[fuckyeahchinesefashion]

OP: Share beautiful and practical stitching techniques.(cr 随心意针线)

[anyrava]

Saw my recent rock tutorial blow up a bit, wanted to also share this mountain painting tutorial I‘ve made!

You can find more tutorials on my Ko-Fi Shop if you've found this helpful and would like to support me in making more! 🫶🍃

[jojo-the-dogg0]

Equiping an armor tutorial

i'll prob make more bc i love talking ab armors

[impactrueno]

About this: I saw the ghost bride hey arnold fanart timelapse and how were you able to know that the "blueish" colors felt right? (its right... – @impactrueno on Tumblr How do you feel about picking a color, say a deep orange in this example, and using that for a "Multiplied" layer for shading a character in, again for this example, a sunset?

i got a similar ask about this a while back and i've been working on something to better explain what i mean because i'm not too happy with that guide anymore so i'm just gonna address both here!

in my original post i talk about choosing analogous colors rather than using layer settings, but you guys are asking about multiply layers so let's talk about that since frankly they do save up a lot of time and headaches AND they can help understand color more easily so we can pick the palette from scratch next time.

right, so we have our guy.

in the sunset example, a deep orange multiply layer would look something like this:

however, in my previous guide i said that usually warm lighting means cool shadows. this isn't always the case, however, because the color of your shadows are determined by your environment and bounce lighting. shadows on their own have no color because they're just absence of light, so the color we perceive them to be is what's being projected onto the subject.

this same sunset with cool shadows would look a bit like this:

if that looks more natural even though it doesn't match the orange of the background, it's because sunsets only look orange around the area the sun is in the sky, so the color of the sky that's facing our character here would not be projecting an orange glow onto him.

while it's not a hard rule, like i said, usually warm lighting comes with cool shadows. i think it's also worth keeping in mind that reference photos can look very different from one another because of editing, exposure levels, filters, weather and time of day, etc. so also take your own outdoors observations into account. always observe colors when you go outside if ever (don't be like me)

here's another sunset example except the sunset is now behind our viewpoint and facing the character from the front. he's not fully lit up, perhaps he's standing under something where the sun light doesn't reach him directly. i used a red glow to indicate sun this time only because i think it looks cool with the teal sky:

now addressing the ask with the "pikachu in a green house" example: yes, i suppose using a multiply layer that matches the color of the environment works. after all, like i said up there, shadows will usually reflect the color of the surroundings the subject is in.

this was a lot of blabbing about colors and i didn't even touch on values which is also super important!!! but i'd like to do some studies before i talk about that to make sure i'm not talking out of my ass. hope this helps though!!

also this was originally going to be a patreon exclusive post but the more i think about it, the less i like the idea of putting educational material behind a paywall. i think this stuff should be more accessible for the people who can make use of it. so i will only put out there that if this helps you and you enjoy my content, i have my patreon and ko-fi if you can afford supporting me with a couple of bucks so i can continue making stuff like this 🫶

[tofupixel]

🌿 How to draw simple grass for a game

Thank you kind asker I will make a tutorial below for grass. I'll do shrubs and trees in another one, because it's a different method and it got pretty long.

🌿 How to draw grass tiles: step-by-step

Each box is 16x16, the same size Stardew Valley uses. Make it tile (how to do it depends on your software) so we can see if our edges match up nicely.

Draw 1 simple blade of grass. Many options for shape but I like this one. Feel free to copy me directly

2. Give it a shadow. Wow !!!

3. Give it a highlight! OMG!

4. Add another grass

5. Do it over and over and over and over and over

Literally just do the same or similar blades of grass, give them all little shadows, highlight a few if you want and there you have it! So easy.

It looks really complicated like this, but its literally just a few steps, repeated over and over.

Many games use this technique and it would be perfectly serviceable for a base grass tile.

Personally, I prefer lower contrast grass. This tile will likely be used for large areas, so ideally you don't want it to be too busy or eye-burning to distract from the character.

🌿 I'll show you how to do a different type of grass now that is a little more complicated.

Midtone grass colour

2. Add some lighter and darker patches touching each other (not too high contrast!)

3. Use this shape (or your preferred, but this is how I did it) on the top edge of your patches. Colour them with the middle colour from each patch.

4. Do it again a lot (this is very tedious)

5. Add some highlights

6. Add some fun extra stuff

We're done! Have fun everyone, show me if you try it!

Pixel Art guide by me: link

[anyrava]

Another tutorial I‘ve made, about digital brushwork this time!

You can find more tutorials for a few bucks on my Ko-Fi Shop if you've found this helpful and would like to support me in making more resources like this🙏 ☀️🍃

Visit Anyrava's Shop!

I've opened a shop. Come take a look!

[donutsbagels]

Okay I JUST realized I never posted these on here—- BUT BASICALLY, about a year and a half ago I started doing these experimental black hairstyle posts that were threads long on Twitter, to give artists a source of inspo for their black ocs whose hair they wanted to try something new with! There’s more to black hair than just the selected styles portrayed in media, and I thought it would be fun to show people how much texture, shape, fades, length, and style can be combined when drawing black hair—-cause it’s a kind of manipulation our hair can do irl! The OG posts were lost with the hacking of my original Twitter account (@/bagels_donuts) but I’ve since reuploaded the whole thread to my new Twitter (@/ItsDonutsFR)! I hope artists on tumblr find these useful, sorry it took me so long to post them here😭🙏🏾 I’ll upload them all in parts!

Part 1: Long masc hairstyles + playing with fades

Post by @donutsbagels · 7 images

💬 2  🔁 715  ❤️ 1008 · Part 2: shape, style, and length with femme styles!

[iniro]

HII my character & shape design tips PDF is now available! ^_^ hope you enjoy !!

