#i really liked the anatomy practice sketches lol

[lucalicatteart]

A character reference sheet sort of thing for the main character of the Poll Adventures, drawn more in my usual style (taking a picture of messy pencil sketches then coloring it digitally lol) rather than the cutesy ms paint style of the daily poll images .. there he is.. the adventure boy..

[cup-o-stars]

How to draw like you no borax

Good question!

I'd warn against following my process (at least if you want to learn), but I'll be honest and show you, lol. (Heads up: this is just how I do FAN art. When having fun, I generally care less about the fundamentals.)

1. I slap down super rough sketches, jotting lines/expressions like bullet points of my idea. Pretty much stick figures with just enough detail to remember who's who later. Not shown here, I also move, resize, and add details to express the intended composition if I'm planning something larger. You may notice a lot of curved lines / haphazard circles.

2. I refine the sketch by drawing it with more intention and build structure with slightly blockier shapes. If I'm really struggling with a pose, this is also where I'll find references or look at myself for bits and pieces to fill in the gaps. (When practicing, I would highly recommend using a reference from the start so all your limbs are an appropriate length and you don't need to say things like "that's passable" right before posting. If you're a perfectionist you'll leave that thought with the rough sketch.)

3. I'll decide around here whether or not to leave the sketch as is or commit to lineart (not likely). I guess I'd say I "shape the lines" here by going over some to add thickness/weight, and by adding basic sort-of-shading to break things up a little. Then I'll just fill in space if the page looks empty. (Usually this is where I incorporate the borax, but I hear baking soda works nicely if you're worried.)

4. Onto coloring. I don't feel confident enough to pretend I know what I'm doing here, lol. I just choose my base colors, imagine the general direction of the light source, then add minor gradients to the light and dark layers so they don't look flat. Then I just add some BS highlights and outline them. I've only recently found the motivation to properly practice coloring and just go with the flow tbh.

You may notice that Nami's forearm is too long, her hand looks like a pancake and Chopper has no joints! My kind sibling explained to me once that my anatomy is poor, but cohesive enough that nothing stands out too bad, lol. That's why it is important to use references!! And if you're me, practice all parts of anatomy at the same time with full bodies so that even when you're at a loss, your hands aren't that much better than your feet.

All in all, to draw like me, just have a very hedonistic approach to art, ha. Draw what you want, avoid getting burnt out on any single piece (sometimes that happens when you try to perfect drawings one at a time), and follow my personal motto:

Make fun, not masterpieces.

Idk how helpful this was, but there you have it!

[catiuskaa]

charcoal, paint, post-its and tape.

SUMMARY: seeing your boyfriend’s messy art studio, you couldn’t help but want to try and surprise him with a painting of the most gorgeous piece of art you knew: him.

REQUESTED! here by my pookie wookie @4ln-stay8, and honey, this was a beautiful idea! i love writing about art and hyunjin and hyunjin and art (and hyunjin) lol, hope you like! <3

CW: hurt/comfort, mentions of anxiety, reader is really hard on herself as a perfectionist (which sadly i can relate), crying and cursing, lots of fluffy comfort in the end!

WC: 1.6k

[☆🌷🖼️🌷☆]

You hate it.

Your hand feels cramped, your head hurts and you’re close to breaking the paper if you keep on erasing the same lines over and over again.

But it’s hideous.

It’s a sad excuse of an attempt in art and you hate it.

You were tempted to kick the sketchbook away, but knowing that it belonged to your boyfriend, to hyunjin, who could actually do art, made you refrain from doing so, opting to just harshly shove it away from your lap.

It wasn’t fair. You’d seen tutorials. You had practiced beforehand. You went as far as to use his anatomy books to study it, wanting to be able to do justice to his ethereal, beautiful self by at least getting proportions right.

But no. Art wasn’t accepting your preposterous attempt to join into it.

Hyunjin entered your shared apartment as he hummed a random melody, happy to come back a bit earlier than usual, his head drifting off to how he could surprise you and what kind of activity the both of you could do with the newly-founded time.

But he froze after he kicked his shoes off at the entrance.

“Angel?” He called, and you cursed, but barely had any time to put anything back into place as he followed the sound of your gentle sobs.

“Hyun…” you started.

“My love.” He crouched down next to you, looking at you as if you held the stars and the moon just for him. “Want to tell me what’s wrong? Mhh?” He hummed shortly, his hands traveling to your face and stroking it sweetly.

You stared at him, your heart troubled, so the only coherent response you could come up was throwing yourself to his arms.

The long-haired artist hugged you tightly in response, a part of him appreciating having the type of trust that allowed you to break before him and let him watch you reasemble with a little helping hand.

You sniffed, then shook your head sideways.

“Are we doing the nod and shake?” He smiled in efforts of making you join him, which you did shortly, and he allowed himself to take that as a win. “We can do that, pretty. Nod if you want to.” He snickered.

But you shook your head, staring down at the forgotten sketchbook.

“I-it’s just th-a-at I… I w-wanted… wanted to surprise you… b-because I-I wa-s trying to paint…”

Hyunjin’s face shined upon your confesion.

“My pretty girl was painting?” He chimed back with a gleeful joy. “But you’re not having fun. What happened?”

You just shrugged, sinking your head in your hands. “It’s horrible.”

“Can I see it?”

Watching you nod, it was only then when Hyunjin separated himself from you just enough to grab the sketch, then sprung back to your side.

A silence only broken by your unsteady breathing clouded the house as he viewed the canvas.

“Do you want my opinion, my advice, or my shoulder to keep crying?” He offered soothingly, and you rolled your eyes at his last mention. “What? My shoulders are very comfortable. I don’t even charge if you leave tears on my shirt, you know.” Hyunjin teased with a smile that you were quick to match. Another win for him.

“I just… I don’t know…” you sighed, melting against him. “It’s… ugh.”

He stared at your piece in silence, which you didn’t, only zoned out, playing with your hands as the silence crept up your spine.

What if he hated it too?

“It’s just like how you do with your post-its.”

He interrupted your spiral of thoughts, and you blinked at him, so Hyunjin repeated himself with a gentle smile. You then sniffed, a small chuckle fighting to get out in the midst of frustated tears. “What are you on about?”

“You have your cute organizing board filled with post it notes, don’t you, lovely?”

You nodded, but scoffed, still submerged in the depth of the painting —or rather lack thereof. “What’s that got to do with anyth-“

You trailed off when his hands, still a bit colder from the weather outside, cradled your face, forcing you to look at him, a beautiful sight you didn’t notice you were evading.

“Listen to me for a second. Please?” He pleaded, eyes soft, and giggled sweetly when you pouted, a petty way of letting him know you were listening. You blushed when he kissed you.

“So. Your post it notes.” Hyunjin smiled. “You stick them on the board, but often, they slip down, right?” He asked, to which you nodded. “And when that happens, I noticed your little trick, brains.” He booped your nose, and you couldn’t help but smile coyly. “Tell me, beauty. What do you do when they don’t stick?”

