#i like the posing of some of the sketches more than the final pose but oh well

[buginacup]

What was the hardest Beastie for you to design in general! There's so many fantastic designs I'm curious which one had you stumped if any at all. Also how on earth did you come up with so many funny little expressions! I feel like I see a new one everytime I play, they're fantastic! Thank you for your wonderful touch to this game, such lovely little guys!

What was the hardest Beastie for you to design in general?

One in particular comes to mind but it's still sort of a secret. I'll try to return to this when more people know about it so I can talk about it in particular!

There were plenty of other snags, though. In particular Crabaret was so so hard to pose. They don't have finished sprites yet, but Crabaret is unique in that their final sprites will not flip (always crab walking), instead they have two sets of poses for w/e direction they're facing.

Have you ever tried to imagine a crab pivoting on a "waist"? A crab doesn't have a waist! And I gave its torso such a naturalistic shape from every angle other than front why on god's GREEN EARTH DID I DO THIS TO MYSELF!

Around the time I was doing poses for this beastie I started experiencing some (still quite present!) nerve pain/numbness in my hands. For other designs (like Yueffowl) I've done vector art with my mouse to give my hands a break, but try as I did I couldn't do low-res art in a way that communicated the stupid ridiculously nuanced shape I gave this crab, so it was a slow process of sketching out the color-coded body part position in little bursts, using supplemental 3D modeling for stuff I had no means to draw;

Don't get me wrong I'm quite proud of Crabaret but good lord this one was months of on and off work.

How on earth did you come up with so many funny little expressions?

I can't take all the credits on the expressions! Nearly all of them were originally drawn by Greg, but at a resolution that looked really blurry at the size the faces wound up being. I get real fussy about pixel resolution in a way that Greg doesn't, so I asked if I could redraw them at the size they're currently used. Here's a side by side of some of the old/new faces.

As you can see a lot of their soul was already there! I mostly just pushed the shape language of them and sharpened them. Greg wanted them to still feel like his drawings and they definitely do!

[starrysharks]

STARRYSHARKS FAQ: 2!

this FAQ will go over some of the questions about my process that i get in my askbox. some disclaimers:

ANYONE who asks any questions that have been answered in either FAQ will be ignored.

PLEASE don't take this FAQ as gospel or assume that it's viable art advice. it is not. i am not a professional, i am a teenager who draws in her free time and therefore many of these answers will involve things that break common "laws" of art, logic, and anatomy. this is just how i personally go about my illustrations. please also don't take me or any individual artist as your sole inspiration, you will not get anywhere believe me. art is like a balanced diet. if you eat sweets all the time, you'll get sick - but if you only eat veggies and healthy food, you'll get bored. try to take inspiration from a vast range of artists, even those you don't think you'd really enjoy. and most importantly, LEARN THE FUNDEMENTALS OF ART!!!! even just a little bit of knowledge can go a long way, regardless of how simple or realistic you want your artstyle to be. refusing to learn fundamentals had my art looking janky for years.

ok enough waffle let's get started!

Q: HOW DO YOU DRAW FACES?

A: it depends.

there's lots of things you can do to a face to make it unique. the starting point is the facial features themselves - eyes, eyebrows, nose, mouth... if they're the same for every character with the only uniqueness being in eyecolor or something like that, you get same face syndrome.

so, take your characters and apply some diverse facial features. certain facial features have certain character connotations too. like downturned eyes implying a laid-back or tired character, or a 3-shaped mouth implying a catty character, something like that.

but, for me, facial diversity isn't enough. it's not like you go out and everyone has the same head shape. so, i tend to try and get creative with face shape, and depending on how thin or wide the shape is, you can move around the facial features too.

these examples are a little shitty but that's because i put them together in 10 minutes. you can see the effect in my actual characters, who have more effort put into them, and how no character looks alike.

other than that, i tend to try and give every character a different eye shape and pupil "type" - so while krankenstein and romèo might have simple black dot eyes, octavia and vivica have large multicolor anime esque eyes, onion has cartoony circle eyes, and so on. if you just switch things around enough, even characters with similar face shapes will look unique. and even if they don't, doppelgangers do exist in real life.

Q: HOW DO YOU DRAW HANDS?

A: once again it depends. some characters have regular shaped hands while some have really tiny hands that only have 3-4 fingers instead of 5. usually my larger characters will have smaller hands but that isn't always the case.

but for the standard hand, i tend to have a line between the palm/base and the fingers. and then i um...add the fingers i guess😭 there's usually a lot of abstraction when it comes to hands for me, because i'm not the best at drawing them. usually either the last three fingers or the middle two will be connected as well depending on the pose.

Q: HOW DO YOU DRAW FURRIES?

A: i don't really know myself. i still don't know how to draw most furry species especially canines, god i hate canines!!! well not really, i can just never draw their snouts. really i draw furries like i would human, just with larger thighs and further back lower legs. and fur too. i like to exaggerate the nails too. and of course add fur, usually at the joints.

Q: HOW DO YOU DO LINEART?

