#i'm trying something with the lineart... i think it looks nice

[antonyansu]

smile smile~

[7squidgy7]

✧.*100 follower celebration type thing*.✧

So, to celebrate 100 followers on tumblr, I decided to draw some fanart for people. This community is so sweet. Every one of these artists has inspired me in some way.

I'm really sorry for those I haven't made art for. I may make a part 2 one day for those I missed. Who knows.

This was a really nice way to try out different art styles while mixing them with my own.

Apologies for all the link later on. Want to explain the creative process a bit for those interested cause I put way too much effort into it to not mention.

Close ups below cut:

@donutfloats

Your arts so cute and soft, I love it. You have a great way of just expressing love through your art.

I was inspired by 2 of your pieces for this, the main one being the 3rd image for this post. The lambs dress is so pretty, I just knew I wanted to draw it flowy and dancing, and the second image I used is this post for the rendering style.

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@aniimoni

I really like your artstyle. The monochrome colours are delightful, as with the way you do lineart. while making this, I was thinking this is the perfect style to meld with mine.

I was inspired a lot by the axe and hammer drawings in this post. As a hammer lover, I decided to combine the 2 together.

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@teruuu

Something about your style is mischevios. Your rendering and lineart are just wonderful as well. You have a very distinctive style that matches mine quite well, i think.

I feel compulsion of the flesh Lamb and Narinder would give each other kisses on the hand but take a bite at the same time. They freaky like that. Based my rendering around this post and the previous draw you character here, I did. These are fun designs to draw.

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@poopylumpkins

I really like your vampire au something about it really spoke to me as a afab non-binary.

Lamb deserves to wear their own clothes and something about narinder helping with their makeup convinces me he'll help out.

if you're curious, i colour picked the background and shading from this post

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@olrinarts

This was a really fun style to draw. Something about how you draw these 2 is delightful. Love yuri narinder's eyes in particular.

Rock god yuri. What more can I say these are really good designs. Showed them to my friend, and they loved them.

Decided to have them dueting, while Narinder can't sing lamb can always pick up that role.

Used this post for the background and shading colours, and this is a kinda basis for the pose.

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@redcrowncafe

Really love you fic and art. I like to see the fic brought to reality through all the comics and art, which has a very pleasing look to the eye.

I have never struggled so much with an art style, fun challenge, but very different to my own.

Wanted to draw their Halloween costumes from this post. Lambert would definitely get too into the vampire costume and bite Nari at some point probably.

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@joffyworld

Just wanna say thank you so much for the reblogs and kind words. It gives me a lot of confidence in my work and is a genuine brightness in my day.

I wasn't sure what to draw you, so I thought I'd just show you a pic of my new one who waits figurine, that arrived recently. Its a little weird, I think an earlier design but cool none the less.

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[rnbwtrout]

My Watercolor Process

Thank you for 1000 notes!!!

As promised here's a post on how I made this painting and the materials I use (⁠.⁠ ⁠❛⁠ ⁠ᴗ⁠ ⁠❛⁠.⁠)

Also commissions are still open!!! If you have ideas I will help you bring them to life <3 Please see my pinned post!!

Process info under the cut vvvvv

First some materials!

Line art: I use Sakura Pigma Micron pens for line art. The ink in these pens are waterproof after they dry, which is very nice if you want clean line art. Usually I do my line art with a 005 size tip, and then I come back through and thicken lines and add shadows with a 03 size and brush tip. I'm still learning new ways to do lineart, but this is my current go-to.

Paints: I use Windsor and Newton paints. I haven't really tried others, and I have a few mixed feelings about some of the colors and how well they mix with others... Especially cuz this was an expensive set. Thinking about trying a new brand eventually but that's what I'm using for now!

If I'm doing a bigger project I usually brainstorm it first in my normal sketchbook. Here's the brainstorm for this one. Sometimes I feel like certain aspects of the initial sketch look better than the final piece, haha. After this I normally will free hand redraw it onto watercolor paper, I don't like to trace things over. Then I'll do the line art, allow the ink to dry entirely, and erase the pencil underneath

If I'm doing a big or complex background normally I'll lay down some masking fluid. This essentially seals the paper in some rubber so no water or color gets in, and then you can rub it off when you're done with the background. My masking fluid is really old and nasty so it's hard for me to get clean edges with it, but it does the job well enough!

Something really important to watercolor if you want vibrant colors: layering or using less water! In this case I did layering. Here is a side by side of Laios and Marcille with one layer of paint vs. two layers. The important thing when it comes to layering watercolors is to allow the first layer to dry completely before the second. Otherwise the paint may create strange textures and uneven color.

Something else important to creating vibrant colors with watercolor: taking risk with shadows!! On a whim I chose blue to use for shadows on the Lion's wings. You can really see the difference in visual impact between the blue shaded and unshaded wing. Generally speaking it's recommended to do shadows using blue or purple in watercolor, but I find this isn't always a solid rule. Sometimes it depends on what your base color is and what kind of impact you want. It's taken quite a bit of trial and error to figure out what looks good for me, and even then I'm still out here guessing.

