thank you for the tutorial!!

anonymous asked:

Thank you so much for the brush tutorial, it helped a lot actually and I was able to get around the problem I was having! 😄 I'm glad I decided to ask you about it 😊 nyow it's time to drawwwweee

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

IT HELPED YOU?? AHHH I’M SO GLAD THEN!!! You’re welcome!!!!! ❤

HOLY FJKDLSJ I ACTUALLY DID SOMETHING RIGHT FOR ONCE. 

Have fun drawing then!!! Go go gooo!! 

fat bodies tutorial!

ALRIGHT SO my pal @kalreyno wanted help with drawing fat characters and as a fat artist i felt like i could give a bit of helpful insight on that. there’s also been a lot of complaining about “boo hoo fat characters are hard to draw so i can’t include them in my work Ever” goin on lately so if that’s your case then this is for you too!! and also just for anyone who would like help with fat bodies in general, ofc. anyway, let’s get this show on the road!!

let’s start with some common misconceptions. these are the two main attempts at chubby bodies i run into, so i’ll focus on them. 

the Anime Chubby i see everywhere, and it’s just……so wrong in many ways. first of all, there is almost no additional body fat compared to your average thin character - except for where it’s added in “attractive” places (breasts, hips, thighs). the breasts are way too perky, and don’t have the realistic shape fat would give them (though how to draw accurate breasts is another tutorial all on its own lmao). there is still a thigh gap, which usually only happens in very thin people, and bones are still visible on the surface of the skin, which also rarely happens in fat people.

the Michelin Man is better in some ways, but still not that great. it’s a slightly better attempt, but basically all that’s done there is taking a thin character and blowing them up, while giving no thought to fat distribution. the thigh gap is usually still present, and they look a lot more hard than soft - and fat is very soft and pliable.

here’s a chart on how fat usually distributes (if you can’t read my messy writing, “1. next to no fat, 2. moderate amount, 3. most of the fat distribution”). basically, the more muscle an area has, the more prone it is to develop fat, such as the abdomen, thighs, and upper arms. it’s important to note that fat sits on top of muscle, and that it does distribute in different levels, and not evenly across the body as shown in the Michelin Man. 

now, here’s an accurate fat body with all of that kept in mind!! notice how the fat isn’t only kept to aesthetically pleasing areas, and how it sits realistically on the character’s body. their breasts sag a lot more, which happens even in thin people with larger breasts, and the nipples are pointing more downwards than straight out. there is no thigh gap in sight, there are no bones in sight, and most importantly, they have fat rolls, which are very important in drawing a convincing fat character!! as far as i know i’ve never met a single person with no rolls at all, and everyone has them, whether thin or fat - they’re just more prominent and more consistently present in fat people. pay close attention to where they are and how they’re shaped.

here are a couple of drawings showing how fat is affected when sitting vs stretching. as seen in the first, the fat specifically on the stomach is distributed a lot more evenly and stretched out, so it becomes “flatter”. the love handles are still pretty visible, though, as well as the fat on the thighs and arms. the breasts are raised with the shoulders, and the fat on the shoulders and near the neck forms rolls as it’s being pushed together. 

in the second, there is a lot less room for distribution, so the fat is all pushed together. the breasts sag and the stomach forms rolls and spills into the lap. a good analogy for the way fat works is to liken it to a water balloon, and thinking of how its shape would change when resting flat on a surface, hanging off of a ledge, held upright, etc.

here are a few extra tips i find a lot of people miss!

first on the top is the hip/pubic region. the first circle is showing the way the bellybutton is folded in fat people, as opposed to stretched out in thinner people. the second is the stomach fat spilling over onto the pubic region and creating a separation in the two areas, which is something that’s missing in a lot of art. in addition, the pubic mound also gains fat, making it round as seen in the profile drawing i did up there (i’ve heard people refer to it as fupa?). the last in the hip region is the lack of a thigh gap. i can’t stress this enough!!!! if you’re trying to draw a convincing fat character, make sure their thighs are pretty much always touching!! for reference, mine literally don’t separate until my feet are about 2ft from each other.

the bottom right is showing the double chin, which a lot of people are afraid to draw!! fat does distribute itself here too, and there’s nothing wrong with it, so don’t feel like you shouldn’t give fat characters a double chin in your work for fear of it looking like a caricature.

in the bottom middle, it’s showing how fat affects different types of breasts with the presence of more or less breast tissue. 

