Kaledo Art
Janaina Medeiros
Sweet Seals For You, Always
Stranger Things
sheepfilms
No title available
2025 on Tumblr: Trends That Defined the Year
Show & Tell
Mike Driver
Lint Roller? I Barely Know Her
Xuebing Du
No title available
Misplaced Lens Cap
ojovivo
No title available
JBB: An Artblog!
Sade Olutola
Monterey Bay Aquarium
RMH
Keni
seen from Ireland
seen from United States
seen from Indonesia
seen from Italy
seen from Italy
seen from Israel
seen from United States
seen from United States
seen from Argentina
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
@silicon-pickpocket
Any of you motherglubbers still here?
I've been gone for like. What. 8 years? Major life changes. I miss doing AskBlog stuff... after the Twitter-splosion it looks like a lot of people will be coming back here! So. Just curious. Let me know how you're doing! xoxoxo And should I start posting my new art here, even though it's not Homestuck?
Mischief - The Sketching/Art software that acts like a regular raster-based painting software, but with infinite vector scaling! [x]
External image
UM LET ME ADD SOME EXTRA INFORMATION. THERE IS A FREE VERSION. IT DOESN’t HAVE LAYERS, BUT IT’S VERY USEABLE AND COMPLETE. AND THE FULL VERSION ONLY COSTS $25 I CANNOT BELIEVE THIS
No more melted tomblerones or mising skulls, yyeann!
This is my basic process for pretty much everything I draw. The key is understanding the shape of the garment you’re trying to draw and the shape of the body part you’re putting it on.
Drawing the body first forces you to make the shoe, hat, or clothes fit that body. With practice you’ll be able to skip some steps. This method works the same no matter the perspective or pose. It just relies on your knowledge of what a hat looks like from above, or what the bottom of a shoe looks like. When in doubt, just google refs. Don’t necessarily need the exact angle you’re trying to draw. Look at different pics to give you an idea of how it works in 3d.
Shoes are always a bit tricky because feet are a stupid ass shape.
It might help if you think of hats as a cylinder fitted to the person’s head to help you get the perspective right before you push in detail. note: heads aren’t circles. they’re kind of egg shaped if you look at them from the top.
An Important Message to Aspiring Comic Artists!
Just to let you know… there is a webcomic called OnePunch Man and the art began like this.
But because the story was hilarious and well written an OFFICIAL artist redrew so it looked like this.
Well you thought it couldn’t get better right? Well this happened.
Yep. It became an anime.
Remember, good plot is a million times more important than good art. If you’re worried that no one would read your comic, don’t worry as long as you think your story and characters are good. The memorable characters are the interesting ones… not the pretty ones.
This also applies to watamote I think
A master post of Thomas Romain’s art tutorials.
There’s not enough space to post all of them, SO here’s links to everything he has posted (on twitter) so far : 1 2 3 4 5 6 7 8 9 10 11 12.
Now that new semesters have started, I thought people might need these. Enjoy your lessons!
Re-blogging because these are all so good!!!
I reblogged this before, but it’s worth reblogging again!
This tutorial, as well as some other helpful titbits and several pages of my own sketches, can be bought over at gumroad for 2.50! Please consider purchasing it, as all money earned will go to continuing my own education as a storyboard artist. And please share this post, you never know who may benefit from learning how to draw some beans!
Twinkle Twinkle fucking why
Can’t I draw the other eye
What the fuck’s up with your nose
Fuck those folds in all your clothes
Twinkle Twinkle fucking shit
Fuck this art, I’m done I quit.
Little artist, please don’t cry, I’ll help you draw that fucking eye.
If your features seem rather whack, Flip the canvas and drive them back.
If traditional is more your trend, Then notice sempai Wilhelm Bendz!
If all this seems a total waste, Then fucking cheat with cut and paste.
Making art’s a no-rules fight, Beware my power, Green Lantern’s light.
This was a fantastic addition
Dogs Animation Referece Row 1, 2 (Left), & 4 Row 2 (Right Row 3 Row 5, Left, Righ, & Bottom Image Row 5 (Middle)
Colors from Adobe Color CC (Kuler)
Respect artist rules
Request via ask box
10/26 Updated with more colors
art advice
“Use limited colors!” “Use lots of different colors!”