I hit my image limit so I'll cut it off here! If you have any questions feel free to ask (:

[parisoonic]

I just want to say I love how you do your lineart, it looks so good! ahhhhhhhh!!

I'm gathering a lot of advice about the topic of lineart and I just wanna know how you get it to look like that? My line weight is getting better but the drawing itself just comes out a bit.. weird.

Thank you so much! Lineart is probably the thing I've been working hardest on as I am not a lineartist (and still struggle a lot) but it's something I really need to get better at for my job. UM there's honestly so much that could be said on the topic of lineart. Big things for me are:

Weight -> Use line weight (aka thickness) to describe form, lighting, contact and scale. Thick lines imply shadow, contact and nearness-to-camera. Thin lines imply tension, recession and light.

Straights vs Curves -> Use straight lines against curved ones for maximum interest. This is partly a character design thing but as we're using lines to describe our characters it's worth mentioning :)

Complex vx Simple -> Use complex lines against simple. Faces are always complex so therefore the backs of heads should always be simple. Chests are quite complex so backs should be simple. Dorsal sides of the arms are complex (Delt, tricep, bicep) whilst the ventral side is more simple (tricep...mainly) etc.

'Think in Ink' -> Lower your sketch layer almost to 0% opacity so you're not getting hung up on how nice/energetic your sketch look and instead are approaching the piece from an ink mindset. BUT it's digital! So if there's something in your sketch that you like just bring it forward (copy and paste) into your ink layer. I sketch and ink with the same brush so I can use this workflow

'Confidence' -> small hesitant feathery lines will look nervous compared to big swooping lines. Less is always more. I'll redraw arms/limbs until I can get the appearance that it was done in one brush stroke. Again it's digital so you can erase to cheat this look : )

MISC 01: I always hear 'draw from the shoulder'........meh............it's digital so draw from your wrist...it's fine honestly. If we were working at A1 in a life drawing class then we could get some shoulder action going but most of us are hunched over 16inch tablets. I think this advice aims to pull people away from feathery-nervous lineart honestly which you can improve on without relearning how to draw from your shoulder.

MISC 02: For a 'smoother' look do your lineart at a larger canvas size than you need. Once I'm happy with a sketch I usually double the canvas size and do my lineart then.

MISC 03: In PS (at least) anti-aliasing goes funny at any zoom level that isn't in the 5 times table. So try not to look at your canvas when you're zoomed in to 87% or 71.39% or something crazy. Just stick to 25%, 50%, 75% and 100% if possible.

UNFORTUNATE TRUTH: Lineart is incredibly based on raw draughtmanship I've discovered. When you're working with colour you can hide a lot in rendering (shadows, highlights) or post-processing (depth of field) but in lineart all your mistakes are just...there for people to see. There's ways round this...which I use A LOT. 'Flourishes' (I use 'flourishes' to mean over-confident lineart where it veers particuarly thick or particuarly thin in contrast to your approach in the rest of the image) can sort of trick people into thinking you're more confident about an area than you actually are.

As well as leaving 'breathing room' within your lineart instead of actually...resolving the area. I do this the most around the face and hands.

Hopefully some of this helps? Honestly there's a lot of deep dives that could be done into indivudal things and there's also the massive caveat that all of these are 'guidelines' and not strict rules. I also favour a more...concept-arty? animation-y? storyboard-y? look to my lineart which favours flourishes and breathing room for a incomplete/work-in-progress feel which would make methodical colouring (ie: for a comic or something) a pain.

Keep up pratice is the main thing and doing studies of artists who you like that have great lineart - you'll pick up draughtmanship skills along with the lineart studies. Here's some of my lineart from a year or two ago...it varies between very 'standardised' (which makes it difficult to read volumes and to be honest, it's boring) and 'TOO EXCITING' (which...also makes it difficult to read volumes and for the eye to rest).

I'd like to share my brushes at some point as I've found 3 that I really like and use for everything more or less. I discovered that a shocking low amount of people use PS on tumblr (shocking to me I guess as i'm so used to PS being the standard) and everyone seems to use Procreate or Clip Studio Pro...so I want to check that the brushes are Procreate compatible at least before I share!

[kokoasci]

I LOVE YOUR ART!! <3

I'm sorry if this bothers you but is there any tut for lineart?

Have a nice day!

hello!! no there isnt, but i can talk about it quickly!

Let's talk about how I did the lines for this dazai drawing below:

I acutally don't do lineart, I just clean the sketch 😭 All my lines/sketches are done using the regular hard airbrush and just erase using that same brush to create different line widths.