lastly, at the very right are stretch marks with their usual locations and directions, which i also can’t stress enough!!!!! i sometimes forget to add them honestly, but they’re so important in accurately portraying fat characters, as they literally come from the skin being stretched from fat being gained (and they’re also just rlly neat lookin like why wouldn’t you lmao). some people have less and some people have more, feel free to experiment with them!

the last thing is body types!! there isn’t one single way for a person to be fat, so feel free to experiment with shapes once you’ve learned the basics!! 

so there you have it, a tutorial on how to draw chubs!! now go forth and make some accurate fanart or some rad fat characters, because the world could always use more of both. hmu if you have any questions or concerns, and thanks for reading!!

EDIT: someone pointed out the bad wording in the tutorial. thank you for bringing it to my attention and sorry for offending anybody. i’ve updated the tut, so please reblog this one!

3

Art Tutorial Preview

This one was a short weekly tutorial briefly talking about gesture drawing, shapes and how to reference. Next week I’ll do a reference sheet with dynamic poses, I didn’t get to it this week cause I ran out of time. Anyways I hoped this helped some people!

Yo! Get full access to all my tutorials/references through:
Patreon: [https://www.patreon.com/lunaartgallery]
or
Paypal Order:
the 10$ package will get you 15 items of anything available on my Patreon, emailed directly to you.

Thank you~!

2

To clean a room from bad vibes, there´s always different methods but I like to use a simple and more personal one.

 First, gather dried herbs. It´s more special if it´s your favourite, since its your room. Mint, Eucalyptus, Rosemary , Lavender Buds, you choose. 

Then, you have to burn them on a old frying pan or the herbs alone if you like, just be sure to turn out the fire quickly, the point is to leave the aromatic smoke. 

Pass the herbs around each corner of the room while thinking of positive energy, of things that make you happy and give you peace of mind. 

Lastly, once you are finished, open the windows and place the ashes and remains in a garden or the natural soil. It´s preferable to thanks the earth for letting you use the herbs to clean your place. .゚☆゚. - Bo

radexcuse  asked:

is there a way you make your gif drawings? the ones that flip back and forth between a few frames? im trying to make one and yours are super cute so i thought id ask you!!

Okies, this will be kinda messy but i’ll try!

Now, based on that 1st lineart I start to do the second one:

Now chose one and start colouring as usual (be sure one of the linearts is hidden). I normally put only basic colour and some simple details.

When it looks good to me, I save:

Then I just hide the 1st lineart and show the 2nd. I check if there’s colour out of lines or if something looks messy with the second lineart and I fix it.  Then I save again with a different name:

I end up with two (2) drawings:

Now to put all together I use AlpacaDouga; A free and safe site. You can make free gifs and it doesn’t low the quality of your pictures!

It takes a secs to upload your pics. Once it finished it will show you a preview of your gif and a configuration menu. I usually choose these configurartions:

Clic in “Create a Gif Animation” and then:

It will redirect you to another tab and you will finally be able to download your gif:

That’s how I end up with the final result ;w;

You can also add more than 2 linearts for best results, like this one (I used 4 linearts in total):

Aaand that’s how I do it qvq

4

Art Tutorial Preview

This one was interesting. I’ve seen a lot of tutorials on character expressions, but not really in relation to character’s personality. So I wanted to give it a shot. It’s easy to practice, take two of your characters and have them react to the same scene. Draw Draw Draw, you can do it!

Yo! Get full access to all my tutorials/references through:
Patreon: [https://www.patreon.com/lunaartgallery]
or
Paypal Order:
the 10$ package will get you 15 items of anything available on my Patreon, emailed directly to you.

Thank you~!

jillyjollyjelly  asked:

Tutorial and or tips in color studies?

Hi there! Sorry to keep you waiting on this ask!

I do have another post about landscape painting which overlaps slightly with this. But here I’ll talk specifically about the observational color studies I like to do. Other artists might have different ways of approaching them (and I still have a lot to learn myself), but these are some of the ideas I’ve found useful.

1. Don’t seek perfection
Observational color studies are just that – studies. Sketches. Note-taking to reference later. They’re not supposed to be complete paintings, so you shouldn’t feel pressured to make them “perfect”. I like posting them sometimes (and hopefully you like seeing them) but there are TONS of messy, scribbly studies I haven’t posted anywhere. They’re primarily a tool to help me learn, and if messy studies help me learn, so be it!