A: i draw over the sketch. i do the sketch in thin, low opacity lineart, and go over it in varying thickness based on the perspective/desired look to get that comic book varied thickness look. the eraser will be your best friend more than the pen here, cuz there's a lot of cleaning up with both the sketch and the final lineart to have everything looking sharp.

Q: CAN YOU GIVE A STEP BY STEP GUIDE OF HOW TO DO YOUR STYLE?

A: no and i will never be able to. there is no formula to my style, i break every rule i make for myself. i barely follow any of the answers i write in these QNAs. they are not rules or steps but rather just me explaining my habits in art. i never have a checklist when i draw, i just do these things intuitively based on years of drawing. this might sound like some stuck up "it comes naturally" thing but trust me IT DOES NOT COME NATURALLY!!! these habits are born from over a decade of drawing. and besides, like i said before, with how varied i try to make my character designs any step by step would never be universal to my style. i'm really sorry but that's the truth. either way i hope this QNA helps.

[hinamie]

色彩 [Shikisai]

[torrentialgoat-fr]

Sparkly man (sketches under the cut)

[kathybluecaller]

Finally got around drawing Aioros :D

[purposefully-lost]

Urggghfhfhg

[choochooboss]

Submas Sketchdump Vol. 4 July 2022 Part 2!!

I knew that particular month beat my all time record for productivity multifold but I had forgotten SO MANY PIECES from the original collection!! I think I finally got them all?? More stuff under the cut!!

BREAKMAS!! WIP of the first piece I posted of them, here's the link to the final version! I tried coloring this first but the black & white had ultimately more impact so I went with that!

TRAINS!! I like this base color version too! Link to the final version!

The top sketch is a direct reference to Cluedo! A spinoff game, "Missingo", starring certain familiar characters trying to figure out what happened to Ingo/trying to prove their innocence in the case! Also WIP sketches for these two Breakmas comic pages!

As you may know I adore butlermas! For the classy and stylish look which appeals to me in general, and coincidentally I had played PLA & got hit by submas train only one week before butler Ingo's banner rolled out! The pure bliss of finally meeting both twins in a game I felt was incomparable!! This moment in the Curious Tea Party event was really entertaining to me! We got to see submas get serious and stand up against this selfish collector thief! Two towering train twinks with commanding voices looming over the unfortunate guy was enough to make him change his mind ahah! They truly are the protectors

1-hour submas challenge prompt "Descend"! This is the actual one hour result before I continued rendering this!

Mmmmm not my first attempt at drawing them hug and definitely not my best OR last. I want to make that moment something very special when I finally go all out on it!!

Comic cover vibing~

The scrapped last page for this silly comic! Sorry the dialogue is all over the place on the first piece, might be hard to read! I wasn't happy with how I presented Elesa, I wasn't familiar enough with her character back then so I thought of her carrying a toy taser to threat her friend even as a joke was too much and I couldn't come up with anything else for it. This held me back from posting the other three pages for another 5 months! In the last panel

I prefer to not mess up the twins too much but my brain is still very curious and conjures some peculiar stuff like this sometimes.. I think I may have broken his arms there looking at the anatomy, ooops! I hope you don't mind the photo quality or the two weird guys in the corner, they escaped containment!

Idea of warden Ingo, being projected to modern era by his Alakazam, walking through crowd on a train platform & Emmet standing inside a passing train. Their eyes meet for just a few seconds...

Pokemas Ingo practise!

Another WIP of a piece I posted! I started this piece like this but then later I decided to flip the whole thing.

YET another WIP of something I already posted! No idea why I went and mixed up his suits but I like this sketch! They rarely end up looking this clean haha

Sketch version of the self-defense practise piece! I love getting creative with action stuff! I barely ever think of how difficult they are to draw, I just get so excited and fixated on visualising the scenes in my mind I just keep at it, pull out refs and pose in front of mirrors until it looks good to me! I want to draw more action scenes but besides being challenging to draw my brain comes up with more silly and cute ideas than cool ones unfortunately ahah

One more WIP, here's the link to the final results!! I really like how genuine their expressions look here even if the faces are a little off. I recall spending a long time figuring out this perspective. I thought it would be fun to you to see how all these pieces started and... looking at the sketch above and the stuff before that, you can compare some range of my style!

RANDOM SUBMAS MISSILES GO

OHHH looks like some nasty passengers got the best of them!! If I recall correctly there was no fight because they managed to paralyse the two before they could act. Fully awake yet completely helpless... how convenient unfortunate. Thank you so much for checking these out!! Not every sketch is that exciting but I'm always happy to hear your thoughts on these!

Previous posts: Sketch dump Vol. 1: April-June 2022 Sketch dump Vol. 2: July 2022 Sketch dump Vol. 3: August 2022

[reds-skull]

CW FLASHING IN THE VIDEO (3rd from the bottom)

This is it. 3 months in the works, the comic (and video) are finally done.

A little over a year ago, I uploaded the first work in Revenant AU, Ghost's origin comic. I never thought I'd write a whole series for this, but I'm so glad I did. I got a whole new hobby out of it, haha.

I already began working on part 2, but this for me marks the start of it. I'm really excited to get back into this world!

