#and try it out with better proportions and a better sketch

[val-of-the-north]

Unfinished concept for a beast Brador. The proportions are all weird, but I REALLY liked the way I envisioned him in my head. The Bloodletter plunged into his stomach was one last attempt to draw the "tainted blood" out of himself, which he knew wouldn't work but tried anyway... now it's forever active.

[biganimal92]

shout out to my boy lampwick

[skunkes]

observation post but ive found myself doing a lot of "problem solving" for commissions in my sketchbook because it helps me in a way that drawing digitally does not... Now im trying to figure out why that happens and how to bridge that disconnect because well why would it be different. Why is it so different 😭

[brown-little-robin]

ok I'm not subjecting my poor ceramics blog followers to 2 JoJo sculptures in a row, so for once I'm putting a ceramics post only on main. hi friends :] I am OBSESSED with the pose potential of sculpting a guy as a wolf and his soul as a wolf that's twice as big and fancier and has no sense of personal space

[hawkeye-mrstrapper-pierce]

after a long hiatus: Klinger & Mulcahy Version 2, Digital only. Bonus reference pic included below for fun

July 6, 2023

(version 1 where Klinger is different but Mulcahy is the same will be linked here)

[teaboot]

Because a few have asked

Teaboot's Super Okay Guide To Developing A Brain That Makes Art Work

Or: How to get your eyes to talk directly to your hands without your brain micromanaging you

Or: How to draw better

⚠️ Warning for super fast gifs cause they all gotta be 5 seconds or less or else my phone shits the bed ⚠️

1. Do the following exercises. Don't just think about doing them or figure out a clever way to not do them, just do them. Yes even the boring ones and the ones that look ugly

2. If you have any pride, crush it. Kill it. Crunch it up into itty bitty bits and feed it to the ducks at the park. You have no talent and don't know anything and everything you make is hot garbage. Believe that. Make yourself believe that. That is where you live now. Surrender any indignation or shame you have to the void and embrace rock bottom.

3. Read step 2 again and actually do it this time. My methods will not work if you try to make this process pretty. Don't.

4. No drawing from your imagination on these. Actually draw from real life. If it's boring like eating day old oatmeal in in beige room but your usual art still feels wonky then I'm talking to you specifically. You can't write poetry until you learn words and yes learning words is as dull as horseshit sometimes but do you wanna be Robert Frost or not

5. Pick up some cheap paper and a ballpoint pen. Grab a small object, between the size of your hand and the size of a microwave. Set a timer for fifteen minutes. Put the tip of your pen to the paper and press "start".

Now without looking at your paper, only looking at the object, draw the object in as much detail as you can. Do not break contact between the paper and the pen tip until the timer goes off.

This is a continuous line drawing, and you're doing it in pen because you need to know what rock bottom looks like and rock bottom looks like no eyes no erasers no shading no do-overs.

6. Sit down in a public place. As someone walks by, draw their their body in as much accuracy as you can before they are no longer in view. Once you can't see them anymore, the drawing is done. No adding details. Pick someone else and do it again. No "base sketch". Just them. If it barely looks human you're doing great

7. Get a black pen. Put a small object on a dark, flat surface. Now draw the surface without drawing the object. Don't draw the outline of the object. Don't do a sketch. Just draw the surface that is visible around the object until only a silhouette remains. No time limit just do it.

The ability to draw accurate proportions from sight comes from learning to see what exists between a thing and the absence of a thing and if that hurts to think about then you need to do it more

8. Keep doing these until you are Ready.

9. You will know when you are Ready. It will make sense when you are Ready. You will Understand.

10. Unwind with some goofy shit so you don't forget why you wanna improve to begin with

[wombywoo]

Ok! I've finally decided to put together a (somewhat) comprehensive tutorial on my latest art~

Please enjoy this little step-by-step 💁‍♀️

First things first--references!

Now I'm not saying you have to go overboard, but I always find that this is a crucial starting point in any art piece I intend on making. Especially if you're a detail freak like me and want to make it as realistic as possible 🙃

As such, your web browser should look like this at any given point:

Since this is a historical piece, it means hours upon hours of meaningless research just to see what color the socks are, but...again. that isn't, strictly, necessary 😅

Once I've compiled all my lovely ref pics, I usually dump them into a big-ass collage ⬇️

(I will end up not using half of these, alas :'D)

Another reference search for background material, and getting to showcase our models of choice for this occasion~

When picking a reference for an actor or model, the main thing I keep in mind (besides prettiness 🤭) is lighting and orientation. Because I already kinda know what pose I'm gonna go with for this piece, I can look for specific angles that might fit the criteria. I should mention that I am a reference hound, and my current COD actor ref folder looks like this:

Also keep in mind, if you're using a ref that you need to flip, make sure you adjust accordingly. This especially applies to clothing, as certain things like pants zippers and belt buckles can be quite specific ☝️

Now that we've spent countless hours googling, it's time to start with a rough sketch:

It doesn't have to be pretty, folks, just a basic guideline of where you want the figures to be.