“I… I put a small piece of tape on the back.” “And it works like magic,” he grinned, beaming in a kind of proudness you had never seen on anyone, not when it came from others aside from themselves. And it mended your frustrated heart to see him like this, his now warmer hands stroking your cheeks.

He took one of your hands, and with a strained groan, reached to his pencil cade, grabbed a piece of charcoal and stained your hand with it, kissing your palm sweetly

“These are now the hands of an artist. And artists, just like you and me, can be quite like those little post it notes of yours. We bend right after taking us out of the package.” He chuckled, and you followed along, letting the sound of his voice lift your spirit. “It won’t matter how, there can always be a crease, or the glue won’t stick right, or the color is too blinding, maybe too dull, perhaps the paper got stained with paint or ink.” He stared at you, deeply so, allowing you to see through him, allowing you to understand.

This wasn’t about post it notes. Not anymore.

He continued. “But, just as your post its, sometimes…” he smiled. “Sometimes all we need is a bit of tape to stick in place.”

He kissed your tears away one by one, allowing your breathing to even out, matching and following his as you relaxed against him.

“Let me help you stick back on the board.” He looked at your lips in a flash, then bashfully went back to your eyes. “Let me be your tape.”

He hugged you tightly, and he showed you the sketch.

“To me it looks fine, beauty.” He started. “It’s a really nice attempt. Would I redo some things? Probably, if I wanted to be really perfectionist, because it doesn’t look bad at all. Or maybe I’d let the color do its magic.” He shrugged nonchalantly. “The thing about drawing is that we cannot let it control us, hoping to achieve perfection. That can’t be achieved, my love.” Hyunjin laughed. “Even what we see sometimes doesn’t look right in real life. There are references and references, and if a drawing’s sketch isn’t quite what we’re looking, sometimes we may need another one.”

You stared at him softly, comforted in his honest commentary.

“I can help you. You know were to find me.” He smiled sweetly.

“I…” you sniffed, staring at your charcoal-stained hand.

“I just want a coffee right now.”

You both giggled as you stood back up, and he engulfed you in a bear hug, picking you up and carrying you to the kitchen, determined to make you the best coffe in the whole year.

It wasn’t until the next morning that you found him puting your first sketch next to his. Only this time, instead of his usual messy tape lines, yours han bits of tape glued to the back.

Little by little, charcoal and paint helped post-its and tape, but even with the smallest things, it could certainly be the other way around.

And Hyunjin loved it any kind of way— Hyunjin loved you, post-its, charcoal stains and all.

[☆🌷🖼️🌷☆]

catiuskaa, may 2024 ©

~kats, who will now go to bed with my own cup of hot milk (not coffee lol, and sadly not made by hyunjin either)

[aveloka-draws]

When drawing your comic panels, sketches, and so on for humanoid characters, how do you handle anatomy?

I’d guess that it’s a pretty instinctual thing for you by this point after seeing all your (awesome, amazing, WOW I strive to draw as good as you do one day) art. I can’t manage to draw anything past a simple headshot lol, and even then I still struggle a good bit. I feel like I’ve gotten a lot better than I used to be though, and that’s definitely a good feeling.

Any helpful tips? It’s fine if you don’t have any though—I was just curious.

Whether you are a begginer or more advanced at drawing references are always helpful, not necessarily meaning to copy them but rather to study them so you can figure out how the body works and you can pose it however you want more easily! I'm still not that good but with enough practice they can look pretty decent.

I feel you about drawing headshots only, i used to do that a lot too. You could try to thumbnail (basically make a little sketch) your idea so you see the whole picture rather than just focusing all your attention in a portrait.

Iiiii hope this makes sense and hopefully helps? There're really good video tutorials on youtube that go WAY more into detail to tackle anatomy that have helped me a lot, Proko, Mark Brunet, Ethan Becker's channels are some that come to mind!

[ohno-the-sun]

Oh uh forgot to ask in the previous ask (the one with the digital piece of candy and scurrying and stuff)

How do you draw art so good

Like

Is there a method you use or is that just the style you've gotten over time?

you've activated my trap card

I'm just gonna preface that this tutorial is from someone who was not professionally trained and didn't have a lot of free time for art, so a lot of the tips I have is short cuts I use to get the best results quickly

If you genuinely want to get better at art then please look at references and practice that is always the best

However if you are like me and only really do art for fun but want to go faster then these are for you pfppt

Overall I'd say my style is influenced by speedpaints I would watch when I was younger, I like analyzing how people do things and what makes something look "good" to me

I always recommend watching them because they will often have techniques you've never seen before or do things a certain way that you can try out yourself

I consume good art, it feeds me

but seriously it can be super helpful when developing your own methodology, or just generally trying something new

Usually it starts with me pulling some references from artists I really admire and sort of sketching out how they do the things I like

For example 8um8le has like super good anatomy and poses so I focused on trying to replicate how they do that

venemous-qwille is super good at color and pulling focus so that's what I focused on in my study of them

In general I'd say my process is sketch -> silhouette -> color -> shading -> render

I really don't like doing lineart lol

I'd say for the sketch the most important part is using references and just kind of fudging it until it looks correct anatomically/physically

General rule of thumb is spend time on areas of interest, and keep non important areas light (like the stitching on his pants)

I don't do lineart because I think its unnecessary for most paintings I do

I naturally tend to put more time and focus on areas of interest (like hands and feet) and if you use a brush with opacity for the sketch, those areas are naturally going to be darker in the final sketch

Of course this is gonna be different for everyone but it's what works for me

Sometimes I do a really really sketchy layer underneath my sketch/lineart, just so I know where everything is going

Use thumbnails! They are great to help figure out the general layout of things and what pose I wanna do

Next is what I call the "silhouette" layer

This is super important for me cause it helps me refine the figure and make sure the pose/anatomy looks correct, also depending on what color I choose for the silhouette helps guide what colors I'm going to use on top

This piece is a good example of how it works. The silhouette shows me how the figure interacts with the background, how the pose looks and if its any good

The silhouette layer doesn't have to be super clean, as long as it follows the sketch decently well and shows where the figure is then its fine

I also sometimes make the silhouette layer multiple colors to help guide shading and vibe

Next is the coloring layer. I usually make this a clipping layer on top of the silhouette layer, or I change the silhouette layer to alpha lock, either way it saves me time on coloring everything in

Sometimes I am super rough with the coloring too, using like an airbrush or my fav watercolor brush just to generically block in color where I want it

Works out cause most objects have like a bounce light to them from surrounding objects, so this is sort of a cheat I use to get that effect without all the work lol

Also don't be afraid to have the lower silhouette layer shining through, having multiple colors sort of subtly shining through the piece helps lots

Next is the shading layer, this is usually another clipping layer, usually set to "multiply"

The colors I pick here is usually within this range, any color works, just depends on the piece and vibes.

Since this piece is set in a sunset forest I choose a more desaturated orange for the shading layer

I know there's a whole thing about multiply layer being a crutch (and it kind of it) but it is a useful tool when you just want some darker values across the piece but don't want to go through the process of color picking every single darker shade

Also in my opinion it looks better than picking a darker color and setting it to a lower opacity, idk I just think the color has more "depth"

Next is the hardest to explain, sort of the vibes layer

Usually its just a layer of more concentrated color on top of the normal color and I fudge with the settings and values until I get a result I like

Next is the longest step, is the "extra" or the render stage.

Usually I add a background before this step so that if I need to merge the figure better with the background I can

If I render with a white background but he's supposed to be in a dark forest, its going to mess with the lighting severely

Also this is when I add more "vibe" layers on top to get the figure to match the background better

Backgrounds in general I recommend checking out @/derekdomnicdsouza on instagram he's got lots of great tutorials for breaking down backgrounds simply

I'd say general rule for the rendering layer is to focus on the areas of interest and spend less time on areas you don't care about

I even blur stuff out on the edges I don't want people to see, partially to save time on fixing mistakes in areas I dont care about (oop), but mainly to help draw the eye to the areas I do want people to focus on

Theoretically parts of the background should like mesh with the characters, parrallel lines are a no no unless they are directing a viewer to look somewhere, things that are perpendicular help bring things together

tbh I'm still not the best at layout and probably need more practice, but overall this is what I like doing

Overall this is what my layer set up ends up being

Sort of a sandwich with the lineart/sketch as the "meat" lol

Color and basic shading below the sketch, clean-up and rendering on top

I like this method cause it's super flexible if I ever want to try something different or try to replicate someone's style

I can make each step less or more messy depending on the end result and can add a lineart layer if need be. Also if there's a part that is straight up not working or needs to be removed its super easy to do cause I can just paint over it on the "extras" layer, color picking from the surrounding area to get the same vibe

Generally rule of thumb for my style is: get the initial layout of colors, form and shading to look good, then the rendering should be smooth sailing

Really the best advice I can give to get better at art is to enjoy what you're doing and become very very obsessed with drawing a silly little guy

You'll eventually get very good at drawing them pfptpf

[elenthyaolyenths]

I couldn't decide on where to begin, so thank you all by advance for your help! Please reblog so everyone can see it! The winner of this poll will become one of my top priorities during November.

↓LONG POST under the cut! I describe each WIP with pictures and I explain what I would like to do.↓

Tell me in comments/reblogs what you would like to see for these WIPs!

Num. 1: "Please", inspired by David Tennant Richard II Kiss

"Please" is the first part of a diptych. Published as a simple WIP in December 2023, it became for no apparent reason (lol) one of my most famous posts on Tumblr. I have always wanted to full-colour it, but I was feeling so much pressure about this one that I didn't dare to try. And then Time has passed...

I have changed a lot of things in my art practice. Different brushes, different lines, and so when I'll work again on "Please", I already know that I'll have to redo all the lineart - that's ok, it's one of my favorite tasks. I will improve Aziraphale's expression and draw more details on his Archangel suit. Crowley with his dark waistcoat (ngk) and his gorgeous black wings will probably stay the same, even if I'll redo all his lineart so they'll complete each other perfectly. And, of course, full-colour... Teehee.

Num. 2: "...Again." (inspired by David Tennant Richard II Kiss)

"...Again" is the second part of my "Richard II Kiss" diptych. So much potential in Aziraphale's wings, as he literaly lauches himself into Crowley's arms! And how I love the way Crowley embraces him like nothing else matters. I'll have to do all the lineart for this one, and I'm so glad about it, because I guess I have changed and improved my lineart skills these last months, and "Again" is the perfect challenge for proving it to myself.

Num. 3 "Bliss", one of my favourite Red Art Sketches! But...

Achieved on the 29 of January, 2024, "Bliss" is a Daily Challenge sketch, so time completion = less than 2 hours. I love the emotion and the movement in this one, but I have always wanted to come back to it and take my time, in order to draw a cleaner and more detailed version, probably in full-colour. The potential of Crowley's wings is phenomenal (I'm so much more skilled now about drawing wings), and his expression is wonderful. Maybe I'll change a little bit the lineart so we could see Aziraphale's embrace on Crowley - tenderness and passion all the way, always.

Num. 4 "Falling Starmaker" - "If Only I could have been there for you"

"Aziraphale saw the Starmaker's Fall, but didn't (couldn't) intervene. 6 thousand years later, he still regrets. He should have been there for him."

I dearly love this headcanon about Aziraphale, and I like to imagine that he would still dream about saving the Starmaker from his Fall. Not because he prefers Crowley as an angel (Damn, NO), but because he learnt to know Crowley throught the ages. And since he saw how much Crowley has suffered, after 6000 years, Aziraphale would do anything for relieving Crowley of thepast and the pain.

The lineart here is quite ok but needs to be redone so it would be more appropriate for a full-colour rendering. I really want to work on highlights and rendering effects for this one, so the movement of the Fall would be preserved. And I'll work on details like burnt feathers, Crowley's hair and Aziraphale's saddened eye.

Num. 5: "Eden" or "Take me back to Eden"

Since my first reading of "Anatomy 1.0.1", a Rating E fanfiction written by Fyre, I have a thing for them already together in the Garden of Eden. So of course, a kiss on the wall (again), but with their wings apparent this time!!!

I gave up this one in April after trying to full-colour it (that was... hideous.) Now that I have a better idea of how to handle full-colour, I need to come back to it. This one will be a peaceful, innocent fluffy scene. With Crowley's proud wings casting a soft shadow on them, probably, and his gorgeous hair flowing like fire and gold over Aziraphale. A lazy and tender moment in the Garden of Eden, when everything seemed simpler...

Ooooouf you did it! You know everything! So, which one you prefer? What would you want to see in it when it's achieved? Reblog/comment and tell me everything, I'm curious!!!

Thanks to you all, love you!!!

Linktree - Tumblr Masterpost

♥ Tag-List below (tell me if you want to be in or out)♥

@goodomensafterdark ;

@floscrap-blog ; @demonsandpieohmy ; @amagnificentobsession ; @captainblou

@ineffable-hyperfixation ; @itsscottiesstark ; @moralsofanalleycatsposts

@fearandhatred ; @eybefioro ; @crowleys-bentley-and-plants ; @ashfae ; @crowleys-hips;

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@mad-aims ; @daisydimple20092 ; @seraphhiim ; @rebeccakatmauri

[minas-linkverse]

i remember you mentioning before that you don't really do sketches- just get straight to the lineart. the sketching/lineart process takes way more time than everything else, for me, and i was wondering if you have any tips for doing it your way?

Here's a visual example of what the asker means ^

The answer to how I do this might not be what you want to hear: A lot of practice. I've put a frick ton of time into learning to draw fast, because it is a skill like any other with art.

I can share some quick tips on how I practised and my thinking process though, if people still are curious and may wanna give it a shot!

One of the main ways I practiced this was by using permanent pens and markers while doodling in school. I always disliked how pencil smudged so that came kinda naturally to me, but it was a huge help anyway!

When you work directly onto a pristine white canvas with no guideline you're forced to really think about where you put each line, and get over the fear of mistakes. By doing this you can grow a natural understanding of where the next thing you're going to draw should be.

(Sorry if the picture is not a good explanation, I've never been much a teacher. (Also for full disclosure I did use ctrl+z when drawing this example.)) Here I tried to picture how by having the face shape lined, I can use knowledge of anatomy and what looks good to place the eye of the character in. Then with the eye in I can "Unlock" more feature locations!

It also helps being familiar with the character... I've drawn the cast of this comic so many times that these boys just show up when I ask lol.

This approach has a lot of issues, like it can be very hard to keep a character design consistent. Another is that if u get too bogged down on doing the same thing that works you're going to start making some really stale looking art-- It's so important to not just draw what works but to go for ugly perspectives and weird experiments.

Still, I hope this can help someone! It's not a method that works for everyone, but it's a fun one to explore :)

[lemon-wedges]

Hello!!! I love your art and your style. I'd love to hear your inspirations behind how you draw and, in addition, hear a bit about your painting process (I love the impressionistic look your paintings have)

ahh!!! thank you so much ;u;

Ill tried my best to break down my thought process behind my drawing, so i hope this all makes sense aahaha

undercut cause it came out real long

SO Karl Gnass is an instructor that i took an anatomy class with. and who broke down anatomy in a way that really helped me grasp space. like space a figure occupies. and from that i think my characters feel a bit more...grounded? im not sure what the right word would be but tangible is something people sometimes say about my art.

And i do think when youre able to make a figure look like its really wrapping its hands around something it makes character interactions a lot more intimate.

heres a few under sketches i do when i start a drawing (i am trying REALLY hard not to use my nsfw ones tho those are pretty perfect when it comes to showing u anatomy RIP)

after i got the poses done ill turn down the opacity and rough sketch out details on top of these. and once THATS done i move onto lineart. and the most important aspect of this step is NOT TO TRACE YOUR UNDER DRAWING!!!! thats what sucks the life out of your work!!!!

instead you use your undersketch as a guide. ilI actually redraw the simple anatomy underneath very lightly, erase where they over lap and then add line weight variety + darken up the details.

examples of this are gonna look a little messy but. Left is the original pose i drew out with rough details. right is the drawing i do on top of it. you'll see theyre not one to one and theres some lines i didnt fully erase out when redoing the anatomy. i find my clean up has a lot more energy when i do this.

the thing about my style is that you'll notice i never actually do actual clean smooth lineart. and thats because i HATE DOING THAT SHIT. like i did learn how to do it and consistently forced myself to do it for over a year. and while i do think i learned a lot about line weight and drawing clearer. i realized? its just not for me. I like a textured brush and i like being able to see those small lines i didnt get to fully erase out because i think they look cool lol and thats ok!! do what you want forever man!!! its your art!!!

Also before i move onto painting ill show you this neat little trick. you know those more "loose" drawings of mine that feel more gestural? the begining process is exactly the same. the difference is i use a chunkier pen and try to see how much i can simplify details + just feel out the energy of lines

NOW PAINTING.

man. where to even start.

the thing about painting is that its an entire different set of skills that need to each be honed on their own and will slowly build up together. ill break it down like this.

VALUE, COLOR, and TECHNIQUE

I've said this on another ask before but you'll notice ill do a lot of black and white sketches. and i do that to practice choosing how to group values.

like this example. how light is laios' wolf coat compared to his skin? or kabrus skin color compard to laios coat. when do you want to really push the contrast of light and dark and when do you let values be closer to each other when you DONT want attention

the next step from this is adding a light source.

and when you're working in black and white its a lot easier to pay more attention where you want your light/how its gonna look like hitting youre characters and how far youre gonna push your shadows.

and you know if you get good at this you can play with limited color palletes

this is literally just be picking out blues and hitting the bottom with the gradient tool to light it up

NOW COLOR

is a lot harder and also very subjective. I do a ton of impressionist studies where i just color pick the fuck out of a piece to see what colors masters used + knowing the history of paint and what colors were available during that time period. +knowing what colors = what mood + knowing what colors to use when you want to be more realistic vs when you want to lean into more stylized+ what colors YOU specially incline towards + AHHHHHHHHHHHHH

its a lot and im actually still learning myself

But when i do a painting i collect a LOT of refrences of the kind of mood i want my own painting to feeling like. I've show the first example in another ask before but heres one from my latest labru too

WHen i actually start a painting tho they look like this. The top drawings are just flat colors with a simple outline of where i want the light to be hitting. like in my value studies im just trying to get the idea down, seeing what values need to be darker vs what is lighter. and how the light source covers the character.

figuring this out in the begining makes the rest of the painting so much easier because youve essentially made all the big compostion decisions NOW. from here you can start playing with colors.

my second stage, youll see with drawings at the bottom, is when i start using my texture brush to lay in extra shadows and just play with variety.

and then? i start rendering

that would be TECHNIQUE

And well....thats also something thats gonna be very subjective.

With my own style im not interested in rendering everything to perfection. Im trying to figure out how to texture hair/skin/clothes in ways that make them feel like the materials they are while also showing the energy of my brushstrokes.

I dont zoom in while i paint btw. everything i do is zoomed out so i can see the entire drawing. it helps me not tight up my strokes while also letting me build up all areas of the painting equally. the only time i zoom in is when im lining out the eyes/mouth of a character. and yeah. it drives me insane doing this because ITS SOOOOO Tempting to obsess over paint 1 area forever then zoom out and see that nothing matches lol

The other thing about my style of painting. Is that im not gonna use the exact same formula for every piece. like this isnt cell shading. you can have an idea of how to texture skin/clothes/hair and sometimes it looks great and beautiful in one painting and then it looks like shit in another. ive overhauled a lot of paintings multiple times because what i thought would work doesnt and ive had to force myself to explore and play with my brushstrokes. and you know? i wouldnt have it any other way. it means none of my paintings are gonna look alike! and i think thats pretty cool :D

ill leave you with this in the end. a painting im in the middle of doing and debating to overhaul cause im just not feeling the strokes. who knows what ill look like in the end

anyways i hope this helped a little? even if you look at all this and go. IM NEVER GONNA DRAW LIKE THIS BOZO ahahah

BUT I WISH YOU LUCK ON YOUR OWN ARTS :DDDD

[uva124]

BRAVO DESIGN!

Soooooo we already have our favorite villain mascot!!!!

(If this is the first time you see this post, this is a redesign or design in this case for the Wish Au "Kingdom of wishes", written by @annymation and illustrated by @emillyverse and me :D, if you want to see other redesigns you can look at my pinned post!)

