justpickupthatpen

[justpickupthatpen]

Back muscles!

SKELETAL LANDMARKS 

shoulder blades: most of the upper back muscles attach to them directly, placement is affected by the arms. They can get obscured on very muscular backs, but most people these are the most dominant features!

7th cervical vertebra: neck bone that sticks out in most people, it sits in the center of that diamond shaped tendon in the middle of the trapezius

Also, obviously always keep the general shape of the ribcage and spine in mind, it was too much of a pain to draw them all in lol.

BACK MUSCLES

Erector Spinae: make the column-like structures around the spine, they extend all the way up to the neck, but you really only see the bottom part.

Latissimus Dorsi: are very thin, so most of the time you only see the structures underneath (such as the erector spinae). But when flexed, (for example, when climbing), you can see here on Jimmy Webb’s back that swooping curve it makes under the armpits.

The lats are also responsible for most of a person’s upper body strength and are the “V” shaped part of the back. For example, it’s how Bruce Lee was so strong despite being a small guy. Just look at those wings, man.

Infraspinatus, Teres Minor, and Teres Major: sit on the shoulder blade itself, and connects it to the top of the arm bone. These are responsible for a lot of the crazy shapes you see in bodybuilders’ backs.

Underneath them is the serratus anterior, which technically isn’t a back muscle but sits on the side of the ribs. These form that zig-zag pattern on the ribs that makes people look super ripped when visible with the external obliques, both wrapping around the sides of the torso. They’re not technically back muscles but fill out the silhouette, so it’s good to keep them in mind.

the glutes/butt muscles… they go farther up the back than one might assume and they, along with the pelvis, do affect the surface appearance of the lower back.

Rhomboid: simple shape, attaches from the inner edge of the shoulder blades to the middle of the spine at the 7th cervical vetebra to about the 4th or 5th thoracic vetebra. It does not overlap with the latissimus dorsi

Trapezius: divided roughly in the top, middle, and bottom sections. The top is quite thick and cylindrical and makes the sloping shape from the neck to the shoulders.

The bottom part is very thin; like the latissimus dorsi, the forms underneath it are visible when relaxed, making the rhomboid visible if it is flexed and the traps are not. Also not where the bottom part’s tendons attach to the shoulder blades; it outlines the curve of the shoulder blades even in people who are covered in brains muscles.

When fully flexed, it doesn’t taper into a point, but makes a small “w” shape at the bottom.

The 7th cervical vertebra sits at the center of the diamond-shaped tendons between the first and second sections of the trapezius. This part appears recessed in very muscular people.

Deltoid: not really a back muscle, but they overlap with the Infraspinatus and insert into the upper ridge of the shoulder blades, so it’s good to see how they interact with the others.

Ah, now for an example, featuring Thor himself. Note the curve where the traps meet the shoulder blades, the diamond-shaped tendon, and the rough “w” shaped contour of the lower back. Also note the two dimples, which is formed by the pelvis bones. They tend to be more prominent in women, although they are found in both men and women.

Try to find the back muscles on other people yourself, and then GET DRAWING

(PS, Generally it’s best to be able to simplify the forms instead of trying to render straight away - that’s how you know you really internalized the anatomy! I… honestly still don’t understand the back enough to do that yet, hence the lack of examples, unlike with the forearms post. But nonetheless, I hope that this is still useful as a general reference. I know it’s helped me at least remember what the different parts are, even if I don’t yet have a grasp of how they interact in motion!)

[justpickupthatpen]

By basilsribcage

[justpickupthatpen]

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 perfectionObservational 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 shapesSo 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 stepIt 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 beyondAs 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! 

[justpickupthatpen]

It's no problem, you deserve all the praise with your hard work! Do you actually have any advice to share on beginner animators like myself? And which programmes to use to make animating easier?