The next step is to define it more, and I know this looks like that 'how to draw an owl' meme, but I promise--getting from the loose sketch above to below is not that difficult.

Things to keep in mind are--don't go too in-depth with the details, because things are still subject to change at this point. In terms of making a suitable anatomically-correct sketch, I would suggest lots of studying. This doesn't even have to be things like figure drawing, I genuinely look at people around me for inspiration all the time. Familiarize yourself with the human form, and things like weight, proportions, posing will seem a little more feasible.

It's also important at this stage to consider your composition. Remember to flip the canvas frequently to make sure you're not leaning to one side too often. I'm sure something can be said for the spiral fibonacci stuff, which I don't really try to do on purpose, but I think keeping things like symmetry and balance in mind is a good start ✌️

Next step is just blocking in the figures. Standard. No fuss 👍

Now onto the background!

It's frankly hilarious how many people thought I was *hand-drawing* these maps and stuff 😂😂 I cannot even begin to comprehend how insanely difficult that would be. So yeah, we're just taking the lazy copy and paste way out 🤙

I almost always prepare my backgrounds first, and this is mostly to get a general color scheme off the bat. For collage work, it's really just a matter of trial and error, sticking this here, slapping this there, etc. I like to futz around with different overlay options until I've found a nice arrangement. Advice for this is just--go nuts 🤷‍♀️

Next, I add a few color adjustments. I tend to make at least 2 colors pop in an art piece, and low and behold, they usually tend to be red and blue ❤️💙There's something about warm/cool vibes, idk man..

Now we move on to coloring the figures. This is just a basic block and fill, not really defining any of the details yet.

Next, we add some cursory values. Sloppy airbrush works fine, it'll look better soon I promise 🙏

And now--rendering!

I know a lot of beginner artists are intimidated by rendering, and I can totally understand why. It's just one of those things you have to commit to 💪

I've decided to show a brief process of rendering our dear Johnny's face here:

Starting off, I usually rely on the trusty airbrush just to get some color values going. Note--I've kept my sketch layer on top, but feel free to turn it on and off as you work, so as to not be too bound to the sketch. For now, it's just a guideline.

This next stage may look like a huge jump, but it's really just adding more to the foundation. I try to think of it like putting on make-up in a way~ Adding contours, accentuating highlights. This is also where I start adding in more saturation, especially around areas such as ears, nose and lips. Still a bit fuzzy at this point, but that's why we keep adding to it 💪

A boy has appeared! See--now I've removed most of the line layer, and it holds up on its own. I'll admit that in order to achieve this realistic style, you'll need lots and lots of practice and skill, which shouldn't be discouraging! Just motivate yourself with the prospect of getting to look at pretty men for countless hours 🙆‍♀️

I'll probably do a more in-depth explanation about rendering at some point, but let's keep this rolling~

Moving forward is just a process of adding to the figures bit by bit. I do lean towards filling in each section from top to bottom, but you can feel free to pop around to certain parts that appeal to you more. I almost always do the faces first though, because if they end up sucking, I feel less guilty about scrapping it 😂 But no--I think he's pretty enough to proceed 😚

They're coming together now 🙆‍♀️ Another helpful tip--make sure you reuse color. By that, I mean--try to incorporate various colors throughout your piece, using the eyedropper tool to keep a consistent palette. I try to put in bits of red and blue where I can

Here they are fully rendered! Notice I've made a few subtle changes from the sketch, like adjusting the belt buckles because I made a mistake 😬 Hence why you shouldn't put too much stock in your initial sketch~

The next step is more of a stylistic choice, but I usually go over everything with an outline, typically in a bright color like green. Occasionally, I can just use my initial line layer, but for this, I've made a brand new, cleaner line 👍

And the final step is adjusting the color and adding some text:

Tada!! It's done!

All in all, this took me the better part of a week, but I have a lot of free time, so yeah ✌️

I hope you appreciated that little walkthrough~ I know people have been asking me how I do my art, but the truth is--I usually have no clue how to explain myself 😅 So have this half-assed tutorial~

As a bonus, here is a cute (cursed) image of Johnny without his mustache:

A baby, a literal infant child !!! who put this wee bairn on the front lines ??! 😭

Anyway! peace out ✌️

[hey-august]

Word count: Just under 1k Warnings: NSFW, MDNI, buggy x GN!reader, no use of Y/N, mentions of masturbation, sex, and oral.

