there are better tutorials out there

10

I made a thing! I was thinking about this for a few days - because I realized that when I was young, I was also frustrated about being given the same advice over and over - without really knowing what it meant!!

Here’s 5 techniques which I have done before which have helped me grow as an artist, which are good for 5-minute warmups or just straight up challenges for your sketchbook! 

Obviously, these are not the ONLY techniques - they’re just the ones I find most fun! And maybe they’re not the most ‘correct’ ones out there, but it’s better than another comic about practicing more, right? 

Good luck to everyone on their drawings!

anonymous asked:

Can you help me out with drawing feet from different perspectives? I cant even with feet, thank you!

oh dang feet are one of my weaker points so this will be brief. 

first i start out with the main shape of the foot (simplify it into a wedge or triangle just to maintain proportions) note: toes are weird

and then start filling in the finer details. At this point, its up to the drawing gods to decide your fate idk just a;sldkfjAKDLFJS

*sweats* and there ya go

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!

anonymous asked:

I'm kinda ashamed to ask this, but could you make a tutorial on how to draw hands? ;A;

omg dont be ashamed at all!! Hands are generally tough to get used to, lots of artists struggle with it! so dont be ashamed i feel you.

and I actually have made a hand anatomy guide before in fact! If you want to get better at drawing hands I def recommend you learn the basic anatomy first. Please check out the ones I made, I try to make it simple and easy to understand:

There’s my guide to the anatomy, but here’s some more tips that I’ve noted to myself that I’d like to include

First off, I’d like to just note on the fingers: if you pay close attention to your own hand, you may notice the fingers are ever ever so slightly curved inward. It’s a very subtle detail, but I noticed that, despite how slight it is, it can make a hand look more lively, and less stiff.

Second, the “M” on the palm! Your hand moves in many ways, and because it does it creates creases in your hand. The most prominent creases appear to make an M shape; this is handy to remember for what I’m going to talk about next. (It also could be a “W” I guess, or to be more specific a “ )X( “; just think of it in whatever way helps you remember!)

SO now that you see the M, draw your hand as a basic blocked shape and add your details. As you do, you can see that the M divides the palm into four basic parts!

When the hand moves, parts A, B, or C of the palm, alone or in different combos, will create the general poses that the hands do normally. These parts are the parts that move, with D being stationary, no matter what!

Here’s a chart of all the possible combos. Once you have down what part of the hand moves for a certain pose, you can change up the fingers and tweak it a bit to do what you need to make it more specific!

This is simply my method of drawing hands. God knows there are hundreds of tutorials out there by other artists, but personally, this way helps me the best (after learning the anatomy first). 

This way I can divide the hand and combine the parts in any such way I need! 

Hands take a lot of effort to grapple, and you need to practice them a lot, especially foreshortening of the hand; that’s really something you need to learn through your own studies. Look at your own hands, draw hands from life, from magazines, shows, comics; just draw hands! You’ll eventually figure out a method that works best for you. So to get better at drawing hands; draw hands!! And don’t stress over it, have fun with it!

anonymous asked:

Teach me how to draw armor!! Pleeaassdee I struggle with this so badly but your armor is always so amazing I just want to see how you make it, show me a tutorial oh my god please i need you

thank you so much!! I…okay!! i’m not particularly good at armour or teaching or well anything really so if anyone wants to point out mistakes or add to this feel free to do so, i’m not sure what part you struggle with so i included shading too? I hope this helps! I’d suggest looking at different medieval armour suits to have a better idea of the parts and shapes but here goes nothing

HERE is a much better explanation with all the layers and a much more realistic approach by perplexingly that your should definitely check out, also their art is fantastic!!

HERE you can find armor parts and if you click around you will see tons of armor reference

good luck!

anonymous asked:

hair tutorial?! please :3

HELLO! I’m not too sure on how to make a hair tutorial since i kinda just go the hell out with it (its really inconsistent it hurts lol). But i’ll try my best!

Scalp points is really important. You would want it to look natural, and from there you can control where your front hair goes. There are 3 main points, one in the middle and the other two by your temples.

I usually divides my hair sections into 3: the front, sides, and back. YOU DONT REALLY HAVE TO FOLLOW EVERYTHING THOUGH, JUST DO YOUR THANG. I know, my hair structures doesnt make sense with the points and stuffs lmao. But yeah you got my point.