“Carefully plan each piece” “Draw faster”
“Be as neat as possible” “It’s ok if your art is messy”
“Don’t draw stylized work” “Try lots of styles”
How to Draw Hand
I originally went on this rant because I was frustrated with all the steps required before one can call storyboards “done,” but it looks like a lot of people found the venting informative. So here you go!
Also captured on Storify thanks to laurbits here:
https://storify.com/laurbits/think-you-re-done-with-your-boards
YOU THINK YOUR BOARDS ARE DONE? THEN YOU FUCKIN’ WRONG!
Kimono drawing guide 2/2, by Kaoruko Maya (tumblr, pixiv, site). Booklet is available in pdf for ¥ 900 here.
Here you can see :
Women belt knots examples
Men belt knot examples (and how the obi sits on men body)
About obi: soft obi (heko obi), women obi width (fold is up), men obi width
Coats: haori and michiyuki (note the bump when a woman wears a coat: that’s her obi knot beneath)
differences bewteen kimono and haori when a man bows
Hakama pants
examples of men hakama
Iga Hakama (ninja pants) and women hakama
Miko priestress attire
Working garb: tasukikake (way of tying up sleeves) and shiri hashori (tucking hem up) + formal girl dress and example of child in kimono
Speed Comicking: How to hack your own art
NOTE: If formatting makes this tutorial hard to read, you find find a better version here.
I just finished a 30 page book called The Bear From The Bear and The Beach From The Beach. It was drawn in 22 hours and colored in about 8 hours.
A few pages are text only, but that’s still an hour a page for a fully colored book! And here’s the thing- that wasn’t even the plan! I’ve done challenge comics before where I did rushed-looking work at an hour a page (I once did a 168 Hour comic- that is, a 168 page graphic novel drawn in one week) but for this book, I made exactly the book I wanted to make and didn’t realize until doing the math for that opening paragraph that I’d done it in an hour a page.
It happened accidentally because of a number of hacks I’ve figured out over the years that include extra side effects that force you to work not just faster, but better! I’ll tell you ‘bout them if you want!
THE WRITING PHASE
The secret to working fast is working in bulk. I can finish 12 pages in 12 hours, but if I’m drawing and coloring those pages one at a time, they’re going to take 12 hours EACH. The preparation and metal energy needed for every part of every step multiplies every time you stop working.
So the key is knowing what you’re doing in advance. A script helps with that.
Tip #1: Crack open Celtx
I use a writing program called Celtx. Here’s a free copy. It automatically formats your work for you. There are layouts for screenplays, novels and even comic books, but I use screenplay mode for everything, since it’s the simplest and I prefer to do my visual thinking when I get to the visual stage.
What’s nice about Celtx is that every time you hit enter, it knows what type of information you’re going to type next. Scene heading, description, character name, dialogue… and it remembers your character names, so after the first time you only need to enter one letter. You can just mind dump into it and it does all the busywork for you, so you can just spill out ideas and have a perfectly organized and formatted script that’s easy to copy and paste dialogue from, no second step needed.
THE PREPRODUCTION PHASE
Now we get into the Photoshopping. What? Photoshop before I even start drawing? What kind of tomfoolery is this, Estrada? Well….
Tip #2: The Grid
This is something I learned from David Petersen, the creator of Mouse Guard. Every single page he draws is on the same nine panel grid. You’d never know it to look at his pages, because he can get so much variety out of that grid. It could be 9 equally-sized panels. Or maybe three wide panels, or three tall panels. Maybe one tall panel and three double-width panels. Or one giant square panel. But it makes his book look so much more clean and consistent. And a side effect is that doing it that way saves an artist so much time in drawing and erasing panel lines to get just the right size.
So I made my own Photoshop document that broke up my preferred page size in a similar way. I made a layout for each possible panel configuration, and put them in folders by the number of panels. Then, every time I move to a new page I just grab one of the 35 panel configurations below:
and work from there! That doesn’t mean you always have to stick to the grid! But the consistency of your pages helps so that if you DO want to use a different layout for dramatic effect, it really pops.