2. Simplify your shapes
So how do you avoid getting overwhelmed and lost in the details? Focus on the BIG IDEA. Decide what is most important to include in the study and leave out everything else. Start with big shapes, and add details at the very end, if you have time. Personally, I’m often interested in the sky and the color clouds become when light passes through. So I might make the study about the clouds and ignore buildings/details on the ground. or I’ll add only a very simple ground plane. Other times, I’ll rearrange a composition to include all the important information (like making an object bigger or smaller, or bringing two objects closer together).


3. Step by step
It helps to find a good workflow, especially when you have to quickly prioritize what information to include. This is relevant especially when you’re painting something like a sunset, when the light changes RAPIDLY and you’ll have only 3, 4, 5 minutes to put your colors down. For me, this usually means I build my study from background to foreground: sky, clouds, ground plane, background shapes, foreground shapes. Since I work on iPad Pro, I also keep those parts separated out into layers. In the case of those quick sunset studies, I also observe the parts I haven’t painted yet in case the lighting changes enough that I’ll need to work from memory.


4. Some fundamentals to keep in mind:

  • Value structure: Even though these are color studies, value plays a major role in the colors you’re observing. Pay attention to the difference in value between subjects. Sometimes this can solve color-related problems when your study seems “off” somehow. (For example, maybe that sky isn’t as light as you think it is? A darker value might mean painting a more vibrant color.)
  • Lighting setup: Identify the different light sources in the environment. Is it cloudy and overcast? Sunny? Are you indoors, with multiple different light sources? A little study about lighting theory can really help you know what colors to look for in different lighting conditions. For example, in overcast light, you’ll see more of the objects’ local color, while in bright sunlight you’ll see a strong direct light (the sun), blue diffused light on shadows and top-facing planes (from the blue sky), and a warm bounce light (from sunlight reflecting off the ground). Will forever recommend James Gurney’s book “Color and Light” for help learning this.
  • Materials: Different materials reflect light sources in different ways. Being aware of how light passes through or reflects off different materials can help you understand the colors you’re seeing.

5. Going beyond
As you become more comfortable making observational studies, the more you might wish to push them even further by not just copying from life but communicating a feeling. A few ways you might accomplish this:

  • Exaggerate your colors. Suppose you see a hint of color you wouldn’t normally expect to find, such as notes of purpose or red near the horizon of an otherwise blue sky. Try making it brighter/bolder than you really see it. Bump up the saturation, maybe. This is a delicate balance, as you don’t want to exaggerate to the point where the colors become garish. But putting emphasis in certain places can remind yourself, or show whoever’s looking at your study, that you found certain details interesting.
  • Think about mood. A color script from an animated film follows the emotional beats of the story. As you’re making your studies, consider: how does this moment feel to me? Take a cloudy scene, for instance. Is it cold and miserable? Windy, full of movement and energy? Calm? Dark and ominous? A moment of anticipation or hope with the clouds about the break apart? Each of those conveys a completely different mood. So you might decide upon one and push your color palette to support that idea.

  • Don’t just copy: communicate. This last one is a bit of an abstract idea I need an example to explain:
  • This sunset study here gave me difficulty because it involved not just color but the properties of light. The sun didn’t actually appear white to me - it appeared a bright red/pink color, glowing brighter than the sky around it. But that wasn’t something I could reproduce, because if I only painted the color, it wouldn’t appear glowing and would blend into the rest of the sky. Instead, I had to think critically: how do I communicate the brightness of this sun? In the end, I opted to make the sun white, with the color I actually observed the sun to be surrounding it.

On my Instagram, I’ve posted a lot of process videos to accompany my studies, if that interests anyone! They’re always second image on the studies’ posts.

I hope you find these thoughts helpful! 

3

Updated tutorial? My advise is – use references! All those hands were drawn from the references, photos and life. There’s also loads of useful tutorials on drawing hands that explain how hands work. It’s your job to understand the anatomy and find a way of constructing hands that’s easy for you. And thank you! :)

3

 This reference sheet includes 50+ body types for people who struggle in creating unique character bodies. Here’s a preview of that reference sheet.   

Edit: Thank you for enjoying my reference sheet, I’m glad this was helpful to many people. I removed the outdated breast tutorial, because I believe it was no longer useful. Either way, I made a much better recent tutorial about character shapes, Check it out! 

WANT TO SEE MORE COOL STUFF!
Support my Patreon if you like my artwork and get a ton of exclusive content,   Patreon: [https://www.patreon.com/lunaartgallery]
Thank you~!

