All of the tutorials, references, artwork, etc. featured here were not created by me. This is just an area for people to find anything related to helping others improve their art skills.
Please do not hesitate to submit or notify me of resources and tutorials for anything relating to art you can imagine will help people in their improvement of art. Since art is such a subjective and vague term, this can mean anything from writing to cosplay to cooking to even home construction.
For those of you that like everything neatly organised, here’s links to EVERY ONE of my first 150how to THINK when you draw TUTORIALS, in ALPHABETICAL ORDER for#SkillUpSunday!Enjoy, link, pin, share! Cheers!
As a trans guy who’s been working out for a few years now and has learned a lot about their body and building muscle and whatnot in the process, here’s something I don’t see mentioned, like ever.
Abs don’t really look Like That™
when they’re relaxed.
I rarely see male body positivity posts in general but I’ve never seen this mentioned, and honestly? Call me stupid for it if you want, but I genuinely thought that super defined look was something that was achievable in a relaxed state, simply because I’ve never seen anything to the contrary.
As someone with body dysmorphia as well as dysphoria, you can imagine the damaging effects that might have had on my mental health trying by to achieve the impossible. I can only imagine how many other masculine folk out there could be struggling with the exact same thing.
Anyway like, this is mostly to point out for masculine folks that might be pushing themselves too hard, that you’re probably doing better than you realise.
Anecdotal stuff aside, this is an important thing for artists to remember as well! This is something I never realised despite being an artist that goes to figure drawing classes on the regular and having modelled for them myself- because of course people with abs are flexing for the poses! I was doing it too!
- Admin Pasta
Bodies actively being posed and relaxed bodies look VASTLY different and that’s ok! There’s nothing wrong about the natural and relaxed look of your body, it’s still just as wonderful
It’s for a group on Deviantart I’m modding. I had a fun setting up the charts and adding the information. I always love wings so I wanted to do something with it for fun. The top picture is what I aesthetically enjoy, haha. I was inspired by Haibane-Renmei on the process.
if you’re doing black edits of a character please please please use a color palette for reference so your edit doesn’t end up looking racist (like orange/red) here are some good ones
In storyboards, I often don’t put too much thinking into drawing ears. I mostly draw them as shapes. The only time I really need to know the ins and outs of ear anatomy is when I draw an over-the-shoulder shot. I never wanna draw attention to it, but a poorly drawn ear WILL stick out. Other than that, you can only simplify something adequately if you know it well. Maybe I’ll do another posts later on “cartooning” ears or modifying ears.
requested!! its just some stuff ive learned idk dont trust me too much, i had the parts for this laying around for days and was too lazy to put text on it i also added a collage of some chests ive done last minute
v__tori asked about: uhhh posing characters interestingly when theyre just like talking or standing around, this is comic related so camera angles factor into that too i guess,,
I’m going to answer the second half of this question in this post (framing), you can find the first part about posing & acting here!:
As with the previous post, I will be focusing largely on sequential story telling (comics, storyboarding, etc), but it will still apply to a single image!
So when framing your shot, you want to think about what exactly it is you’re trying to say.
As an artist, you’ve got two ways of giving your viewers information: Through what they can read (dialogue), and through what they can see.
Writers are often told “show, don’t tell,” and this is just as relevant for art! Wherever possible, you want to show your viewers what it is you’re trying to say to them. Your audience is smart, you don’t need to spell everything out for them.
Where you place your camera changes what the viewer sees, so what is it that you want to tell them? How do you want them to feel about this situation or character?
Here’s a scribbly example for you:
With the first panel, I wanted to mostly focus on Greta w a lil bit of Edel in the shot… but most importantly the view is a little off kilter! :
Tilting the horizon line like this is called a dutch angle, and using it gives a shot a sense of unease, disorientation, or in this case desperate, frantic action! (I also just happen to like drawing stuff slightly from above LMAO)
So: - What is it that I wanted to tell the viewer? Greta is worried about Edel, and there’s some sense of urgency here. - How did I want the viewer to feel? I want the viewer to feel concerned and a little uneasy.
