canon of proportions

anonymous asked:

Hey there! I've taken art classes & every week my teacher made us draw Greek statues, with each week growing in difficulty. I love drawing statues but I was wondering what the benefits of drawing greek statues are? Is it because of their intense detail with regard to anatomy? Sorry if this is a stupid question. I just want to get better at anatomy & I want to make it more fun instead of just doing figure drawing studies and studying muscles and skulls and things of the sort, haha. Thank you! =D

Not a stupid question at all! I once had to do a contour line drawing assignment and I thought it was pointless because all I wanted to draw was anime .. haa.. But I was too inexperienced at the time to see that the point was to learn the form of an object (in this case, through the combination of lines), much like the purpose of drawing from the plaster casts/statues. From what I can tell, because the statues from antiquity have such a masterful canon that governed proportions and form, artists can learn from what is considered the best in anatomy and to also gain a sense of what is beautiful, because in my experience, that is something that must be learned as well, surprisingly enough. And there is also learning lighting and tones; I’m guessing your teacher also incorporates strong lighting for the casts? You can learn the way lighting plays on different forms, hard, soft, and so on.
I read somewhere that your artwork is an average of all the other artworks that have influenced you, purposefully or otherwise, so assuming that’s the case, it’s more beneficial to surround yourself with the what is best (in technique), rather than anything sub par.
I find that drawing what I want but also adding in things that will help me learn, like adding in stuff I’m weak at for the sake getting better, makes the learning process more fun. When I draw what I want, it’s always more enjoyable for me. In practice, I’ve come to realize that having good technique by itself or having a good idea alone is not enough, i.e. you could have a really nice drawing of a body but it’d be unexciting, or you could have a good idea but technical skills are lacking and then that would distract the viewer away from your idea. It’s best to have a good balance between the two. And don’t worry, it gets less boring the more you learn! I hope I was informational!

Building your own Canon of Proportion

It’s very common to draw a figure, and know that something looks… wrong, but not be able to tell *what*. Having a juicy set of “ideal” proportions can help you course-correct when your instincts lead you astray. Beginners can use ready-made sets of rules, but as you become more attuned to exactly how you want your figures to look, it can be helpful to generate your own. 

Step 1: Learn a few existing canons of proportion. Try using them to measure real people, to measure art you like, and to measure your own art. See what happens if you take one of your own drawings, and adjust it to match the system you’re studying. See what rules make sense, and are easy to use, and which rules are confusing, or hard to see.

Proko has a couple great videos on different systems of proportion; here’s one system I think is particularly effective (but lots and lots of people use Loomis’ system and other skull-to-chin systems to great effect):

Step 2: Gather a number of references of figures whose proportions you like. If you want realism, you should use photos. If you want to make superhero comics, find panels that especially speak to you, instead. Ditto anime, Egyptian sculpture, whatever. If you’d like to draw people who are fat, or exceptionally tall, or very muscular, be sure to add them to the mix. We’re trying to capture your artistic ideals, not anyone else’s. You’re looking for two kids of figures: first, neutral figures, standing up straight, facing forward or directly to the side, with arms out of the way. These figures make it easy to see the proportions. Second, you’re looking for dynamic poses. These figures will help you test if your canon is useful.

Step 3: Start looking for shapes and distances that are easy to identify. Classic examples are the distance from top of the head to the chin, from the base of the hand to the elbow, the width of the hips. However, it can be extremely helpful to take a page from Robert Beverly Hale’s book, and use volumes instead of lines when you measure. Use the cube that contains various parts of the body – like Hale uses the cranial mass. You could also use a clenched fist, or the volume of the hips.

Step 4: Start looking for relationships. Move your chosen measures around each of your neutral reference figures, looking for structural points in the figure that are simple, whole-number ratios of your measurement. When you think you’ve found a good match (“the width of the rib cage is the length of the forearm”), start testing it out on the dynamic poses. Still seems reasonable? Great! Be sure to make note of when the measurement is a little too big, or a little too small, and see what effect that has on the way the figure looks.

A canon is just a big collection of these rules. So make it as simple or as complex as you feel comfortable with! Feel free to get creative with your comparisons, too. IIRC, Polyklietos mentions that if you draw a square with each side being the length of the hand, the diagonal of that square is the length of the forearm (from pit of elbow to base of palm). Any relationship that’s easy to see and to measure is fair game – find what works for you. Mine existing canons for good rules, but test them. Don’t blindly believe anything – there are plenty that won’t quite suit your tastes. Pay specific. attention to areas you struggle with the most! I tend to draw people’s hands much too small – so I keep a number of rules around that I can use to verify when I’ve done it right.

Step 5: Draw it out. This is the fun part, because you get to play at being Da Vinci. Draw a good, clean, neutral figure, and note out all the relationships you discovered. If you can, find geometric, visual ways to show the relationship off (like the stacked squares in the video above, or like the Vitruvian Man’s circle-in-a-square). That will make it easier to remember.

It will probably take you several tries to draw out a figure that *you* think looks right *and* that has measurements that are easy to remember – so don’t fall too much in love with your first attempt. In the worst case, you’ll spend a few hours studying the figure, improving your instincts. In the best case, artists of the future will busy themselves trying to learn the secrets of YOUR system of proportion.

If you do this exercise, post your results! Knowledge shared is knowledge multiplied!

anonymous asked:

Your reigens..,,, are so handsome like,,, my heart can't handle it I can't believe???? thank you for bestowing such good reigens upon us

a  a aaAA  a h thank ghgkghkjgh.

TBH i’ve been trying to learn how to get around that and it’s been the funniest struggle hahaha. LIKE. Mememan is not Hansamu he’s just a Plain Dude but whenever I try to interpret him into my style he just .?.?? does what he wants

I think my initial draw of him feels more like him, where as my newer ones are def closer to canon proportions, so.. It’s been a tossup lately haha.

I think part of it is the hair line but HOO BOY this is the first time I’ve been actively trying to make someone look more plain and it’s not working GEEZ.

It’s like 6am and I can’t feel my leg

Enjoy tum smooches pfff

Okay can I just say something here?

As most of you I’m sure are aware, fandoms (esp on tumblr/in fanfiction) can sometimes blow partially-canon traits really out of proportion and venture over into the realm of the fanon, occasionally really, really far, all the while still claiming these verging-on-the-edge-of-ooc characteristics are canon as hell. The massive chain culture we’ve got going isn’t helping this much (think memes. how long do they take to spread. bout ten minutes). So a couple of people say ‘this character behaves in such-and-such a way’, and boom. Suddenly this is accepted as hard truth the world over. One such trait has been bugging me lately, because I’ve noticed basically everyone assigns it to Draco Malfoy and it’s in almost EVERY DRACO-CENTRIC OR INCLUSIVE FIC. Namely, that he is always cool and collected. Suave. Let me just make something very clear right now.

Draco. Malfoy. Is. Not. Suave.

He is not the personification of the verb ‘smooth’. He is not a graceful statue. He is not void of emotion. He is not continually charming and always in possession of his head, he is DEFINITELY not immune to getting flustered, and he’s not freaking unshakable. Soooo many fics portray Draco as this intimidating, almost godlike marble creature who is forever stoic/coy/unaffected in the face of discomfort. And I get where this is coming from. Yes, Draco is good at shutting down his conscience and feelings of guilt or compassion, yes he is mean, and yes he is a snooty aristocrat with a superiority complex. But this does not mean that he’s incapable of feeling or reacting to touchy situations. In fact, throughout the entire series, one of his most noticeable traits is that he does react to touchy situations, very strongly. Exhibit A:

‘This is very easy,’ Malfoy drawled, loud enough for Harry to hear him. ‘I knew it must have been, if Potter could do it… I bet you’re not dangerous at all, are you?’ he said to the Hippogriff. 'Are you, you great ugly brute?’

It happened in a flash of steely talons, Malfoy let out a high-pitched scream…

'Im dying!’ Malfoy yelled, as the class panicked. 'I’m dying, look at me, it’s killed me!’

I know, this is pre-war Malfoy, but he’s painted as pretty put-together during a lot of Hogwarts era fics as well so I think including this is necessary. Guys, Draco was the biggest drama queen on the planet. It was not hard at all to ruffle his feathers. This child was only cocky when he was completely in control of the situation; any shifting of the playing field and he would either be fuming mad, whining about tattling to his daddy, or running terrified. Fear is a very big element of his character, and that does not ever change, not even in the later books when he drops the theatrics. Draco is not good at handling things during the action, in the here and now. He prefers to work with strategy, to be distanced from what’s going on, so when he’s actually put in a fight-or-flight situation, his natural instinct is always flight. Remember, he is a Slytherin, not a Gryffindor. Self-preservation trumps bravery every time.

He’s certainly not any more collected during the war than he is in his school days. In fact, if anything, it gets worse, as basically all of his swagger disappears and he is little more than a distraught wreck. This kid had panic attacks, he cried in the bathroom to a ghost because he was so scared, he was guilty and traumatized and you cannot tell me that a terrified, messed up kid like that was suave. His attempts at making jabs at the trio all through the sixth year are notably feeble, he’s clearly not good at keeping up a composed appearance at all times as he is described continually as looking pale and sickly and nervous, with “dark shadows under his eyes and a distinctly greyish tinge to his skin”, and when the time comes for him to kill Dumbledore, he’s outright shaking- every word out of his mouth and every action he makes on that tower are positively screaming 'I DON’T WANT THIS PLEASE HELP ME.

