Violbassen

This is my drawing and other random stuff, blog..

[violbassen]

The witching hours, but like those workout tapes with witches getting fit

[luwha]

Hey yea I love you and can you do me a favor and just do like a really quick thing on how to draw like satyr legs. I want to draw my boy but I can’t draw he leggies. You ain’t gotta but I would love you even more. Thank you sm 🖤💜💙💚💛❤️💟💓💗💖💔❣️💕💘💞💝🎀

Tutorial time!

BEFORE ANYTHING: This is how I personally do this. Other artists will have other ways, other styles and other references, so expand your horizon looking up to them too!

BEFORE ANYTHING²: I’ll have to trust you with the basic anatomy understanding!

So LETS GO

Those are human legs doing things human legs do, and that’s on the last one is a suggestion of the bones, aint anatomically correct but i just need y’all to visualize it.

Then:

This is anthropomorphic leggy! Also with bones suggestions! did you see the catch? no? (I used deer legs as references!)

See now? With luck we’re mammals so we sorta have the same bones in different ways, and use it as advantage!

In fantastic anatomy, there’s not much rules because, well, it’s not real so there’s no book teaching you how to properly draw those. like centaurs, they have two toraxic boxes! 4 LUNGS??? 2 STOMACHES? Doesn’t matter, does it? it’s belivable, and it’s what matter!

I repeat: It’s only belivable, and it’s what matter!

Also the muscles will work sorta on the same way (see the blobs). On the satyr ones, the purples are smaller, just as the brigh blue one, since this part is smaller than the thighs and feet, meanwhile it’s usually longer on humans!

It’s more about understanding the shape then drawing the leg over it, because this makes you understand how it was supposed to move even you don’t have a real anatomy satyr leg in front of you, or dunno, octapus merman, go wild my buddy!

This is how i usually doodle them before even getting the anatomy right, usually i just need the idea of the leg before actually starting

and most important:

GET. YO. FRIGGING. REFERENCES.

yES YOU HEARD ME RIGHT. References always. Disney has a lot of stuff free for you to look at, and fantasy is a common theme, there’s thousands of other tutorials and artists that also do this, and it’s good to make sure you saw at least 3 or 4 more, never hurts learning more about what you want to make A++!

With reference, you’re not tied only to deer legs, but dogs, elephants, crocodiles, birds, snakes?, anything! It’s really important!

GOOD LUCK!

[elvarinth-deactivated20240318]

I have two questions! First: have you ever thought of doing a tarot card suit for your characters? I think it'd work really well for them! And two: help me how do I draw legs

@gravitality

Hi!! I’ve absolutely been thinking about that, yeah, in fact I recently talked about that to my boyfriend just recently. It’ll likely happen after october! And to answer your second question! I made a thing on legs that i hope you’ll find useful!!

So. I’ve already explained basics on legs here, but I don’t think it hurts to go through some extra details to help you understand legs some more.

The very basic thing is to imagine legs as teardrops. Again, this has already been covered in said tutorial above, but I figured it’s still good to mention even the most basic thing that I know of. I still highly recommend you check it out to get in more detail and to see some other examples and practices that you do. But basically, think of legs in the shapes of teardrops, when it comes to shape. If you need a simple stick-figure to connect the legs in the first place, make sure that they bend at the knees a bit so that the legs don’t come off as stiff and unnatural. 

As you can see, this method works perfectly for realistic legs as it does for stylistic ones. Remember to use these as a guideline, never to be the exact base of the legs you will be drawing. If you draw traditionally, remember not to draw these guides too hard, or they will be hard to erase/do freestyle!

But how do you actually draw out the legs without drawing them perfectly straight, as shown to the left? The trick is to add volume to them, and how you do that can be winged to your own liking. The idea is to think in curves. As no leg is perfectly straight. You may make these curves minimal if you don’t want them to be curvy, but keep in mind, still, that not even your own bones are perfectly straight, so it is highly recommended that you make them bend, at least a little. 

It all depends on how you draw them as well. Say you put your legs together, as shown in this picture, what happens to the fat and muscle? Naturally, they press together, much like how thighs squish on the surface when you sit down (I’m sure most people know what I’m talking about). Make sure this shows in your art! This is very important to keep in mind, because it makes it all look more natural and believable. Try to cross your legs or stand up and sit down again for real-life examples!