First, let's talk about pen pressure and line width. To create depth, I like to make certain parts of the lineart "heavier" in pen pressure:

You can see in the lineart above that stuff like where the hair meets other roots, creases in the jacket, etc. all are heavily lined, while other stuff is left more detailed. I think it helps draw the eye in to parts you want to focus on?? just something I've picked up from habit and i liked it so i kept doing it hahsdh

I usually just start with a really rough anatomy sketch, and make a new layer to start the actual drawing:

Looks nothing like the finished drawing (or my usual style), right?? And like, yeah that's normal, at least for me. I approach lineart as a way to refine something I've drawn into my own style, it doesn't just like. pop straight out as soon as I start doing lines 😭 (also probably why my art looks so inconsistent lmao)

Then from there I refine the sketch! Because of this, I'm working all on one layer, by erasing and redrawing portions of the sketch using that like pen pressure variation technique:

Usually I just make a mental note of how something looks, erase it, and redraw it. At this point I'll also start adding more detail or fixing posture/anatomy etc. as I go to make something closer to what I want.

Eventually this refines into what you see as the final lines!! Because this process is probably not the best. it takes me a long time to sketch, but I actually really like cleaning the lines! I find it refreshing to put so much detail in them :D

This is probably an incredibly wrong process in professional work, but I'm self taught and this is just what I enjoy doing :D I wouldn't recommend really doing this if you're trying to sketch quickly, but it's just what works best for me!

Happy sketching!

[mimicmockingbirds]

OK, but hear me out

Say Ride the Cyclone were to be adapted into a film; imagine how much fun it would be to see it animated.

Because for the main plot, like the intro song and the mostly dialogue scenes in limbo, you could easily do a stylistic, but still grounded in realism style that a lot of modern animated projects are doing right now (think Arcane or Into the Spider Verse). But once each of the kids go into their respective songs/fantasies for what their life could have been? What if those were done in completely different styles?? Imagine the additional, visual storytelling that would tell about who they are as characters?

Like say, for Ocean's number, WTWN, everything became more simplified, and the characters (especially Ocean herself) turned into a more rounded, chibi-like style to enhance just how cutesy and likeable she's trying to portray herself throughout that number.

Or for Noel's Lament, everything goes black and white, and the characters become even more 2D stylized, and the film scales down to a smaller millimeter frame, more reminiscent of cartoons from the early 20's, when animation was just starting out, to enhance his idealization of "the olden days" (as Ocean puts it).

Mischa's song, This Song is Awesome could be animated with a more choppy frame rate, and the character designs turn a little more jagged around the edges, kind of like animated music videos (I'm thinking a Gorillaz band vibe). But as he transitions into singing about Talia, the colors start to bleed out over their lineart, and become more paint-like and Talia herself moves like a rotoscoped character (think Loving, Vincent that came out a few years ago) to enhance the sense that she's somewhere between a real person and a fantasy Mischa's built in his mind.

Ricky's song would, of course, be stylized after those sci-fi cartoons from the 90's, like X-Men or Captain Planet.

For the Ballad of Jane Doe, I would love to see something like what Wolfwalkers did back in 2020, where most of the characters (in this case, the other kids) are for the most part, animated like traditional, 2D characters with very clean lines and neat movements, whereas Jane herself stands out for having messier, sketchy line art, and looks more and more unfinished in her animation as the song goes on, because she can feel more and more of her own identity being lost.

Constance's Sugar Cloud I could see done in the classic 2D Disney style (i.e., the Renaissance era of Disney, like the Lion King or Little Mermaid days) because not only is it really smooth and colorful and just all around nice to look at, but it reminds the average moviegoer of their childhood growing up with those movies (among others, obviously), which ties in nicely with Constance's preceding monologue about remembering her own life, and the good that came with the bad.

I'm even tempted to envision the first half of the finale song in a different style, when the stage production would show a quick projection of Jane/Penny's life after she returned to the world of the living. Imagine watching this animated film, and for that segment alone, it becomes that really hyper-realistic, almost uncanny valley CGI animation style, to show that she really has joined the world of the living, i.e. our world, among us, the living breathing movie goers watching this, and watching the other kids still in limbo fade back to that main art style for the final number.

I don't know; it just feels like something that would be so engaging to see from an already compelling storyline and characters. Especially with more experimental animation projects on the rise right now

[greypetrel]

Crisp those Lines!

Or: a small collection of suggestions for a crispy, neat lineart.

SO MANY OF YOU ASKED FOR THIS (it feels absurd to say, yes), so here you go.

A premise: there's no right or wrong way of inking, and some of the following tips entirely depend on the type of inking I do. Which is neat and clean, with no blacks, and moreover: digitally. More under the cut because it's gonna be long and full of explanatory pictures. Here's an example:

SOFTWARES AND BRUSHES:

Let's address the elephant in the room: Photoshop SUCKS for inking and linework. The stabilisation of the brush there is SHIT. Good for colouring and painting and doing photobashing, but for Lineart you want it to be precise. Do yourself a favour and don't use Photoshop. I generally use Clip Studio Paint, but i have to say that the best program for it that I've tried keeps being Paint Tool SAI 2. It has few functions, it's true, and I use CSP because it has more instruments. But if you don't want to pay much, SAI is incredible as for brush rendition and stabilisation.