BUY HERE or HERE

[art-res]

brilliant resource on a very important concept!

[laboratoryrats]

“How to draw folds ✍🏻👕✨”

Source: asayris_art on Twitter and patreon

[succubusboyfriend]

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

[succubusboyfriend]

someone: oh yeah, do this exercise during your warm ups! it’ll help

me: my what

[suave-eddboy]

[thepioden]

What’s up I have an actual college degree in art and I was never ONCE taught to do warm ups.

[sparksel]

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! 

[concerningwolves]

[t-c-art-inspiration]

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

[justpickupthatpen]

https://youtu.be/pMC0Cx3Uk84

https://youtu.be/NBE-RTFkXDk

:3

[stupidlittlesideblog]

Reblogging to save a wrist

[justpickupthatpen]

[laserbobcat]

@kaito90

[retquits]

someone on my straw page asked how i make my art ✨glow✨ so i put together a little guide!! 🫶

this is an easy trick that helps dress up a super rough sketch (and adds a pretty cool effect to lineart too)!

[cosmos-kitty]

Do you have any tips for painting with gouache? like how do you get it to stay a nice solid color over a large swath of paper? and how do you blend it so seamlessly?

Of course, here's a few pointers off the top of my head:

1. I've used gouache for this in the past so it's possible, but the flat backdrop on my latest WIP is actually acrylic! A nifty thing I've found about putting a layer of acrylic down, is that it creates a barrier once dried and essentially makes the paper waterproof. This means you can work in gouache on top without it mixing with the background, and you can wet a section and completely wipe it clean with a cloth/tissue and it won't disturb the acrylic layer underneath. It also makes the paper more resilient, and you don't get as much pilling/tearing from the moisture

To get an even wash it's mostly getting the right consistency, I add just a little water - enough that the paint is less "tacky" as you drag your brush along paper, but not so much that it's runny or translucent. It takes a couple of attempts sometimes!

2. Also for the current WIP that I posted earlier, like the vast majority of my traditional pieces, keep in mind that it's mixed media. So I assume you're referring to the blue-green gradient on the bird and wondering how I got the gouache to blend like that - it's actually colouring pencils! I'll often switch between dry and wet media, even layer them back and forth, whatever makes the most sense to get the effect I want 😁

3. On that note, when you're working with paint, or any medium really, I can't recommend enough having a "test" sheet that you do both before and during a traditional piece. It allows you try out different medium combos, see what shade your gouache will dry into, and catch any issues before it ends up on your artwork. I often see artists being encouraged to just Bob Ross their way through a piece, the idea being that you'll just have happy little accidents that you'll naturally work into the piece - maybe, but you'll also possibly irreversibly wreck your hard work and have to start again. I don't know, I'm just a methodical person I guess, but seeing someone just directly apply something to the page when they're not sure what it's going to do makes me wince - no two art supplies are the same! All of those paints and pens have different chemical makeups, there's an unlimited number of ways what you're using could interact, good or bad.

Since it's already there, I usually reuse one of the leftover failsons from the process of making the wash background, then test everything on top of that. That way you can see exactly what shade the paint will dry on top of whatever colour the background is:

Doesn't need to look good, nobody sees it (usually) and you can also test the thickness of your brushstrokes while you're at it.

Anyway, I hope this helps!

[serious-punched-deactivated2022]

Murata: Sorry for the next chapter being late, I was drawing a little animation.

The little animation:

source

[bunabi]

[drawingden]

How to Paint Light by jonhuangart

[totallynotsilversora]

I forgot I have to be active here so here’s my Twitter tutorial on how to draw folds I made a while back to help a friend!

[art-res]

love these detailed explanations on clothing and folds!

[shrubsparrow]

I made an art/anatomy tutorial about birds! I hope people will find it helpful!

[butchlinkle]

How I Animate

The Technique:

I draw the frames and then I use the liquify tool to push the lines into the next frame and redraw them where I need to. This allows me to keep the lines consistent, but gives me the control of frame by frame animation bc I am still making each frame manually! I also use 3d models as reference to help me with the angles! Super important to use reference while you animate (and with art in general), if youre no good handling 3d models then act it out and record yourself!

The Theory:

i think most people are at least loosely familiar with the 12 principles of animation (if youre not, heres a 2.5 minute video showcasing them!), but may not necessarily know how to employ them. the main 3 i tend to focus on when I animate is rhythm, telegraphing, and inertia so ill cover those there 👍

1. Timing & Rhythm

Timing is how you space out your frames both in how long an individual frame is held for, and also when you drawn an inbetween of two frames you can favour one frame slightly more than the other instead of drawing the exact average of the cels, giving the favoured cel more timing weight.

Left line has the cels evenly spaced out on the timeline, right holds the first cel for longer and the second cel slightly favours the last frame. It creates a more interesting rhythm to the animation! Rhythm is how I think of animation timing. Theres a beat like a song to every animation I make, and creating an interesting beat is what makes an animation fun to watch (for me, anyway):

2. Anticipation / Telegraphing

Before I animate a big change in movement, I like to telegraph that its coming. Usually this is doing a little counter movement in the opposite direction, but thats not the only way to telegraph a motion, e.g. eye movement can telegraph a head turn!

3. Follow-through / Overshoot / Inertia

Unless the movement is mechanical, it wont come to a hard stop and will have some level of bounce or easing out to it. How much "bounce" you add will have a big impact on how the animation feels, but a very subtle bounce will add a natural feeling to the end of a motion.

Secondary animations will use a lot of this, note that the head and the hand have a small amount of continuous motion (primary animation), and then the hair has a lot of bounce and inertia (secondary animation which reacts to the primary animation). Note the different amounts applied to the braid vs the sideburn vs the bangs

anyway! I hope this was insightful ❤️ if you like my art you can commission me by the by :)