Examples with different hairstyles:

Note to self: do not attempt curly hair if you’ll just fuck things up

Side view examples:

Girls Hair example:

Girls hair doesnt make sense. Just go crazy and make them fabulous queens.

So yeah, thats all i manage to think of. There are great artists out there who make better tutorials than me lmao. Check out kelpls amazing tutorials, or just look at some fancy kpop artists’ hair for reference their hair are amazing

anonymous asked:

do you have tips on comic compostions and angling/framing of scenes beacuse holy fudge what the actual hell your mob comic is An Expirience

hhhhhhhhhhhhhhhhhhhhOOOOOOOOOOOO BO Y AIGHT

I’m gonna take this ask as a chance to masterpost about this comic.

Since there wasn’t a set time limit for this comic, I went all ham for it, which means there’s a lot of thought about angles/framing n shit in this sumbitch. (keep in mind i’m still learning this craft myself as i go along so FEEL FREE TO IMPROVE WHEREVER)

I’ll go in depth about it but all of my tips can be summed up with : 

go for the emotion of the scene.

Everything I do, I do to try and heighten the feeling in a scene. Everything I’m about to describe were all choices to try and maximize the emotional impressions.

Angles 

First off, everything in this comic (with the exception of panels 7-9 on page 4) is from Mob’s POV. Everything is built from there. keep in mind goin forward -

We start with Mob terrified of being spotted, of running into anyone. So I strained the perspective to make it feel too close for comfort, despite how far away his other limbs are. I also used the angle to emphasize the “spotlight”, pushing Mob into further discomfort, like he’s being watched anyways.

Mob fears he just murdered someone ? At his lowest moment in this comic? This is where the camera looks down on Mob the most.

Time for shock and awe that the man’s alive ! So Reigen is angled UP, building his Bigness in Mob’s eyes. Most subsequent shots repeat this, keeping us grounded in Mob’s perspective.

Here, Mob is literally on his knees asking for answers. So I pushed for an angle to make him seem really tiny. I wanted him to look as small as he feels.

In the next few pages, the angles basically level out (and I’ll talk more about why in other sections***) until

Mob has just touched back. This was a direct action on his part, so just as I’d built Reigen with that tilt up, it’s Mob’s turn to share that space.

Once Mob fears for the lives of the police, we shift back to high angles. Using a high angle to make a character seem small isn’t groundbreaking but it’s something to chew anyways.

This is less about the angle and more about how cramped everything is. Mob feels backed into a corner unless he can get Reigen to relent. So the tightness and how Reigen looms reflects this.

And here, I mirrored the very first panel. Once again we have a shot of Mob’s back, walking into the light of a streetlamp. But this angle is gentle in comparison, even if slightly off center. We can see where the light comes from so it ceases to feel less like an omnipotent threat and more mundane. Perhaps even hopeful.

Paneling 

I’m sorry to say I feel this is one of my weak points as a creator. I’d like to improve here the most. Most of my panels can be summed up with ‘slant = energized’, ‘straight = stable’. BUT. I did take a few liberties here and it’s good to point them out.

Broken glass to heighten the ouch on Mob’s part.

Salt man don’t give a fuck. he IS the panel. //adds to the energy of this moment

This break from the panels is meant to make Mob hitting Reigen a more immediate threat.

Same with Reigen reaching around it here. He’s still in danger of being shreddy shreddy at this point.

Sometimes a panel will bleed off, to give a more ‘open space’ feel. I like to use it in subtle “oh” moments. That’s the best I could describe it.

annnnnd nothin like a casual reminder on the edges of panels about what would happen should the police show up.

Staging/Body Language

Once Reigen shows up, he dominates the frame, even in shots where mob is closer to the audience. Again, this is all to emphasize how Big Reigen seems to a scared Mobbu.

Mob pushes himself to corners, Reigen’s given the bulk of the space. 

He stands taller than mob and makes the frame uneven.

Even his hand feels huge in comparison.

***That is, until Reigen has a better perception of what’s going on.

Then his actions and staging reflect this.

Reigen kneels down, trying to make himself smaller both to Mob, and in the frame.