Hiya! Sorry to take so long to reply! I’ve been under a huuuuge workload the past months, and I when I finally got more time for myself I was just too tired to do anything else than simply rest. But here it is! I listed couple things I could think about how to think when you animate. Of course this is only my personal list, so I understand if someone disagrees.

It goes a bit in-and-out the range of actually animating things - but I feel like there cannot be one without the other, so here we go! 

Hopefully this will be helpful!

1) Animating is SLOW

The biggest advice I can give is that animation is not easy. It’s hard. It’s tedious. It’ll always take like double the time you think it will. And that’s not on a scale of hours, but days and weeks. You think your scene will take 3 days to rough out? It’ll probably take 6. You think you can clean it up in 1 week? Book in 2,5. Just get some coffee and continue. It’ll be there. Eventually.

2) Take breaks

After a while you’ll become blind to the animation you’re making, so remember to take breaks. Take 30 min break, and when you get back to your animation and play it through you can usually spot a thing or two you just couldn’t see before. It’s also good for your body - I have to admit I tend to sit at my desk way too long hours, but I’m trying to get better.

3) Work out

I feel like I say this every time, but be considerate of your body. I’ve seen so many people having problems with their wrists and elbows, and the best thing to prevent those is to exercise. It also clears your head and ALMOST prevents you from getting sleepy while animating.

4) Start loose

I tend to start with really loose thumbnails in order to get the movement I want. Sketch those thumbnails in so loose that only you can tell what’s happening. You want to feel the movement, making the character pretty comes later. If I start with the construction, I realize half way that the character moves more like a machine than a living thing. Of course this is different for everyone. Some people can be like super humans and draw the final line in one try - I’m not one of them.

5) Kill your babies

Don’t be scared to ditch something that doesn’t work. Of course you want to keep the perfect looking key that you used so much time to finish, but if the movement doesn’t flow, it’s fine to get rid of it. You can use it as a base for your new better drawing

6) Toon Boom vs. TVPaint

These are the two programs I’ve used for 2D animation (+ Photoshop, but that was a bad idea). I actually started with Toon Boom and learned about TVPaint only later. I really like both of the programs, but they have some significant differences.

Toon Boom

Toon Boom is really advanced, bit confusing, originally vector-based 2D animation program. It’s really good, but learning to use it is bit of a work. I started with Toon Boom, and I’ve done most of my personal animations with it. My favorite part of the program is the vector line. You can tweak the line, resize, recolor, do almost anything you want even after you’ve finished your animation. Of course sketching with vector doesn’t feel as good as sketching in Photoshop, but nowadays the newest Toon Boom has been really improving with the feeling of the drawn line and they have even introduced bitmap based layers.

TVPaint

TVPaint is bitmap based program and much easier to learn than Toon Boom. It’s basically Photoshop with proper timeline and light table. The bad thing about it is that if you want to change something after drawing the frame, you better draw the whole frame again. It does feel much more natural to rough out the animation than Toon Boom though. Also the timeline and light table are better than the ones in Toon Boom. If you want to just find an animation program to start with, I guess TVPaint is a better choice. I did start with Toon Boom though, so can’t say learning it would be impossible. It just needs slightly more work.

[justpickupthatpen]

How I draw eyes

This is the thing I get asked about the most so here’s an honest try.

[justpickupthatpen]

hey

how you draw eyes?

you draw eyes so pretty and i want to know how you do it

((Alright strap in kids, this is gonna be a bit long. I’ll put the full thing under a read more to keep things clean. Here’s a quick explanation on how I do eyes!

First of all, I work primarily in Paint Tool SAI2. If you already have SAI (which can be bought for around $52 USD here) you can upgrade for free to SAI2 on their website, which I’d highly recommend.

There are mimic brushes on Clip and Photoshop, but I can’t attest for their accuracy.

These are my primary brush settings. I adjust the blending on the marker as preferred when painting. I use the marker to sketch, blend, and paint. I use the pen when I need to put down solid colors without blending or to add fine details.