Under the cut there are some comments on the comic I thought some people might be interested in (don't wanna make this post longer than it already is lol). I will upload the frames from the video separately, with comments on it there.

Bottom line is, thank you for letting me just go wild with this :)

Okay, I'm mostly gonna talk about the part where Fate shows Makarov the 141+Farah. Makarov doesn't see the Fate of people as literal images, he often has to interpret odd symbolism in the flashes he gets from the Weave of Fate.

I decided to go for a style I saw in a collection of calling cards in MW3, mainly from this one:

You can really see it in the faces and pitch-black cel shading.

I'll be going in order of appearance, starting with Farah.

Obviously, each of the "flashes" shows the Reaping of each person, Farah being crushed under rubble. Behind her is a helo of green gas, which symbolizes the Russian experimental gas. The motifs around her are more interesting imo - they're taken from the Urzik flag (and yeah apparently it's "Urzik" and not "Urzikstani"... according to the wiki at least). Wings, plants (feels to me like a pomegranate and some sort of crop, but I couldn't find what it is specifically), and a moon, upside down.

I'm skipping ahead a bit, but I've had the idea to make a drawing of Gaz in the Hanged Man pose since I started the AU basically. I tried sketching it once, and it went bad so I gave up lol. But I decided to come back to that here, and add some sort of tarot connection to all of them. I know practically nothing about tarot, googled the meanings of each, they fit well enough, I called it a day lol.

So Farah is the Moon, upside down.

Price is next, showing him taking control of the brain of someone. I didn't use the flag of the UK for the 141 (it'd be kinda boring...), instead I took the Taskforce 141 logo, and broke it down to different elements.

I took the laurels for Price, both framing his illustration and sitting above his head like a crown. I decided he will be the Emperor.

Next up is Gaz, the Hanged Man of course. Gaz gets both the wings and the stars (I changed mine to 4-pointed because... I like them better). Pretty clear why, both symbols relate to the sky. The illustrations kinda follow a rough day cycle, if that makes sense. Farah being night, with the moon. Price with his golden and purple color palette, twilight. Gaz being sunrise, and Ghost and Soap, day. This is why Gaz has a sun behind him.

Ghost was fun because he's the only inhuman one out of the group. I'll let you think what that implies, that even in Fate's Weave, Ghost is an outlier... Ghost gets the skull, and the card "Death". That one was easy, but what I did add is blood flowing down the skulls, like tear tracks...

Soap, the problem child, gave me the most issues as always. For once, it wasn't his fucking face, it was the flames behind him, and overall contrast and readability issues. Soap's illustration is probably packed with the most "hidden" details, though they're obvious if you've read the fic and Konchar's side story. The headless man behind Soap is Konchar himself, holding 4 chains with dog tags on them. The 4 soldiers from Soap's squad, who he killed before Soap was Reaped. Soap's pose is from the moment he came to his senses, after getting shot in the head and destroying a large part of Verdansk. He has 4 swords, pointing at him and downwards, so his card is 4 of Swords, upside down.

Between Soap and Ghost is a circle and a triangle. I'll explain that in the post concerning the video, since that's where I got that from.

If you read all of this, thank you so much! There will be another post for you to read in a moment lol

[loustica-lucia]

Heroes of the Dragon Age

An animation I've made for Dragon Age Day 2023, featuring my main Warden (Alyssa Cousland-Theirin), Hawke (Eleena Amell Hawke) and Inquisitor (Sulevin Lavellan)!

It's to this day one of my best artwork and I thought I should share it here too! 90+ hours between the original sketch, outfit design, the rough animation, rotoscope, inking, flat-colours, background shading and even the audio :')

Interested in the process? I detailed it below since it was my first time doing something like that:

I would like to start by saying I'm not a professional animator!Everything you've seen here is the result of experimentation and a lot of practice to learn and understand how 2D animation works.

My first idea started in May 2023. I just finished rewatching DA Absolution for the X time, and wanted to analyse why I loved the intro so much. (Even after countless rewatch, I never skipped it once.) I was inspired to study it with my main three protagonists!

Then came the first test with Alyssa Cousland-Theirin, my Hero of Ferelden! I tried to understand which part to separate for the animation. Mainly the hair and cape because it flows a lot more than the rest! If I recall, my first idea here was to make her counter flame attacks (?). Then, as the camera turns around her, I tried to add a grid to know how the camera would work around it.

I ended up making the clip longer, so she could position herself to the further left and leave space to the two other protagonists.

Now it was time to try to animate Sulevin Lavellan, my Inquisitor. I really kept that quick doodling style just to capture the vibe without putting too much time/effort into it! The background would be static to contrast with Alyssa's. I also loved the idea of a rogue sneaking!

Instead of working on Eleena Amell Hawke, my Champion of Kirkwall, I went back to Alyssa and started working with Clip Studio Paint 3D models (this entire animation has been done on the EX version of the software!) It helped for rotoscope animation and maintaining likeness! That's when I got the idea to make the background swirl around the character to let the eyes be guided by the rest of the screen!

After a couple more hours, I planned the entire animatic with 3D models and quick doodles! I finally found a cool pose for Eleena Hawke, which was honestly the hardest of the three to imagine for some reason? I tried many other poses but ended up picking an animation from the game!

This whole time, I was studying a bunch of background ideas and how studio Red Dog Culture House (who made Absolution) work! Thankfully, they have a YouTube Channel where they shared some BTS content so I could analyse it!

Then, I simplified my character and their original designs in the style of the studio! These outfits are how I imagine them after Trespasser. Alyssa as the Queen of Ferelden, looking for a cure to the Calling, Hawke following Fenris to Tevinter & Sully as a Red Jenny Inquisitor!

The idea for Sulevin's animation actually came from a piece I doodled on a live stream, when I was drawing pose studies and turning them into finished artworks haha As for Alyssa, I wanted to draw the fight that got her facial scars!

Once their designs were ready and the background ideas too, I made the rough version of the animation! Basically a sketch done on top of the 3D models to add the details, staying pretty rough just to capture the idea and movements.

Then it was time to start the lines! I decided make a folder per frame, so I could separate all he main elements and draw them one by one. It helps keeping the likeness of a character in the different frames without having big "jumps" between frames! In fact, every parts were coloured differently to recognize them, and then I used vector erasers and masks (Ah yes, the entire lineart is done in vectors of course! It's easier to adjust and save time when working on similar frames!)

At first of course, everything overlaps! But I find it easier to draw too much and erase after, just to make sure everything is coherent in each frames! The cool thing about CSP is how you can change the colour of the layers in one click! So all the coloured lines turned into black in one second, and I could reverse it just as quickly to double check!

Then I started working on Sulevin! I made a blue line to mark where her feet were, as the sketch in the background wasn't perfectly straight! (Like Sulevin's sexuality 🤭😂) The silhouettes were very quick to do, but I had fun adding more & more details as she came closer to the foreground!

I really wanted to add that little dagger trick, but I remember it required me to change the pacing of Eleena's apparition, as it was recovering her arm too quickly! I had to change the pace of multiple frames quite a lot during the project, to make sure the flow was right! For Eleena, most of her animation remained around her arms and the staff itself, as magic would be the most difficult part! That way each character has their own focus: Alyssa has a very animated background, Sulevin got the grappling hook and Eleena the ice!

Then it was time to start adding colours! Just like for the lineart, I separated every colour on it's own layer, so I could easily adjust the colours later if needed. I added one colour at the time, going through all the frames, and then another colour!

I made full palette tests with the colours I would use for their background at this point, checking if the details remained readable! Alyssa was the most challenging in terms of clothes, because I made her a very detailled armour! I had to simplify the Theirin heraldry, vectorize/redraw the Cousland, and make a brush for her cape's pattern!

Once I was done adding the flatcolours, I started the background, and oh boy it was a wild ride. For the cave, I painted multiple tests. I imagine was to use CSP panorama tools, which transform a texture into a 3D sphere, so each corners must match to look good. Sadly, it made the background very blurry, so after hours of testing, I changed ideas. Instead of the random fire balls (?) I originally imagined for Alyssa, I made three simple frames of a Rage Demon to attack her.

I ended up using the cave as a repeated pattern to make it turn 360° around the character. For Eleena, I mixed inspiration from the comics, Dreadwolf & Absolution, using warm colours matching Hawke's signature red. Just like I made the cave very grey/blue to match Grey Wardens. For Val Royeaux, it was more complex because I wanted to make it green, matching the Inquisitor's signature green. But bright green couldn't work, and the original colour during day time was blue/white/gold. So I added more leaves, played around the design a bit! After adding the rage demon, I made the shading! It was surprisingly easy and quick to do now!

I clipped a white layer on the flatcolours to not be distracted by the colours, and made thin lines to separate the light/shadows, then simply filled everything with the bucket tool! Then you set the layer to multiply and remove the white layer, and you have celshading shadows! Now the character looks out of the picture, so I added layers of blue in color burn, saturation and substract blending modes to make her look like she's in the right setting! Of course, I did the same with the other two, giving Hawke a red overlay and Sulevin green shadows!

Then I added the details, it went from white irises, to sword/staff smears to earrings and smaller finition that goes on top of these layers. To add the lights, I simply selected the shadows and reversed the selection! Using warm and cold tones to create contrast with the purple/bluish shadows! I also added more ambient light layers for Alyssa to reflect the Rage Demon fire. Now it was time to add ice magic! My first attempt had too many frames, making it look weird! Sometimes it's better to lower the frame rate to make things less bumpy!

Then I downloaded some cool ice brushes on CSP assets that made it look less like blue magical flames! But when I covered the screen in ice, I realized "Oh wait, I could make a cool transition from the ice, to blue lyrium turning red?"Red Lyrium truly links these three games and The Veilguard somehow! I spent the next hour painting over the idol and putting it in a black background, with lyrium and then the golden Dragon Age title text.

For the SFX, I used free youtube libraries sounds & "Darkspawn!" comes from the violent human female voice set (iconic for ""Can I get you a ladder? So you can get off my back!"😂🤭) After editing all that, the animation was finally done!