˗ˏˋ ★ ˎˊ˗ ✩ ˗ˏˋ ★ ˎˊ˗ ✩ ˗ˏˋ ★ ˎˊ˗ ✩ ˗ˏˋ ★ ˎˊ˗

Buggy who is surprisingly good at drawing.

Buggy who doodles all the time. Ugly little caricatures of people who piss him off. Goofy scribbles of bits that make him laugh. Potential skits. 

Buggy who scrawls on the margins of paper, the corner of napkins, anywhere he can relieve the itch in his hands.

Buggy who designs costumes for his crew. Colored pencils and oil pastels bring the flashy couture to life.

Buggy who carries a small sketchbook in his coat. Deckle edged paper wrapped in leather, perfect for practicing pencil sketches and graphite drawings as he observes the crew.

Buggy who doesn’t share the drawings in his sketchbook, though. Some had to learn the hard way not to look over his shoulder.

Buggy who realizes too late that you are overtaking his personal pages. What started as small forms to study pose and movement grew larger, capturing more of your essence.

Buggy who becomes obsessed with capturing the small details. How your nose crinkles when you laugh. The sneer in your lips when you’re pissed. The way you rake your fingers through your hair when you try to calm yourself.

Buggy who gets curious late one night. Curious and desperate.

Buggy who draws you from memory and fueled by his filthy imagination. The soft sound of pencil scraping along the paper is comforting.

Buggy who fills a page with you in compromising positions. The lewd expressions you might wear. What he thinks you’d look like split on his cock. Or mouth open, begging to have your face fucked. His hands gripping your plush thighs.

Buggy who fucks himself to the hand-drawn porn and cums all over the page.

Buggy who feels guilty and burns the soggy drawings, as best he can. It takes a few frustrating tries and he panics, even though no one is around.

Buggy who tries to ignore those feelings. Trying to draw anything except you. But everything looks like shit now. Proportions are off. He presses too hard when sketching, unable to erase the stark lines. Even his doodles lack life.

Buggy who gives in and scribbles you in the corner of his sketchbook before moving on to something else. And it works. His movements flow better. A weight is lifted off his chest.

Buggy who eventually caves to the nighttime muse once more. Filling another perverted page with the obscene images flooding his mind. This time, he doesn’t ruin the drawings with jizz or fire.

Buggy who revisits that page frequently. Adds to that page. Convinces himself that it’s okay, it’s not hurting anyone. In fact, it helps him by taking away other urges.

Buggy who eventually manages to misplace his sketchbook. He fucking lost it.

Buggy who doesn’t want to bring attention to his lost treasure. If he says it’s missing, some freaks might find it and look through the pages. They’ll realize what a pathetic loser he is.

Buggy who frantically retraces his footsteps, barking orders to keep everyone away from him. 

Buggy who finally finds it in the hallway just outside his room. The book must have fallen out of his pocket and laid mostly out of sight with the brown leather blending into the wooden floor.

Buggy who is relieved. It doesn’t look like the book had been touched or moved. Even the leather string is still wound around the sketchbook tightly.

Buggy who needs to get back to other duties after sloughing them off most of the day. He’s still on edge, reading into everyone’s interactions. No one acts differently, adding to the relief that no one knows about his perversions.

Buggy who doesn’t open the sketchbook until the end of a very long day. Who waits until he’s alone and in his room.

Buggy whose stomach lurches at the note peeking out of one of the pages. A page devoted to your smile. A note with your handwriting. “This is so impressive! I look so happy”

Buggy who slams the sketchbook shut and starts to pace around the room. Fuck. Did you find it first? Did you look through it? Why? What else did you see? What else did you see?

Buggy who freezes at the thought. Who stares at the awful book, as if it would pipe up and tell him in a fluttery voice.

Buggy who grabs the book and roughly throws it into a drawer, ready to lock up his feelings. Ready to deal with his unhealthy actions with more unhealthy actions.

Buggy who tries to go to bed but can’t sleep. He lays in bed surrounded by a carousel of thoughts. Of fear. And anxiety.

Buggy who sends over a hand to retrieve the damn book. He has to know. He’ll die if he doesn’t find out.

Buggy who can feel his hands shake with each heartbeat as he thumbs through the book, looking for more notes.

Buggy who feels both calmed and excited as he finds your commentary on a few more innocuous pages. Praises for his skill and appreciation for scenes he captured.

Buggy who finally flips to the page. That one.

Buggy who’s afraid to read the note you left there. But he does. “Want to collaborate one day?”

Buggy whose stomach and heart are in knots. 

Buggy who keeps reading. “I’d like to see what you look like too.”

Buggy who shows up at your door, panting and red faced. Sketchbook in hand.

Buggy who trails his fingers along your face as he fucks into you, commiting each detail to memory. The shape of your mouth with each moan. Your lust-filled eyes. The little teeth marks left after you bite your lips.

