not fond of pre-choosing a color palette mainly because im not sure where to place the colors, so in my head i determine what colors i want and shift them to match the background. this is usually why you can see most of my sketches having a tan bg - id rather have some color to affect my palettes rather than a plain white. its also easier on the eyes
to summarize: "i want an orange against this purple background" 1) pick an orange 2) shift it a little towards purple on the color wheel (this would put it in the red area) 3) is it too bright? darken it 4) is it eyestrainy? desaturate&darken it 5) still looks out of place? shift it more towards purple. heres the process in effect:
so much trial and error. i also use csps hue + color filters to shortcut this very often
Something I try to keep in mind when making art that looks vintage is keeping a limited color pallette. Digital art gives you a very wide, Crisp scope of colors, whereas traditional art-- especially older traditional art-- had a very limited and sometimes dulled use of color.
This is a modern riso ink swatch, but still you find a similar and limited selection of colors to mix with. (Mixing digitally as to emulate the layering of ink riso would be coloring on Multiply, and layering on top of eachother 👉)
If you find some old prints, take a closer look and see if you can tell what colors they used and which ones they layered... a lot of the time you'll find yellow as a base!
Misprints can really reveal what colors were used and where, I love misprints...
Something else I keep in the back of my mind is: how the human eye perceives color on paper vs. a screen. Ink and paint soaks into paper, it bleeds, stains, fades over time, smears, ect... the history of a piece can show in physical wear. What kind of history do you want to emulate? Misprinted? Stained? Kept as clean as possible, but unable to escape the bluing damages of the sun? It's one of my favorite things about making vintage art. Making it imperfect!
You can see the bleed, the wobble of the lines on the rug, the fading, the dirt... beautiful!!
Thinking in terms of traditional-method art while drawing digital can help open avenues to achieving that genuine, vintage look!
More art tutorials by Disney artists Griz and Norm Lemay
So it occurred to me that ‘grawlix’ is sort of an obscure and specialized word, but what I didn’t know until I was googling around just now is that it was actually invented by cartoonist Mort Walker in his 1980 book The Lexicon of Comicana, in which he categorizes (and invents terminology for) all kinds of visual cues and shorthand commonly used in comics
In other news, this is now right up there with The Meaning of Liff as ‘books of made up words I desperately need to own”
Important
heck yeah
It’s “never again” time
Was trying to figure out how folks could understand studying art more 🤔
I wrote more stuff down for patrons!
Posting part of it here tho cuz ik Tumblr rly likes my tutorial stuff 🫶
Hello!
I was recently inspired to draw an astronaut (specifically in the Apollo 11 Spacewalk suit) but since can’t draw astronauts or human anatomy in general I had to give up. My point being, do you have any tips on how the draw astronauts? Btw I really love your art! You’re one of the first few people I followed on tumblr!
Aw thanks! First off:
Drawing is just making marks. If you can make the marks you want and you know where you want to make them, there's nothing that you can't draw.
Sorry that's not very astronaut-specific, but the way I think about it there's not much difference between drawing an astronaut and drawing, say, a steam train. It's all the same process of studying the real thing to understand first its basic forms and proportions and then its more complex details and then applying that knowledge. The more you understand something, the easier it becomes to play with it.
If you want to draw humans and humanoid things, start by studying the scaffolding, how the bones connect to each other, how they move, and what their relative sizes are. Don't worry about replicating the literal appearance of every bone, just think of it like a stick figure with a box for the ribcage and a box for the pelvis. Then you can layer muscle groups on top of that, skin overtop of muscles, and clothes and astronaut suits on top of it all. Will Weston's figure drawings are my favorite to study for this kind of thing.
There's basically nothing that's off limits when it comes to studying. You can draw from life, draw from a photo, trace the basic shapes on top of photos to get a feel for the proportions, draw from another artist's drawing, etc. It's generally best not to post stuff you trace or otherwise copy (and definitely don't claim it as your own) but it's all fair game for learning. The only thing that won't help you learn is drawing without any reference, since you won't have anything to evaluate your drawings by to see what you're doing right or wrong.
If it helps, here's some stuff I think about when I'm drawing my astronauts:
