exaggerated perspective

For those who don’t know what Samurai Jack is and why we should be stoked that it’s coming back:

There’s a loner with a man-bun

Originally posted by metalphantomon

Who was pulled out of his timeline

Originally posted by peteneems

And sees modern things through the lens of 17th century Japanese prince.

Originally posted by microphoned-in

There are awesome fight scenes

Originally posted by toonami

Originally posted by dontdrinkthemexicanwater

Originally posted by zoo-monkey

And dramatic narrative moments

Originally posted by tenkaichibudokai

Originally posted by long-ago-in-a-distant-land

Originally posted by ashiros

And best of all, the show fluctuates between being awesome and freaking ridiculous at the drop of a hat, often in the same narrative breath.

Originally posted by zoo-monkey

Originally posted by m4dtown

Originally posted by toonami

Originally posted by kainade

Originally posted by toonami

Originally posted by toonami

It’s a really good show to watch if you want to learn about the use of color and shapes in storytelling, as well as exaggerated perspective, use of negative space, timing, and narrative arcs. I recommend it to all comic artists, storyboarders, illustrators, cinematographers, writers… heck, ANYONE. GET HYPE.

Originally posted by heckboy

anonymous asked:

Hi! do you have any tips on anatomy? i struggle so much at it. your art is so cute btw!!!

hi anon!! thank u so much!! im gonna try my best to offer some tips to u!!!! im still learning with anatomy as well (& im not so good with tutorials…) so bare with me:

SIMPLIFY AND BREAK DOWN EVERYTHING IS MY #1 PIECE OF ADVICE. for example lets start small with a hand. instead of looking at a reference or ur own hand and trying to perfectly capture every detail, look at the basic shape!! its p much a square for ur palm, 4 sticks of varying sizes, and as i have described here the little pouring part of a teapot (idk what its called) for a thumb.

u can apply this anywhere!!! just like the hand, other parts of the body like legs and arms have basic shapes too!! ive seen many artists explain it this way so i picked it up as well, but they have this rhythm where one side is curved and the other is straight (its more subtle in realistic art, but if ur going for cartoony u can exaggerate this too). depending on the drawing or sometimes if my drawing is small i’ll just make straight rectangles for arms or legs but rly it will make things more interesting and technically correct if u show these variations in the appendage shapes.


really the best thing in art ever for me is to simplify simplify simplify, im not great @ anatomy but learning to break things down and represent them in the most minimalistic ways has rly helped me a lot and made my anatomy look better too. to be honest i have not done figure drawings in ages and i rarely use real life references when drawing (IM NOT ADVOCATING FOR DOING SO, I KNOW IT HELPS MANY PEOPLE A LOT BUT I JUST CANT EVER GET INTO IT). whenever i use real life reference, i feel like my art becomes stiff since i tend to replicate the image too closely thus making a cartoony style have the proportion and anatomy of a real person which doesnt really fit the style.. i prefer to study the work of other artists especially animators since they have a great grasp on appealing simplification and stylized anatomy (bc u know its hard to have an animated show thats super detailed). craig mccracken and genndy tartakovsky both have really cool simplistic cartoon styles so i draw a lot of inspiration from their art (and i hope to use varying shapes and exaggerate my anatomy more like theirs as well). 

(one little other important thing i didnt rly mention but ill keep it short since everyone says this. of course u have to practice too. i know it sucks to hear “just keep doing it” from everyone when ur frustrated with ur abilities and dont want to keep doing it, but continuing to draw bodies will boost ur abilities so much. u can look at art and read a million tutorials, but actually drawing will continuously build up ur muscle memory for drawing arms, legs, etc and after a while it comes naturally!!)

tldr practice & study not just from real life but look at how other artists break down and simplify shapes of the body. also remember art doesnt have to have flawless realistic anatomy to look good! there are so many incredible artists who bend the rules of anatomy whether its as a stylistic choice or to exaggerate emotion or perspective, etc.

lmao omg i wrote a fanfic of my fanart i am too lame…orz

this is super old like from december omg……anyway here it is


“You know,” he purrs through razor-like teeth, “most people tend to be more appreciative after I save them.”

He’s looking at her with sharp eyes, piercing green watching her every move. It’s like he’s trying to make her laugh. She would—though not for his reasons— but his body being so close to hers is making her skin crawl and, quite frankly, she’d rather smack him.

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Finishing up animation on a little film I’m making, called Nomnom! Exaggerated perspective is so much fun haha 😃 And who doesn’t love hand-pulled noodles? Yum…

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Week 22: Perspective

@mrspage‘s submission for week 21 was the inspiration for our week 22 challenge.  Your challenge this week is to be creative with perspective in your photographs.  

Leading lines tend to enhance perspective and create depth in your images.  

