#it's really hard to draw perspective and landscapes

[pine-arten]

i’ve put this project on hold (because i’m going to design them all first) but i figured i might as well post another teaser

arti and hunter are nearly done (they need eyeshading and line color, and i need to shade hunter’s rot blobs) and everyone else has very basic shading (so i can remember what i planned)

unfortunately i’m probably going to redraw some / edit most of them since i’m actually making designs (it is a bad idea to wing designs for something like this). arti might get some pattern/color change but she and hunter won’t change that much

[lemon-wedges]

...

[headspace-hotel]

I hate a lot of trends in climate-change-aware nature writing, but this is one I particularly detest: works insisting that we live in a "post-natural" world.

The lostness, bewilderment, aching, and searching in this piece is understood by the author to be an all-consuming and universal dysphoria, when it is actually a highly specific predicament that the author put himself into: He tried to understand the universe exclusively through the point of view of white people.

I mean that Purdy takes the colonizer point of view without realizing that it is a colonizer point of view. He thinks the colonizer point of view is a universal document of the authentic, naive encounter of "humanity" with "nature," instead of burning wreckage left over from the apocalyptic destruction of a rainbow of ideas and cultures.

It feels weird to be talking about this as a white person, but it shouldn't, any more than it should feel weird to say (as a white person) that aliens didn't build the pyramids.

Very little of what he's writing about would exist or make sense without European colonization of the world. Purdy constantly says "we" and "our" in reference to things that are very restricted to a particular cultural point of view, as if totally oblivious to the idea that other cultures and other perspectives even exist. When he searches for historical references to chart "human" relationship with nature, history goes like this: Pre-Christian religion in the British Isles->British monarchy-> George Washington-> Industrial Revolution->Thoreau.

He manages to repeatedly stumble over giant hunks of colonialism embedded in every concept he's thinking about, like boulders obstructing a pathway, and pretends so hard that they don't exist that his points are janky and meandering. For example, his discussion of Helen Macdonald's book H for Hawk, touching upon human identification with the landscape and with non-human "nature," blunders into this:

Those who love (certain parts of) nature are often making a point of preferring it to (certain kinds of) human beings. The problem is not only literary. Macdonald describes an encounter with a retired couple who join her in admiring a valley full of deer, then remark how good it is to see “a real bit of Old England still left, despite all these immigrants coming in.” She does not reply, but is miserable afterward. The meaning of landscapes is always someone’s meaning in particular. Confronted with all of this, Macdonald tries to shake off the complicities of her own identification with the terrain: “I wish that we would not fight for landscapes that remind us of who we think we are. I wish we would fight, instead, for landscapes buzzing and glowing with life in all its variousness.” The alternative that Macdonald wishes for is, of course, not an escape from political-cultural projection onto landscape, but another approach to that same practice — really, the only one a 21st-century cosmopolitan is likely to feel comfortable embracing. 

AND THEN HE JUST SEGUES INTO THE NEXT POINT LIKE NOTHING HAPPENED. Like don't worry about it :) We will simply project onto landscapes in a non-racist way :) because we aren't racist anymore in the 21st century :)

The next book he discusses is Landmarks by Robert MacFarlane, which is basically about how the vocabulary of landscape in English is sterilized and monoculturized, and contrasts that with Scots Gaelic. This is how Purdy explains the thesis of the book:

 Our sense of what lies outside ourselves has been blunted by “capital, apathy, and urbanization” — enemies likely to draw a range of friends, from cultural Marxists to Little Englanders to those who would like to see a bit more effort, please. But behind this scholarly sketch, Macfarlane’s work is testament to a pretheoretical obsession with unfamiliar ways of encountering places. We disenchanted and distracted (post)moderns describe terrain, he complains, in terms of “large, generic units” such as “field,” “hill,” “valley,” and “wood." (...) Many people who have lived intimately with landscapes have had words for nuances of form, texture, and use. Macfarlane’s purpose in Landmarksis to gather these words as proof of how precisely it is possible to name a place, and so, perforce, to know it.

Why is Gaelic endangered? Because of an effort to extinguish its speakers' culture. This article I found on it talks about the history of the language's decline, and it's strikingly similar to what happened to indigenous people in the Americas and Australia, with children being put in schools where they were beaten with sticks for speaking their native language.

This whole essay is about Purdy's general disappointment with nature writing, his craving for an ineffable Something, some sort of magical, primitive identification with the natural world. In the very first paragraph he claims that the pictures of animals on nursery walls are "totemic" and quotes a guy saying that zoos are an "epitaph" to the relationship between people and animals. It's never very clear what he means, but he uses the term "animism" repeatedly, such as when he says this about MacFarlane's goal in writing Landmarks:

His quarry is an animistic sense that Barry Lopez once identified in “the moment when the thing — the hill, the tarn . . . ceases to be a thing, and becomes something that knows we are there."

Given that ambition, Landmarks, which Macfarlane calls a “counter-desecration phrasebook,” can be disappointingly thin as a lexicon. Too many of the terms are simply dialect or Gaelic for some generic form, such as “slope,” “hilltop,” “stream,” or “tuft of grass.” The effect is less pointing out how many things there are to see than cataloguing how many names there are for the same thing.

This is Purdy missing the point, perfectly crystallized as though frozen in amber. He is oblivious to the clear subtext of a language showing a culture's connection to its home, and of the violence against that culture. The Gaelic language doesn't make him feel primal and mystical the way he wants it to, therefore it doesn't mean anything to him. MacFarlane doesn't make him feel a magic animistic connection to nature, therefore his book must have failed at its task.

Who gives a shit? Gaelic isn't FOR you.