The staging reflects Reigen’s attempts to get on even ground, literally and metaphorically.

Mob’s still pushing himself into corners, but now Reigen has actively surrendered some of the space.

Still just, trying to get some of Mob’s perspective.

And from this point onwards, Reigen and Mob share the space/frame more evenly. 

Even in shots where Reigen’s kinda large, he no longer seems so imposing.

Mob still looks up to him but we no longer have such dramatic shots tilting him up and having him hog the focus of the panel.

And we save the closest-closeup, both in staging and in how close our characters physically feel for last. Because bonding and shit.

Coloring

Decided to make the use of color sort of uncomfortable. Hinted at in edges but not really a presence of their own. Hard to tell what the color of anything is because it’s all nonsense in ur peripherals.

Until we get to humans. But this color seems more invasive, and doesn’t really touch mob in a positive way.

Till we get to these splash of color, messy and kinda unorganized but it’s exactly what Mob needs to bring some order.

From here we get a muted color wash, there but still slightly dulled.

The first hint we get of the saturation to come is centered around the touch.

We slowly fade into full blown saturation once Mob reaches back.

Fanfic bonus

The name meanings of Jun and Tetsuo, since this is the street where they live and why not ahaha.

There’s a lot of bird imagery in ABoT so I

“Kid, it’s like lifting a feather.”

And even tho Reig gets a cool halo from the streetlights n shit

We all know who the real angel is

Other fun shit

Mob’s outfit is based on Sakurai’s outfit when he was orphaned as a child.

I literally put the streetlight directly behind the hand in this shot because I lack subtlety and love it.

There are 2 times where I cut out a bit of (frankly beautiful) wordage in order to show things better visually. Both times happen when Mob’s stopped paying attention.

First with Reigen’s words just becoming a flood of nonsense pretty sounds.

The second when Mob’s thinking about the possibility of his barrier being gone.

also here u guys can have some behind the scenes shenanigans

DIY Ftm Packer

A while back i found a tutorial but i cant find it, but i remember how to do it, so in result i made my own to help all of my transmasculine brothers who can’t afford packers, aren’t out to everyone, or can’t buy a packer for any other reason! You’re all so strong for getting through each and every day and i hope this makes your daily lives better!! I love you all!!!

Materials: Five(5) socks of the same size, three(3) rubber bands/hair ties, one(1) or two(2) safety pins(i used one(1))

Step 1: Fold three(3) socks together, either from the inner sock or an outer one, so that there are two(2) inside of one(1).

Step 2: take the other two socks and fold them into mostly spherical shapes.

Step 3: put one of the balled up socks into the other.

Step 4: put the two balled up socks into the other group of socks, just before where the two inside socks are.

Step 5: put a rubber band towards the tip, another one between where the balled up socks are and the folded ones, and one between the edge and the balled up socks.

Step 6: fold the edge over so that it shapes the balled up socks some more and put the safety pin on top of that.

Step 7: use the safety pin to attach the packer to the inside or outside of your underwear(inside if youre using traditionally mens underwear, outside if you use traditionally female underwear. I’d also suggest putting another pair of underwear or compression shorts/leggings over it if you pin it outside to keep it in place better.)


And you’re done!! Good luck, and be safe my dudes!!

10

Hey! I am really late with this, but I though that some of you might like to see how I make my monthly spreads. I did this sort of “infographics” (??? am I even allowed to call this thing infographics??) and even though it looks like this, I had so much fun making it :D. I really don’t know whether this is helpful or not, I tried. In case you’d like to see more tutorials (and hopefully better ones) in the future, let me know please? And thanks if you read it till the end, it’s so long :D

(I totally ran out of space for pictures at the end lol)

mavelon  asked:

Any tips on how to do poses or body proportions?

Oh boy, I struggle with that too tbh! What I do is look at references and often go for a feeling like “this looks nice” and be my own critique.

I don’t do this that often anymore but you can try to decompose in geometric shapes/basic lines some poses you find interesting (either be in the internet or magazines~) what I think helps the most it’s the movement lines which, I drew red in these examples~~

Proportions may be the basics but those can be different for each drawing style, still I do recommend to study some anatomy and practice a lot!! Try to start with something simple and not to complicated like some torso pics and don’t be afraid to look at references or to do mistakes, we all are learning so it’s totally ok!