You can also use perspective to your creative advantage, placing your objects in relative positions to fool the eye in fun ways.

Wide angle lenses (which includes most phone cameras) tend to exaggerate perspective. 

The possibilities are endless…

Looking forward to your submissions this week.  I know this is a creative group!  As usual, please submit your images by the end of the day next Saturday, June 3rd and have fun!

- RK

whitecloverdragon  asked:

Hi. Whats your stance on the Hawkeye project? You seem to support it, but why? I ask you because you are one of the most rational people on this site.

me? rational?  on this site?…. ok you may have a point there

oh boy the The Hawkeye Initiative

The Hawkeye Initiative is an art movement in which artists replace female super hero characters shown in impossible body positions with the male Marvel superhero Hawkeye

I dont support it really, I just shared a post that was arguing about wonderwoman and someone used it as a talking point

in fact Im mostly against its points since the people pushing it dont really know much about comics

from what I’ve seen the “artist” like to Cherry pick either older artwork, books that focus on sexualized poses, or action shots while ignoring that many male characters get the same treatment

I won’t defend older artworks, there were a lot of “sweaty comic nerds” that were and kinda still are the backbone of the comic book economy…. Books have to sell and Sex Sells

but some of the artist didn’t know anatomy well enough *Cough*Rob Liefeld*cough*

But I mean really look at the proportions

the artist was know for grossly exaggerating perspectives and spines 



that leads into the second point, books that known for their “pin up art”

Hawkeye really seems out of place here because the poses are not in his character at all but the poses fit the characters of Red Sonja,Vampirella, and Lady Death

also these books only sell to select audiences

and this 


besides using those as examples of the whole entire industry is like shooting fish in a barrel

Next: Action Shots, Highly exaggerated poses that imply quick movement 

here we see them nitpick Psylockes pose but ignore Wolverines, look how far back his arm is stretched


also Flying/falling/swinging/juimping 

Ill post a response image or 2 after each example

also Im adding this to the post

Oh No! Her Butt is sticking up!

I mean 

its not like

Spider-man hasnt had his

butt pointed up in a pose

he just has a flat white boy butt so its not noticeable

also someone already proved it was possible

Ive seen this get debated to death time and time again

but give me a “HI” pose from a book thats less than a decade old and I can probably find a comparable picture of a dude in the same kind of pose

3

Whaaaah, not seriously neglecting what I am doing for Timetale comic right now, but I had a strong urge to draw some “Like father, like son” thing. XDD I tried putting those two face together but it turned out way too awkward sooo I decided to leave those drawings unaffected. Also- but yeah, another important plot for main story but I won’t guarantee that it will happen for real or not :3.

I just love the fact that Sans might’ve inherited some bad defects from Gaster, his lovely GRUMPY DADster, despite coming a bit after his skelemom. XDDD 

P.S Sans from the bottom is a teenager, by the way. Yeah, pretty sulky, huh. ALSO Gaster isn’t smaller! Just some exaggerated perspective. XD

Say Hello to the Artist of the Week!

That’s right folks, I did not forget. I keep my word through thick and thin, fox’s honor!

Let me start off by saying that I’m so glad you guys put in so many recommends for artists to broadcast because WOW you guys are amazing and I’m even learning about styles and colors and palettes here and I’m just…I’m truly grateful and in awe.

So down to the serious biz, lets talk about the lovely @JollyJoules!

Jolly, your friend @thedustyleaves recommended that I take a gander at your blog and…my brain shut down for a good second. You are very, very versatile with style and color and I adore your passion of experimentation with line and medium in animation as well. Those sketches show a great understanding of exaggerated expression and perspective. There were so many pieces I could have picked to showcase of Jolly’s, but this one is particular struck me…maybe because my main area of work is in character design and these designs, “the feather mermaids” are superb.

This blog is amazing quality, so do mosey over and have a looksie, leave a nice message or two, and/or possibly BUY STUFF she has commissions open!

Happy browsing!~ Keep up the awesome!

Tavern on the Green for DuJour magazine

I was asked to contribute an illustration for the story about the reopening of the iconic Tavern on the Green in Central Park, New York. Though I have never been to the restaurant myself, I enjoyed illustrating it very much. The piece appears to be a pretty straightforward image that represents the restaurant through some of it’s iconic elements such as the lanterns, the lights on the trees in the winter, and the sign but I gave it an overly exaggerated perspective to it’s entrance in order to convey the welcoming mood.

On why I write about myself and try not to care that no one cares.

Lucy sent me an email:

THANK GOD WE FOUND EACH OTHER.

There was no subject, only the bolded black text of those words in the body of the email. I stared at the text.