The same applies for stretching your legs, more or less, except they appear to become more ‘hollow’ and slimmer. They become less soft to the touch, too, and might show. Try stretching your legs and feel where the muscles tense and where it feels ‘hollow’. This is very helpful with your art.

Many leg tutorials talk about legs without mentioning the behind. It requires a tutorial on it’s own, in all honesty, but this is the most simplest way to draw it connecting to the legs. Remember that it comes in many different shapes, and this is just a super basic guide! Two circles overlapping, while following the line and flow of the legs. Remember the muscle/fat as mentioned above!

Okay, so we got the basics of leg shapes figured out? What if you want o draw them in a certain pose, or with a certain silhouette, but perhaps do not have the reference for it? Or you want to blend your style into it? The key is to not shy away from doodling the form. Make mess, draw lightly and don’t care about the anatomy. That way you’ll get everything down without it appearing stiff. You can clean up the sketch later, always, and if you can, use a reference after you have drawn your pose, to correct your drawing.

Remember that the hips do a lot to the pose of the legs! Make sure they are in flow with your legs, so that it can look more natural. Remembers that hips ‘rotate’ with the spine.

I’ve talked about this method before when it comes to posing, and the same applies for the legs. One way to make legs appear ‘steady’ is to picture them standing in a line, and one of those legs need not to stray from the lines too much, making it steady. If you want a dynamic pose despite the steady pose, you can always have the other leg stray from the line, since it only matters that one leg is steady. This method can create good, casual poses without making them appear boring. (also notice how the teardrop shapes are used here, despite the highly stylized legs)

Do you want a highly dynamic pose, or them to appear unsteady, then skip the line entirely and make both legs aim away from it completely. As you can see, the legs appear more moving, in action, as if they’re fighting, falling, or dancing. As you can imagine, this is not a pose that one could stay steady on, suggesting that it’s taken mid-movement. More about posing and this ‘line’ method is talked about in this tutorial.

Hope this helped you, if you have any questions let me know, and if you’d like to check out all my tutorials they can be found here!

[leagueofgumi]

FAN SKIN CONCEPT - K/DA por Shen YH artstation.com/yh_shen

[rbbtrd]

a pal asked me how i drew teeth so i made this quick lil mini tutorial on how i do it!! this is by no means a professional tutorial and im still learning but i hope this might b helpful to some!

[amalas-tutorial-and-inspiration]

THANK YOU! ANON!

I stopped the coloring of the shirt here cause I guess you get the basic idea. If you wanna see more of the coloring and the brush I use you can look HERE! Also you can see how not just folds but shading can define a form HERE!

I hope this helps! I’m so bad with words and explaining things (/)//(/)

[ghostbri]

Do you have any kind of process for picking colors for the backgrounds? They all seem to have really nice uniformity, and I would love to read up on how colors like that are picked (or if it's more intuition based). I do remember you mentioning that you also had help from another color lead before, so I was wondering how much of that they help out vs the colors you chose?

hey, thanks so much! this might get a lil long (as it always does!!) so bear with me.

firstly i want to say, there’s no right or wrong way to pick colors. every artist has their own palette they prefer and i think it’s super delightful to spend time developing your own special sense of color. so even though i’m explaining things in a “this is how you do it” sort of way, it’s not the only way! just my way. the best method to develop your own sense of color is to look at a LOT of art, look at a LOT of the world around you, and practice practice pratice.

at this point in my life i pick colors intuitively just because i think it’s something i’m naturally tuned into, and i’ve been doing it for a few years, so i don’t actively plan my palettes. but here are some things that i think about as i pick colors.

firstly, i want to go over hue, value, and saturation. i’m sure everyone knows these intuitively but i want to explain them in words. hue, value and saturation are what make up a color, and decide how colors differ from each other.

hue: what color the color actually is. red, purple, green, yellow, and everything in between.

value: how light or dark a color is. if you’re painting traditionally, adding more white or more black to a color lowers or raises its value.

saturation: how “pure” the color is vs how much neutral tone is in it.