Now let's see the procedure of this design (although I don't have much to say lol):

In the Wish concept art they mentioned that they wanted to implement a cat as the villains' pet, but they decided to eliminate it for some reason that is still difficult for me to understand, however when Anny was writing the KOW story she found this other concept art of Amaya:

YES. IT'S NOT A CAT IT'S A LYNX, A BEAUTIFUL PET WORTHY OF ROYALITY THAT PERFECTLY COMPLEMENTS THE ELEGANCE OF MAGNIFICO AND AMAYA (Especially for Amaya since, you know, the queen looks like a Greek goddess- is my favoritism very noticeable?)

Anyway, as in all the redesigns that I do, first I like to practice a little the structure that I will use when drawing in traditional

(Yeah they are a little deformed, even my friends and me in class laughed at some of the sketches…..and one even made a sticker LMAO)

Going off topic, animals can be REALLY difficult to draw, it's like learning human anatomy again ^^;

Respect to the desing, the truth is I didn't know what to add to Bravo, at first I thought about just giving him a necklace with gems or something like that, but then Anny told me that Bravo is more like that pet that you give him a gift or clothes and at the same time second they destroy it, so with a small and comfortable rose on the chest it would be fine (how does it hold on to its fur? ✨Disney magic✨)

Also to give more personality to the design I thought: "What if I added a little hair sticking out like his father? that would be funny lmao"

And this is how the design turned out! Iberian lynxes are beautiful animals and it was fun to draw them

And that's how the design turned out! Iberian lynxes are beautiful animals and it was fun to draw them, that's all for now, until next time✨✨!!

[whiteraven90]

hello, I hope you're having a good day <33 I saw your recent post on my dash and I was STUNNED at the animated scene! It's insane to me I get to see your characters animated. Feeling blessed to be alive to see it, I am not exaggerating. You know, one of these times where you wake up and things are a little bumpy in your life but there's one thing that shines brightly you didn't know it could give you so much excitement? Yeah, that kind of thing ((:

I took my time for the past hour to reminisce over your blog again. It is one of the places I really love scrolling through and reading your writing. I had a question, if you don't mind me. The way you have improved is truly admirable. I know this might not be an easy ask to say "hey, how did you learn how to paint", so I'll ask this instead: I don't know how long you've been working full-time in art, but when do you make time for studies / drawing for fun? If it's not too much to respond to, how do *you* study? I remembered your posts with your redlines and wanted to ask how do you go about those, or if you switch your routines based on your needs (sketches vs speed painting backgrounds etc). The notes there were very interesting, seeing the mental exercise.

Pretty sure you have a fKTON of stuff on your plate, so please don't feel obligated to respond quickly or even at all. Thank you in advance for taking the time to read my message and for all the time you take to respond in general. Love reading your responses <3

Take care, ok? <3

I'm glad the animation made you feel better! I'll put the answer under the Keep Reading thingy.

I'm not entirely sure... I think I don't study as much as I should/could. I mostly learn as I go. Standalone studies are helpful, I'm just drawn to doing things that are more fun/satisfying to me or things that actively progress my creative goals. Imperfect illustrations for my stories, and incomplete research for worldbuilding! Many people learn faster than I, and those people do a lot more studies than I, but I have no info on whether they have more fun than I. Dopamine is rocket fuel, so it's important. :)

I'm always on the lookout for reference pictures, but I study almost only when I have a practical goal in mind, I guess. Studying is part of my job too, I think? As an indie concept artist I'm supposed to build a hoard of references and pull several new/sensible things out of them, and I think part of this process is understanding the material, and revisiting even what I already know. Illustration is similar. If I'm commissioned to draw an anthro alligator, it's time to study gators. It's not separate from work.

I mean, straightforward version: I wake up at 03:30, make coffee, and start working for myself until the paying work starts, lol. Brain is fresh before noon, and tired late in the evening just like everyone else's. It also helps that the city more or less shuts up at 4am.

The studies with the redlines... I do them when I fancy drawing characters or creatures but feel out of shape. I can get discouraged, feel like I forgot how to draw. I sketch if I plan to sketch, and paint if I plan to paint or want to study colors Drawing live models helps. Studying videos of people and things in motion. Hopping down rabbit holes about how/why things work (e.g. flintlock, Davy lamp, mansard roof). Drawing from refs. Hoarding refs. Trying different mediums (e.g. charcoal, 3D, etching). Small screenshot of one of my ref boards for the animation; I'd say I studied it a lot. How clothes move, what are good clothes, how do good clothes move, lion/tiger + human + eagle anatomy (from specific angles during specific motions if/when possible), how to dive roll, proper sprinting form, how to survive falling from a great height, spearfighting, pole vaulting, poledancing, lighting, colors, environment, kicked-up sand in motion, spear types, emu/cassowary/griffon vulture feet, etc. I didn't draw studies, unless you count the animation itself (I would).

[lint-beetle4]

*Kicks door down with a feral expression.* Oh sisters im back from war! Anyways as soon as i saw your asks are open i back bursting in lol. Okay but to the point, i would like to ask for Wukong x m reader x Macaque fic. I dont care if its kicking my legs fluffy or jaw dropping smut i just wanna eat up some more of your work.

(^If your not comfortable with the request feel free to ignore it and leave it be, thought dont forget to take care of yourself and have a lovely night/day!)

((If there's already a 🦝 anon i will be really sad if not i won the prize :D))

REDACTED asked:

 please make a fic or pic of Macaque and Wukong fucking the shit out of a male!reader (or each other) and the bottom is so full of cum that there's a lil cum belly appearing. I'd love it if there's a praise kink involved and or their body weight is crushing the other. (If you do reader, since the monkey's are cannonly 4 ft, the reader could be a lil taller than them.) Neck shit is so hot to me and extra points to bite marks! And a few more for licks and kisses on the body, starting soft and teasing the neck then get overstimulated as time goes on.

At the start if you want, Macaque can tie reader down with his shadows but that is purely an extra…just an FYI I love chubby and strong guys (soooo chubby Wukong is a plea) (Also also reader is a bottom lol)

Muses and Messes (Macaque x Male!Reader x Wukong Smut)

Alrighty chat, we're kicking off with a rare triple-combo-request the only smut I'm doing this round since I had this fic in the fucking oven for too long, it was fun writing though, plus the peeps over on AO3 get some smut art (I'm afraid of Tumblrs policies, so you guys over here get it censored like the holy children we are)

You know the drill, porn below with an image this time!

“Honestly, I just don’t understand how you can make shapes turn into a whole human being.” Wukong hummed, Macaque smirking behind him.

“It’s easy, Wukong. You just need to do it piece by piece–you know, instead of trying to draw the whole body in one go..” Macaque’s tail flicked as he sketched onto a new sketchbook, pages already filled up and wrinkled with countless eraser shavings that thinned out the page significantly. Macaque mumbled to himself, practically hissing at his paper, “If only the shapes could orient themselves correctly.”

You looked between the two as they drew. It was a strange request to have the equivalent of two gods knock at your door and ask for art lessons, but you couldn’t complain with the amount of money they were eager to give you. You could easily have your rent and bills paid for the rest of the year with that kind of cash. 

