stylized stuffs

anonymous asked:

HC that som where down the line the girls start stealing the guys clothes while in the dorm, sweaters, hoodies, sometimes boxers etc, the shyer guys are kinda embarresessed the louder ones ask why once, eventually they just let it happen

SO THIS IDEA WAS REALLY CUTE AND I KINDA HAD TO DRAW SOMETHING FOR IT…..

anyway yes i love this headcanon

i tried to draw the girls in clothes that i thought matched their style most (and all the clothes are based off actual stuff Horikoshi has drawn the boys in)

Tsuyu loves Kouda’s big comfy jackets (they keep her super warm even when it’s cold out), and Momo is a big fan of Aoyama’s fancy/frilly fashion. Tooru loves Izuku’s silly, simple shirts, and Jirou enjoys Bakugou’s stylized band t-shirt stuff. Mina wore Tokoyami’s shirt and vest b/c it reminded her of her hero outfit, and Uraraka enjoys how comfortable Bakugou’s button up is 

(it’s hard to tell, but the shirt Momo and Mina are wearing is supposed to look a bit tight b/c they’re taller/bigger than Aoyama and Tokoyami, while the shirt Uraraka is wearing is supposed to look baggy b/c she’s smaller than Bakugou)

for some reason Bakugou’s clothes get stolen most often (b/c his fashion sense just happens to match quite a few the girls’). only his tank tops (that he trains in), his UA gym uniform, and hero outfit are never stolen, b/c they’re always super sweaty and smelly 

Kirishima’s red hoodie gets passed around a lot and it almost becomes like a comfort hoodie for the girls. Kirishima doesn’t mind, he thinks it’s really sweet

how well the dialovers draw: mukami edition ft. yui

ruki: a master at gestures. charcoal is his best medium although he doesn’t like the mess it makes. can draw very fast but likes to make his model (yui) sit for way too long just to be mean

yuma: has no talent or interest for drawing people but is strangely skilled at still lives and landscapes. he has a natural grasp of color theory that would make reiji very jealous. he doesn’t know how to color inside the lines

kou: doesn’t actually know how to draw aside from super cute stylized stuff, so he sticks to that. it’s popular with his fans so it’s fine. adds stickers to everything

azusa: draws what makes him happy, usually he and yui or he and his brothers. yes, that’s real blood. azusa’s drawings always get put on the fridge

anonymous asked:

Hello this will sound stupid probably but how do you do head/face construction outlines or how you think the best way to do it is

ahhh hmm.. I will try my best to give you some info at least on how i do it/good things ive seen? I don’t have a lot of rules about my faces and I tend to just kind of Go At It a lot of the time? But I can give you some things to think about or the techniques I like to use. There are lots of ways to construct heads and stylize faces. 

I think the most important things I keep in mind, like with everything else, is that the head is a solid object with volume, and that it has its own muscles and fat and stuff. 

in terms of anatomy, with the way i stylize stuff, i like to show a few key things


1) The head is not separate from the neck, and it is not just sitting on the next like a lollipop. The neck interacts with the head. Most people also have at least a little bit of neck/chin fat, if not just loose skin there so that you can move your head. that area is in general soft. 

2) the eyes are In the head, not just stickers on the head or spheres stuck to the head. (of course, this is not the only way to stylize, this is just what I like to show) the eyes are set into the cheek.

3) the mouth area makes no sense like thats not how that works but don’t worry about it. 

the most basic way i construct a head is i start with like, a sphere, which im sure you’ve seen before: 

the lines of the symmetry for me are pretty rough. i don’t follow them very specifically. I use them more for like “the head is facing this direction on this axis and this direction on this other axis” 

vertical line is how far left or right its rotated, and the horizontal is how far up or down. I know the horizontal line is supposed to also be roughly where the eyes go, but I don’t really follow that too carefully. I mean it helps figure out where the eyes are going to be, but if it ends up not feeling right, be free to adjust. It’s more for keeping the head volumetric.

then i have a second oval (of varying shapes for different faces) for the lower half of the face. the top of the cheek starts roughly at the horizontal line of symmetry. I tend to think of this also as a volume. 

This maps out the entire lower half of the head for me, so im sort of like, drawing all the way around underneath the head if that makes sense? it’s very helpful for drawing heads in weird perspectives. For example it helps with over the head perspective a lot because it sort of puts the jaw underneath the cheek bones, underneath the forehead, etc. 

then i construct the face over that, using the nose to indicate direction by keeping it right on the vertical axis or floating over the vertical axis.


In doing facial expressions, I think something really important to keep in mind is the retention of mass. Like, even when you’re stretching the face really far, don’t add mass. (at least, for the style that i’m working with. this isn’t applicable to all styles) This combined with remembering what parts of the face are hard and what parts are soft will make characters seem, more, Solid. 

so like: 

the jaw doesn’t grow or shrink with the mouth opening, there’s still the same amount of chin. the jaw opens to open the mouth, the upper teeth are not on a hinge so the lower jaw is the only thing that moves.

I totally do not always follow this, though. 

like, the chin here is probably a little bit “shrunk” to accommodate the mouth. However, other thing to think about that I’m trying to show with this, is that when one part of the face moves, so does the rest of it. Even if the facial anatomy isn’t realistic, it still all interacts. Like, the mouth opening up that wide smushes up the cheek muscles into the eye. (even though the mouth is just kind of drawn as a hole in the face) 

(more examples of this)

even if the face is kind of “rubbery” here, though, the overall mass is still kept consistent. like its stretched in the second on, but it hasn’t “grown” 

flesh is pulled over an imaginary skeleton underneath, and there is still “depth” shown by the angle of the teeth. there is also thought about how the eyes are sitting in their sockets, even though those sockets are being “stretched” a little bit. 

I hope this isn’t a completely incoherent mess and that its at least somewhat useful information? 

“Elsen” is a real nice-sounding name for the people that live in the Zones; but every time I see it used that way, I’m always reminded that it’s just the name of the first tramway station you come to in Zone 1– and that is named after someone in the past who was named “Elsen.”

See:

Mortis is cool with it and tagging them as “Elsen” makes them way easier to find, but dang can you imagine not even living in Zone 1 and here’s this weird baseball dude calling everybody an “Elsen” because that’s the first word he read when he started touring around.

They’ve been canonically confirmed as being humans, too– they’re just unwell and stylized.

I’ve been lacking motivation like crazy recently, which is why my pages are filled with portrait experimentation, as the rest is staying unfinished for the moment (with the exception of client work).

Buuut, I thought as long as I can get anything done in my freetime, it’s all better than nothing :D So here we go, another quick portrait speedpaint. Tried to push stylization a bit, and mixing up my usual color schemes to have warm shadows and cold lights instead of the other way around.