here’s an example of all three:

this comes into play because a big mistake i see beginners make is that they pick a “just” color, and by that i mean they pick “just blue” or “just yellow”. imagine buying a set of oil paints and only using paints straight from the tube without ever mixing. it would be impossible! so i try to avoid picking “just” colors, except as for a complementary color (more on that in a bit). here are some variations of a red, for example.

so, the biggest thing for me when i pick colors is that i want them all to be friends. i want them all to have something in common so that they get along. i usually lose control of a painting when my colors feel to different from one another. so, i will usually start a painting with one color i know for sure i want, and “subordinate” other colors to it, meaning every other color i pick has to look good with that color. as to how you figure out what looks good and what doesn’t, that just takes time and lots of observation to build a personal opinion :) here’s an example from one of my paintings. in this case, the main color is the trees.

and here’s another from rick & morty, the main color is the sky this time.

now that that’s out of the way, i’m going to give you the Actual Cheat Sheet for color palettes. in color theory, there are 8 basic color schemes that are generally pleasing to look at. here they are.

i usually use an analogous palette or monochrome palette out of preference. the two examples above more or less fall into those categories. however, i also like to use split complementary because the complimentary color adds a LOT of contrast and visual interest. it’s great to use if you have a specific thing in a painting you want to draw attention to. here’s an example:

it doesn’t always have to be a perfect split complementary, just one color that differs from the “family” of colors that take up a majority of the piece. 

now! you might be wondering when’s the right time to subordinate a color, or where to put it, or how much of it to use, etc. and the answer is: CONTRAST. there is always visual interest in things that are different. i was rifling through my school notes and found these great types of contrast when working with color.

value: things that are light vs things that are dark.

hue: two colors that look different. I.E. yellow vs blue.

saturation: things that are saturated vs things that are desaturated.

proportion: note the example above. a majority of the painting is orange, so the green stands out because there is proportionally less of it.

temperature: things that are warm vs things that are cool.

complementary: red vs green, blue vs orange, yellow vs purple. when in doubt, these colors always contrast against each other because they have nothing in common (there is no red in green, etc).

simultaneous: this is a little advanced and i’m bad at explaining it, so please read up on it here. 

a super helpful exercise is to look at your favorite illustrations, paintings, photographs, designs, etc and assess which one of the 8 color schemes (linked above) it has, and which types (can be more than one) of contrast it has. we did this in school and it REALLY helped me look at color better. here’s part of the assignment i did, the artist is annette marnat.

so! that’s pretty much how i think about color and how i pick my colors! i hope it was somewhat helpful! there’s so so so so much about color theory i can’t even begin to cover, i highly urge you to watch some videos and read some books and articles to further your study. a great starting place would be this series of videos. these are made by my teacher Richard Keyes, i think he had a dvd or something. everything i’ve talked about so far i learned from him and he is an absolute expert in color. these videos are invaluable. if you take anything away from this post, let it be to watch these videos hahaha.

to answer your question about my color leads, every painting was a collaborative effort between the three of us, and sometimes other painters too. it was a very hands-on crew, so i can’t say any of the r&m bgs i did are 100% “mine”. however, i think my personal color sense is waaaay different than jason or phil’s, which made the process very interesting because we usually had 3 very different opinions hahaa. you can check out their work here and here to see what things they brought to the table in relation to my own contributions.

thank you for the ask! again, i hope this was helpful :)

[layzhangmp3-moving-deactivated2]

I want a GPS voiced by Bang Yongguk 

[layzhangmp3-moving-deactivated2]

“Chyeah turn left in 5 miles. Or you can go down the right path and fight for justice to create a better world”

[fairy-san]

#make uturns not war

[jamtartistry]

😂😂😂

[misstanwyck]

[annetdonahue]

The importance of consent: a narrative.

[maxontrax]

I will forever reblog this gifset.

[forsciencejohn]

look at how badass she is though i mean some of it gets on her too and doesn’t even give a fuck

[yamumsahamster]

She pours hot liquid on her own leg she’s that badass.

[avatargrimes]

fire cannot kill a dragon.