“It’s all about practice mostly, not everyone draws with geometric shapes, some people just freehand it.” You explained, quickly sketching out the two styles, a messy yet natural human beside a stiff yet cleaned up person. “It’s all about how you prefer to learn and what style you’re going for.”

“You think you can find your style, Wukong?” Macaque teased, sticking his tongue out at the king. Wukong rolled his eyes.

“I could do it today if I keep it up!” The old monkey chirped proudly. “I’m already getting a hang of everything.”

You sighed internally, watching as the two of them began to race over perfecting human anatomy. Their eyes glanced over to you occasionally before more scribbles filled the room. Contently, you drew out the two before you, figuring that they would forgive you for using them as subjects–an eye for eye, you mentally grinned.

Their bodies were pristine, sculpted by time and the godly nature radiating through them. You knew well of the tales between the legendary Monkey King and his adversary, the nigh-omniscient Six-Eared Macaque. The power the two held rivaled that of heaven and the Jade Emperor himself, and the power of Buddha was the only thing that could keep them down for the count.

As the years passed, the world grew to know less of them, both of them disappearing to their own journeys and fates.

It was only until a few months ago that you were even aware that the two had returned to the public eye–in some fashion, at least. It was until now that you were aware of their healing bond, an interesting detail that had you wondering for more about the two.

For now though, you were content in simply drawing them.

“How’d you do that?” A voice had rumbled behind you, causing you to yelp and jump from your seat. Macaque leaned against the chair, his expression never changing but briefly, you swore you saw the curve of lips and a flash of teeth.

You glared at the darker simian, sitting back in the chair before opening up your sketchbook again to the doodle of the two monkeys you had centered on the page. “Practice, mostly, that and you two were so focused on drawing that you were still enough for me to get the pose right.”

“Hmm,” Macaque leaned in closer, his fur tickling the side of your arm as he inspected your work. “Interesting…”

“My people don’t look like that.” Wukong appeared beside you, his tail grabbing your sketchbook while he looked closely at your drawing. “How do you make them look so…unique?”

“Oh, well, it’s about shapes, mostly–again, heh.” You stumbled over your explanation. “Design is kind of a personal thing, like–I would say you choose your designs based on what you feel is right.”

“What feels right, huh?” Macaque purred in your ear. “Hmm, that’s a unique way of saying it.”

Macaque’s breath tickled at your neck, blowing a puff of air into the shell of your ear with a wide smirk. Wukong’s tail had long since wrapped around your arm, a knowing glance shared between the two of them.

Macaque whispered to you again–somehow closer, yet almost hesitant. 

“Could we explore your body, see how right it feels?”

You shivered, your heart thumping loudly against your chest. You didn’t expect your lesson to end up like this, but…

It was…tempting…

Wukong’s voice whispered in your other ear, impossibly quiet for the boisterous sage. “We’ll make you feel good, give you a reward greater than the riches we could offer.”

You couldn’t resist the warmth of their breath nor the way their touches soothed invisible pains in your body. You didn’t know you were so tense, yet at their gentle command, you were caught in a willing trap, a net that embraced you yet restrained you.

On your knees, you were tied up in shadows, naked before you knew it. The shadows were chilled, not quite cold yet definitely not warm. You shuddered at the sight of Wukong and Macaque’s glossy fur, half-hard dicks presented to you. A silent question rose, and you answered, licking along Wukong shaft while Macaque’s hand stroked his own cock.

Wukong’s cock pulsed against your tongue, throbbing as he became fully hard. You whimpered under your breath, brain mulling over the next steps. You felt a hand–Macaque’s–stroke your hair comfortingly.

“Do as much as you can,” Macaque’s voice was sweet, slightly tense as he forced himself to stop stroking. “You’re doing great.”

Your brain felt mushy, cloudy–like the world had stopped spinning and time only waited for you to begin anew. Macaque’s hand never left your hair, never stopped petting you in his show of support. You took the tip of Wukong’s cock into your mouth, hearing Wukong’s breath nearly hiss out in your sudden movement– it sent waves of pride through you.

Slowly, you lowered your head, relaxing your jaw as you took Wukong’s entire length, feeling his tip hit lower and lower into your throat.

You looked up, feeling Wukong twitch in your mouth while your tongue lapped up what it could. Wukong’s eyes were glazed over, looking down at you in anticipation yet pride. You hummed, smiling to yourself as you began to move, hearing Wukong’s breath stutter again as you bobbed your head enthusiastically on his cock, tasting the salty yet strangely fruity precum that your throat practically milked out of him.

“--Fuck,” Wukong groaned, his hands clenching at your hair like a lifeline, sending shocks of pain and excitement through you. “You’re real good at this, y’know?”

You felt your core coil at those words, warmth spreading through your body as you continued to lap at Wukong’s dick, the taste slowly consuming your thoughts.

“Oh, you like that, don’t you?” Macaque muttered behind you, his hands rubbing your back while you focused on Wukong. “You like being praised like a good boy, huh?”

You couldn’t answer in your position, but Macaque still chucked to himself. “Keep doing what you’re doing, and you’re headed for a looong night.”

Your mind quickly came back to you; memories flashing through your mind before a particularly calculated thrust jolted you back to the present. Macaque growled behind you, low and rough grunts from Wukong joining in as they continued to abuse your asshole. You couldn’t feel your legs, but the warmth from Macaque’s chest nearly burned you while Wukong’s movements sent waves of pleasure through your tired body. Everything ached, yet you craved more.

They were as much animals as you were a toy to them, and your core clenched at the thought. You felt something sloshing in your stomach, warm and pleasant inside of you.

“Hey–” A hand lightly slapped your face, Wukong slowing ever so slightly to look at the mess you’ve become. “You with us?”

You nodded, groaning as Macaque had stopped entirely.

“Keep–mng–keep going,” you pleaded, feeling the low rumble of Macaque’s chuckle.

“If you say so,” and they continued, not bothering to start slowly.

Low whispers sang into your ears while your cock bounced against your stomach, Macaque and Wukong pressed against you, nearly crushing you.

“Such a good boy for us,”

“Look at you, taking us in so well,”

“What a cute boy you are.”

You whimpered against the heat surrounding you, feeling your stomach tightening as you slower creeped to your edge.

Suddenly, they stopped again, warm cocks still inside of you. You groaned, your head slamming into Macaque’s shoulder while Wukong chuckled.

“You aren’t finishing yet,” Wukong purred, licking your neck. Macaque hummed behind you, kissing your cheek before sinking his teeth into your shoulder, pain sinking into your sweaty skin. You whimpered, feeling tender kisses and light nips across your neck. Wukong went lower, pressing more kisses along your body and giving your dick a teasing lick to your dismay.

Macaque lowered you slightly, shadows cooling your heated skin while you hummed in question, trying to ignore the pained ache in your body. Low purrs rumbling through his throat while his hands caressed your chest.