I’ve used this grid for two books. I’m probably done with it, so I’d like to donate it to you! Right click this link to download the PSD file and have at it! (35mb)
Or perhaps just look it over to figure out how to make your own.
Tip #3: Ghost pages
My next step is to lay out the entire book, using this grid. I open a fresh copy of panelblanks.psd, and make new folders for each page of the book.For each page I drag in a copy of the right panel grid, and copy the dialogue from my Celtx script into the right panels.
At the end, I have an entire readable book without any characters in it.Ghost pages.
This has a few benefits.When you’re drawing there are a lot of things to think about. Not just poses and expressions, but layout, eye flow, composition, typography… and trying to do all of that at the same time as drawing can lead to things getting lost in the shuffle. So it makes your comics better and more readable. But also, making those decisions without art in the way lets you make decisions faster. And drawing with those decisions already made helps you draw faster.
THE DRAWING PHASE
Tip #4: Print your digital
Now, I take all of those digital ghost pages I’ve created (and it really is a speedy process. It probably took you longer to read about it than it takes to do it) and print ‘em out. Maybe you draw digitally, so you don’t need this step, but I’m an Amish old fart who uses paper and murders trees.
Now you have your whole book ready to have the panels filled in. All the decisions are already made. You know exactly what needs to go in every panel. And you get much more consistently when you can JUST focus on drawing characters and not have to take break in between to bust out rulers to draw borders or guesstimate how much room you need to leave for your lettering.
And the best thing is, you don’t need to do it right then. I have a bunch of ghost-books sitting in a filing cabinet so that any time I have a few minutes to work, I can crank out some pages without having to get in the right mindset to make creative decisions.
Tip #5: Two toolsets
Artists are always looking for hot tips on the right tools. The right pen that will make you draw faster. There is no magic go-to art supply, since it depends on your style and the style of what you’re trying to create. My toolset changes all the time.
But there is a difference in tools… some allow you to create great detail but take time, some allow you to draw faster but lose a little control. So I use two sets. One detail pen (usually a couple sizes of Uniball or something with a hard tip) that I use for faces, expressions and lettering. And one speed pen (A .8 Micron or something with a soft tip, and a few plain ol’ dolalr store markers) that I can use for bodies, backgrounds, and stuff the eye doesn’t really focus on.
I don’t put any less effort into one or the other, I just like knowing that I can be really anal retentive about the expressions that people will connect to, and still allow looser, more natural linework for the image as a whole. Plus it’s way fast.
THE SCANNING PHASE
Okay. You drew little dudes into all your ghost pages. Now you gotta scan them all and get them ready to color. Scan them all in one sitting. It makes life easier if all your files are the same size.
Tip #6: The “Ready For Color” Action
Photoshop actions are a gift from the heavens above. Anything you can do to a file, you can tell Photoshop “hey, remember this bro!” and then Photoshop will do that to any file any time you tell it to.
So after scanning all my files are sideways, and in black and white mode, and all this other stuff that would needs to be fixed.
But I can open just the first file. Then in the ‘actions’ tab, I click ‘new action’ name it “ready for color”, and hit record. Rotate 90 degrees. Convert to RGB Mode. Dupicate layer. Change blending mode to multiply (more on this later) create a new layer between the two, select that layer. Then I hit stop.
Or, since I’ve done this many many times before, if my workflow is the same I can just use the “ready for color” action I already have saved!
Then you can just open file/automate/batch and tell Photoshop to do all those things you did, to all the files in a certain folder, and then BOOM 10 seconds later it’s done. It even remembers which layer to leave selected when it’s done, so that you’re all set for the next step!
It is much better to make your own Photoshop Actions so you know what they’re doing, and because if your workflow is different from mine it won’t work right, but I made a little actions file that will import my favorite custom actions into your Photoshop, in case it will help you see how I do it. Right click to download it here.
Tip #7: The Sandwich
There was that whole thing where I duplicated the layer and changed the blending mode to multiply. Multiply is Photoshop talk for “just show the black part of this layer and pretend the white part isn’t there.” Now you have a clean copy of your linework floating on top, a backup underneath and a clean layer to do all your coloring on.