Buggy who can’t help but stare at your sex-tired body. Chest heaving. Glistening.

Buggy who still wants to taste you. To taste himself on you. Who uses his mouth and tongue to memorize more of your body.

Buggy who is surprisingly good at drawing and collaborating.

˗ˏˋ ★ ˎˊ˗ ✩ ˗ˏˋ ★ ˎˊ˗ ✩ ˗ˏˋ ★ ˎˊ˗ ✩ ˗ˏˋ ★ ˎˊ˗

A/N: Just want to highlight this line bc I love it "This time, he doesn’t ruin the drawings with jizz or fire."

[momokarp]

hi I love your sketchbook art sm! your lines look kinda messy in the best way possible and i rlly wanna achieve that same look!! also i wanted to ask, do you sketch everything out in pencil beforehand or just go directly in with the pens?

Thank you! I used to hate how not clean my stuff looked compared to other’s stuff but I eventually came to really like messy inky things! Makes me feel better about my mistakes and it stops me from being a perfectionist.

As for my process I do both!! I’ll either go straight in with pens, or sketch first in pencil- OR if you want it to look messy but also kinda sick?? Do your under drawings in a super light pen/marker (like yellow or blue or gray) and then lineart on top. Maybe make that color you use something to add to shading later on. I’ve also done under drawings with dried out pens before to get a gritty texture, if you have any dying pens, they can still be put to use!

I just broke into a new sketchbook so I labeled what I did what with for these Needles Concepts. Fineliner pens can get you consistent line weight but BRUSH PENS can be thin or thick or flex to get some nice line variations. There’s soft brush pens and harder ones too if you’re worried about control.

The stuff where I went pencil first and then pen is FAR neater in general, and I can plan more. It’s pretty difficult to go just straight pen but I encourage you try it out a few times. It makes you plan and think about posing and proportion all in your head but boy it can be fun!

[kokoasci]

How do you get so good at perspective and proportion and everything honestly... 😭😭 I've always wanted to draw a whole scene in a room or something but I just can figure out how to perspective

to be Completely honest, i usually am looking at a bunch of references for almost everything i draw, either in batches for background or specific poses, etc. it speeds me up a lot! i also recommend sketching quickly and not worrying about things being super accurate, since i prefer to refine over time while making sure you have a good base. for example for the aventurine art that's like my most popular on here lol, i used a pose ref while changing a few things to suit my artstyle (proportions, pose, bg, etc.) it's really just about tweaking stuff until you find things that better fit your style imo

What i do highly recommend trying out if you're having trouble drawing scenes and placing objects (especially if adding characters without a strict reference) is to draw the characters first. this is usually frowned upon but ive found that it really helps imagine the scene and then draw everything around it to fit the poses and mood you want, and also provides a better frame of reference to place the angles of the objects

[hybbart]

This is perhaps a strange question, but do you have the sketch/lineart/framework/whatever the heck it's called that you use when you draw Tango? I decided I want to learn to draw, and my thought process was, "Ah yes, the easiest way is to try and copy my favourite Tangos cause I know how they look," and it is going... poorly xD.

Alternatively, do you have any advice on how to learn and develop a style, or how to get/keep going?

A reference sheet? I have a couple various ones, though at this point i don't really use a reference unless I need to sample colours, and I'm currently working on a colour reference for myself. Besides the point I suppose... I'll put them at the very bottom of the cut so scroll right past my ramblings if you want to.

As for advice. My advice is do not try developing a style if you are just starting out. style is the last thing that should be on your mind if you're just starting out. Style is something that happens naturally as you grow and learn what you like and get used to your tools, and being able to intentionally create a style is an advanced skill that requires the skill to draw in various styles, strong basics, self-awareness, and proper self-critique.

The rest of this is going to be very incoherent and long winded and backwards so I apologize.

The most important thing to improving is to get over yourself. You need to look at someone else's art and be able to admit it's better than yours or has a quality you wish yours had without that being a statement of self-deprecation. You need to be able to look at your own art and pick out what it is you don't like about it without using it to beat yourself up. You can't improve if you get demotivated by the information required to adjust your course.

If you must, find something in each drawing that you like and focus on learning how to recreate that. If you find yourself with a drawing that you genuinely find nothing you like about it you stop drawing and restart, because that drawing is worthless to you once you recognize that. Analyze why you don't like it, figure out what's causing you to draw that way, ask what you might prefer instead and what the difference between them is, and figure out how to draw what you want instead. The important thing is that when you examine your art and other's art you're using as inspiration you don't instead use it as a tool to put yourself down.