As for the brush: you don't need a fancy brush, anything in your software will go. What I use and what works best tho must have:

Tapered start and end.

High stabilisation (I go from 60 upward, lower it down for trees and grass or anything more natural that needs to be less neat and flowy)

Low tapering.

It must be set so that pressure controls only the dimension. The more you push on your pen, the bigger the line gets. No colour or opaciy variation!

On Clip Studio Paint, I use the G-Pen in the program. It's good as it is, but I think I did some variations as per here:

FILE DIMENSIONS:Better work larger and then resize down. Sizing files up digitally is possible, but it leads to unfocused images. I generally work on files at 600dpi (300 is fine too, but don't go any lower. Particularly if that's something you want to print later on, any printing wants a minimum of 300dpi). in roughly an A3 format (bigger dimension is 43cm). Most pictures I upload here are 6000x5000 pixel. A bigger file will give you more possibilities with brush sizes, and it'll be easier. Remember: digitally, sizing down is ok, sizing up is not something you should do.

SKETCH:

This is the suggestion I should follow but never do. Having a clean, polished sketch simplifies your life A LOT. This is because if you don't have to worry about drawing details and fixing the anatomy of your drawing during the lineart, and doing it so GOOD because it's the lineart... You'll go that much slower and your life will be more complicated (it's not impossible, my sketches usually are very rough. I am ok with it, the most I do drawing wise is during the lineart... But I'm lazy, don't do like me. A good sketch will help you out.) Compare the two sketches below:

Another note about your sketch layer: you know those memes that complains that the sketch looks good but when you hide it the lineart is shitty? That's easily solvable. When you're inking, lower the opacity of the sketch layer down, A LOT. I generally go for a 30 or 40% opacity (depending on the colour of the sketch. the yellow sketch will go around 40% because it's less visible, the purple one lower).

When you're inking, you MUST see clearly the lineart you're doing. If the sketch isn't contrasting enough, you won't see clearly what you're doing... It's like trying to sketch with a dim light, not seeing the paper clearly. See the difference:

BEFORE YOU START:

You probably have read it everywhere, but it bears repeating: warm up your hand. You're using muscles and for more than five minutes. The warmer they are, the firmer your hand is, the easier it gets controlling your lines. It also prevents you from damaging your wrist. Stretching is also great, and grippers are nice to have. Keep your hand fit!

As for warming up: I usually do some calligraphy exercises, practicing on flowy cursives. You want to practice varying the pressure of your lines in a single trait, hence why calligraphy is good. But generally, what you can do is...

PRESSURE VARIATION AND LONG LINES:

So. My main tip and trick is to vary the pressure of your lines. In the same line, and between different details. This will help making the lineart more dynamic and interesting. A note: this works for semi-realistic styles. If your goal is obtaining a Cartoon Network style: they have generally little to no variation and it works. My suggestion would be to study the kind of style and effect you want to obtain, different styles will work best with different linearts. If you're aiming at hyperrealistic painting, there's no point in spending time over a lineart, for example, I inked the same lineart, but with a brush that doesn't vary it's dimensions with pressure, and not changing the dimension of the brush.

What makes my linearts look "flowy" and "neat" is the fact that I tend to draw less lines and longer, and pay attention when I stop, to start the line where I end it. This will give the impression of one continuous, single line, and make everything more fluid. See above in the french hood: on the right, I left the line rough on purpose, you can see where I stopped and started again. On the left, where I took care of it, you can't.

Generally speaking:

Thick, dark lines communicate that the object is close to the viewer (always keep the viewer in mind!) or in shadow. Lines should be thicker on the outside of your objects, to separate two planes, and in stuff closer to you.

Thin lines are delicate, they should be used in the background, for small details (see the hair, the lips, the small wrinkles around her eyes.)

As for line continuity: in both cases, the line of her face is one single line I drew. This can be obtained with a smooth result, particularly in curved lines, by getting the brush stabilisation on higher settings (80-100): sacrifice speed for accuracy.

MORE IS MORE, WHEN IT COMES TO LEVELS:

Particularly when there are two objects intersecating, or more characters interacting… Instead of inking all on the same level, I always do one level for each object, trace the WHOLE line as if there was nothing above, and then erase where it's not shown. This is a little thing, but pays off. Always in the drawing of above, the feather and the hem of the bodice were on separate layers, and then I erased the bodice under the feather. Take advantage of being inking digitally and not traditionally!

For many characters, here's an example of a vignette of a comic page before cleaning it up and erasing. Every single character and the weapons are on separate layers

For this it's very useful knowing your recurring mistakes. For example, I tend to draw heads bigger than they should. I know I do, so generally I keep the head on its own level, and the body on another, so it's easier to modify and size down just the head without getting crazy selecting only the lines you want with the lazo.

Again, you're inking digitally. It's not easier than traditionally necessarily, take full advantage of your instrument!

OTHER TIPS AND TRICKS:

High brush stabilisation sacrifices speed for accuracy. The line will lag a little from your cursor. Get used to watching the cursor and not the line, and trust that the line will follow.