THE COLORING PHASE
The problem with coloring in Photoshop is that the paint bucket tool is kinda useless and dumb. You always get weird jagged lined when the color bumps against the line and it looks super unprofessional. I’ve read many a tutorial on how artists get around that with plugins and stuff, but they’re all crazy complicated and time consuming. I have a better way.
Tip #8: the Fill ‘er Up! Action
I have another custom action in my arsenal. It goes : Expand selection by two pixels. Fill with foreground color. Deselect.
It’s that easy! Now, I can just use the selection tool to select the area I want filled in, and that action will automatically make sure that it fills it in with a little extra breathing room so that it goes under the line.
I’ve included that action in the actions file you can have as well. Right click to download it here if you didn’t do that last time.
Tip#9: One color at a time
Here’s what REALLY saves time. I know what color my main character’s skin is, what color his hair is. If I don’t waste time finding and selecting every color every time I use it, but rather select the color once and fill in every appearance of that color throughout the book, I can SPEED through. Once I get through the whole book and get back to page one, I move on to the next color.
Tip #10: Button mapping
Another great thing about Photoshop actions is that you can tie them to custom keyboard shortcuts so that say, every time you hit shift F-12 it runs “Fill ‘er up” and the cool thing about tablets is that you can set the buttons to perform custom keystrokes!
I set that bottom left button to play the “fill ‘er up” action. I then set that toggle switch in the middle to do “next document” and “previous document” That way I can have all of my pages open at the same time and speed through coloring them with one hand on the stylus selecting areas to fill and 2 fingers on the buttons to perform the fill action and move to the next document. I fly through pages like Hamm changing channels in Toy Story 2. You can color your whole book in less than the time one page usually takes.
THE FINISHING PHASE
Now you’ve got a book all colored… but it’s just flat, unvarying color. This is called flats. You COULD be done if you wanted to, but just because we’re working fast doesn’t mean we don’t want it to be awesome.
Tip #11: The Class Pass
Now, we go through every page to do the stuff a Photoshop filter CAN’T do for us. Lighting effects. Mood coloring. Textures. Line colorization. Little cheek blushes. Details.
Although knowing how actions works, if there are things you find yourself doing a lot, you can automate tiny pieces of your workflow.Even saving a couple of clicks on something you do repeatedly can add up to hours saved.
In the end, how fast you made a page matters only to you. You want to make something awesome for your audience. So don’t speed for the sake of speeding, but know your process inside and out so that you can figure out what parts can be separated, what parts can be automated, and what parts deserve some extra time. Now go make comics!
I hope this helped!
If you want to check out The Bear From The Bear and The Beach From The Beach, it’s one of many, many awesome comics available as part of The Whole Story 2014. Check it out!
notes: there are two more actions included in the actions set I included. One is ‘save all’ which is only does one thing- save- but if you use the automate option to apply it to all open documents it’s much faster than saving them one by one. The other is “word bubble layer.” That creates a new layer that automatically creates a nice black stroke around any shapes you create on it. So you can use the rounded rectangle tool to draw shapes around your dialogue and it automatically becomes a word balloon.
create your own home!
i found this great site that lets you create 3d models and floor plans of custom homes! you can even put in furniture and customize wallpapers/floors!! it has everything you could ask for!! you can use it make ref pictures of your oc homes or just make your dream house!
this is what i manged to make
HIIRAREFS: Basic and Intermidiate guide to colouring in
What better day to end the year then with a basic guide to colouring- This is for beginners or intermediate artists. Colouring is a big part to an art piece, whether you decide to use colours or not, that’s up to you, but for the most part, having some knowledge on appliance of colour will really help you out!
____________________________________________
ARTISTS WITH AN INSPIRING KNOWLEDGE OF COLOUR APPLICATION! Please take the time to have a look at other artists work so that you ca research and get inspired!