My shadows are flat and poorly angled, and I draw everything lopsides, and I can say those things as simple facts of my art. These are things I still do, and I use tools to fix them, like turning my tablet or using editing tools, or looking up references. If I want to know a certain technique I reach out to other artists I see using said technique and asking, or I research it myself. In the meantime I experiment and accept this flaw in my art. There's other things to like. The important thing is you don't allow your lack of knowledge to demotivate you from correcting that lack of knowledge.

The best thing you can do is ask yourself what you like about art, and what you want to do. It's a bit difficult for me to help with this sort of thing because I've literally always drawn my whole life, so helping someone who is actively choosing to take up drawing isn't my realm of expertise. But art is communication and connection and self-expression. What do you want to express through your art and what medium is that expression best done in, what do you want to convey, what do you want to share that you simply cannot without art.

It's a bit daunting, those sound like profound questions, but honestly they're not. When I draw fanart usually what I wanna communicate is "I like these characters when they do this", and more often than not it's "I really liked this line/palette".

These incomplete character sketches have sat in my main D&D folder and I think about him at least once a month entirely because I was so happy with his proportions and the concept of a dewclaw heel. I ended up reusing the heel in these Jimmy designs.

It can be anything and changes with each piece. Drawing let's me express what I love and emphasize what I love about it or show it from my perspective. I'll use this raau page as an example.

This is actually based on a shop that I've gone to since I was a child, so it's a space that I've seen and thought about many times. Though it's changed, for ease of drawing and to fit into the setting of raau and for the sake of composition, but the things that are important to me are still here. The ceiling that feels slightly claustrophobically low, the rainbow coordinated shirts, the club covers shaped like animals, every inch of the shop being utilized for merchandise until you can barely see the walls, the nook shape of the section, the fluorescent lights with this specific covering that's very "soulless office job" but to me is also the playroom at my grandma's house and how both have no windows.

I wanted to preserve particular qualities of the atmosphere of the place, in order to express that in this image. That vibe that I could not describe in words to anyone who hasn't experienced it themselves so the best I could normally do is describe it and hope it sparks a similar enough memory. But with visual art I can use lightning, context, and composition to simply express it better. I can create the experience for someone else.

Sometimes writing is better at it than words, and sometimes both are needed, so I learned both. Sometimes music is better than either and I'm screwed because I can't do music. That's besides the point though.

When you're starting out you can have a hard time grasping what about a piece compels you. That's why you need to learn to critique art as you learn to draw, and that's also why tracing and copying is good.

Here's an example of me trying out @lunarcrown's art style. I made a collage and traced my favourite frame's shapes to "get my hands on it", if you will, before trying it out on my own, starting with similar poses usually. What I learned from this is I really like how Lunar does hair, actually even though this was a study of Tango I took notes on how she does Jimmy's hair and applied it to my Scar, Impulse, and Skizz, because I'm awful at short men's hairstyles.

I also cemented one of the reasons I love her art is because it does have some qualities that I already incorporate into mine, like the streamlining between flushed materials such as her Tango's skin and skin-tight shirt, or my Tango's sleeves and gloves.

If you know what you like about something it's easier to work towards incorporating it into your own art without simply copying someone else's. And starting out by copying as a way to play around with someone's art the same way an engineer pulls something apart is helpful in doing so.

Which leads me further back into simply go somewhere and draw what you see. The drawing does not have to be good, but being able to just take a sketchbook and see something that scratches your brain and mimic it is important to developing the above skills. Being able to translate reality into an image is important to developing your skills and understanding the fundamentals of breaking things down. Being able to look at something moving or possibly far away and look down and draw it anyways by breaking down its shapes is important in developing your ability to use references.

Drawing is also mostly muscle memory. So it's important to draw things over and over again. You can do this how you want, you're always going to hit a wall where you end up having to sit there and draw circles 50 times on a page to remember how to draw circles like you're trying to get a dry pen to work. You will do this before almost every serious picture. Find a way for you to enjoy this process.

The biggest most important rule about art, though, is that there is not rules. Go about things however you want for whatever reason you want. If you enjoy doing something a certain way do it that way, if you hate a particular process eliminate it. Sometimes the result outweighs a miserable process, if having something look a certain way is more important then suck it up and do so. If you care more about enjoying a motion than what the end result is then do so. You have to ask yourself what you care about in art.

For now, though, if you're just starting out. The best thing you can do is draw a lot of circles and cubes and fruit. It's an unfortunate truth that the best foundation is learning realism, because it's just going to teach your the fundamentals the best, and all abstraction is... well, an abstraction.

Of course, as just said, there is no rules, and if you genuinely do not enjoy drawing those things like me, then you can simply not. It helps improvement the fastest but if it makes you miserable in a way that isn't backed by passion then that's counterproductive. Forcing yourself only really works if you're passionate enough about what you're doing to overcome the temporary discomfort of learning, so if you're satisfied with just being able to mimic something more abstract in the beginning do exactly that and explore what would make you passionate enough to be willing to draw things you aren't stoked about for an end result. You might never be, but that's also fine, you don't have to strive to be the world's greatest artist to justify drawing.