GO SLOW.

Rotate and flip the canvas. Don't ask me why, but tracing long lines towards me is always easier than not the other way around.

Use the Free Transform, Warp, Distort etc etc and the Liquify to your heart's content if you notice the lineart has something wrong. The only cheating in art is using fucking AI generators (and AI pictures are not art, sorry not sorry)

References are your friends. Study how an artist you like does the lineart. Try and imitate them, and if you can and need to post them: tag them! (don't trace and sell it as your own)

Experiment with brushes, find one that you like for the effect you'd love. You do you, there's no right or wrong way of inking.

Remember to breathe when you trace those lines! (and to drink and do pauses and stretch, you don't want a tendonitis!)

Have fun. Lineart is not evil, lineart is your friend!

I hope this essay is exhaustive enough. I'm tagging ALL THE PEOPLE that requested it (and giving each of you a muffin). @ndostairlyrium @narina-gnagno @salsedine @whimsyswastry @layalu @n7viper

If you have any questions, don't hesitate in asking!

[minas-linkverse]

Do you have any tips or tricks on how to start a comic like this? Or even just how you got started?? I've had my own au for years that I so badly wanna put out into the world but I've been struggling with finding a good way to start it!!!!

Hm!! Ok!! This is a tough question with many different answers even just from me. I'll do my best to answer tho!! 😮

The main bit of advice I want to give, and which I think is vital to anyone creating anything:

☆ Know yourself.

When looking up advice for creating, people love to tell you that by doing things a specific way is the best and only way to go. Often advice of this sort has solid points, you should plan ahead, you should have easy character designs, buut... You don't have to.

I do not work well with outlines or scripts. I dislike sketching. You'd think that'd make being a long form comic artist impossible for me, but nope.

I know theres things I cannot do, so I've put all my practise to what I can do. My lineart style allows me to almost skip sketching completely, my scripts are more of an A to B structure than law. I improv 90% of the time when making pages. It's kinda like dnd with myself.

I would absolutely not reccomend what I'm doing to others, but I know it works for me. People can tell me I'm doing it wrong but its either wrong or no comic at all, SO. Suck it. 👍

Er. Rambling now.

My point is, figure out what you can and cant do, and do your best to give yourself the ideal work enviorment and process.

☆ Deal with being overwhelmed

Making just a few panels and suddenly realising its gonna take years to get anywhere is SO demoralising. It's gonna happen and its gonna happen again, and again, and—

But continuing with the earlier advice, you gotta ask yourself what would help you. Are you willing to sacrifice quality? Do you just need a break? Maybe you're like me and like to include smth you love in every update so you'll have something to get excited about making.

That feeling of overwhelm is trying to tell you something, so figure out what that is so it wont end the project for you.

☆ Start it

You wont like what you make when starting. I've never heard of an artist who has.

I'm not saying start this instant, not everyone is as into improv and flailing around as me. But I will say you'll never feel ready. Figure out the minimun of what you need to start and do it. Show friends first if youre afraid to post.

Also where to start? Well sure there's lots of good advice online about that, but you can also just doodle random stuff until you feel like diving deeper. That's what LV started with, just Twi and Wild hanging out with animals and some headcanons. It may not be the most tightly written work but theres beauty in the humanity of a mess.

☆ Extras

A "failed project" or "forgotten WIP" is only a failure if you let yourself feel that way. Yea it can be a hauntingly strong feeling thats hard to deal with... But it can be beaten. WIPS are proof you tried and not everyone can say they have.

Lv is far from done and I have no intention of dropping it, but because the journey has been so nice I'd satisfied even if I had to call it here. Its smth that helps me with the overwhelm... What I've made is beautiful even now.

Comparing yourself to others is gonna rip your heart out. I love that theres other links meet aus out there and hope the best for those artists but I caNNot follow any of them or I'll crumble to dust.

So Uhm.

Basically. Have fun and be yourself. 👍

Ps. Readability is basically the most important thing for a comic artist to pay attention to, that and not destroying yourself with details and rendering. 🙌 Good luck out there!

[bonsiii-art]

hello!! I’m the one who asked about the anatomy (idk how to reply to asks and stuff)

basically I know some artists use anatomy for their drawings so I was asking if you also used anatomy for your cookie run drawings and what would that usually look like for you?

something like this vv

hopefully I’m making sense 🙃

OH, you mean like how do my sketches look! ...I think? (´･ω･`)? You can correct me if I'm wrong asdfghj But if I'm right on the money, here's my sketches for the langue de chat comic, one of the roguefort panels, and a drawing I made for my friend on new years :P

I've been using this brush nowadays to sketch since it has a similar feel to the brush I've been using to line :D For simple sketches like the first part of the langue comic, I tried to keep it fast and simple whereas the second part of the comic, I take more time to make sure it looks right! It's because that part is, what i refer to as, the "money shot". It's the one people are gonna look at the most so I gotta make sure it looks nice, y'know what I'm saying?