What I know of those words is this: She was meant to be celebrating with her friends but she pulled away from her own goodbye party and opened up her laptop, clicking on my name among the list of others. (I try to think of Lucy having other friends and I can’t make sense of it. What could they talk about? How could they understand her?) I can only imagine what she was thinking then. She was compelled to. To move away from the party. To click on my name. To bold and capitalize the font. To leave the subject line blank in her urgency. I wish I could have watched the event of it. The slight changes in her face as she tried to sum up, for what felt like the hundredth time, the number of days before she left England for America or when she counted that number against the minutes, which seemed endless, she had been standing in front of some man, waiting for the punchline after the eternal set-up or when she laughed politely and the laughter turned to motion as she backed away from the conversation circle. Someone should have filmed it. It would have made a brilliant video installation. I could see her face looping in the moment when she decides to fake a laugh, because what would a boy think if the pretty girl didn’t laugh at his joke? A Study of Conversation Dynamics, I would have titled it. There have been conversations before but none such as this, under these circumstances. It was a unique performance in leaving. But the footage is lost now. It exists only as memory to those who witnessed it, that is, if it has not been forgotten by them as well. No one thinks to archive these rare moments in history but the occasion must be marked, as should every occasion. An occasion being today or tomorrow or September 3rd. There are marks on the calendar for goodbyes and for births and for deaths. There are marks on the calendar for dead presidents and for every year you can love a person. There are things that are documented and things that are forgotten but I wouldn’t celebrate the arc of Lucy’s facial expressions because the occasion was momentous, I would celebrate it out of duty. When I ask, Who keeps the feminist archive of personal histories? everyone points this way and the other way cartoonishly. With their arms pointed at each other they still manage to look at me with assurance that it does exist, but, when I looked through the museums and the archives in search of it, I only saw the broad shape of men.

Everyday someone is discovering a small truth for the very first time, just as a new life form is being discovered in deep sea. We must each be taxonomists of human experience or history will only remember what one man was able to preserve of it. When Tracey Emin talks about the work of the female interior she stresses the importance of being able to speak through the first person lens, “20 years ago journalists would never have wrote I – I was walking down the road – it would have been the third person.” But now, she goes onto say, there is a palate for the personal discourse as news, as literature, and as art. It is not so radical now but it is still not less important. Although, when speaking on the act of personal archiving, it is not to be conflated with the objective truth. What I realize is that I am an exhibitionist. I revel in recording. In archiving. Someone must remember me as I was, as I performed that night. The camera excites me, as a new person at a party would; they are both easy to entertain. I do not have to be like myself, only likable. 

Consider a moment we are lucky enough to have on film: In Laurie Taylor’s interview with Tracey Emin, he goes on to question, “When I knew that I was going to be talking to you I was excited because I sort of felt like I knew all about you.” Emin automatically counters, “But you don’t. I’m an artist.”

Her work is about revelations about herself but what work isn’t intimately related to it’s creator? The truth, Emin goes on to say, is divorced from the art. Although the work is born out of life and true experiences, the experiences are framed to service the piece. Warped from their original form and made more beautiful or more gloriously ugly. What serves a piece might not necessarily serve the truth. “If I went around vomiting all the time and shitting everywhere and saying its art, it wouldn’t be. That would be a bad digestive problem.”

If I had the film reel of Lucy on that night I would splice out the parts that didn’t suit. Not that I would lie to an audience but I must frame my perspective. But what is a lie if it’s more than just ‘not the truth’? In the words of Adrienne Rich,

“In speaking of lies, we come inevitably to the subject of truth. There is nothing simple or easy about this idea. There is no "the truth,” only “a truth” - one of many. Truth is not one thing, or even a system. It is an increasing complexity. The pattern of the carpet is a surface. When we look closely, or when we become weavers, we learn of the tiny multiple threads unseen in the overall pattern, the knots on the underside of the carpet.

This is why the effort to speak honestly is so important. Lies are usually attempts to make everything simpler - for the liar - than it really is, or ought to be.“

But a lie can also bring things closer to the truth. It benefits to view the two not as dichotic opposites but rather a symbiotic pairing and to view the truth, not being objective, as how it was experienced to a particular observer from a specific perspective. An exaggeration can be a truth if it brings the listener or the reader closer to the emotion of the original experience. A moment can be comical or tragic depending on the context or state of mind and through fictionalization or exaggeration or simplification or whatever you may call a lie the artist can make the reenactment of the moment more true to an audience. In retelling, the story must be edited with certain details or completely omitted. The story must be treated along with every other sensory experience, like a third grade science experiment. Starting off naïve, apologetic, at first and then diligently hopeful for the desired reaction. Which object floats and which sinks in water? What separates from the oil? I looked back at the email, and the thread of all of our past conversations, and I could feel my own face changing shape almost imperceptibly as I hesitated to shut my laptop.