Also accept that you're absolutely going to change your mind on things. What felt like a great line to draw you're going to hate the next day. It's up to you if you leave it be or fix it, neither's the right answer. I tend to lean towards leaving it personally, even when it drive some up a wall, simply because I have very momentary inspiration and don't like returning to old pieces once I'm done with them. Some people will return to a picture over and over again fixing it every time they think of something. Whatever floats your boat.

tl;dr figure out what you enjoy doing with art and just do that as much as you like. Improve by finding new things you want to do with art. Combine as you see fit to create art.

...

okay time for references:

I try to keep my designs simple because the style I developed for mcyt art was intended for animations. I've drifted a bit but in general I keep to simple shape-defined designs with long lines, flat colours, and minimal wrinkles. It's intentionally flat in many ways in order to create more satisfying lines, like the collar of his shirt or the way his hands ' gradient is done with the line art.

Tango is both round and angular, basically he's an almond. His shape is ambiguous in much of his clothing, with very understated joints. This gives him a move cartoony elastic sort of vibe, like he's just a pipe cleaner that can bend any which way, or a piece of rubber that might stretch.

I avoid bogging him down with logic for that reason, his hair is styled like hair but it has the appearance and moves like fire. Which is it? Who knows. Where are his organs? I haven't drawn them so they don't exist.

[your-unfriendlyghost]

How I draw: Proportions/sketching

The first response to a few art questions from @johnny-and-clyde :))

sketching:

So I honestly used to be a lot more…intentional about my sketching?? Up until a few months ago I would draw out actual sketches that I’d then cleanly ink on top of in a separate layer, like this:

I’d try to keep things loose and easy, but I’m not fantastic at that lol

I have a tendency to over complicate sketches- It’s not super obvious here, but I did semi-map out the anatomy under the clothes and fabric folds. That’s probably a good thing to do, generally, especially since I was and am still learning anatomy.

I don’t do it much anymore tho, because I often got caught up in little details that just wound up covered by clothes 😭 So I generally focus on mapping out the clothing shapes over the proportions/ anatomy. Definitely study anatomy anyway tho- this only works for me nowadays because I did and still do study anatomy a lot lol

These days though, I don’t r e a l l y sketch that much. I mean, I do- but instead of making another layer and inking it, I kinda just clean up the sketch the way I would if I were using pencil and paper. I don’t have a lotta example images of this, because it goes from the sketch to the final lineart in one layer?

tried to reverse-engineer it here on this Angela drawing. idk how helpful that is tho lol.

Idk, most important thing for me while sketching is remembering that everything has a 3D form, and also to FLIP MY CANVAS FREQUENTLY so that it stays balanced lol. -also- I almost always take note of the ribcage, the clavicle angle, and the hip angle when planning poses

-And I consciously try to keep things from getting stiff, and think of the pose as an intentional composition. I actually struggle most with plain standing/walking poses, because I very often can’t think of ways to make them look…idk, interesting? That’s why it’s taken me so long to finish pt.2 of my Outsiders character designs- I can’t find good dynamic-but-also-stagnant poses for them

proportion:

Honestly man idk I just sorta say “fuck it we ball” and hope for the best. I used to think a lot more about this one but as it’s become more and more natural to me I become less and less able to define/describe it?? I dunno lol.

My art style is semi-cartoony, and honestly kinda inconsistent in terms of proportions. I generally aim for the hands to be similar in size to the face, and for the shoulders/chest area to have enough space to fit the clavicle…but none of this is really a conscious decision? It just sorta happens. The heads/eyes of my characters are usually stylized, and so the hands end up a bit bigger to match the faces, and I tend to exaggerate muscle mass but not really muscle definition…And I also stylize things for characters to better contrast each other. For example, I’ve noticed I draw Steve Randle stockier/bulkier than he is to better highlight Soda’s slenderness.