Gullacass: Uses brights, dulls and pastels to create brilliant guro, pop and macabre pieces| DA + TUMBLR
TinyCalcium: Old friend of mine who explores brights and mustard colours and places them as a foundation for their work | TUMBLR
BeastPop: Talented with opposing and Triwheel colours. Outstanding cell-shading, and knows how to flexibly bend colour form to their will in popart. | DA
H0stel: Fantastic composition of light direction and applies colour to bodies based on ambient occlusion. | TUMBLR
_____________________________________________
COLOUR SLANG: I use some strange slang to express colour types and shades as well as groups. Although they may not be canonically correct, I will use these terms to describe colour palates to the best of my ability! Analogous: Colours that are near or adjacent to each other on the colour wheel, EG: Red and Orange
Oppositional/complimentary: Colours that are opposed or opposite from each other on the colour wheel, EG: Cherry and Green
Triadic: Colours that form a triangle on the Colour wheel, EG: Cyan, Magenta and Yellow. These three colours when mixed together will make black.
Arrowtype/Quadcolour: Four colours, that generally form an arrow shape on the colour wheel.
Tetradic: Colours that form a rectangle or square in the colour wheel
Neons: The very brightest you can get a colour, be careful where you use them as they can look ugly together at the most. Try to use neons when you are adding bright glowing objects to your piece. Neons are great for highlights.
Brights: Slightly washed Neons. Appropriate if you have characters that are colourful.
Washed: Very washed brights with a hint of grey. These are also useful for colourful characters.
Pastels: Colour with white in them to make them seem light.
Baby Pastel: Pastel with even more white in them, good for subtle highlights.
Darks: Colour with black added to them. Used mostly for lineart.
Mustards: Colours with dark grey added to them
Earthen: Colours with brown added to them
Warm and Cool colours: Warm colours are colours that range fromMagenta to Yellow. Cool ones range from Lime to Fuchsia.
Straight tones: A greyscale palate. or a straight scale of one colour from black to it’s neon form.
Warm and cool tones: Warm tones are a greyscale mixed with warm colours and cool tones are greyscale mixed with cool colours.
Skintones: Warm washed or pastel colours generally used to colour in skin, but they don’t have to be warm at all! ( I will not show you a palate for this however)
______________________________________________
WHAT TO AVOID WHEN COLOURING: beginner artists, tend to go ahead and start by colouring their line art with neon and mustard colours. Neons are not necessarily good for base colours unless the character has a glow.
I often see lazy attempts to shade, often a beginner artist with use an airbrush and use black and white to shade and highlight their piece. This is not very effective, and I’m sorry to say… It’s kind of gross as well. Try to avoid being lazy. If you have a piece that has bold black lines, avoid using soft shading and airbrushing at this point of time.
Black and white isn’t always the best option when colouring in your piece, but it also depends on the style you are trying to convey. If you plan on only using straight tones to colour in a piece, black and white is good.
A GOOD BASIC WAY TO COLOUR For this basic tutorial I will show you a nice way to colour in a piece with bold lines. I will be using Minty’s Classic character as an example.
Begin with using brights that have been washed down a little and washed skin tones if your character is human based. Avoid using neons or mustards if you are able. If there is white on the character, such as the white on an eyeball or the teeth, consider using baby pastels. For Minty’s eyeballs I have used a baby pastel blue. I have chosen to use a darker and more washed version for her Irises.
With you foundation colours placed down, use a washed warm colour for the skin tone, such as a salmon. If the character’s hair or fur is warm coloured, use a pink or red orange to shade that as well. Use the cell shading technique. This may mean you will have to erase some of your shading so be sure to do this on another layer. For your baby pastels, you can use a regular pastel to shade it. For Minty’s eyes I have used pastel blue and lowered the opacity by a little.
For Highlights, I have chosen to use baby pastel yellow. I wanted the piece to be warm.
Applying a light airbrush over the top of the piece makes it feel a little softer. I have also applied the airbrush over the initial borders to create colour bleed, giving a very subtle reflective approach.
Colouring your line art layer, particularly if you have bold lines, can really make a piece look more interesting! I like to leave the overall outline black. You can gradient and bleed colour in your line art as well
Light tracing is a technique lots of artist’s use, where they run a sharp line of highlight next to line art to divide borders.
This looks a lot nicer than the black and white shading, doesn’t it!? __________________________________________
This is a very very simple guide to applying colour to your piece! If This helped, please reblog and share this guide around!
If you have any questions or feedback, don’t be afraid to send me a message!