Now for eyes. I love eyes because they’re super expressive and can be so many possible shapes and sizes. I’m going to assume you already have the fundamental knowledge of anatomy and how eyes work, and go into my process.

It’s very simple. I start with a top and lower lid, or lash lines. From there, I can place the iris with the marker tool, keeping the opacity low, and adding a shadow for the top of the eye. Easy!

Really, you can stop at this point, depending on how detailed your style is. OR, you can be like me, and hyperfixate on little details because it’s relaxing and fun to paint.

Below, I have several examples. The first is a base, where I put in a regular pupil and some basic shadows. From there, I have a choice on what style I want to go with. For stylized realism, I go on the right and add a lot of finer lines around the pupil, varying up the tones because eyes aren’t all one solid hue or shade. Study pictures of eyes, you’ll see they’re very complex and subtly beautiful.

For a simpler look, like what I go for in my Inverted comic, I keep things more straightforward. A blended gradient from top to bottom, and then picking up several lighter and darker colors to add definition lines. Nothing excessive, just a little bit of flavor. I give the characters in my comic stylized unique eyeshines as well, because it’s fun. Cotton is one of the only characters I really define the eyelashes on, mostly bc his eyes are very important to his character and design.

And, just because it’s fun, I sketched up a few different eyes in color, varying the technique a little each time. You can go wild with shapes, colors, and painting techniques. I hope this was informative, and I’d love to see the kinds of eyes you guys paint!))

[justpickupthatpen]

How do I get my art noticed online; A simple guide based on what I have experienced.

This is one of my most asked questions so I am going to try and offer what advice I can. It certainly did not make any sense to me years ago and I would have liked a bit of help.

To preface this entire guide will be from the perspective of an artist attracting an audience for their work that is interested in buying and supporting their art.

Understanding and reaching the audience.

These are the people you want to see your work. If you are trying to create something commercially viable you must always keep the audience in mind. What matters to you is often lost on them and it is easy to lose track of that when you are emotionally involved in your work. 

Everything I discuss from here on is centred around the audience and how they will potentially regard you and your artwork. 

1. Time does not matter to the audience. 

I see this brought up a lot. “I worked very hard for a long time on my art, someone else did not, why don’t people appreciate that.”

To be incredibly blunt, why should they? Two artists create two similar pieces of work. One took 3 days, one took 3 hours. Both are at the same technical level and a similar concept. Why should one be “worth” anything more to the audience, who only sees the end result.

Time rarely matters to the audience. An audience with no art background of any kind will find it very hard to judge how long someone spent on a piece of art (especially digital art) unless-

It’s very clear. A huge traditional painting for example, with something for scale. A linked video showing the process. 

The artist states the time taken somewhere. Again, this is only really going to matter to the audience if it surprises them or justifies their own assumptions about the work. (It looks good, but they work quickly, how do they do it!)

I know there will be exceptions. People who really appreciate art will understand and recognise the time taken to create it. You aren’t leaving your success to exceptions though. You need to work with the majority.

Taking a long time to produce a piece of work only really informs your potential audience that they are going to have to wait a while to receive the content. If the work or the concept behind it are strong enough this is not a problem. It hurts an unknown artist trying to establish themselves though for the following reasons… 

2. Your upload schedule.

People like consistency and the best way to capture any kind of audience in media is with quick regular uploads of content they are prepared for, are looking for or easily understand. I will list a few things that I feel an audience appreciates or deviates towards.

A regular upload schedule, be it daily, twice a week, even once a month. As long as it is clear. This is a great way to keep viewers coming back to you once they find your work and are happy with the content you appear to be providing. 

The time you upload matters. If you post your artwork while the world is asleep no one is going to see it. On sites like tumblr this is even worse, hours can go by and your work will be pushed further and further down the audiences dashboard.

Consistent content. It’s great to try new stuff, but unless your audience knows you for it it could possibly confuse people browsing your page or site. Artists often get categorised as “The dude that draws X, Y Z” for a reason, it’s just easier for an audience to understand.