Here's the final math:

About 15 hours for the sketching/rough/animatic phase, 30h for the lineart, 25h for colours, 10h for backgrounds, 5h for details & 5h for music & SFX, for a total of 90 hours. Aka the same amount of time it took me to finish Baldur's Gate 3 the first time lol

If you have any question regarding the animation or the softwares etc. do not hesitate to ask, I'll do my best to answer!

[impishjesters]

I have this idea floating around in my brain for a while about a reader who likes to draw and because they have a crush on Jax they draw him. Jax eventually steals their notebook and probably teases them about it lol.

Jax x Crushing!Reader

warning(s): innuendos, bullying/teasing, Jax note(s): Look it's me and Jax, there's gonna be innuendos or some spicy wording and bullying. It's like a packaged deal or something. A/N: If you see me mixing Angel Dust's speech into Jax, no you didn't. If you didn't notice, I don't know how to tease and not be an asshole, so pretty on the brand I guess.

Caine had given you a sketchbook upon request, it was a little different than an actual sketchbook but it did the job regardless. Ever since your arrival, your fingers have been itching to draw, there were so many new sights and so much new inspiration.

There were so many things, so why did it seem like the doodles of Jax ended up on almost every page?

Easy, you had a crush on the apathetic, mischievous jerk named Jax.

Why? Well, now that’s the million-dollar question. He’s not inherently awful, no, that’s a lie, he’s an asshole. You don’t really have a good read on him yet but he’s funny! That’s gotta be redeemable, right? However, his jokes are usually backhanded and often involve being mean at the expense of others.

Okay so he’s a walking red flag but there’s something about him that has you crushing on the purple bastard.

Looking down at the sketchbook on your lap shows another two pages filled with sketches of random things, though most of the page is filled with Jax. You had taken to sketching things back in the real world to remind yourself of home, but eventually, those sketches would involve Jax doing mundane things.

Thing’s like sitting at a table eating real food, though you took creative measures when drawing an open mouth on him, it still looked off but it was serene and domestic. Then there’s the little sketch at the bottom of the page of Jax leaning against a window and staring outside. You’d manage to nab the pose and angle when he was leaning against one of the many random geometrical-shaped things in the main room and later added in a window.

It was embarrassing that almost more than half of the pages in the book involved Jax to some degree. Some pages weren’t even subtle, the whole page taking up a detailed portrait version of the male. Sometimes you even got creative and put him in different clothing.

Thumbing through the pages you saw there weren’t that many empty pages left. You’d need to ask Caine for another one and figure out what to do with this one. It couldn’t be left out in the open, you knew Jax had keys to everyone’s room and wouldn’t put it past him to go snooping. He’d already questioned you about the sketchbook before.

You’d been so focused on the sketchbook that you hadn’t noticed the man of the hour walking up. Jax noticed your intense focus and peeked over to see the infamous sketchbook on your lap, and with practiced ease managed to yoink it right off your lap.

“Well, well, well, what do we have here? You finally showing me what you keep your nose buried into?”

A yelp left you, stumbling to get on your feet you rushed to him and began swatting at the book and of course, he’d keep raising it just out of reach. “You took it! I didn’t say you could look at that!”

“Nah, pretty sure you said I could look at it.” He continued to lower and raise the book as you jumped to grab it. Sure he was curious before, but with a reaction like that? How could he not be even more curious? What kind of seedy shit were you drawing? Or perhaps some spicy nonfamily-friendly content?

Jax ignored your frantic words and opened the book to a random page, he was going to tease you about whatever dumb stuff you drew since you always had your nose in it but all he saw were sketches of himself.

A normal person might get embarrassed and hand the book back, but he’s not a normal person. It’s a little freaky, he won’t lie. A glance downwards shows him you’ve gone silent in front of him, simply staring down while he invades the privacy that was your sketchbook.

Your face is red and you look like you’re going to cry any second.

He’s a jerk, he was going to fuck with you, and he still is, but for the moment he’s taking in all the creative little pieces involving his face. Ya know, he never really thought much about how he’d look in other clothes. Gotta say he looks pretty snazzy in something that isn’t these shitty overalls.

“You know if I didn’t know any better,” his fingers still flip through the pages as he steps closer, circling you. “I’d say you like me.”

“I don’t.”

The reply is rushed and he rolls his eyes at the blatant lie, he’ll humor you this time. “Oh yeah? Does that mean you’ve got sketchbooks for everyone else too? Cause I’m pretty sure this is the only one I’ve seen you with.” He taps a doodle on the cover that gives away it’s the same notebook he always sees you with.

Tears trickled down your cheeks, you knew he was a jerk but this felt like too much. You just wanted your sketchbook back and to run away to your room, maybe pin something in front of the door that would render even the key useless.

His eyes roll the second he sees a tear, he’s not really seeing the problem here. You’ve got a book full of creepy—okay not completely creepy, he’s a good model so good on you for seeing that—sketches of him and he’s truthfully honored. It’s clear that you didn’t do this with everyone, so he’s honored to be your little model. Besides, it’s not like you actually have a crush on him, right?