(see how they’re not as drastically different in build as I draw them? Steve seems bulkier mostly cos he’s shorter but has a similar amount of mass I think) (don’t quote me on that tho idk how to put this shit into words lol)

I have a pretty decent idea of how proportions are supposed to work from years of studying them, and I have no idea how to explain any of it. Just…do a lot of figure and gesture drawing, use a lotta refs, and it’ll make sense eventually 😭

[quibbs126]

So I did some more Transformers drawings, and I figured page was full enough

I mean, it isn’t really, I could have fit more in the corner if I wanted, but I can’t think of anything else to draw there, so might as well post it now

So I suppose, let’s talk through all this

First off we have an Optimus I never finished, because I couldn’t get that bending shoulder to look right. It just looks off, and I can’t finish it until it looks right. So I never did

I think he’s supposed to be sad and yearning after the breakup with Megatron, and talking about it with someone

Anyways, then we move on to the Dinobot section, which I made because I started Beast Wars and like Dinobot, and had been attempting to draw him at work the previous day

I think I draw him too skinny, which is why I made that middle one, to be more accurate. But I also kind of like drawing him skinnier? I know it isn’t accurate, but I like making him so. Like he’s got muscles, but has a lean body type. I don’t know

Then today, I wanted to draw a happy, smiling D-16, who’s doing so at something Orion did for him (this isn’t supposed to be a recreation of the race scene)

I was going to do it more like the Dinobot style, but then I ended up going back to 3D boxes anyways

Honestly I think it’s one of the ones I’m most proud of, look at him and his sweet little face

Still can’t get the sticker right though

But anyways, on to the last thing, the Bee and Elita

Honestly I think the two of them need some ships in this universe too. Megatron and Optimus got their whole situation, but what about them? Elita doesn’t really have any options presented right now outside of maybe Arcee and I guess Airachnid (but personally I’m not here for the toxic yuri right now), and I don’t really know about Bee

The sequels should give them new characters to have subplots and shipping with. It can’t all be Megatron and Optimus hogging the spotlight (even if I do like them)

As for the drawings of the two themselves, I mean it’s alright. I think Elita came out better though. But it’s also my first time drawing them, and it takes some practice for me to get them right

I’m realizing as I type this that I have a sketchbook, and I got good at drawing Dinobot after drawing him on sauce paper a few times. So like, I could just do that to try and practice the characters without needing to be at work, and having a handy place to keep those references. Hm, well that’s a solution for later

It also does not help that I don’t have good references for them, especially in their cogged forms. These are about the best I got, and they aren’t the best quality either, I do not know how to draw their heads (well mostly Bee’s)

I also don’t think I’m drawing the Transformers One cast right. Like their bodies and general proportions I mean

Like, I noticed from this random screenshot I saw today that D-16’s noticeably wider than Orion

And I also know that the quartet have their own distinct face shapes from one another

I just don’t know how to convey those things in my drawing of them, it doesn’t want to work

Also I don’t think I have the basic structure of how their bodies work down either. I noticed today that almost all of them have more cylindrical shoulders than the rectangles I sketch, and also they have those middle circle joints

This is an observation I’ve had before, but the Transformers One designs to me really feel like action figures/toys with the way they’re built and designed. I don’t really know how to explain what I mean, but it’s how I see these designs in particular, which I can’t say with Animated or I think Beast Wars either. If this makes sense

But yeah, that’s the drawings. I don’t really know how to end this

[paper-mario-wiki]

i'm loving seeing you post more of your art!! out of curiosity, how long have you been drawing? is there anything specific you do to practice or do you just pick something and draw it? (i've been trying to learn to draw myself for the past year or so, and seeing your art more often has become somewhat of an inspiration for me!)

ive been doodling all my life! thought when i say "doodle" i mean "as an unmedicated youth i was unable to focus on a drawing for more than 45 minutes at a time"

here's some posts from an art blog i had in middle school, and the first year of highschool.

what most critically separates this art from the art ive been doing recently is that i NEVER used any refrence. ever. i looked at stuff to make sure i knew what it looked like, but the rest was always roughly estimated based on what i thought would look good (which was largely based on cartoons).

but i only ever started trying to "learn how to draw" over the past year. here's the thing: spending a bunch of hours practicing drawing cubes and cylinders is like. all you have to do to see yourself start improving in real time.

draw a bunch of cubes and cylinders, and learn how to make them look realistic in proportion to each other using references to guide you. practice drawing stuff like basic buildings, cans of soda, maybe a cake (3 short fat cylinders on top of each other) if you're feeling daring. then try to draw slightly more complicated shapes, like spheres and cones and stuff. layer these shapes on top of each other to make more complicated shapes. you're gettin the picture.

infuriatingly, basic shapes is like 40% of the "getting it to click" work done.

after than, move on to 30 second sketches of nude models using this site. yeah, only 30 seconds. it doesnt matter if it comes out looking like shit, the point is learning how to simplify complicated shapes down into their most basic lines. dont waste time erasing. dont waste time pressing ctrl-z. erasing is your enemy. you arent learning how to erase, you're learning how to draw. (you'll get your eraser back later).

do this hundreds of times. yeah, hundreds. put on a podcast or something. get in a voice call with your friends. but ya gotta practice this one. that's the next 20% of making it "click".

now, unfortunately, the last 40% is just a matter of slamming your head against the wall of art until things slowly start to look better and better. it's sort of like a chemical formula, in that the closer you get to 100% purity, the more and more difficult it becomes to distill it.

the key is to ALWAYS use reference. you cannot learn how to realistically draw something you've conjured from your mind if you cannot depict something that's right in front of you realistically.

im currently in this valley, as most artists are. in fact i dont think it's possible to make art "click" in your mind 100%, but it sure is fun to inch closer and closer!

below is a bunch of art in chronological order from april to now. you'll see that it's not really a straight road of getting better and better, but you'll see my lines slowly getting more confident and details becoming more clearly defined!

