structural-drawing

7

Happy birthday to Ignis Scientia! (2/7) ✨✨👓🍴🔥🎂🎊🎁✨✨

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@ishida can u give him a break???? its his birthday ffs

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Sci: “Could you just behave for once?!”

Fell: “Oh come on, vampire-babe. Don’t you want to come over here for a bite? <3″

Sci: “Oh my god! You’re ridiculous! I should have just gone trick-or-tricking with the Papyrus’s!”

Fell: “You know you love me.”

Sci: “I do, but sometimes I seriously question it!”


Happy Halloween! For the occasion, I made this odd scifell comic with them celebrating Halloween on the surface in some sort of cross-dimensional pacifist timeline; I don’t know. For some reason I imagined Fell pretending to be a Halloween decoration in order to scare people, and this comic pretty much came from that. It’s a bit messy, but at least I got it done in time, somehow.

Setups and parallels (12.15 meta and spoilers)

I’ve pretty much just watched the ep and a couple earlier episodes for context so if I’m retreading ground, sorry. 

12.15 is pretty “by the book” and I don’t think that’s necessarily a bad thing. When things are spread out for you in simple terms, it can be easier to see what’s been happening and what will happen based on the information given. (as long as they don’t pull as s10.)

This episode is very tight in that there isn’t much room for extra threads in terms of where the story is going. Not by Davy’s watch anyway. Another writer could change it up but probably not in any huge way. Davy seems to have received a lot of story notes or he knew of changes that were going to be happening to characters in the future so he set up information to the audience to make those changes and decisions make sense in the long run(even if they were unfavorable) You know, that thing that didn’t happen with enough backing for Crowley’s decisions in 12.13. This episode pretty much screams “we’re in for the long haul”. It also does an interesting job at pointing out the mental state of everyone at the moment. Again, I think this is to give a groundwork for what happens later on. This is an episode of setup and context. 

More detailed info below. 

Keep reading

papyrus gradually becoming more of a pussy destroyer

also for some reason Every Single Time i draw Pap i get suspicious about Sans’ size??

i just think “theres no fuckin way hes up to his chest thats too small i have to See it to Believe it”

so heres the size comparison i draw every single time

2

got a lil’ bored of my grid loose leaf papers so i wrote my geography notes in a tiny lined muji notebook (which i got as a gift) instead (*´◡`​*) also i am never going to draw the structure of a nephron again it sucks so bad 

anonymous asked:

I'm really stumped with how to approach structural lines. I don't know how much they are expecting, is starting off with something like Curry's manikin then building on top okay? Or do I have to actually use blocks? =/

hey! the main thing that i want to emphasize is that they aren’t really expecting anything per say. the only thing that they’re really expecting is that you demonstrate that you have a solid grasp of structural forms, whether thats breaking everything down into boxes, or more complex 3D shapes! when I first started really approaching structural drawing, I broke everything down into boxes first, and then into the more complex forms, and it really helped a lot tbh. you should try and find what works best for you!!

here’s a quick gif to show you how simple or complex you can go. for figure 1, i went pretty in-depth with the shapes of the major bone masses, but for figure 2 I just tried to break down the basic shapes of the character! these are super super quick, and i kind of fudged a bunch of stuff, esp the hands and feet, but there are tons of actual guides out there on how to break down the figure into basic shapes. I just wanted to give you guys an idea of what the possibilities are!

ps. this is NOT a drawing tutorial blog, so please don’t expect things like this normally!! i just had some free time haha

more stuff for the coffee shop au

the pastel unicorn one was a mistake and he was gonna get it covered up but angel liked it and called it buttstallion

Drawing Tips

- elbows are usually somewhere near the bottom of the ribcage

 - when the arms are straight down to the sides, the hands end somewhere between the knees and the crotch area

 - hips aren’t always as wide as the shoulders. Apple-Shapes have hips smaller than their shoulders. Curvy people usually have the hips being the same width as their shoulders, and Pear-shape has shoulders smaller than their hips

- Speaking of Apple Shapes, hardly anyone draws those. Practice drawing Apple shapes (chubby apples, thin apples, fit apples, apples with small breasts, etc) because once you grasp how all bone structures work then drawing gets much easier.

 - You don’t have to draw every day, but please try to do it as much as you comfortably can

 - I’m serious, drawing everyday can turn people away from drawing out of frustration (I stopped drawing for a year once because trying to draw everyday frustrated me so much)

 - Drawing from a reference DOES NOT mean tracing - tracing art is only okay as long as you don’t post it anywhere / claim it as your own AND ONLY use it to help grasp how to draw a certain part

 - (or if you want to trace over your own art)

 - Always draw a quick & light rough draft before doing the real stuff over top

 - Am serious, look

- it’s okay to not give it your all 100% (or even 65%) of the time

anonymous asked:

Any tips for drawing a underlying skeleton for poses? Whenever I try it, they always seem stiff. And Viv never seems to use them...

Some tips for if you’re laying down guidelines/structures for your poses:

Use thin lines

Thin lines give you more space, to be able to see your guidelines better when you flesh it out, and add your character’s details later. Also it’s easier to erase!

Don’t worry about the initial structure being stiff!

Skeletons are there to give the pose solidness and act as a base to flesh out your pose, so don’t worry if your guidelines/skeleton is looking stiff or sketchy, it’s just like drawing a stick-figure after all! They’re there to make sure limbs are of the same length, and proportions are consistent (unless you’re drawing foreshortening or angled poses).

Relax!

Perhaps one of the reasons why your structure is stiff perhaps you’re gripping your pen/pencil too hard, which results in creating shaky lines? Just relax your hands and shoulders, flick your wrist when drawing short contours, lift your arms for longer and smoother lines.

If you want tips in terms of practicing : Do figure sketching (with references!).

Just grab a reference image of a pose online (LINK):

You can trace over them using basic shapes and lines, as if you’re drawing a stickman, but a little bit more complicated.

Or you can draw the structure from scratch and use the image as reference!

Then you flesh out the anatomy, with basic geometric shapes or contours, whichever way makes it easier for you to understand how it comes together.

This is my way of laying out the shapes and lines, but your structure/method may vary after practicing and trying out which way you’re the most comfortable with. 

Tracing over reference images (and practicing) will give you a good grasp on how the structure looks/works, the movement range limit of each limb. You can do this with any reference image, with both humans and animals, even insects, vehicles, objects! It’s all about breaking down anything into shapes.

(Additional info: The purple lines are part of a contrapposto, when the lines of the shoulders contrast with the line of the waist. It gives a curved look to the body, and makes it more dynamic compared to a basic standing pose.)