The above examples are just one sketch to lineart drawings, however. Sometimes I do another sketch to make thing clearer to me and closer to what I'm trying to get the drawing to look when I line. I do this all time with commissions such as this one! The one on the left is the first concept and the one on the right is the second one that I sent to the client to approve.

Hope this answers your question! uwu

[adobe-outdesign]

thoughts on the skeith? or elephante? whichever isn't in your queue yet

(The Skeith review can be found here.)

Ironically, despite its incredibly original name, the Elephante is actually not just a regular elephant; it's bipedal, it has small semi-vestigal wings/a fluffy tail, and it has a fancy headpiece with a gemstone in it. I'm not always big on "default" clothing on Neopets, but the hats here actually look pretty nice and are passable as fancy jewelry that anthro characters could potentially wear.

Color-wise, the default Elephante colours are mostly solid, though the toenails, hats, and tail break things up a bit. I do wish the default colours had more cohesion—like the gemstones matching the base color instead of always being red—and the pink snout feels ever-so-slightly out of place, but otherwise they look fine.

Elephantes definitely benefited from customization. Their lineart was cleaned up considerably, which helped fix some of the jankier elements like the wings and legs. Another big benefit of customization is the ability to remove the default clothing, which is always appreciated.

I also like the change in expression—the old Elephantes always felt a bit weird, like they burned down the house while you were gone and now they're trying to act normal while they figure out how to break the news to you.

Favorite Colours:

Relic: The relic Elephante just released earlier this year, and I gotta say, I really like it. The base is nicely shaded and textured with plenty of cracks, and it's then complimented by beautiful bronze metal accents. The body is also covered in leaves, which match the green of the eyes and hat, which are slightly lighter to make sure they pop. Great stuff. The base also looks great with just the little bit of bronze around the iris.

My only minor issue is that the amount of plants feels just a smidge too much. They are removable, but it's an all-or-nothing situation. I wish the ones on the body were separate from the ones on the base—especially because that could open non-relic Elephantes to wearing them.

Candy: Peppermint swirls aren't technically anything too fancy, but the sutble texturing here is great and really makes it look like hard candy. I also love how the stripes properly fit with and conform to the body shape, which is something a lot of Neopet colours forget to do. Also, the extra little peppermint in the hat is absolutely perfect.

Royal: Neopets evidently decided to take the "Indian elephant" idea to its logical conclusion by giving the royal Elephants things like sari wraps. Granted, I'm not sure what region India would be considered in Neopia, but hey, it's a fun concept and it looks beautiful. Between the two I think I like the royal girl more just for the palette, but both are solid.

UC/styled versions also exist. These versions obviously have more personality, but thankfully the converted designs are pretty spot-on save for the strange lack of fingernail polish.

BONUS: The zombie Elephante is shockingly gory for Neopets all things considered, only rivaled by the zombie Jubjub. Exposed skull, giant gaping wounds, stitches, ripped ears and wings—you name it. It looks fantastic and properly undead, and the whole thing is nicely drawn and shaded. It comes with clothing but the base itself is also solid (it's a bit strange that the skull is considered a wearable, but it's a play on the normal hats so I suppose that's why).

My only issue with it, and the reason it's a bonus, is that the expression is WAY too cheerful. The irises needed to be way smaller, less focused, or just plain missing, and the mouth looks too smile-ly. If it had a slightly more haunted expression it would've been perfect, but as is, it's still pretty good.

[amerricanartwork]

Current digital art process!

Acting on @shkika 's request because making my redraw for this post actually ended up giving me more confidence in my digital art process! As such, I'm gonna use it as a reference. And if this walkthrough of sorts turns out nice, I might do it again as my process evolves!

I started off with a quick sketch of sorts, trying to focus both on movement and volume, and get the general idea of where each element is located. I edit the image dimensions and placement of things a lot in this phase, as my ideas often tend to change once I actually begin drawing them. In this case, as I got it down, I decided I wanted it to look like some cheesy animal motivational poster, so that influenced where the text was.

From there, I began to clean and sometimes edit the sketch, mainly by thickening the lines to make the shapes more definite, and erasing what wasn't necessary and interfered with other parts. Volume is one of my biggest focuses in my drawings, so I try my best to get the volume of each character at least hinted at with the lines. This is something that will probably remain in my process for a while, as I quite dislike doing separate lineart and like the messy, sketchy feel anyway.

I also wanna mention, in addition to having references and such in other windows, I've recently begun having a second mini window of my current drawing off to the side so I can see what it looks like overall more easily, regardless of how much I zoom in on and flip the main window. It's quite helpful!

For reference, this is what the final sketch looked like:

Then, I went on to add the flat colors. Another tip: I almost always set my sketch layer to "Lumi & Shade" because I think it makes the line colors a lot richer, but since it's based on what colors are underneath, it colors the lines a lot more individually than changing the sketch color as a whole. Here's some comparison to a version without the effect (left):

Then, I add some shading using a (really nice) marker brush. This is honestly one of my favorite parts of the process, just trying to carve out all the volumes, especially since I usually use a pretty blue color for shadows!

