arielle talks a lot

Haha okay, the teacher I have for YA Lit is amazing. I had her for Sci-Fi Fiction before. But the thing is she was given this class five days before it started since she’s taking over for another teacher.

So her syllabus starts out normal, right? Like…

But then…

And then…

By the time it hits mid March…




Really excited about this class, man.


Guys, this was a ridiculously cute and fun show. If you’re a fan of the source material and you have the capacity to see it play in NYC (for free!) in the summer go for it! Also:
1) Bianca cameo in the lotus hotel what up gurl.
2) Use of the phrase “saving grace” in a song about Thalia. They saw the opportunity and they took it haha.
3) Fantastic main trio. Percy was a cutie.
4) also Clarisse was a babe.
5) yay for supporting new musical writers and composers/theater for kids/literacy for kids! Way to go after all my biases.
6) also way to adapt this better than the movie. Yay!

anonymous asked:

Hello! I wanted to know... Why do you draw Nico's hair looking like horns? (Love your art, by the way!)

Ahahaha, it actually started before Nico’s hair was canonically described as “baby bat wings” in House of Hades. When I first started drawing the PJO kids, I tried to design all their hair to give clues as to who their godly parent is. You can see it most clearly here:

For Percy, i gave him a wave/shark fin motif. For Annabeth I gave her a ponytail that mimics the fringe on Athena’s helmet. Leo has fire-y hair. The death kids have “devil horns” in their curls. The Grace kids have lightning bolts. The Ares/Mars kids have arrows/sharp lines. Reyna’s initial hair shape I also based on Bellona’s war helmet. Piper has heart shaped motifs in her hair, most obvious in the braids. I’ve toned these shapes down a bit in my most recent drawings of the kids, but it’s definitely still most apparent in Nico because I think it looks ridiculously adorable. 

peanutbttr-deactivated20141013  asked:

on your most random whims to draw, what medium do you use (traditional)?

It switches around, but currently here’s what I keep in my pencil case for on-the-go sketching:

From left to right: Post-it notes for redrawing mistakes, pencil sharpener, Wide grey Copic Marker for shading large spots, Pentel Duopoint Double Ended Artist Pen, Pentel Aquash Brush, variations of the Pentel Sign pen, Tuff Stuff eraser, Uniball white gel pen, Col-erase pencils in various colors (the colors pictured are my favorite to work in.) 

Which tend to come together to form stuff like this:

Currently working on a Kunst & Papier sketchbook, but I also keep a small one from Muji for days where I have to pack light.

winged-mango  asked:

Hi Arielle! You're a really good artist, and I wanted to ask you if you could give some tips to draw. I'm still figuring this out (mostly cause I won't take classes until summer, I live in another country, so summer is pretty close), it would help me a lot!

Hey there! Thank you so much!

I’ve typed parts of this up for someone before, but I’ll reiterate it again here. These are the three pieces of advice that I wish I had gotten earlier in my life. I’m still learning, but these have been really helpful to me, and I hope you find some use in them too! :)

  1. DRAW WITH INTENTION. I think there’s a tendency for novice artists to start drawing by setting down a bunch of little lines to make up one big line, in a sort of super sketchy, I-don’t-really-know-what-I’m-trying-to-draw, searching way. I used to do this three years ago and occasionally I still fall back on it (though I’m far more conscious of it now.) 

    Here is an example of what I mean. That’s my own work from a few years ago, and it kind of pains me to show you this but I think it’s important. Overall, I don’t think the character design is bad but what bothers me most about that work is the fuzzy line quality. There is no intention to it whatsoever. For example: look at the largest figure on the left. Look at the sleeves and the edges of the sweater. There’s a quality of indecisiveness there. Where does the line actually start? How thick is her waist exactly? These questions arise because there is no strength of conviction to the line.