Minutes tick by of him simply eyeing you, you’re still crying and it’s starting to get a little ugly and snotty, ugh. But you aren’t trying to further deny his little comment about you liking him. He’ll have to have a little talk about that later, what you could possibly see in him because he knows that you aren’t a sadist—oh, are you a masochist? That’d explain a lot.

Jax sighs and closes the book but doesn’t hand it over, simply putting the free hand on his hip. “You know if you wanted to see my face all you gotta do is ask. I’ll gladly show you this handsome face any day toots.”

Of all the things you thought he’d say, that wasn’t it. “H-huh..?” You embarrassingly wipe away the tears and snot before looking up at him.

“You heard me. Ya know I love this face too, very handsome. Maybe we can get Caine to put up some artwork in the tent of yours truly.” Jax wouldn’t consider himself vain, but you did have a way of making him look more, dare he say, attractive.

“I-I don’t… I don’t understand…” Was he still making fun of you?

He rolls his eyes before playfully hitting your head with the book. “Jeez, and here I thought you were smart.” Jax leaned over like he was speaking to a child and pushed the book to your chest. “I’m saying, the next time you wanna draw me I’ll give you a front-row seat. Maybe even take it to the bedroom so we won’t be disturbed.”

You push the book into his face to cover up that growing smirk and blush furiously. “Wh-what?! N-no I-I don’t…!” It’s hard to tell if he’s being serious or not in his offer to model for you, especially with the bedroom comment.

“C’mon, clearly you got taste. I mean that book is filled with sketches of me. I’ll commend you on your immaculate taste.” Jax taps the book before playfully bopping your nose. “At least let me give you the pleasure of seeing me close up. I’ve never been a model before so you might have to get a little hands-on to get me the way you want me.”

As the innuendos continue your face feels like it’s getting impossibly red and warm. Somehow this is worse than him telling you a sketchbook full of his face is creepy, in fact, you’d almost prefer it because your poor little heart can’t take anymore. You let out a yell and it stops his tangent but that stupid smirk of his never disappears.

“Offer still stands. You know where to find me.” Jax turns away but not before throwing a little wink over his shoulder. He still plans on pestering you about what you see in him, but for now, he’ll cut you some slack. You’re about as red as Ragatha’s hair and as much as he loves to see it, he didn’t plan to get this sidetracked when he saw you on your own.

He’s got a sucker to prank.

[frogcroaks]

How I deal with shapes

@spadefish @kobothesmall So for shapes, the way I work with them is from studying how things break down individually, instead of following a broader ruleset for character design that you see a lot in tutorial posts (the triangle, square, circle theorem basically).

The way shapes work in humans is different from other animals (which also differ from each other), which is different from objects. The same shape can be used for different goals depending on what you're drawing. So there's no one size fits all, and especially in styles that have a bit more of realism going on, those shapes will behave differently than extremely cartoony styles.

Process wise, a lot of it ends up happening in my head than in the canvas, because I spent years dealing with this shape philosophy of "just bang your head for each thing you're drawing", which I understand is very tedious to some people, but I love studying individual things vs following tutorials because it teaches me 1. how that thing works in a context 2. gives me a new book to my visual library which I can pull from, which is often what happens! That, and a lot of it is just staring at references too. Still, I'll try to draw something up for this.

There are 2 ways to approach shape design. You either start with the shapes and then apply a concept to it, or you start with a concept and apply shapes to it. The former is much harder to do without practice (and also comes more in concept art which is rough, unfinished and meant to be done and redone dozens of times by design). So, I tend to do the latter: I start with a concept of what I want. This can be as simple as "I just want a character that's fat/standing" or more abstract like "I want a character that feels like a river/I want this to feel like an outburst".

Let's start with a concrete concept: I want a design that looks like a pacman frog, and just a standing pose that isn't too stiff.

I grab some pacman frog references, and sometimes if the pose is complex, I'll find references for that too. Pacman frogs are pretty pudgy, and their legs aren't that long compared to most frogs, even when unfolded, and their faces have a nice triangle-ish forehead with a nice shape for the mouth.

The result is that i use large shapes for most of the body. Curves contrast with sharper lines, giving the sense of something geometric but still organic. The line of action here helps me pose these shapes in a way that gives some movement to something as simple as standing (and you'll gain a lot of mileage from learning how to rotate shapes! this is how you're able to position them in different ways and create more dynamic poses).

For something more abstract, like a crouched pose meant to be angry, I take some references when i can and start doing something like this:

Note that these shapes seem weird because I'll have a naked fullbody wip below any clothed characters to have some anatomical guidance, but for actual final shapes and silhouette, what matters is the final elements, and that includes clothes! so i try to build shapes that emphasize this droopy, closed off feeling. This sketch isn't even that good really, there's plenty of errors, but I hope it gives an idea of whats going on.

I hope this weird rambly nonsense helped LOL

[3motionally3xhausted]

BNHA girl's redesigns

(pt.2)

Thoughts & Comments under the break. I always make a lot of small, conscious decisions when redesigning characters so I hope it's interesting

PS I do intend to do the other half, I just didn't like my original sketches so I'm restarting :)

Tsuyu Asui (Froppy)

I wanted to give her kind of a baggy jumpsuit that would accentuate her lanky posture. I struggled slightly in giving her frog motifs, but I eventually put together the liminal spots, the shape on the rim of her gloves, cap & goggles, and the translucent sleeves. All of them together make her costume look rather frog-like I think, and of course the frog toes on the boots. Also, the twin braids just felt right for her character, as well as her freckles.