Sometimes, I honestly just leave drawings finished at this step, because I adore the sketchy look so much, and because I really don't like the tediousness of more realistic rendering in the painting process; from what I've seen/experienced, it often involves having to basically paint the entire image over again, which I've realized I find REALLY boring (and is also why I clean the sketch instead of making a new lineart layer). As such, one of my hopes is to reach a point where I could almost completely avoid having to clean up the image in a traditional painting method, instead being able to lay down lines and colors so well that they convey nearly all the volume necessary on their own, still have that sketchy appeal, yet also look finished and professional.

Alas, I did do a bit of clean up on this image, but I think it still turned out alright!

Here's the finished drawing! I'll have to practice with this process a bit more to truly solidify it as my digital go-to, but nonetheless, I think this came out adorable! Thanks again shkika for the ask, and thanks to @mintscampi for the sweet prompt! I hope you guys like it!

[codemiracle]

I LOVE YOIR DRAWING. I WANT TO MARRU IT.

On a serious note, I really do love it! Everytime you post with a drawing I unconciously zoom in on every part, trying to analyze it. How do you make everyone look so handsome???

If it's allowed, would it be okay for me to ask on your drawing process? And I guessed your pen was the su cream on csp or at least something pencil like. And maybe you color with something similar to the round brush from procreate..? High chance I'm wrong though!

Again, sorry if the ask is too personal! It's okay if you don't want to answer, I just want you to know that your drawing is VERY cool!

Aww, you're too nice! Don't worry about it's not personal at all. Thank you for the kind words <3 It flatters me that you take your time to appreciate the details of my drawings :3 My drawing process it's really simple actually (bc I'm lazy lol). I usually don't... make lineart? I just use the sketch as my lineart lol, even in big, detailed drawings, I like the messy lines better. Next time if i have a step-by-step process I'll share it for sure! You were pretty close with your guesses actually, i use Clip Studio Paint and my lineart brush is this one:

Sadly, my coloring brushes have been deleted from the store since i downloaded them so I don't think I can share them with you, but you can just find any watercolor textured brush and that'll be fine! Hope this helps you hehe, thank you for asking so kindly! Have a great day <3

[nikoisme]

hi uh-

You seem to know how to render so I was wondering if you could possibly give me tips? :'>

Love your art btw it is 🤌🏻🤌🏻🤌🏻🤌🏻

Aaa thank you! Rendering is not something i consider myself particularly good at and i'm still trying to learn, but here's some things i picked up!

Shapes! Edges! Have a balance between smooth, nicely blended areas and really sharp and shaped areas

So imagine you're doing lineart or a sketch. Places where you would put lines (eg. cheekbones, wrinkles etc) are really good places to have some sharp edges. I like to make things smoother and more blended in places where there's more skin.

Undertones!! I color the entire thing in one color (i looove working with green and blue here, but i also play around with different colors as well) and then i build on from that.

DON'T ZOOM IN TOO MUCH. Focus on the big picture. Zoom out and see if the shapes are visible, if your picture is recognizable and doesn't look muddy. It's nice to have distinct light and shadows.

Block things out first and then do details later on. But you don't have to dwell on them too much, it's up to preference really! I usually find that my art looks really weird if i render too many details

Use references, see how light, shadows and colors interact! References are great i love them 10/10 no notes.

If you're rendering a face, know about the planes of the face. This will really help you out, also ties really nicely with the edges and shapes thing. Another thing i love to do is feel it out myself. I just drag my fingers across my face and try to understand how it works, where the bones are, how the skin "wraps" etc!

Don't use too many brushes, it will just look messy and cluttered and out of place.

These are the ones i can think of rn. Most of these are up to preference really and won't apply to every situation or drawing. But yeah! Just experiment, really! Try new things! Have fun with it as well :D

[ask-the-royal-absol]

👌🏽

(So you're the winner of the fastest to like my post. Like holy fuck, the speed in which you like things is insane. It's so funny to me posting something and within seconds, your face is the first one I see liking the post. It's really nice. It makes me feel good inside, you know? Don't think I don't notice it. When you've said a comment about my posts on one of the discord servers I'm in, it's like an honour coming from you. Because my eyeballs are not worthy to grace your art.

Like, I see your Zoroark blog. I wait in anticipation for when you update. It doesn't happen often. But when it does, it's good. Also, how dare you tease me with all of those future items things???? You do realise I'm going to be theorising about them all and trying to piece it all together???? I already have some ideas. Like, is that pink hand next to Mr. Man in that one 👀 post a mew??? I'm trying to think of pink Pokémon and my mind is blank. How dare you make me theorise. How dare you.

The way??? You draw characters???? Like, holy shit which god died and gave their artistic talent to you??? Just the way you draw expressions and just the general feel of each post is excellent. Also, your lineart. I just really like it. Like, I cannot with line weight but you seem to make it your bitch. I'm just in love with it. Also, you cannot make Kaine's human form look like that and not make me swoon over it. Daddy sorry.

