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Mostly art things.

Anonymous asked: I was wondering how you manage to make your faces actually look like the person they are meant to look like? Some of my facial features always end up looking the same, and yours are so perfect... *showers you with love* You are my art guru.


Answer:

skylanth:

thetuxedos:

art guru!!!!

image

ART GURU.

BUT NO in all seriousness, thank you! You’re a sweetheart! ;O; Proportions are pretty awful to get down when you’re just starting out, and while there are a bunch of ways you can start practicing with it, it’ll be difficult to be absolutely precise. I still struggle with proportions occasionally. Fun fact: I don’t post all of my work. I only post the work that turned out okay aHA. So basically don’t be frustrated when every single piece doesn’t turn out. Here are a few tips.

Let’s use this picture of Laurence and Hugh because why not.

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They’ve both got eyes, a nose, and a mouth, so why do they look different?

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These lines are the generic way of mapping out where to put things together. I used this when I was starting out and it’s a helpful way of getting your hand and wrist to work together. At this point they both nearly look the same. I say this a lot, but I think it’s important: shape is what puts a drawing together.

Compare features of the face to help you figure out placement.

For example:

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The bottom of his ear lines up right to the middle of his nostril. His tear ducts line up right at the corners of his mouth. Then you can get super technical and say, oh, the outer corner of his eye lines up with that fold in his collar and then from there you can see other things like the approximate distance from the edge of his mouth to that connecting line from the eye to the collar. They don’t meet so his mouth is smaller than the width of his eyes, etc, etc. Whatever works, man.

This is a favorite technique of mine so lemme use another example:

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Eventually you get to the point where most of your proportional accuracy will come from just looking. You will eventually adjust your eye to see what makes a person who they are by the shape of their features.

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Laurence has narrow, oval shaped eyes, while Hugh has more of a diamond shape. Not everyone has perfect almond shaped eyes. You can capture an entire character personality through their eyes alone, so shaping them out is extremely important.

The way you draw your lines is also important. Sharp and smooth lines will give your drawing personality. Reveals the character, in a sense.

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Other things to consider: the shape of the nose.

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Mads’ is flat and goes down in a steady slope, while Hugh’s juts out in a smooth, almost concave curve.

SHAPES SHAPES SHAPES. Use shapes and structure to find proportion.

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I did a lot more than I anticipated omg. Oh gosh and I have a feeling I kinda just rambled and didn’T MAKE ANY SENSE AH. Let me know if you need more help or if I was speaking gibberish I am so bad at putting my thoughts into words aHHHH. But gosh I hope this was at least vaguely helpful. You’re a darling and thank you for your kind words!

Good luck on your artistic endeavors! /hugs

Wow!

— 11 hours ago with 9315 notes
#faces  #facial features  #tutorials 
legitimism:

butterhcup:


click on it

This is my most favorite picture in the history of ever

I want to take someone to a field of sunflowers one day

legitimism:

butterhcup:

click on it

This is my most favorite picture in the history of ever

I want to take someone to a field of sunflowers one day

(Source: ofseaandstars, via littlestspider)

— 6 days ago with 81116 notes
#flowers  #sunflowers  #reference  #photos 

leseanthomas:

Ms. Shawna Mills, aka LazyMills has been on my radar for some time. Hailing from my hometown of NYC, the soft spoken 2D animator/concept designer’s work does a lot of the talking with it’s loud, boisterous and “IDGAF” treatment to shape laws and rules. She’s one of my favorite people working and she’s one of the few ladies of color in animation who has their own voice. 

Source:  Lazymills.com

(via edennova)

— 1 week ago with 7591 notes
#shawna mills  #lazymills  #art  #holy fuck 

abby-howard:

ANOTHER ANATOMY POST! Only three vertebrate groups have successfully evolved flight: Birds, Bats, and Pterosaurs, which are NOT dinosaurs, and are an extremely diverse group of reptiles! Pterodactyl is not the only one. However, birds ARE dinosaurs. Avian dinosaurs!

Wings are not some extra structure you tack on to a creature and somehow the arms go away— they ARE arms. Think about that when you are designing creatures with wings and also giving them arms. That means your creature has six limbs.

Next anatomy post: The anatomy and evolution of DRAGONS. If you guys have any requests, feel free to send them in!

— 1 week ago with 11914 notes
#anatomy  #wings  #reference 
how to draw sharp teeth and have them make sense: a tutorial

busket:

so you want to draw a character with sharp teeth? that’s cool! you have a lot of options. like most things, how you draw fearsome teeth can be improved by looking at nature and i’m gonna show you how.

image

Read More

(via edennova)

— 1 week ago with 10929 notes
#tutorial  #teeth 

atreeandabat:

brainbubblegum:

feriowind:

okay finished i guess since i don’t feel like coloring this haha

newt and hermann arguing forever…..

This gif plays so smoothly :O

THIS IS SO GREAT IT’S MAKING ME MAAAD

— 2 weeks ago with 1459 notes
#animation  #pacrim 

bluekomadori:

The tutorial of how I achieve watercolor effect in Sai! :) I highly recommend using real watercolor paintings (your own or ones found on the internet) as reference.