    You really have to have confidence as an artist–and I think the best pieces of art are the pieces where you can tell the artist made SOLID decisions and that NOTHING is an accident. The above example lacks that confidence; in order to get that confidence you need to practice as much as possible. And when you do practice, try putting down your lines in full sweeps. Don’t do that thing where you search out the line by making a bunch of little fuzzy lines. It just kills the energy and life of the drawing. By making bigger, sweeping gestures, your work will look more fluid and less stiff. If you want a good example of this, take a look at this figure drawing by Glen Keane. In contrast to my example above, every line of Glen Keane’s has reason for being there. There are no arbitrary strokes. It’s all about intention!
  2. OBSERVE FROM LIFE! Can’t stress this one enough. When you’re learning to draw, it’s really helpful to draw more from life and observing what people ACTUALLY look like. This may seem like a drag if you’re into cartoons, but trust me: learning the rules before you break them is one of the best things you can do. The results tend to be surprising. For example, when I observe from life, in my head there’s usually a lot of, ‘Whoa, I didn’t know the arm went like that or huh that looks really interesting, so THAT’S how legs lie.“

    This is because observing from life breaks my set expectation of what a generic human body looks like and that’s a good thing! Human bodies AREN’T generic. Once you really learn how the body works, you’re free to break and bend the rules as much as you want but in my opinion you really need that foundation in order to be able to caricature and stylize the body in a somewhat believable and aesthetically pleasing way.
  3. EVERYTHING IS A CHARACTER. This is the most recent piece of advice I’ve gotten that has really resonated with me. It goes hand in hand with intention, but it’s a bit of a different animal too. When you’re designing things, you have to remember that everything has a story. Everything has a reason for being what it is. This goes not only for characters but for buildings, for items, for everything. For example imagine, say, a napkin holder at a restaurant. What is it made of? Is it metal? If it’s metal, is it really shiny? Does it look like it gets polished often? Is it stained and dented? What does that say about the overall cleanliness of the restaurant? What does that say about the waitstaff? What does that say about the restaurant’s funding? What does that say about the neighborhood where the restaurant is set? Do you see what I’m getting at? Even the most minor details can say SO much about a setting or character. 

    I’ve been trying to include this more and more in my work as of late. It’s in the way that I draw Percy and Annabeth’s hair for example. Percy is the Son of Poseidon, so I tried to do a sort of wave/shark fin motif to the shape of his hair. Annabeth is the Daughter of Athena, so I put her hair up to be reminiscent of the fringe on Athena’s war helmet. Obviously, there are better examples out there (it’s just easier to talk about the intention of my own work.) Off the top of my head, take a look at Pixar’s WALL•E or any Pixar film in general. Really analyze the difference in design between WALL•E and EVE. Of Mike and Sully. Of Woody and Buzz–not only their characters but the PACKAGING they come in. There’s just SO much intention to the design it’s crazy!

Anyway! I hope that was remotely helpful in some way! Good luck with your classes and have lots of fun! :)

2014 best of.

favorites of 2014. i consumed more movies than anything else in 2014, and it shows.

  • best movie: The Incredibles (2004) | honorable mentions: Eternal Sunshine of the Spotless Mind (2004), Captain America: The Winter Soldier (2014), Snowpiercer (2014), Gentlemen Prefer Blondes (1953), Into the Woods (2014) | guilty pleasure mention: What’s Your Number? (2011)
  • best tv show: Selfie S1 (ABC) | honorable mentionsHow To Get Away With Murder S1 (ABC), Brooklyn Nine-Nine S2 (FOX)
  • best cartoon: Bee and Puppycat S1
  • best bookThe Country of Ice Cream Star by Sandra Newman
  • best comicHawkeye by Matt Fraction, David Aja, & Annie Wu | best issue: Hawkeye 20
  • best album: Things to Ruin (2010) by Joe Iconis | honorable mention: Kerrigan-Lowdermilk Live (2013) by Kerrigan-Lowdermilk
  • best song: Never Heard Nothing from Things to Ruin (2010)
  • best musical theater performance: Heathers the Musical - closing night show | honorable mention: Lady Day at Emerson’s Bar and Grill - May 31st matinee show
  • breakout character: tied, Kate Bishop & Steve Rogers

anonymous asked:

Hello! Ever since you posted that drawing of Reyna and Calypso I've been wondering how would their characters react to each other if they were forced to interact on a daily basis but I've found I've very little knowledge of Reyna's personality and can't analyse text at all, so I was hoping you wouldn't mind answering, how do you think they'd be, were they ever to meet?