Here more stuff and as you may notice, not all of them have the same proportions but somehow they look “proportional” and since I’m still not confident enough in complicated poses, these are some simple ones :3

Also you can try simple skeletons with just circles and lines, then you can start building the pose from that.

Hope this helps you! I’m not that good explaining things

10

Here’s an attempt to demonstrate how i color skin.  it’s quite basic, but hopefully it will help anon, and anyone else who’s curious!  for anyone who doesn’t know i use manga studio ex 5.  please click on each image for the caption!

some basic tips:

1. don’t shade with grey or black.  it looks awful.  i go for purple/blue-ish hues for shadows.

2, vary your hues.  if you stay in the same part of the color wheel things look very flat and lifeless.  there are a million tutorials out there for this that show/explain it better than i ever could.  i don’t have any examples to link but they’re easy to find.

that’s sort of it, i hope this was helpful.  i’m crap at explaining things.  a new computer is on my list of things to get when i move, so hopefully i’ll be able to record speed paints and stream - seeing things live is better imo.

spookyartemus  asked:

Hey Erica! You draw hands really well. How do you sketch them?

I made a really stupid post about hands a couple years ago, if you wanna’ check that out, though it’s not exactly thorough or serious.

BASICALLY, I draw the palm like a square and then stick some fings on it.  I do really exaggerated thumb arcs because it’s fun, and that’s basically it!  This is pretty crude, there’s way better hand tutorials out there, but here’s the idea:



I ALSO just got done working on an animated project with EXCELLENT character designs by @gorillaprutt​, and I gotta say he draws some really SOLID hand poses, so that’s pretty fresh in my mind lately.  Honestly a cursory glance at his drawings will communicate WAY more info than I can, haha. 

Hope that helps!


Tuesday Tips - Floating Hands

I use this a lot when storyboarding a first pass of a sequence. Placing hands in the right, most appealing position can be tricky. In order to create a clear silhouette for the hands, I often draw them “floating in the air”. Then, using my general knowledge of anatomy, I just “fill in the arms”. This way I can create a much more expressive and clear pose than if I was just radiating out of the torso. That’s when structure and anatomy can get in the way of a clear message. And hands carry a lot of meaning, so I want to make them as clear as possible  for my audience to see them.
I would say the same applies to life drawing. Since they often don’t carry the body weight (legs most often do), I feel like i can take the freedom of changing their position slightly to make a better visual statement.
-n

anonymous asked:

(different anon) I'd love to see a tutorial someday too. Specifically, how the heck do you get your pastries and ice creams and bread to look so soft and natural?! I've made a couple simple food pixels myself, but they all seem so stiff in comparison.

hum well personally i think making things look natural starts wi sketching out line work. (i did a comparison of a bread bun, starting with the same blue sketch to show the differences) i always do rough sketches & work over them bc i think it gives me a better idea of the form.

i know sometimes it seems right to have everything perfect & symmetrical but it all depends on what your drawing in the first place - because you mentioned like bread & ice-cream etc those things are rarely perfect anyway, so i guess avoid being too structured

then i think another big thing is the colour choice & the balance of the halftone dots for shading. I feel like too much half tone & its one big ordered gradient & yeah that looks kind of odd. & for the colour.. its tempting to just pick out the darkest tone & just gradually make it paler for the highlighty bits - but in reality when you really look at something there’s usually a lot of different kinds of colours (even if it is just white bread). So yeah id say experiment with that - i usually exaggerate and go for much warmer colours tbh.

the last thing that i think makes a huge difference is how you do the shine (if any). it helps to just think about the actual thing your drawing (goes wi out saying but curved and squishy bread probably has a softer curvy shine) and it’s probably not such sharp stark white

i feel like the picture just explains it all way better haha 

-`mini tutorial about pixel bread bun´-

A trick for making lineart thinner

Howdy ATBers! It’s me, Eggymod! Today I decided to make a tutorial that details my method for taking lineart you may have made too thick and making it thinner! 

This works great in emergencies, and I use it a lot when I don’t want to re-ink some background elements I may have made too thick. It works best if you’re like me and you keep all aspects of your lineart on separate layers (Figures / BG ), but you can also use it if everything’s on the same layer!

Keep reading