666-ophelia  asked:

HI!!! (I'm sorry I ask you so much but you're so helpful in your explanation methods and...halp) I'm having some difficulty with profiles when I draw (side and that awkward in-between) and I have so many ideas but I can never draw them right because I keep messing up the angles!! You give amazing descriptions and tips, it doesn't have to be elaborate but I was wondering if you could help? THANK YOU SO MUCH 💕🖤💕❤️❤️🖤

Sorry this took so long to do!

Hello graphic makers!! You’re probably aware that there is a huge problem on tumblr with whitewashing. Or maybe you’re not. As a predominantly disney-based blogger, the whitewashing I personally see are from the disney fandom, so I’m going to use screencaps from those movies to show you several quick techniques so you’ll see just how easy it is to have your pretty bright and pastel colour palettes and not whitewash characters of colour.

Keep reading

8

yeah yeah git outta here

4

Art Tutorial Preview

This one was fun to do since I usually leave silhouettes till after I design my character. Starting with them is quite interesting as it feels like I’m molding a character out of clay. I hope this was helpful!

Yo! Get full access to all my tutorials/references through:
Patreon: [https://www.patreon.com/lunaartgallery]
or
Paypal Order:
the 10$ package will get you 15 items of anything available on my Patreon, emailed directly to you.

Thank you~!

anonymous asked:

The way you draw hair. Is. Amazing. Can you do a tutorial? (Or draw some more space princesses, I love them)

Thank you!! <3 I suck at tutorials, i don’t know how to explain anything, but I have this one I tried to make for an irl friend of mine ( @atoupik ) about a year back!

I translated it quickly, I hope it helps :D (there are some sad inside jokes in there so sorry, it was originally meant for a specific person)

And there are more space princesses on the way! ^^

anonymous asked:

Hi! Would you mind if i'd ask you.. have you got some kind of tips about how a watermark should be to look pretty but still visible enough? I'm so afraid to put it on my drawings because it kinda ruins them xD but still is necessary... I haven't ant idea how i should "design" it.. a font, handwriting, with opacity down, place it in corners or on the lineart,, ecc(sorry for my bad english).

That’s a very valid concern.  Unfortunately, the more visible/large/annoying the signature, the more protected your art will be.  I die a little inside whenever I have to cover up something I spent hours (or even days) on.  But I’d rather have it look kind of annoying instead of having someone else take credit for it, or worse, having someone SELLING IT illegally behind my back.

Having experienced (and having watched my fellow artist friends experience) various forms of art theft, I’ve come up with a few tricks to making it difficult for my signature to be removed.  I don’t have a set, “official” watermark; I experiment and play around with different looks depending on what the picture looks like.  You can try any of these ideas and see what works for you.  ^_^


~QUICK WATERMARK TUTORIAL~


Make it legible.  Fancy fonts are pretty, but can be hard to read.  Your main goal is that EVERYONE can read it, even people whose primary language is not English or those who have a different alphabet/lettering/symbols.


Place it somewhere that cannot be cropped out, such as near the heads or towards the middle of the picture


Place your signature/watermark where will be difficult to erase or cover up, such as an area with shading, or over a pattern


The safest location is on top of a character.  It looks ugly, but at least you can’t really sell merchandise of someone else’s art if there’s a giant signature across the way.

If your picture is black and white, be careful.  Someone might take it and try to color it, then pass it off as their own work.  Put your watermark on top of the lineart to make it more difficult to steal, preferably an area with lots of lines, such as hair or clothing wrinkles.

Be especially careful with pictures that can be easily made into merchandise (pins, mugs, stickers, bags, phone cases, etc), such as the one above.  Make the signature large and have it protect all visible characters, like a big unsightly shield.  XD


DO NOT’s:   (aka, some of my old mistakes)

Do not place it close to the edges/corners where it can be cropped. 


Don’t make it too tiny, and don’t lower the layer opacity too much.

Note:  If you do not want your art reposted/uploaded onto different websites/accounts by other people, I highly recommend adding to your watermark:  “Do not edit or redistribute.”  It’s not always enough to deter some reposters, but at least sometimes fans will call them out on it and say, “Hey, this artist doesn’t allow this picture to be uploaded onto different sites, you should remove it.”

That’s all for now, I hope it helps!!!  Good luck with your artwork and thank you for your message!!!  <3