Now, I’m not saying he isn’t able to act smug in his post-OotP years. He is, and he can still be threatening and cruel as well. But he isn’t aloof. He isn’t a mountain. Draco Malfoy has a very wide range of emotions, he is not made of steel. In Exhibit B, you can see just how ‘calm and cold’ he is when the trio is brought to Malfoy Manor:

'Well, Draco?’ said Lucius Malfoy. He sounded avid. 'Is it? Is it Harry Potter?’

'I can’t - I can’t be sure,’ said Draco. He was keeping his distance from Greyback, and seemed as scared of looking at Harry as Harry was of looking at him.

 Harry saw Draco’s face up close, now, right beside his father’s. They were extraordinarily alike, except that while his father looked beside himself with excitement, Draco’s expression was full of reluctance, even fear.’

Oh, yeah. The kid’s unreadable.

People, level-headedness during tough situations is NOT a canonical aspect of Draco’s personality. The rest of the time, sure, but not when he’s scared. This behavior isn’t exclusive to the war, either- in every part of his life that we get to see in the books, which is basically his entire growing-up years, he panics when things are looking bad for him. And anyone who says he would get all his old arrogance and snark back after the war ended is being ridiculous, because there is no way that’s the case. After all he suffered, after the shaking of his views and the torture he was forced to use on others and the realization that he was not better than the people they were fighting against, that in fact, he was probably far less than them (which we aren’t explicitly given but HAS TO HAVE HAPPENED after all he saw and considering he didn’t uphold his old pureblood views as an adult and that his entire family just quit fighting for Voldemort during the Battle of Hogwarts; he was only in it for his parents by then, and obviously once they forfeited their side he would have too. He did NOT support Voldemort by the end of the series, and probably saw he was wrong far before this), every last dreg of confidence would’ve been drained from him. Post-war Draco would’ve been a shadow of himself, constantly tortured by guilt and regret and the mark on his arm. Not debonair and in love with himself. Not a playboy (honestly where did this trope even come from the only girl who ever paid him any attention was his fangirl Pansy and apparently his wife). That massive section of his life where he was under Voldemort’s control was not a phase that he could’ve just glossed over. It shaped him. He was broken during that war. And he was never as lordly and impenetrable as he most likely aspired to be in an emulation of Lucius to begin with.

So can we all just stop pretending that Draco Malfoy is unflappable and impervious to emotion please? Because he’s not. He’s really not.

creamnsugarmama  asked:

the complaints about pharah's proportions were (mostly) about a particular artist's depiction of pharah where she was given massive exaggerated proportions (huge chest/shoulders, very small waist/hips, 8ft tall) that looked like a caricature out of rcd/art while mercy was drawn with her more canonical proportions. i think everything after that is people just not trusting the phar/mercy fandom and idk if i could really blame them for that.

Hi, then I hope that artist learned the lesson. I see that drawing re posted and re posted like a broken record. But what was the result? follow up? none, I see none. 

 I too draw Pharah fanart, there are only a few ones in my blog. I’m very aware of the problems of said fandom and I think brown people should take the flag and snatch Pharmercy from racists…but I can’t be a cop or some babysitter, I’m busy.

 The thing is there’s people blaming on Pharmercy fandom for every single thing they think is wrong, like the number of solo Mercy fanart, Mercy is shipped with almost every single one of the Overwatch characters ->more fans->more art. 

The thing is THEY are caricatures, Overwatch characters have ridiculous proportions, but if artists are going to deform one character they should deform the other as well. 1. For awareness, 2. Consistency.  

lorikeetlesbian  asked:

Hey, how did you develop your art style? You're my favorite artist.

if i were to get technical- the answer might be underwhelming hahah!

fan art has been my #1 motivation to draw sense i got into my first big nich when i was 11 (kids next door) and i wanted to emulate canon proportions as much as possible to make my comics  feel real. i guess thats just how i feel through out all my interests. i incorporate stylistic choices from the things that i like into my drawings and so now my art style is this weird frankenstein of all these things ive loved over the years. its hard to see w/o context but even the way i draw feet derives form tom warburton’s style a lot haha

My version about the Shadowbolts in their free day get up. I trace it since Im getting stuck as I’d never get a “balance” in their canon proportion and my own style.

EDIT: Giving Sugarcoat another bow, minor eye edits.

Sunny dress to her status, and letting everyone knows.
Sour is keeping with the fads, dont want to be left behind.
Indigo is showing her allegiance. Dont Drink. Dont Smoke. Dont do Drugs
Sugarcoat dress as frilly as possible to her liking, not giving a stone to your opinion. She’s Sugarcoat(ed) after all!
Lemon is channeling her hard-hitting music in her looks. Rock ON!