[fantasy-anatomy-analyst]

How do you (personally) balance designs looking cool and practical/realistic? I feel like I get stuck on my spec bio that I lose the fun in designing. Or I can't find anything neat from the animals I use for inspiration to add and don't know where to look for other ideas.

you gotta add life and whimsy. sounds kinda weird and maybe doesn't make sense, but it's true. you can spend all sorts of time making a perfected realistic looking design and if there's no life and whimsy in it, it feels flat. you can practice this by drawing very fast gestural poses, putting your character/creature designs in Situations and drawing how they'd react, and just practicing expressive faces.

Make a whole character out of your creation. doesn't have to be a character you give a name to and keep around forever as a new story protagonist or dnd character or whatever. you just have to breathe some individuality and life into it for a bit.

I'll try to illustrate what I mean.

(image description: two sketch pages of an orc and an elf. on the first page, they are drawn beneath reference images of a wild boar head and a macaque. here, the orc and elf have more realistic facial proportions and match their reference animals better, but they look a little dull. on the second page, the orc and elf have been redrawn. at the top of the page are sketches of each of them laughing. the orc's mouth is wide open, making their snout wrinkle a lot as they lift it in their laugh. the elf's mouth is only a little open, with the lips pushed forward in an O shape, and they are squinting happily. below this are full body sketches of the orc and elf, fully dressed in casual outfits, crouching to snarl at each other. the orc is baring their tusks but keeping their mouth closed, while the elf has their mouth wide open, putting their long canine teeth on display and also holding their tail straight up. end description.)

body language and facial expression are so important! you gotta be loose with it to learn how to create more dynamic and lively designs. and for characters, it's also important to explore things like culture and personality so you can individualize them.

I don't know exactly what your art style looks like or what it means for you to be hitting roadblocks in the design process as you try to find that balance between looking both cool and realistic. My art style is semi-realism, and I do think stylization plays a key role in crating interesting designs. the closer you get to photorealism, the more difficult it is to create dynamic designs, in my experience. it's not impossible! but getting to that skill level in realism is harder than i think some people assume it is.

I have seen a lot of photorealism art that was clearly done by skilled artists who know all the technical things about making art, but couldn't bring out the life in their subjects. it's easy to get stuck on the technical skills, to fuss over making the shadows of a portrait match the photo reference, to get so skilled at texture that you forget about gestural posing. maybe getting so invested in realistic and practical design you neglect the whimsy. fantasy is inherently whimsical! I know this blog is all about making fantasy anatomy more believable, which often means curtailing the whimsy if it gets out of hand. but the whimsy is essential! it just needs to be cultivated and pruned occasionally if it's getting in the way of your goals. and on the other hand, so does the realism! perfect realism can't really exist in fantasy, or it would already be reality, you know what I mean? if the realism is a roadblock to designs you truly enjoy, prune it back. cut the realism down to size and make room for some whimsy. that's the balance.

[am-i-the-asshole-official]

WIBTA for snitching on people cheating on a test, if it could affect my grade too?

You may remember me from the "wibta for reminding our professor about sketches she assigned us to do"

TLDR on that: im an art student (F20, all students involved are 20), and this professor assigned us to do a lot of sketches that will be graded. for context, im really passionate about art and i have perfect grades while most others are just here for the diploma and are doing the bare minumum.

i thought they would try to let the professor forget about the assignment, and i'd have the dilemma of if i should remind her or not, even if i know nobody else did it, which is what my last post was about.

however! it's even worse then that. some of em are gonna trace it (from photos, its life drawing). this upsets me because the way these are graded is that theyre compared to each other - their proportions will look perfect, and mine might look bad next to them. this feels really unfair, i really don't want to see my streak of perfect grades ruined because someone is cheating.

wibta if i snitched?

some notes: 1) the professor won't notice on her own (as much as i wish she did), i dont feel like typing out how i know this but just take my word for it. 2) normally id feel confident enough in my skills to draw better then someone tracing, however this professor gives pretty random grades based on if she likes u or not (for example two people turned in the exact same sketches and she not only didnt notice but she gave them different grades). and from previous experience i know she does not like me for some reason lol (she most likes men which is weird af??)

✨ ->to find

What are these acronyms?