Momo Yaoyorozu (Ms. Architect)

Obviously, Momo's hero costume is the most problematic of the canon designs, so this is my take and I'm actually really proud of it. I also renamed her because I think most of the girls' hero names are a bit... simple, cheap, and uninspired. (Especially compared to most of the guys') I chose Ms. architect by using thesaurus for the word "creator" since an architect is someone who plans and makes things, it's also much more respectable.

Honestly it's kind of a simple design but I think it suits her in a way. It has a red top that's cut low in the front and back, especially since we rarely see her use her quirk from her stomach. Then she has shorts that reach just above her mid thigh, with an apron over it to carry, pens, her notebook, and a measuring tape to help with her quirk since she has to understand the structure.

Ochako Uraraka (Uravity)

It's hard to tell with the pose I put her in, but I mean for her to be tall and thin/lanky, like someone who runs track, mainly to give the sense that she's light (which is more obvious in the design sketch.) I made her slightly tan with a bit more ginger brown hair in a longer bob simply for some variation and I like it. For her costume, I wanted it to vaguely resemble an astronaut for the space/gravity theme. I also absolutely had to get rid of that line that goes down her crotch bc it makes me uncomfortable.

My original sketches to work out the designs---I did do some reworking on the final, but for the most part they're the same. Also you can see the varied body types better here than in the posed drawings

[mel-addams]

Get Started Drawing...

...even as a complete beginner!

In my efforts to help some friends who are only just starting to learn to draw (as adults! glorious!! <3), I kept digging around for resources that cover things I remember learning in the various art classes I've taken...but that does a better job than I can of laying it all out in a comprehensive, but not overwhelming, manner. (I am far too prone to rambling as you can see from this post, and bounce around topics as I remember them, rather than in a sensible order.) I've found a few guides here and there that cover one thing or another decently well...but I've finally found a free site I'm really keen on as an overall source if you're just starting out with learning to draw!

It's incredibly clear and concise, whereas many of the other sites and books I found could sometimes be overwhelmingly detailed. It's arranged in a way that reminds me of the flow of art classes, starting at the very first steps--how to approach art if you've never done it before, and the fact that you only need basic tools to begin with. If you go in approximate order, it then establishes that you should start sorting out a solid foundation by practicing simple lines and shapes--the same way you learned to write letters so you could ultimately make words, sentences, stories... This includes some neat little practice exercises with questions to consider while you do them, so you also learn to see and observe things like angles and proportions, which are critical for being able to accurately draw more complex things.

It evolves from there into how to take those basic shapes and turn them into simplified human bodies--and from there, how to consider more complex 3D versions of the shapes to give those bodies a sense of dimension and physicality. It even touches on things like composition, silhouette, negative space, and line of action--all in a quick, straightforward manner. It plants the seed of understanding for these more complex illustration concepts, which you can then research further, armed with relevant terminology to dig up more in-depth resources as they catch your interest!

The style itself is usually simple, but even if your aim is to draw with a more detailed style, this one can serve as a base sketch to add that detail to. (Combine learning this base with photo studies, plus more detailed style guides for wherever you want to take your art, and you could use this as a base for comics, cartoons, anime, realism...the core concepts and skills remain the same!) There's also examples of how to adjust for varied body shapes, so it provides more flexibility than some drawing guides do, which often only focus on one "ideal" body type. (This style can also be used for that, if it's what you want--you just adjust the proportions of the basic shapes as you need! But this provides examples of how to handle variety, which will give you a better foundation for drawing people and characters so they don't all look the same, instead of having to figure out how to adjust for it later on.) The Shape Dolls for reference are also incredibly delightful, and a great cheap way to have a little pose reference mannequin of sorts!

There's also links to sources if you want to dig into concepts more deeply--available both as a general source page, as well as some specific topics including relevant sources at the bottom of their respective pages. There's also a patreon with some extra thoughts that is fully accessible for free, but has a paid option if you want to support Tan for providing such a lovely resource! (Also they have a legit vegetable farm?? How cool is that.)

So yes! If you have any interest in learning to draw--whether you've ever tried before or not, and no matter your age--try looking through this site, and let it guide you through the process!

[otaku553]

I think we all wanna know about the process for the last two pages

HAHA IM GLAD. THESE TWO PAGES TOOK FOREVER

I was really proud of them when I sketched them out and you can definitely see a lot of details ended up staying the same between the sketch and the final! These were the pages that I probably had the clearest ideas on because I wanted especially Ace drowning and Tage saving him to be impactful and pretty memorable, hence all of the different viewpoints and poses. Getting the head angle on that final page was really annoying but there are some excellent references on referenceangle.com for heads turned upwards, like the following:

What probably took the longest this time around was the lineart, actually, because I got Really Into It and couldn’t stop adding more detail.