Do not add unnecessary comments to posts. Nothing puts people off more than 2 paragraphs of text explaining the process or a personal story on why it took so long. Save that for a separate post, consider that your audience needs to share your image. Make it as easy to share as possible.

3. Your content and the concept.

Content is important. Your finished artwork can be technically beautiful, but if there is nothing there for people to understand or relate to they will have no reason to care, or they will be purely judging your work on its level of technical ability. 

That can only go so far if the content is too strange, specific or incomprehensible. Very few people are going to share a technically impressive piece of work if it disgusts confuses or upsets them in some other aspect. 

Vice versa, a strong or interesting concept can take very simple artwork a very long way. The perfect storm is to have both a fantastic concept and strong artwork working together, but you must consider how much work that will mean you have to do and how fast can you do it. Find a balance. 

What grabs an audience varies greatly. You can build up your own brand with your own ideas concepts and characters as long as there is a consistent theme. More often than not an audience will look for:

Things they recognise 

Things they can understand at a glance

Things that are relevant to them and their lives

Consider these examples, try to consider which one has the most immediate appeal to the general public:

4. Make things easy for them, some important general advice. 

Upload on as many sites as possible, and where appropriate. (No one on a website purely for webcomics is going to appreciate your oil paintings, for example).

Join forums, sign up for art sites. Get to know people and make contacts to get your work out there. Understand the audience on the sites you frequent and what content they do and don’t enjoy. This takes time, this does not happen overnight. You have to commit and find your own path here. 

The audience will not just come to you. You need to be proactive. You have to get out there and find them, but be careful, nobody likes to feel like they’re being sold something. 

Wherever you post your art, MAKE IT EASY FOR PEOPLE TO FIND AND SHARE! Tag, list and group your content. Tags allow people to find things they already like, make use of that. Give them as few reasons as possible not to share your content. Put yourself in the shoes of the audience and think about what they would and would not want to share with their friends and people that know them. 

To conclude

I hope this will give some people who are really lost a few extra ideas when it comes to creating commercially viable content. It upsets me to say this but sometimes there are ideas that, no matter how beautifully illustrated or conceptually brilliant, will just not resonate with certain groups of people.

This is a sad reality, but if this is an issue for you don’t worry. Use this information to create content you know people will enjoy, make a profit from that and then when you have the time and money make the things you really want to make.

[justpickupthatpen]

Art Tips: Motivation, Style and Life Drawing

I’ve had several requests for art tips so here are a few of my humble advice for studying artists.Depending on how far I get on this, I might make a few more.

Keeping yourself motivated

Artists often improve the most when they are passionate about a topic that gives them motivation to draw. However, certain genre and subject matters can be looked down as ‘not artistic enough’ or 'shallow’ which can cause artists to shy away from drawing what they really want to draw. Remember that any reason is a good reason to want to draw as long as your art doesn’t bear hurtful messages. Whatever the subject matter is, don’t let the others shame you into stop drawing. Try to find subjects or stories that interest you and seize every chance to draw when the motivation is there.

Don’t let style dictate what you can and can’t draw.

Having a personal style is great but it’s very easy to fall into the trap of using style as an excuse to avoid drawing what you’re not comfortable with. Style should be a tool that helps you and not something that restrict you from visually communicating your ideas. For example, if you like drawing in shoujo manga style, that’s completely fine but if that’s all you draw, chances are, you probably can’t draw realistic nose. This will most likely cause lack of structure in your short-handed drawings of a face which will then hinder the appeal of your drawings.  It’s not to say that all your character drawings should be anatomically accurate and be rendered realistically but even the simplest drawings should have a good sense of structure which can be trained by practising and learning the real anatomy.  

Life drawing! Life drawing! Life drawing!