Jokes aside, I am hyped about what your blog has to bring. Fuck, you may only have a few post with Kaine, but he has caught my attention and I am so ready for more of him. Moody characters are also another favourite of mine because you know it's gonna be extra special when they finally show a faint smile.)

[xxannettemariexx]

- Pawmi, Proud -

Artist's Notes

I liked how my last picture came out (or I did when I made this drawing. My feelings on it fluctuate, I guess.) so I made this one.

I used the color picker so that I could recreate the previous picture's style. I forgot that the colors will look different if you put it against a different background, though.

As for the subject of this drawing... Well, I think Pawmi deserves a medal. For what, I'm not sure. Maybe for being so gosh darn cute! \(>o<)/

But after that thought, I couldn't help but think all Pokemon deserve a medal. I'm not going to draw that, though (Unfortunately). It's just that when I think every Pokemon is someone's favorite, my heart feels fuzzy. (A medal for how wonderful each Pokemon would be nice is my thought process.)

When I was coming up with the concept, I was trying to create more expressive pictures. Sometimes my drawings feel a little flat. You have to think about poses, expressions, colors, etc to make the right mood. Or at least, that's how I went about it. I like the little huff, the smug expression, and the puffed up chest that I drew on this Pawmi.

Can't say I like how the shading came out, but I'm learning. I regret not learning sooner along with learning lineart and structure (I found those more fun, but ended up neglecting something so vital!) Better now than never, though!

xXAnnette MarieXx

[deoidesign]

Two things

Any tips for line work?

Any tips for drawing eyes?

You’ve got a killer style for that and I struggle for things like that, so was wondering what you do for that and have any advice for a young artist? Also Steve is gender goals and me and him have the same haircut which makes me happy. Comics with an older queer character are nice, makes me happy to see someone like me get to get older like that :]

This ended up really long, sorry...

"Style" is really just an amalgamation of every decision an artist makes. When you're starting to learn, your brain is processing a LOT on the technical and fundamental side. In time, these will become tools for you to use as you please.

Your style is in you already, I assure you. It's the clothes you love, your favorite color, the season that makes you comfy... Art is a form of communication, and the first person you have to learn to communicate with is yourself. It's a lifelong process of growth, self love, and personal expression. It's nothing to rush!

these are from 2011, 2016, and 2023!

(13, 18, and 25 years old)

You can see how my skills have evolved, but my tastes are rather much the same. I've still got an absolute ton to learn.

When it comes to lineart, if you find yourself regularly struggling with "losing energy from the sketch", then making your lineart thicker might be a solution; thicker lines are a lot more forgiving!

This is a common issue many artists struggle with. It happens because the sketch has multiple lines, so the brain gets to choose which one it likes most. When you do lineart that choice isn't up to the brain, so it's not tricking itself to seeing all its favorite lines anymore.

Lineart can also help you define depth. Generally speaking, thicker lines tend to be on closer objects, and further away objects have thinner lines. You'll also lose more and more detail (and sometimes edges) the further away an object gets.

It can also define light in your lines. solid blacks can block out entire sections of shadow. Another option is hatching, and another is stippling. It doesn't have to define light, though, many styles define their light through various other shading methods.

My biggest tip for lineart is to practice "line confidence." fill a sketchbook page with lines that span the entire length of the page, evenly distanced, as straight as you can, without lifting the pen. Do this every day. Fill a page with ellipses, fill a page with circles. Do this every day. Eventually, you'll learn to 1: draw with your entire arm, which will save you a lot of quite literal pain in the future, and 2: you'll be able to draw the right line the first time more often, which will save you time and frustration!

I didn't have an example offhand so I did this to show what I mean, but I highly suggest doing this on paper in ink and not on the computer, if you can.

When it comes to eyes, definitely look lots to real people, and also pay attention to how artists stylize them! There's generally 4 main things to keep in mind:

1: the top lid. This one is major for defining the expression, so it changes a lot depending on context.

2: the bottom lid! this one doesn't move nearly as much.

Each lid has a vertex, and changing where the relative high and low points are on them between characters can change a lot about what the eyes are saying.

3: the sclera (whites of the eyes), iris (color of the eyes), and pupil (the hole we see out of)! These change an absolute TON based on style.

4: the eyelid!

and here's me just moving each of the elements around! it changes a lot about what the eye is saying as you change each element, play around with them! try not to always go with your first choices.

There's a lot more to eyes than this, and a lot more to lineart as well... but I hope this is something of a starting point! Getting better about art is about learning to think and study everything you see. I genuinely see the world differently than I did 10 years ago, and I'm much happier for it (and a much better artist!)

And when it comes to writing stories about queer characters who get to be older and still happy, I hope to someday see you making stories that bring someone the same sense of comfort you had reading my work. I hope it someday becomes normalized, mundane even. And I know it starts with people like you deciding it's important! We're here, we've always been here, and we're not going anywhere.

Best of luck on your artistic journey, I wish you a long lifetime of growing closer to yourself through your art.