#i am by all means Not an artist.

[notherpuppet]

it's my pet peeve when someone comments something rude on artists' posts so it's an instant block for me :)

[hinamie]

quick lmhs itafushi because god help me i have Not been able to get the concept of yuuji smiling/laughing into kisses out of my head

jjk atla!au with @philosophiums

[doodleswithangie]

@danielhowell, thanks for making a show that's equal parts devastatingly hilarious and achingly poignant 🖤🧡

[Image Description: Stylized fanart of Daniel Howell performing his stage show. Inked in black with a gradient orange background behind him, Dan screams into his microphone, "WE'RE ALL DOOMED!" End ID]

[gomzdrawfr]

what are we thinkin

[art-bloob]

Once again, poorly formatted comics are my specialty. Teehee or whatever

[hiding-under-the-willow]

Thinking about him falling asleep on top of the tower, overlooking the neighborhood. Also thinking about him waking up in the middle of the night due to strange happenings.

[chekhovs-tantrum]

Everyone I've met in this fandom is a decent, kind, wonderful person and so I'm not sure how some of you finished a work about the horrors of consuming one's beloved and the destructiveness of capitalism — and then promptly went off to "jokingly" badger/threaten/nag your favorite author's boss because she isn't providing content fast enough for you?

I'm being overly snarky and I know that in a lot of cases this is just an expression of how excited people are: “Starving for Alecto news” translates to “I'm so excited for the next installment of this series!” But let's maybe work on phrasing? If your post sounds like your parent being passive-aggressive about why the dishes aren't done, maybe take a shot at some edits.

I am also beyond stoked for Alecto but I don't go to a restaurant and bitch at the waiters because the chefs are taking a little too long to get my dessert just right. Good art takes time. Grab a snack.

[ittybittybumblebee]

FOR THE LOVE OF BEING CREATIVE PLEASE KEEP DRAWING THOSE DRAWINGS YOU THINK ARE SHITTY, THEY MATTER MORE THAN YOU COULD EVER KNOW JUST BY BEING, JUST BY YOU EXPRESSING YOURSELF, JUST BY YOU WANTING TO MAKE IT AT ALL, LETS HOPE THE FUTURE YOU HAS LEARNED TO NOT CRINGE AT THE TIMES YOU WERE LEARNING AND HAVING FUN AND MESSING UP AND STILL KEPT GOING BECAUSE YOU WERE ENJOYING CREATING SOMETHING DAMMIT

[deoidesign]

Hi, how did you learn to draw Steve's physique?

Ohh what a complicated thing to answer...

When it comes to how I learned to draw anything, it's hard to say anything too specific since it's always a culmination of many years of assorted study and practice... but I can try to do my best to explain some of the biggest things that helped me learn, some tips I keep in mind, and maybe at least some places to start/delve further.

(just a little disclaimer it's not like my drawings here are going to be 100% medically accurate.. they're just to illustrate concepts!)

The main thing about learning various physiques is understanding anatomy. Which feels obvious, but I don't mean proportions; these are important, but perhaps more important is understanding the skeleton and how it moves and learning where muscles connect to bones and where fat grows on the body. When you understand how these function on a more mechanical level, depicting form and movement in a way that feels natural comes in tow.

For instance, understanding things like the pronation and supination of the radius and ulna, as well as the fact that muscles can ONLY contract or relax, will help you understand a bit better which muscles will be flexed and which will not while someone moves. It's inherent to the positioning based on the structural makeup of the body... It's not like you NEED to memorize all the muscles and bones, of course, but understanding and gaining at least a passive familiarity with the concepts really helps.

In tandem with this concept is the way parts of the body flow into eachother. Muscles ALWAYS come in groups because they can only contract. Whatever muscle is there to lift something, there is a muscle on the other side to pull that bone back down. What this results in is a series of straight edges next to curves, which gives us a lot of really lovely "s curves" and dents and folds and so on and so forth just naturally occurring.