One of the best way of practising everything from anatomy to visual story telling is by doing life drawings. Not just the ones that you do at a studio with a nude model but also doing quick sketches of people in a public space like a cafe or a subway. Try to keep a small drawing tools with you all the time and when you do engage in a life drawing, pick a topic that you want to focus on and practice your drawings around it. Examples of things that you can focus on during life drawing would be things like, gestures, expression, anatomy of clothed figure, folds of clothes, and etc.  

Softer tools like pencil and colour pencil can be great in practising structural drawings while harder tools like pen and markers are great for gestures and short-hands.

[justpickupthatpen]

Show, don’t tell

"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:

1. Use Sensory Details

Tell: "The room was cold."

Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."

Tell: "He was scared."

Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."

2. Focus on Actions

Tell: "She was angry."

Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."

Tell: "He was exhausted."

Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."

3. Use Dialogue

What characters say and how they say it can reveal their emotions, intentions, or traits.

Tell: "She was worried about the storm."

Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.

4. Show Internal Conflict Through Thoughts or Reactions

Tell: "He was jealous of his friend."

Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."

5. Describe the Environment to Reflect Mood

Use the setting to mirror or hint at emotions or themes.

Tell: "The town was eerie."

Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."

6. Let Readers Infer Through Context

Give enough clues for the reader to piece things together without spelling it out.

Tell: "The man was a thief."

Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."

7. Use Subtext in Interactions

What’s left unsaid can reveal as much as what’s spoken.

Tell: "They were uncomfortable around each other."

Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."

8. Compare to Relatable Experiences

Use metaphors, similes, or comparisons to make an emotion or situation vivid.

Tell: "The mountain was huge."

Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."

Practice Example:

Tell: "The village had been destroyed by the fire."

Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."

[justpickupthatpen]

I don't know if you talked about this before, but by any chance is your art a combination of traditional and digital art?

Yes!

to save time I look for smaller doodles in my sketchbooks and ink and color them digitally

sometimes I do without the inking process and jump straight to coloring

i'll explain how

first i take a picture of the sketch with my phone, upload the image to my pc then i insert the image into photoshop CS5 in a seperate layer

(yes that's max caulfield dont ask why i drew her like that)

Then i adjust the tones for the sketch to match the background color (white in my case), i go Image > Adjustment > Levels

After that I start a new layer for coloring the sketch ABOVE its layer and set the new layer type to MULTIPLY (you can play around with the opacity depending oh much you want the colors to stand out)

to change the color of the original sketch lines, I start a new layer above it, fill it with the color i want and set that layer's type to OVERLAY (Soft light works too but overlay is more vibrant)

Changing the opacity will affect how much you want the colors to overwhelm the sketch

this method can be used in clips studio and it goes like this

insert sketch into the program

go to Edit > Tonal Correction > Level Correction

the rest goes like this

multiply to color sketch

overlay or soft light to change linework color

i prefer Photoshop, I have been holding on to that CS5 copy since 2011 some of you are much younger than it

[justpickupthatpen]

Inktober leftobers spaming ♥ Enjoy my weird creatures ♥

[justpickupthatpen]

1454

[justpickupthatpen]

I have made a pay-what-you-want zine about... How To Make Zines!

I go over my entire process, so you too can learn how to supplement your income with zines. Please give it a look, and share if you find it helpful!

[justpickupthatpen]

Here, take my industry secrets.

I don't want people to spend their money on art school when I can make resources for free for them.

Hey here's a step-by-step guide to making concept art pieces using the industry "Collage > Painting" pipeline. It's how artists pump out a shit ton of concept work for their bosses at record speeds. Intended for newer artists!

For more stuff join my discord! I'm a transfem streamer who makes art stuff!

[justpickupthatpen]

friday night tutorial time

this post is massive but i tried to cover both the conceptual and technical side, hopefully it’s somewhat coherent

continued under cut

Keep reading

[justpickupthatpen]

Holiday Sale~ 

commissions are finally open! I only take orders through kofi. There’s plenty slots open, come get a crunchy stylized sketch. :D  https://ko-fi.com/c/5fea0a8f2c

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