[aqua-regia009]

“Ulysses and the Sirens” (1891) - John William Waterhouse

[tastesoftamriel]

Gløgg (warm mulled wine)

Happy winter Solstice (2 days ago) to my southern hemisphere followers! Since some of you are complaining about the cold (try living in Skyrim guys!), I dedicate today’s recipe to you. Now Evette San in Solitude is very, very secretive about her spiced wine recipe. I promised when I left the Thieves Guild that I’d put my life of crime behind me, so as tempting as it was to break into her home and steal the recipe…I did not. Instead, I spent a few days at The Winking Skeever making a mess of their kitchen to bring you my own take on San’s Spiced Wine, and they still serve it there. If getting to Solitude is too long a journey for you, you can recreate this from the comfort of your own homes. I hope you enjoy!

You will need: 1 bottle Alto wine or other red wine of choice 2 sticks cinnamon 1 vanilla bean pod, sliced open ½ tbsp whole cloves 1 tsp whole dried peppercorns 1 piece star anise 1 tsp nutmeg 1 ¼ cup honey 1 tsp allspice Chopped walnuts or almonds (optional)

Method: In a large pot, bring the wine to a simmer. Add the honey and stir thoroughly until it’s mixed through.

Add all the spices. Bring the wine to a boil and cover with a lid. Boil for 5 minutes, then remove the lid and reduce down to a simmer for another 10 minutes.

Remove from the heat and strain. Ladle into large mugs. Garnish with nuts if you want and enjoy!

[cookingstimsarchive]

View this post on Instagram

Baked Raspberry Crumble

[eilonwe]

♡ STRAWBERRY BANANA CHEER-UP MUFFINS ♡ This recipe has always cheered up my family, and some witchy alterations can make it extra special ♡♡ INGREDIENTS:  ♡ 1 ¾ cup flour ♡ 2/3 cup sugar ♡ ½ teaspoon baking soda ♡ 2 tsp baking powder ♡ 1 pinch salt ♡ 3 small-medium or 2 large bananas ♡ 1/3 cup softened butter ♡ 2 tbsp milk ♡ 2 eggs ♡ 5-10 strawberries BAKING INSTRUCTIONS: ♡ Mash bananas and set aside. Cut strawberries into quarters and set aside. Preheat oven to 350. In large mixing bowl mix 1 cup of the flour with the sugar, baking soda, baking powder, and salt. Mix in the mashed banana, butter, and milk, and beat until blended. Turn mixer to high speed and beat for 2 more minutes. Add the remaining flour (¾ cup) and the eggs, and beat until blended. Stir in the strawberries. Pour the batter into lined cupcake tin. Bake until a toothpick inserted into the center of a muffin comes out clean (for me this was around 25 minutes).  WITCHY ADDITIONS: ♡ Draw sigils or runes (I’d suggest wunjo and uruz for this spell) with a toothpick onto the banana peels. By the time the muffins are done the symbols should appear clearer, then you can add them to compost or discard.  ♡ When mixing dry ingredients, stir counterclockwise (before adding the salt) thinking about what currently vexes you or your family. Stir in the pinch of salt clockwise thinking momentarily about protecting you or your family from these struggles.  ♡ When adding the eggs, clean and set aside the eggshells to dry - these can be ground up and used in future spells or for your garden. ♡ When adding the strawberries, think about small goals to bring happiness to you or your family and stir clockwise. CORRESPONDENCES: strawberries (love, bring forth positive changes), salt (protection), bananas (love, success), eggshells (protection) ♡ Share with your family or close loved ones to bring happiness and small mercies their way!

[decadenthumor]

[weloveshortvideos]

when a baby is crying in the background and you use slow it down on snapchat

[shiz-ko-e-deactivated20181215]

FUCK

[shiz-ko-e-deactivated20181215]

why does this always make me hysterical oh my fucking god

[bornagainswiftie]

THIS IS HORRIFYING

[climbstudio]

perhaps a tutorial about front legs?

yea sure !

i’ve already done a tutorial on back legs, so i guess this will be like the other half to it haha

so ! while a cat’s haunches are a trapezoid, a cats shoulders are like a very skinny and squished half circle. this shape is actually a simplified version of the scapula + humerus bones. it extends from the tip of the shoulder down to the elbow

some things to note about cats is that they have FLAT chests. their chests will not protrude like a dogs. yes, sometimes their fluff and fur may make it look like they have extended chests, but in reality it’s flat

the rest of the leg is fairly simple, it’s just the shoulders i notice a lot of people have problems with. so let’s draw a cat then yea?

i started with the head first, followed by the chest. you can see i used a rounded rhombus for that. starting with the chest + head can help your character feel more stable and proportional and help give weight to the character. then i threw in the shoulders and the rest.

legs are fairly simple, they will get smaller slightly towards the feet. you can make them more muscular or skinny depending on the character you want. 