This becomes! A trend! Because that one panel of Ace’s hair made me feel like I had to keep that consistent quality of lineart for the rest of the chapter even after that. So that’s why I had to split the chapter lmao

Extra notes on coloring:

Doing underwater pieces is actually a really good exercise for color theory, since warm colors in cool lighting and in a blue environment are often quite different than you’d expect them to be. You can definitely do a shortcut by using hard light blending mode on full opacity, as I’ve shown here, but when you use hard light blending mode, sometimes some specific colors may turn out muddled or brown-ish, like the orange, so I find picking your own colors also gives you some nice freedom over like. Cohesion in your palette.

The other thing that really makes the underwater scenes is the bubbles which are honestly a lot of fun to do! After you realize that bubbles are fundamentally just weird little glass/ mirror balls that take even less effort because the shapes will get distorted anyways you can sorta just do whatever. The key is mostly getting sharp contrast between the darker blues and the bright highlights I think?. If you want a tutorial on bubbles let me know :)

[existentialcrisis-9-5]

DCA Subnautica AU

Version #2 of the designs, including the bioluminescence! + fun tidbits on each of the goobers and a visual on Y/N!

(Edit: it’s out now! Check my bio for the link)

Eclipse is up first!

Theirs was the first design I drew out in any detail (as shown in the crude MS Paint drawing), so it's the one that needed the most work. Even after making the more detailed version with the lights, I still ended up changing things as I got a better grasp on what direction I wanted to head in. Fun lore tidbit! Eclipse is a freak of nature and should not look like that! They're properly split down the middle between day and night. Also I messed it up in the drawing because I was tired when I made it, but they're also covered in scars and bite marks.

Sun !!

I did Sun next, and here I had a better idea for what I was going for. There were still a few problems with this design though, which got changed. This is also where I started drawing the pattern on the tail, which I felt looked weird in this picture. Fun tidbit! Sun has an inability to express his feelings in the appropriate fish mermaid way, leading to much confusion.

Moon !!

Moon was done last. Once again, I learned from this drawing and changed Moon's design to match, however Moon is the one that remains the most unchanged! I knew what I was going for by the time I got to him each time, so I guess that helped. Something I did alter, however, were some of the lights. I found that they either blended together too much or weren't as visible as I would have liked. Fun tidbit! This is pose actually based on a scene in one of the chapters. It was actually one of the earliest written scenes.

Y/N, my beloved <3

I did 2 versions of Y/N, one with longer hair and one with shorter. It was important for me, when writing the story, that I kept the person I'm imagining as vague as possible, with the only physical descriptions being "physically fit" and having a few scars (for plot reasons), so this is only for me and whatever drawings I do. As a result of trying to keep it vague, I ended up going with the shorter hair (though in the final reference I made it a bit longer than shown here). Fun tidbit! The green is because whenever I'm sketching, I have 4 colours I sketch in to differentiate parts of the picture (usually background vs foreground or different people), and green was the one I used here (red, blue and purple were taken, I'm sure you can understand why). It ended up sticking, since I didn't want to go with the orange that's on Ryley's suit in order to avoid possible confusion.

That's it for now! At some point, I'll post the full references for each of them, but until then, the next thing I post will probably be chapter 1!

[mumblesplash]

more behind the scenes :D

so obviously my hgcz comic was a huge learning curve for me (i hadn't previously attempted a project this big EVER), and with this new and exciting experience came the opportunity to try something i'd never really done before: make actual character design refs!

i'm pretty happy with how they turned out, and more importantly they served several key purposes:

for one thing, both suits are specifically designed to make the character's poses as easy as possible to read--scar's leg braces especially don't allow for any visual misinterpretation of foreshortening or odd angles. the holster for grian's escrima sticks serves a similar function by giving a concrete sense of how his shoulders are positioned at a glance

also, crucially, they are both easy to draw. i was VERY aware that i was going to have to draw these guys dozens of times each, and i knew myself well enough to know i'd be adding in more than enough complexity with the posing and anatomy (and boy did i ever). i think i might have ended up with the least complex cuteguy design in the entire zine because of this, but in my defense he spends most of the comic pinned facedown on the floor. (this is also why i ended up simplifying his logo design in the final comic, if anyone was wondering)

more practical considerations included: hotguy's removable light-up vest, cuteguy wearing pants that could be rolled up so as to splint his broken leg, and his main weapon being escrima sticks so cleo had something to splint his leg with

i put arguably MORE effort into body language design (inasmuch as that's an actual thing, idk) but that's its own can of worms

of course, due to my nature the character design process deteriorated rapidly after i locked in my designs for hotguy and cuteguy. my design process for cleo was pretty much me drawing this sketch and going 'yeah that's what she looks like :)'

and my concept art for skizz was uh. this panel

i literally Just Drew Him. i was as surprised to discover what he looks like as you were.

looking back and comparing i can definitely see *some* benefits to designing character refs ahead of time, though to be more useful i think in the future i'd make sure the references include more closeup detail. or maybe i just refrain from things like putting an extremely distinct crack in a wraparound visor i have to draw over 100 times at every angle imaginable,,,