The next panel isn’t really anything special, Greta is the main focus so she’s the only one in the shot! A mid long shot like this lets you see how Greta is acting.
The next 3 panels are closeups of their hands. What I wanted to tell the viewer is that Greta is scared, and how tightly she’s holding onto Edel. So, the focus shifts from Greta’s face to her hands.
Then we zoom back out to some mid long shots so you can see their faces again & how they’re interacting. The sixth panel is also quite close to them, it gives the shot a sense of intimacy!
Does that make sense? I hope so 💦
As with the previous post, I would recommend studying films - this time to get a better understanding of shot framing, and some ideas of what kinds of shots you can use.
With this in mind, why do i think this shot is framed this way?
Your main aim in doing these studies is to try get into the head of the artist/director.
To give you an idea of what you’re looking for when you’re studying these films, lets have a look at a couple scenes from kung fu panda 3:
So: Po goes off to fight Kai, everything’s been building to this point and Po seem’s to get a strong start!
We’re given a wide shot of the two of them sharing equal portions of the screen, on a level plane. As neither one of them dominates the screen, we’re given the impression that they are equals.
Quickly however we learn that Po’s signature move does nothing to Kai, and shown just how much stronger he is than Po. Immediately, Kai is given more screen presence, the angle changes to look up at him, giving that sense that Po is inferior. Because of how the shot is framed, Po is literally beneath Kai.
We’re shown Kai looking down on Po’s fearful expression,
And pretty much every shot after this has us looking up at Kai, low down from the ground, or looking down on Po from high above. The intent here is to create a sense of fear and anxiety, by putting us and/or the protagonist beneath Kai.
These shots are also tilted a little, remember the dutch angle I mentioned earlier? They’re doing the same thing, creating a sense of unease with the unsteady ground plane.
But then these roles are reversed later when the tides change, and Po becomes stronger than Kai. At this point, Po is the one lifted above Kai, and Kai is left looked down upon, giving the viewer a sense of power over him!
While you’re studying these scenes, I recommend doing some 3-tone thumbnail studies to really get a feel for the composition.
Don’t worry about making it look pretty, just try to understand how the shapes are being arranged in the shot. Why do you think the shot designer made these decisions?
The more you try to understand why something has been done this way, the more you can apply it to your own work!
Wandered into an article with 140 iconic cinematic shots, the comments complained there was no explanation to their composition. Decided to give it a run down and keep it to myself.
The compositions are mostly self explanatory but I wanted to see what patterns I could find. That’s just how you learn stuffs.
It’s Meg for this week’s TUTOR TUESDAY! Today we take a little look at hopefully some exercises that will help with drawing horns! So go draw some peeps with horns, my dudes. If you have any recs send ‘em in here or my personal. Keep practicing, have fun, and I’ll see you next week!
A really late TUTOR TUESDAY on antlers which ARE NOT horns, so ya’ll can stop razzin’ me about not putting them on last weeks tutorial! If you have any tutorial recs send ‘em in here or my personal! Keep practicing, have fun, and I’ll see you next week!
There may be easier ways of building braids than what I do, but this is just my process for drawing them, so take it with a grain of salt.
I’ll start with a line for whatever direction I want the braid to go in, if I don’t do a line and I have any kind of motion to the hair, boy do I mess it up lol
Next I’ll do wide half triangles, the line being my center, the right side or the left side always dropped lower than the other. If both sides meet in the center at the same level it’s not going to look very braid-like or have the illusion of being tangled with itself.
Afterwards you can remove the middle line if you want to take it further and connect each one with an alternating pattern like this one, giving it more of a braided look in the center.
Once the center is solid, you can add all the details you want in any style you like, curving inwards towards the center. I tend to like the more stained glass-ish appearance for hair so I’ll do very choppy, squared off lines to detail.
This works for whatever position you want to put the braid into using the wide triangles to build it up. It works for tightly woven or loose and messy braids depending on how wide/long you make the original half triangles.