HERE IS AN EASY TRICK FOR PROPORTIONS. A cat’s elbows WILL ALMOST ALWAYS align with their stomach. The beginning of the leg will align with the end of the chest. (obviously if you’re drawing super longhaired cats thats different but)

[elvi-loci]

How to show expression with the mouth!

This was a request and at first I wasn’t sure if I had anything to provide with, but as it turn out it got a little longer than I expected because there were actually things I had to say!! Wow!! 

Anyway, this is some guidelines I follow when I try to make the face expressfull, more specifically the mouth! It is often neglected, since it’s actually pretty hard, I’ll admit. But I’m here to help (hopefully…)! A mouth expression tutorial as per request. Enjoy and hopefully it will help some a little. ʕ•ᴥ•ʔ

Draw the teeth at the right angle. 

This is super important. The upper jaw follows the angle of the head, and the lower jaw will depend on how open it is. Make sure you have a rough estimate of where the teeth are, and how much of them you’re going to see!

The lips will VERY roughly follow the same angle as the teeth. It really depends on the character, but it gives you a sense at least. 

If you DON’T do this, you’re going to lose so much volume and the mouth is going to end up looking unrelatable. I showed this example in this tutorial:

It’s not just the lips! 

The cheeks, chin, and tongue play a role too! 

Try look at your own mouth or references! I have a very pliable and large mouth, so that’s one reason why my characters have it too lmao.

ASYMMETRYYYYY (ง ͠° ͟ل͜ ͡°)ง

I cannot emphasize how important asymmetry is when drawing expressions. It applies not only to the eyebrows to achieve the Dreamwork Face™, but also the mouth. Seriously if you draw a symmetric mouth I will deliver myself to your mailbox and then shout at you until you fix it. 

Look at the difference between these two for example: which one has more “life”? 

I think you get the idea.

Push and squish - give it flow

Here’s an old drawing I have but it illustrates how I think when I squish the mouth, and use folding and wrinkles to my advantage.

Look at your own face and see where skin bundles up, where it creases the most and when bumps appear on your chin. Subtle details makes all the difference! 

One VERY effective detail is illustrated in the first sketch, where I pull upwards on one side, and downwards on the other. That’s a good detail to use when the character is making a skewed expression, or is extremely frustrated. I encourage you to play around with that concept bc it’s ~super effective~!

EXAMPLES:

Happy: Your entire mouth is pushed upwards, not just the corners of your mouth!

I tend to draw a :3 mouth bc I’ve been drawing Lance too much….. You don’t have to but it’s basically imprinted in my motor memory by now. 

Pouting/frowning: corners are pushed down, middle pushed slightly up. Sometimes, there’s a slight dip in the middle too. It can give a sense that the character is biting their lips.

Showing frustration/intimidating/is intimidated: basically showing a lot of teeth. The corners are as open as possible and the middle sorta more squished. An extremely important detail here is showing some of the gums, and open space between the cheeks and teeth. That way it looks like the mouth it open to it’s full potential. Here is also where you basically MUST add folds and bumps, or else it’s not going to look relatable. 

(Here I am again with the pulling upwards on one side and downwards on the other, as illustrated on the last sketch)

And then again, here’s just another doodle showing how important it is to show the gums. It’s the same face twice, but the second one looks slightly more frustrated doesn’t it?

(from my other tutorial on how to draw facial expressions)

As you can see, this last one is very versatile and I draw it a lot. Play around with the basic shape and see how much subtle details makes a lot of difference! 

That’s it! 

I hope that cleared some things up and was somewhat helpful! Enjoy drawing ✨