Oh man, ahaha. Okay let’s see…

Well, first I should probably explain my interpretation of Reyna’s character since I think she’s either stereotyped or brushed off by a good portion of the fandom. A lot of the time that she’s mentioned, there’s always a sentence accompanying her that’s something like, “she was trying not to smile.” So I think Reyna is serious to some degree, but to interpret her as completely humorless is a little off base. This is a girl who also likes dogs, jelly beans, hot chocolate, and pegasi, and then fangirls over old historical Roman leaders for fun. Sure, she puts on her serious praetor face for the benefit of the Camp (and probably for the benefit of herself too—she’s obviously got a thing about appearing “weak”, if the whole “little girl from San Juan” thing is any indication), but in private she clearly appreciates a good joke as much as the other kids. 

And this is getting long so I’m putting the rest of this under a Read More…

Keep reading

chimericalnousse  asked:

Hi Arielle, are there any books you would recommend for someone who wants to study illustration? like to help teach one composition, anatomy and schist?

I actually get this question often so I hope you don’t mind that I’m answering this publicly so that I have a masterlist to link to. These are all bent towards the animation industry but a lot of the concepts still work for illustration.

anonymous asked:

In response to the figure drawing ask, where do you find figures to draw? I've been searching everywhere for a website that has people in different poses to draw from

Online, I know of Pixelovely and Posemaniacs. Also check out free stock image places like kxhara on dA.

Definitely try to see if you can find live model sessions though, because they’re better than drawing from photos. Photos are great, but when you draw from life you’re using your own eyes to observe the form and you’re using your own hand to turn the 3D thing you’re looking at into 2D.

If you happen to be in the NYC area, Parsons has figure drawing sessions with live models every Friday. Most other places make you pay an entrance fee, but Parsons lets you come in for free. Coffee shops, parks, and classrooms are also good places to draw people.

Eff my life, guys. Do you know how sweet Andy is? Let me tell you: she’s SO sweet that she actually gave me a gift for giving her a birthday present. WHO DOES THAT.

And not only did she send me two super cute sketches of Korra and the Free! boys, SHE DREW THESE ADORABLE IDIOTS FOR ME. aHHHHhhhhHHHH. She totally did NOT have to! Seriously guys the look on my face when I opened it. And what makes it better is that she rarely draws Reyna and has never ever posted up her version of Leo, and now I own an Andy drawing with both of them in it, mwahaha. Plus, you know you’re buds with someone when they draw your ship for you even though they don’t really ship it. ~*~*~TRUE FRIENDSHIP~*~*~

These cuties are going up on my wall, like, right now. THANK YOU ANDY ILU!! You are impossibly nice and if we met IRL I would be real creepy and squeeze your face.

twitchyteleporter-deactivated20  asked:

Hi Arielle, how do you draw bodies? and how do you create/ draw characters in poses that are not wooden/stiff?

Observe from life. That’s really the best thing I can tell you.

Do a ton of gesture drawings to get the feeling of motion and movement. Think about weight distributionI find that if I’m drawing something and the pose is looking stiff, it’s because there’s no weight to it. The best example I can give you of what I mean is Glen Keane’s amazing figure drawings:

You can literally feel which hip, which leg, which foot is holding the weight of the body in these drawings. This is how the human body moves itself: by redistributing weight. If you keep that in mind, your poses and bodies will start to feel more natural.

And here are some resources to check out that would explain this better than me:

It’s also helpful to look at what other artists are doing. It’s one thing to study from life, but it’s another thing to figure out how you want to caricature it. Besides Glen Keane, I also found looking at Clio Chiang’s sketches immensely helpful in figuring out how to be more dynamic and playful.

And lastly, using references is always good too. I have folders upon folders of pictures saved to my desktop of people doing various things. Standing, sitting, hand holding, kissing, hugging. Whenever I come across an interesting pose on tumblr, I usually don’t reblog it but save it to my desktop where it will be easier to find. I don’t follow the reference exactly and most of the time I wind up changing up a few things like arm and leg positions, but having them just helps you figure out a lot of stuff.