“Wukong, you done over there? Our muse here looks like he’s going to explode.”

Wukong muttered under his breath, something about the importance of patience and care. Macaque chittered to Wukong, the sound almost a warning to your ears, but Wukong gripped your legs, looking at you with lust-ridden eyes.

“Ready?”

You nodded, your own hips bucking with need.

You were quickly filled again, Wukong growling into your ear. “Hope you’re ready for this round.”

In one thrust, he bottomed out with a grin, eye gleaming with finality. “You’re not going to be able to walk after this one.”

“Enough chit-chat, Wukong.” Macaque groaned, desperate thrusts from his hips. “Your voice is grating enough.”

Wukong’s hips moved, hitting your G-spot with impressive accuracy. You melted into their crushing touch, eyes closed as bliss overcame you. They slowly sped up, your hips bucking up in your quite loud desperation for release. Your moans echoed through the room, growls from all sides of you joining in on the sex-filled duet.

You felt a snap in your core and screamed out, feeling the cooling touch of a shadow stroking you off as you came intensely, more cum filling you up while Macaque and Wukong pressed against you.

The three of you panted intensely, shadow tentacles releasing you gently onto the couch while cum poured out of you. The two monkeys seemed barely phased, sweat being their only marker for any sort of exertion. They grinned down at you, kneeling down by the couch to hum their praises while they cleaned you up gently.

“You did so well for us.”

“What a good boy.”

You drifted off into a blissful slumber, your lower half practically numb yet shaking at the same time as the sounds of quiet cleaning sang you to sleep.

[aaatsuuu]

Deidara has definitely drawn all of the Akatsuki members at least once.

Tags: self explanatory, Deidara being an art and anatomy nerd lol

He definitely has a sketchbook, no question. I feel like he's drawn each Akatsuki member at least once, not necessarily because he likes them, but it's more just an artistic challenge for him. He would totally either do small portrait sketches or a full-body sketch just because. Most of the time, he'd do it when bored, or if he just wants an "out of memory" challenge. Here's how many times I think he'd draw a member/how he drew them:

Sasori: At least 3 times. At least. I feel like he definitely likes the anatomy of his puppets, but he would never truly admit it as he'd be like, "Hmph! My art is much more beautiful!" Or something, LOL. He's definitely and probably only drawn full-body, just a layout of Sasori's anatomy.

Kakuzu: Like twice. He would probably be curious about his tentacles and how they run through his body and his 5 hearts. One would probably be a portrait of Kakuzu's face, primarily focused on the stitches of his mouth and how his thread comes out of it. Another would be a full-body, showcasing his tentacle-like threads coming out of his stitches as well.

Hidan: Once. Nothing really too interesting about him beyond his skeletal markings. I feel like it'd just be a portrait of his face when he has the Jashin markings on him. (I seriously don't know what to call them besides that😭 you know, the state his skin gets after he licks blood smh)

Itachi: Once and reluctantly. He only drew a rough sketch of his face just to test his memory and practice. He ended up stabbing and ripping the paper with his pencil smh.

Pain: Honestly... I'm not sure. It's definitely more than once, though. I'm not sure if he'd draw all six paths, but he definitely drew the Deva path (Yahiko). I think it would be a full-body drawing, just focused on his chakra rods.

Konan: More than twice. I feel like he thinks her paper wings could be artistic, so he probably drew a full-body initially. For the second time, I dunno why, but I feel like he'd gift a small portrait sketch to her just cus. Idk, it's a hunch lol

Kisame: Twice, portrait only. Deidara is probably interested in his shark-like features or something like that.

Zetsu: More than thrice. Mostly because of the two halves/bodies, and also because he's fascinated by his plant structure. Always full-body, beside one sketch of his face with both halves present.

Tobi: Once, and it's a shitty doodle portrait, LOL. Tobi definitely harassed him to do it. "Ohhh, come on, please, senpaiii!?~ Make me look good, okay?~" Tobi would say as he's like pretending to curl his hair with his finger. LMAO.

[iobsesswaytoomuch]

okay… can someone please help me? Preferably a more or less experienced artist? :3

I’d really like to learn perspective (and posing and literally everything but one thing at a time lol), and I’m trying to practice it. I’ve always wanted to draw something like this, but I don’t think it looks right and I’m not sure how to fix it and portray what I want to.

Very rough sketch, but… does anyone have any advice? I’d really like to make it look like Mikey is bending backwards kinda facing towards the person looking at it, with his arms stretched out, above a city or something, but I’m not sure how to get the anatomy or proportions right (especially the arms).

Hopefully you can see the vision? Anyway, if anyone has any advice, I’d be happy to hear it! ^^ (no pressure, obviously)

[barbatusart]

how do you make your art so expressive and fluid-looking? do you have a technique or is it just how you've trained your hand? I try to get my figures more fluid but they always look so stiff! even practicing figure drawings...maybe because you draw so fast that helps? idk man...any advice? thank you!

thank you first off for such a compliment!!! fluidity & shape are the things i prize most in visual art to the point where ive given up gunning for "correctness" in favor of chasing the preservation of motion lol. gonna put my response and my Full Visual Art Journey to where i am now under the cut as it's an image-heavy one and a bit long winded (shocking for me to be long winded i know LOL)

so i absolutely used to have the exact same problem many years ago of my stuff being too stiff, ie my sketch would be loose and fun but my inks would be nervous & tight & not as fun to look at as the sketch

this is a super old thing from 2011 when i was still on my anatomy journey (you can tell cus the sternum and nose are, uh, interesting LOL) but you can kinda see what i mean - the sketch underneath is fun & has movement as sketches do, but these little fineliner inks are so visually Nervous. the issue for me at the time was that i was subconsciously exactly that: nervous of messing the picture up, and that fear of making a mistake telegraphed loud & clear to my inks. using fineliner tools 100% did not help me either, as microns & the like have little to no "give" to them; you put the pen to paper and you get what you get, and you have to sit there & meticulously build the line up to get any kind of lineweight.

i was ultra dissatisfied with my output so i made 2 changes a few years after this: i stopped doing pencil sketches and started just doing straight inks, and i swapped to a brushpen

these are from 2012 or so & some of the first things i did in straight brushpen inks with no pencil, and theyre a total mess but they are LOOSE AND FUN! i had 100% no idea what i was doing with the brushpen and had no control over it because i was so used to the thin lines pencil & microns gave me, so everything i made was sloppy & out of control as i was struggling to keep control of the tool, but honestly it was absolutely freeing for me. now i had the looseness of the sketch right there at the forefront. the issue was though, how could i get enough control of the brushpen to make something that wasnt so messy? even if i had freedom, if i got too wacky with it, itd just turn into a black ink mess. i was completely done with pencils at this point and didn't want to go back & risk losing this looseness & freedom, and then i realized like - what if i just do my straight ink sketch like this & then figure out a way to go back in & "carve" into it to clean it?