And here you can find a few useful links: 

  1. You can download the Sai file of this picture here: link 
  2. Video process of painting another picture: link
  3. The old watercolor tutorial: link
  4. Sai brushes (none of them is made by me) link + file you need to open them in Sai: link
  5. Awesome watercolor brushes made by Kyle T Webster: link

Here’s the finished painting: link

(via sweethoneysunflower)

— 2 weeks ago with 59831 notes
#watercolor  #digital colouring  #colouring  #do this  #tutorials  #DOOOO THISSS 
Put This On’s Inside Track for the week of August 24th - August 30th

putthison:

image

Here are our hand-selected favorites from eBay for this week, plus heads-up on recommended sales. If you’re a member of the Inside Track, click through, and log in with your Member.ly username and password. If you’re not a member, you can join now for just $5 a month - you’ll get access to one of these members-only lists every week, and your membership supports Put This On. 

See the rest →

— 3 weeks ago with 53 notes
#clothing 
bluedelliquanti:

faitherinhicks:

scarygoround:

One thing I don’t undertand in comics is characters talking with their mouths closed. You see it all the time in mainstream books. I’m certain there’s a point when I was drawing comics that I flipped from not even thinking about the closed mouth talkers (my early stuff is full of them) to really hating them. It completely punctures the reality of a panel for me if someone’s talking with their mouth closed.

This drives me crazy! A speech bubble floating above a character’s head, and he or she has their mouth shut. Don’t do this! It loses the immediacy of the dialog when the mouth isn’t open.

Like lots of rules in comics, this is a good one to notice and understand why it exists, so that you know when it’s okay to break it. 
Having the character’s mouth open during dialogue helps with the immediacy, as Faith says. You can even draw the mouth in such a way that you can see what word in the bubble they’re emphasizing, and is therefore the most important. See how in David Willis’s fifth panel here, you can tell Jacob’s saying “Sorry?”

But there is value in having a character’s mouth be closed at certain moments in dialogue sequences. If you see a closed mouth after a word balloon, your brain adds a “beat” for finality. It can add time and alter the rhythm of a conversation. It can also clarify the mood of a character or scene.
I reread the archives of Templar, Arizona recently, and there’s a character, Reagan, who dominates nearly every scene she’s in. She’s physically expressive and has a distinct speaking style. He mouth rarely closes. When it does, it’s during a very serious conversation. She’s dialing down her bombastic personality so other people will pay attention to her, because something is wrong.

When I designed my comic’s leads, I wanted to physically distinguish them in as many ways as I could. In Al’s default state, his mouth is usually closed. Al evolved into a character who does better with silence, because his mustache is a great tool for being expressive without any dialogue. Chuck Jones taught me that.

Brendan’s default, on the other hand, is having his mouth open most of the time. It helps show how he dominates the dialogue and the chemistry between him and Al. When his mouth is shown closed during a dialogue scene, it’s very deliberate. When you notice artists following these helpful rules, understand when it might be more effective to break them.

bluedelliquanti:

faitherinhicks:

scarygoround:

One thing I don’t undertand in comics is characters talking with their mouths closed. You see it all the time in mainstream books. I’m certain there’s a point when I was drawing comics that I flipped from not even thinking about the closed mouth talkers (my early stuff is full of them) to really hating them. It completely punctures the reality of a panel for me if someone’s talking with their mouth closed.

This drives me crazy! A speech bubble floating above a character’s head, and he or she has their mouth shut. Don’t do this! It loses the immediacy of the dialog when the mouth isn’t open.

Like lots of rules in comics, this is a good one to notice and understand why it exists, so that you know when it’s okay to break it. 

Having the character’s mouth open during dialogue helps with the immediacy, as Faith says. You can even draw the mouth in such a way that you can see what word in the bubble they’re emphasizing, and is therefore the most important. See how in David Willis’s fifth panel here, you can tell Jacob’s saying “Sorry?”

amazi-girl's boots should be uggs

But there is value in having a character’s mouth be closed at certain moments in dialogue sequences. If you see a closed mouth after a word balloon, your brain adds a “beat” for finality. It can add time and alter the rhythm of a conversation. It can also clarify the mood of a character or scene.

I reread the archives of Templar, Arizona recently, and there’s a character, Reagan, who dominates nearly every scene she’s in. She’s physically expressive and has a distinct speaking style. He mouth rarely closes. When it does, it’s during a very serious conversation. She’s dialing down her bombastic personality so other people will pay attention to her, because something is wrong.

image

When I designed my comic’s leads, I wanted to physically distinguish them in as many ways as I could. In Al’s default state, his mouth is usually closed. Al evolved into a character who does better with silence, because his mustache is a great tool for being expressive without any dialogue. Chuck Jones taught me that.

image

Brendan’s default, on the other hand, is having his mouth open most of the time. It helps show how he dominates the dialogue and the chemistry between him and Al. When his mouth is shown closed during a dialogue scene, it’s very deliberate. When you notice artists following these helpful rules, understand when it might be more effective to break them.

image

(via racheldukes)

— 3 weeks ago with 3310 notes
#comics  #dialogue  #education 

jacobs-stabber:

asylum-art:

'All the Wild Horses' by Andrew McGibbon

And all the wild inspiration… I’m such a sucker for insane colours and lightnings!

(via metanoianmayhem)

— 3 weeks ago with 6223 notes
#horses  #animals  #reference