I would suggest at least learning the "bony landmarks", which are bones (usually) visible on the surface of the body. things like the iliac crest, the great trochanter, the 7th vertabrae, the acromion process... These can be used to help you understand the parts of the body as angles and relationships, rather than trying to remember lengths and sizes, which vary immensely... (since you asked about steve, he can be our model... also study these on your own don't just take my word for it haha, these are the ones I personally keep in mind)

I've done the same thing with body hair... learning where it grows and in which directions... It helps me make up variations without needing reference, because I have a set of rules I can follow.

The biggest thing that helped me understand all this on a much deeper level was my ecorche course. I sculpted this guy. We started by sculpting the entire skeleton to understand the bones, and then we added muscles on top. Not every single muscle, of course, but the "artistic muscles" AKA the ones which directly affect the surface of the body. Doing this let us see where muscles connect, because we would make a shape, put it on the bone where it actually goes, and then you get to see how other muscles overlap that.

This helped me, perhaps, more than anything else. But I also didn't just start with this course, I had been drawing for years before I even took it. I had been in school for years before I took it. Not that I think it wouldn't be helpful to someone just starting out, but I do think that the more you know going in, the better an in-depth course like this will help you and stick with you. Classes are also expensive, though so I'm not really like... recommending you pay potentially thousands of dollars to take one... But it did help me a lot, personally.

I also, of course, have done many figure, gesture, and master studies...

These just help you quickly gain a stronger understanding of generalized anatomy, and gives you real life examples of and practice with of how people move and balance.

What all this does when combined, is gives me a very solid ability to depict movement and form in a way that feels relatively natural from my subconscious without the need for reference.

The rest of how I've learned to draw his physique is honestly mostly just stylization. I understand the body, and this is how I am depicting it for his level of musculature.

And as I move into depicting him in other ways, either moving in comics or in animation, realistically rendered, or extra stylized, these concepts inform every step of that process for me! When he keeps the same/similar relationships between parts, he gets to still look like himself.

It ALSO really helps when putting clothes on, because the way cloth falls and bunches and lifts is all directly related to the form it is on... So the more you understand that form, the more you can depict clothing and movement in a way that feels natural.

This is all, of course, true when I draw anyone, you asked about Steve so I'm trying to mostly show with him! But because I'm just drawing from raw information of general anatomy rather than trying to study one body type at a time, it allows a lot more "give," I think!

Like, here's most of the cast from TTA so far... actually, they're not as varied as I thought they were nevermind LMAO ignore this part

But, it also makes monster and alien design much easier! It's a lot easier to come up with non-human anatomy when I understand human anatomy, because I can manipulate the knowledge I have...

There is infinite more to study in the world of anatomy... The complexity of the human body goes extremely deep. For our purposes as artists, we need only depict a fraction of it, but more information rarely hurts the process.

I'm sure there's something in here that's wrong on a technical level, I'm mostly going off of memory. But that's kind of my point - I understand enough generally and conceptually that when I am missing something and need to find reference for it, I understand what I'm looking at. It's much easier than trying to learn AND draw at the same time.

I hope even one thing in here helped you! Sorry it's so long.

[aurosoulart]

Winter Sun 🌤

companion piece to Winter Moon! I've been using VR & AR headsets to create paintings you can walk inside of - you can see more of this series in my Immersive Painting tag ✨

[handwrittenhello]

happy fugue feast, @geminison! i chose "karnaca days" and "corvo/daud in canon/some au setting" from your prompts :D hope you enjoy!

some closeups:

[strawbebbiesart]

chimckens 🐓🌽

[wildbasil]

group therapy (they make each other worse)

[cynicallyneutral]

very invisible but very mean audience

[mollypaints]

okay real talk

a selection of favorites

[sloaaaa]

i enjoy toxic yuri mafuena as much as the next person but sometimes i wish people would focus more on how ena takes care of mafuyu. like when ena held her hand in one of the guiding a list child card stories. or when she was telling mafuyu to move when the light turned green in that one area conversation. they complement each other in so many different ways that's so fucking good and idk how to put it into words and i want to explode