enter the next tool in the arsenal, the white gel pen. this was my first experiment with it & it was legitimately a complete game changer, because now i could slop on my inks as much as i wanted & go right back in with the gel pen & literally carve out the black lines to as crisp as i pleased while still preserving the motion & energy of the ink sketch. i noticed even with tons of layers of gel too there was no way to fully get rid of the ghost outline of my corrections, so at this stage i leaned into that quality even harder & changed from white paper to exclusively brown

at this point i wanted to showcase loud & clear to myself exactly what i was cleaning up, i LOVED how this looked. i even went a step further & got some really translucent red ink for a second brush pen (had to fill the cartridges with the red ink manually in the sink lol) so i could do an even sloppier red sketch underneath, half precise slop on black ink on top of it, clean it up with the gel, go back in with the black, forever and ever and ever

and like this was an absolute physical mess of material but it was beyond fun. id completely given up on anything being clean or correct, because i could always clean it & correct it & have a blast showcasing the journey of start to finish as preserved in the materials. i basically gave myself permission to like, be imperfect, treat inks like clay, & draw with complete abandon like a kid again

eventually utrecht stopped making the kind of brown paper i loved (these brown paper books were HEAVY DUTY & could take so much punishment, when i was done with a book id legit flip it over & start drawing on the backs of the pages) & then all the available material physically couldnt handle the amount of medium i was putting on my pages, like legit the paper itself was just ripping & dissolving lmao. so at this stage i got an ipad (i could never wrap my head around a tablet & not looking at my hand and the tool touching the artwork) & pivoted from trad to digital in like uhhhh 2018ish & just did the exact same techniques of slopping inks down, carving with the eraser, going back in with the inks, carving more with the eraser, and so on. and now since it was digital & i never had to worry about my paper literally melting underneath my brushes LOL i could just go forever on one thing

early attempts while learning the new medium in my fury road era

tail end of the SAD SACK roughs in like 2019ish (SAD SACK really was what got me locked in with my digital technique & how i wanted to attack it)

tail end of the SORTIE roughs from like 2021, at this stage i think my style got so fuckin crazy because i wasnt worried about my pages getting destroyed anymore so im like Violent with the ipad lmao, that & it got Really fast bcus since i wasnt bothering with correct anymore & had no medium-being-destroyed barrier i could just gunshot-speed get these down

and then most recently DE RERUM NATURA from like january of this year which i think showcases what im currently doing pretty accurately

this got long whoops lol POINT IS: i dont worry about being correct (because i can fix it later), i dont worry about being neat (because i can clean it later), and i skip the sketch stage entirely by slop-inking & eraser-carving interchangeably, which lets me fix and clean all i want while preserving the energy & action of the first marks. plus, going straight inks all the time i think trained my hand & eye to A. put down the marks i want correctly in the General Space of where i want them, and B. do it faster & faster lol

after all this my advice to you is this: swap to a new tool! try a brush, try paint, try a medium you have no control over but something that forces you to improvise and remember whats so fun in the first place about making a mess on your canvas of choice. remember that any mark you make, you can tweak, fix, carve, shove around, whatever. i think a lot of people get stuck in the rules they have set for themselves with art (i know i did!) and we tend to forget that there are no rules. try & remember that feeling of being little & just going wild on paper without any care whatsoever about being Right. go for it, because you can always tweak it - even inks arent permanent 🤓

[kidovna]

Sorry if it's been asked already (I always ask this to people with really cool artstyles so I mightve asked you myself already and straight up forgot LOL) but I was wondering, do you have any advice/tips/tutorials for drawing full bodies?

I just think you have a really cool artstyle and ive always struggled making fanart (other than semi-realistic screencap redraws) because I still have to learn how to stylise full bodies😅 (faces too but those im a bit better at).

Anyway, ive also been following u since your scorbus era and it's been so cool to see all the growth and different fandoms youve gone through! (I myself am a big byler🫡).

Sorry this is long, have a nice day/night🥰 and feel free to ignore this if you want, no worries!

answering both of this together because i feel like my answer is going to be similar to both of them:

keep live/quick sketching people and poses! it’s a fantastic way to practice anatomy and when you speed up your process, it helps you figure out how full bodies look in your style because it’s your immediate instinct to draw a certain way! you don’t even need a live model to pose for you. the internet is full of incredible images and stock photos that are always fun to sketch. If you’d like a place to start, Adorka Stock is a deviant art page full of stock references made for artists.

I’m always and forever an advocate for quick sketching because when I started doing live sketches about a year ago they looked like this:

And these are my sketches from a couple of months ago:

The difference may not be massive to most people but I feel like my grasp on anatomy AND my line weight has improved drastically since. I feel more confident going into a piece knowing what the poses are going to be like in my head.

Apart from that, it’s normally widely accepted to reference poses for your art as long as you’re not tracing over someone else’s work. my favourite thing to do is self reference with photos or a mirror because then i can get exactly the pose that i want.

I hope this helped!

[merryspark]

Sneak-peak Time!

The Crosshairs-Scene based on an animation I watched recently (you can find my reference at: 5:00!!

The amazing animation showreel of the students of AnimSchool (they are crazy talanted, I bet they gonna have fantastic job offers from well known animation studios! <33) - my poor ass was never able to use 3D animation programmes... TuT

So the guy in the video reminds me so much about Crosshairs, and in the very past @velvetblackjack shared so many amazing infos about how Optimus Prime recruited Crosshairs into his team, it seemed perfect to sketch up my version How It Could Have Happened! :D :D Big cheers for you Sis from the distance! I hope you're doing well, HANG ON, SOON IT'S X-MAS! So.... IT'S BEGINNING TO LOOK A LOT(!) LIKE CHRISTMAS:

I just got the mood, and this is an old idea of mine. It was about time to draw it. ;)

Of course, still with incorrect anatomy, but I guess U got used to it. XD

Drift practice sketch - I have not drawn the blue samurai since ages, so when i saw some awesome eye-reference i wanted to try, drew his face around the eye, lol. I tried to drop some shadows aswell. It was really just a crappy little fast sketch. :)

Work still in progress:

- 2 versions of Barricade;

- BeeFormers sticker sheet - I planned it as a X-MAS gift for my followers, but I had some issues/rework for the Printing Press, sou until you have to wait, make sure you PM me in advance to sign up for a sheet of supercute stickers!! (with address of course :>)

More importantly i must ask for everyone's patience, because meanwhile i'm trying to find a new job without success so far....

I don't wish to disappoint my Ask Box applicants, because they have to wait extremely long, but this year was a mess for me since the summer began. Iamworkingreallyhardtocatchupwitheverything.

I LOVE YOU ALL SWEET BISCUITS, and one thing you can bet: i will be ALWAYS HERENFOR YOU!!

None of my personal problems can be that big, to not to be able to make you smile ANYTIME! <33333

Thank you for followingvme, for liking my art, and reblogging my crappy little drawings all the time. uwu YOU ARE WONDERFUL and AMAZING PEOPLE!!!! <33

Hugs!!! :D :D