#I need to get used to drawing them consistently

[yaminerua]

Just finished watching BBC Ghosts and I love these terrible, wonderful dead dorks;;;

[artifeast]

some more telesphore :3

[poorly-drawn-mdzs]

What markers do you use and what kind paper? The textures are so Delicious

Very basic paper, actually! I find I overthink when using expensive stuff and it makes my sketches worse.

As for markers, I use Copics! Not that this is an endorsement (my first set were a very nice gift), but I have really liked using alcohol based markers over water based ones; lovely texture, good blending, and less streaking. However, the price can be *brutal*, and you can very easily get by with other markers + pencil crayons.

[sskk-manifesto]

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

[puppyeared]

for like 3 weeks i was wondering why i was sleeping so much and felt listless. and just now I managed to email 3 people and responded to a month old message in the span of an hour because I got back to TAKING MY FUCKIN MEDS..........

[goffilolo]

my new year's art resolution is to try and draw more backgrounds/get better at backgrounds

what are your art resolutions? Genuinely curious about other artists' wishes for improvement/development. reblog or comment

[sevicia]

I NEEEED to start keeping track of the stuff I'm in the process of making or wanna start making/drafting cuz I just opened one of my sketchbooks and flipped through and was like FUCKKK I really like this idea why haven't I finished it yet........ It's cuz you also have 8645312 other ideas you really like and haven't finished yet just get a grip man

[purpldawne]

for an akifuyu stan i sure do struggle to draw autumn and winter troupe

[beatcroc]

comic planning/roughs on the clock at work 👍 ok. this one's still a few posts out though

[branarbi]

oc art dump >:3

[arolesbianism]

I was looking back on the time lapses for the og batch of eternal gales references and it's so crazy to me how many of them I just went in fully raw without referencing any previous drawings of them at all. Like it makes sense since most of them were originally just random designs I doodled during school and I never needed reference to draw them before and like I still don't technically need references for anything but colors for them but still it feels so strange to me. Like what do you mean I didn't always slap like 5 reference images on every canvas before doodling a character who's design I have memorized who is this

[bobzora]

hate drawing backgrounds & not good at them anyway -> oh i'll just 3d model the backgrounds for my game -> wait. i still have to design the locations to model them. mfw

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[poorly-drawn-mdzs]

Hi! Congrats on finishing the comics for season one! I genuinely enjoyed every single one of them. I drew the nameless red disciple and ouyang zizhen to express my gratitude for making me feel so much joy through your adorable art ^-^

please excuse the poor quality, i didn't even take out my drawing tablet for this because i wanted it to be authentically poorly drawn :P it was nice to finally draw a simple drawing without being pressured to make it perfect :P (also I had forgotten how hard it is to draw without a tablet. I have become weak and mollycoddled😩✨ ) I might draw some proper fanart for them soon, if you don't mind?👀

(also also, I think I have said this before but your art is so pretty and intricate even though you call it poorly drawn. The color combinations are so soft and matching, and I LOVE THE WAY YOU DRAW HAIR😭)

ANyway. Have a great week!

It's them!! The disciples I wrongfully pitted against each other in a poll before realizing that love deserved to win! Thank you very much for this! I wish you all the best in drawing without the pressure to be perfect B*)

[cherrypikkins]

@dimiclaudeblaigan asked for a tutorial on how to begin drawing. Good news! If you can draw a funky looking stick man, you have already started!

I think that stick people are a great starting point for artists because of the things you can learn from them that will be important later on.

If you are able to draw a circle and a couple of lines, you can easily put together a stick person.

Congratulations! You have started to draw. :)

A stick person is a very minimal artistic representation of a real life person. It is simple yet recognizable, and is widely used in art, media, and signage.

But what can a stick person teach us about drawing people that look more like… well, people? Lets have a look!

By simply adding a few more lines, we can add a pair of eyes and a mouth. Maybe even a little triangle nose! Or half circles for ears. We can now draw a face, which provides a basis for all sorts of expressions.

These simple additions can allow us to explore the wide range of human emotion and individuality.

This may seem like the basics of the basics. But that is what we want! In order to get to the point where we are able to draw complex, elaborate representations of humans and objects, we will need to start with simple shapes like lines and circles and build our understanding from there.

For instance, lets give our stick person some cool new features, such as hands and feet. I chose little squiggly circles to represent hands, and triangles to represent feet.

We can go a step further and modify the body of the stick person to include shoulders, hips, elbows and knees. These parts of the human body are quite complex in real life But here, all we need to do is add a few simple lines and dots to our stick person.

The lines provide some additional structural elements to our stick person's body, which are the shoulders and the hips. The dots indicate the points of articulation - elbows and knees, the places where the arms and legs bend!

Now we can use our stick person to show us an even wider range of human movement, action, and expression.

Our little drawing of a human being is evolving! All it took was adding a few more lines and shapes here and there.

By elongating some of the existing lines and making the head an oval instead of a circle, we can give our stick person proportions that resemble that of a real life human.