Egypt is a Greek word meaning “Black.” μαύρος             

• The Egyptians of the Bible were Negroid. 
• The Bible says both Egyptians and Ethiopians are descendants of Ham. 
• Arabs invaded Egypt in the 7th Century AD; Remember, Egypt wasn’t invaded by Rome until 300 BC. The Bible dates 4000 BC. 
• Therefore, Arabs have no more connection to Ancient Egypt than Europeans have to Ancient America. 
• Egyptian is an Afro-Asiatic language. (AFRO, AFRO) 
• The national language of modern day Egypt is Egyptian Arabic, which gradually replaced Coptic. (Coptic–Ethiopia) 
• Black Egyptians were eventually mixed with invading Libyans, Persians, Greeks, Romans, Turks, Arabs and Western Europeans. That is where the mixed people of the modern-day Arabs come from. 

The following is supporting evidence from The African Origin of Civilization: by: Cheikh Anta Diop 

Evidence from Physical Anthropology 
The skeletons and skulls of the Ancient Egyptians clearly reflect they were Negroid people with features very similar to those of modern Black Nubians and other people of the Upper Nile and of East Africa. 

Melanin Dosage Test 
Egyptologist Cheikh Anta Diop invented a method for determining the level of melanin in the skin of human beings. When conducted on Egyptian mummies in the Museum of Man in Paris, this test indicated these remains were of Black people. 

Osteological Evidence 
“Lepsius canon,” which distinguishes the bodily proportions of various racial groups categories the “ideal Egyptian” as “short-armed and of Negroid or Negrito physical type." 

Evidence From Blood Types 

Diop notes that even after hundreds of years of inter-mixture with foreign invaders, the blood type of modern Egyptians is the "same group B as the populations of western Africa on the Atlantic seaboard and not the A2 Group characteristic of the white race prior to any crossbreeding.”


Youtubers. I tried do a line of: Minecraft Style then the Normal* (*That what I call the Aesthetic canon or human proportion figure) style. 

Pete and Noochm was the last one, everything before just did go wrong. 

[For me my minecraft style everybody have like same height like in the game meh] 

PD: Oe, funny thing still have no idea what the hell Brandon have on his head. I mean the hat.

Fanon Caliborn: asshole of epic propotions, "annoying little brother,“ complete and utter idiot, pushover, basically just Invader Zim, overconfident, whiny little pissbaby, about as threatening as a teddy bear, pretty much a joke

Canon Caliborn: asshole of epic proportions, constantly underestimated, a cunning tactician despite his learning disability, determined to get his way at any cost, will never give up even when his task seems impossible, surprisingly insecure under his bravado, has an absolutely lethal temper, can be legitimately terrifying, is a comedic character but is NOT a joke

Now, I’m not usually the type to read into the smallish details, but this one is much bigger than size implicates. No, it’s not just the picture though.

I’m sure the non-Gruvian types out there, and heck, probably even some Gruvians, are wondering what the deal is over a tiny piece of a picture. Why are we excited? What does it mean? Allow me to give my .02 cents.

When one looks at the entire photo of Lucy’s tracking board, a interesting observation can be observed: most people are clearly alone with a few exceptions. We still have family ties: Al and Bisca, Romeo and Macao, Mirajane and Lisanna (without Elfman). We also have dragon slayers with their exceeds. Even longtime teams such as Shadow Gear are split up on the map.

But then, we have Gray and Juvia overlapping on the map with pictures from interactions with each other in the past. Now, if it’s the Earthland map we know, they are in the North (ahem, cold) and near water. We only have Gray’s name, but clearly, the location on the map is the same.

Given the level of detail on the map, I highly doubt this was just slapped together. In all likelihood, we are getting a glimpse of Hiro showing his cards on where he’s going with this arc.

Now, in the olden days, one could argue that Juvia was “just following” and Gray would’ve “fought his demons solo”, but going back to the end of 416, these two were in a panel together while others were shown alone. And the implications for Gruvia? Well, given what we’ve had lately, Juvia’s issue coming out, and Hiro’s uncanny ability to time his manga themes with anime episodes, it might be something big. I get the sense he’s got something that is about to happen, and it damn well might be of canon proportions.

As a fandom, I know that everyone has varying opinions on when and how we want it, but this very well might be the time where it does fit for where sensei wants to go with their story. Yes, it’s highly plausible that Gray shelves a relationship until after END. Then again, Fairy Tail has had a central theme where emotions and bonds have also brought forth the greatest power.

I doubt confirmation will be something like Pregnant!Juvia, but if the relationship happened during the timeskip, we’ll get an explanation of some sorts. Or, it’ll be vague for now like this map sort of was. Whatever it is, it’s going to be an interesting time to be a Gruvian.