By this point, we have managed to add more complexity to our stick person simply by using our ability to draw lines, circles, and other basic shapes!

These basic ideas are the building blocks that will enable us to create more complex shapes.

The next part may be a considerable step up if you are absolutely new to drawing, but I have decided to include it in order to show you how complex objects like the human body can be built from shapes that are a bit more complex than circles and lines.

For example. Two ovals and a rectangle can be combined to create a cylinder.

Six squares can be combined to create a cube, or a box. Here, each square is distorted slightly depending on which way the cube is facing.

Note that the back faces of the cube and the bottom of the cylinder are hidden. These shapes allow us to visualize that which should not normally visible.

A sphere from all perspectives can be represented by a circle. But we can make it more like a sphere by adding lighting and shadow if we so desire.

Cubes, cylinders, and spheres are examples of 'solid shapes' because they consist of 3 dimensions.

Lets see how these solid shapes can be used to compose the human body.

By stacking three cylindrical objects, we can create a torso. Two spheres have been added to form shoulders, while a smaller cylinder forms the neck.

An arm is an alternating sequence of spheres and cylinders connected together. Note that the hand has been simplified for this example.

We can apply these solid shapes to the rest of the body to give us a more recognizable representation of the human form. It doesn't even have to be perfect. And just like that, our stick figure now has a silhouette that is unmistakably a person!

In the above examples, notice that we kept the stick person at the beginning while building up the shapes and solids around it. This is because the stick person serves as a guide for positioning the body and its various parts -> also known as posing.

You can do the same thing to everyday objects! Here, I drew a wine glass by stacking these three dimensional solid shapes.

The cup and its contents are two ovoid shapes that were cut in half. The stem is a very thin cylinder shape. The base is a cylinder with a slightly wider bottom.

Solid shapes help inform us how objects and parts of the human body may appear from different perspectives.

For example, a sphere can be used to demonstrate how the human head appears when looking up or down, turned to the side, or tilted at an angle.

With these examples, I hope I have managed to convinced you that if you can draw a circle and a couple of lines, you can draw a person! You just have to train your eye to recognize the simple shapes within complex objects. Try it with everyday objects as well! Or even your favourite media! A drawing subject can be as simple or as complex as you envision it to be.

Once you have mastered that, there are many aspects of drawing you can explore from here that may require you to seek additional resources or a fellow artist's advice.

Last of all, remember that drawing is an iterative process. Even if you draw something correct the first time, you will need to draw it again and again to get it right all times! And by making small changes like the ones we explored in this tutorial, your drawings will gradually transform!

I hope what I've demonstrated here are enough to provide the basics of how to get started with drawing objects and people, and also to help refresh more experienced artists. :) Hopefully I didn't go too off topic with what was requested, and let me know if there are any more questions I can answer.

Cheers :3

[thatdiabolicalfeminist]

I've been messaging with a 17yo kid from Gaza, named Nader.

When I asked what he wanted people to know about his family's situation, he immediately answered "the bitter cold".

His other answer was about how incredibly expensive everything is in Gaza right now. Here's context: https://www.aljazeera.com/news/2024/10/16/how-much-does-food-cost-in-gaza

Can you imagine being in this situation? Made homeless where the stores are no longer getting consistent deliveries and might be bombed, the government is barely operating cuz it keeps getting bombed, there's not even charity getting into your besieged area, and most people's jobs—including your big brother's—have been bombed beyond repair?

Where it's getting so cold and you CAN'T get warm because you're relying on strangers to help you get that coat or blanket, or bc you need the little money that trickles in to just survive??

And can you imagine living this way for OVER A YEAR as a normal teenager who has a little brother and a baby niece with malnutrition to stress about too?

I know people are tired of hearing about Gaza. It's upsetting that this genocide has continued so long with so few powerful people even trying to stop it. But we have a responsibility to our fellow humans, to help them survive persecution.

Nader is seventeen. None of this should be on his shoulders. Please help his family be safe so he can stop feeling like it's his job to make sure his family has what they need.

This campaign was verified as authentic by gazavetters (#4 on this spreadsheet), which I have seen Palestinians I trust cite as a trusted source.

Can you give up one treat this week to help Nader's family have the basics?

If you donate at least $10 and comment on this post with proof, I'll record a silly voice message for you or draw you a post it note doodle!

Please also consider following @abdalsalam1990, the tumblr account this family is using to try to raise funds, as a reminder to yourself to share the campaign or contribute in the future.

Tagging usernames off the top of my head in hopes you'll share this fundraiser; please message me if you don't want to be tagged in things like this, or if I didn't tag you but you DO want to be tagged in posts like this.

Edit edit: thank you @transmutationisms for teaching me how tagging works 😅 i've only been on this site 10 years lmao

@wizardarchetypes @herpsandbirds @brattylikestoeat @tearsofrefugees @milf--adjacent

@vampiricvenus @mostly-funnytwittertweets @sweatermuppet @mostlysignssomeportents @probablyasocialecologist

@timequangle @repotting @robertreich @antifainternational @dlxxv-vetted-donations