He discusses another book about a guy that hikes a bunch of Cherokee trails, but I don't know what to say about that one, observing it through the sludge of the reviewer's unwillingness to recognize that historical context exists. He summarizes his disappointment in a confusing way, using the Gaelic language as a symbol for an obscure and inaccessible place where the answer to your personal emotional cravings lives (???) Then he talks about a kind of epistemicide, or extinction of knowing, of nature, but again, totally oblivious to any relationship to colonization.

Every inhabited continent has been denuded of ecosystems and species. Most North American places have shed wolves, elk, moose, brown bears, panthers, bison, and a variety of fish and wild plants, which were all abundant four hundred years ago. 

Wow, I wonder what happened four hundred years ago?

This writing acts like the dominant Eurocentric attitude towards the world is universal, but the author is haunted by this nameless specter of the possibility of a different way of thinking, which he treats as some kind of mystical, primordial state hidden in the past instead of just a different cultural perspective.

Not only does he not recognize that his own cultural perspective of Nature is dysfunctional and unsatisfying because it was created by exploitation and genocide of other cultures and their symbiotic relationships, he acts like other perspectives don't exist. Take his perspective on forests and the mycorrhizal network:

Wohlleben’s emphasis on interdependence and mutual aid is part of a recent tendency to recast nature in an egalitarian fashion — as cooperative, nonindividualist, and, often enough, hybrid and queer, in contrast to the oaks of generals and kings. Nature does answer faithfully to the imaginative imperatives and limitations of its observers, so it was inevitable that after centuries of viewing forests as kingdoms, then as factories (and, along the way, as cathedrals for Romantic sentiment), the 21st century would discover a networked information system under the leaves and humus, what Wohlleben calls, with an impressive lack of embarrassment, a “wood wide web.”

Listen, I don't think this is accurate to how Europeans thought of forests throughout time, let alone "humanity" in general. The emphasis of power and competition in ecosystems emerged after Darwin, in collusion with capitalism and "race science." Trees have been symbols of life, wisdom and selflessness, and regarded as sacred or even sentient, for centuries before that. But on top of that, this is just blatantly pretending that only white people's ideas count as ideas.

It's the same dreck as all the other "literary" writing about climate change: self-pityingly and unproductively mourning "Nature" and a fantasized "wild" state of the Earth, ignoring colonialism, treating human influence of any kind on other life forms as something that either destroys them or makes them soft and "tame."

I'm tired of reading nature writing from people that obviously do not go outside, or if they do, they do it in such a suffocatingly regimented, goal-oriented way that they can't just sit outside and relax.

Maybe I shouldn't be such a hater if I want to do nature writing. But my love of nature is WHY I am a hater.

[signanothername]

Hope u don't mind two in one!! :P

🎼 🌊

Don’t mind at all! <3

🎼 Your favorite music to draw to right now?

To be completely honest these days i kinda listen to different songs all the time so can’t really choose something, but i do listen to Will Wood, Burn the ballroom, Bear ghost, and Jack Stauber on a regular basis whenever i draw :D

🌊 What’s the hardest thing for you to draw? 

ENVIRONMENT!!!

Fuck i wanna draw environmental art cause I actually love it but I’m really bad at it and it’s worse if it’s buildings or a room or a hallway or something like that, like i can easily draw landscapes and nature easily cause perspective doesn’t fuck them up whenever i draw them, but buildings or anything cubic?? Yeah it’s so hard to draw that crap cause any wrong move with the perspective is extremely apparent hcjvjvjvjv

Like look at the difference between nature based environments and building based environments

Like you can tell it’s way easier on me to draw nature over buildings/ rooms hcchchchch

But i shall conquer environmental art one day and when i do it’s all over for all of you <3333 /lh

(It’s my dream to make an entire environment design of Nightmare’s castle <3333)

———

Artist ask game

[cocogrrrl]

HIIIIIII ugh ur writings are so freakin good and so fun to read it makes me AHHHH could I request kyle, stan, and kenny (separate) with a f!reader that can’t control her facial expressions at all so she’s pretty much an open book? Maybe have the reader be an artist so when she’s drawing she’s like 🤩😙🙁😋🤨😱😐 THANK UUUUU

expressions

(headcannons + drabbles!) the main three's separate reaction to their artist gf who is very expressive whenever they draw (requested!)

main three (separate) x female!reader no cws wc: 1007 overall

an: omg its my first time writing in an hc listed format also the drabbles are a lot more artist gf than the expressive thing sorry huhuuu (also i forgot to reply to the ask last time i took up a request LMAO)

🍀 k. broflovski (wc: 330)

He really wants to comment on it, but doesn’t wanna bother you

I don’t mean that in a bad way! I just think that he finds it entertaining to see your mood and facial expressions shift around a lot

Like okay imagine you two parallel playing, both of you off in your own worlds

Kyle looks up at you to see you go from happy to frustrated to upset to shocked all in the span of a few seconds

He definitely finds it adorable and just basks in it by the side

Completely forgets what he was doing cause you’re just so gosh darn cute awwww

You were lying face down, arms holding you up, on his bed. You were tasked to make landscapes of any place but from different perspectives and views. To be honest, you were struggling a little bit. Backgrounds and scenery aren’t quite your strong points, but that didn’t mean you weren’t trying! You were lying down there, tongue poking out as you focused really hard to get the drawing looking at least a little bit realistically correct. You were real deep into it that you didn’t even realize Kyle was watching you until you heard a soft giggle in the back, which immediately made your head whip up. “Hmmm?” You hummed, questioning what he was laughing about. “Ah, it’s nothing.” He smiled at your curiosity. The look of amusement on his face was still there, so you had a hint of what was going on. “You’re just really pretty." You felt your cheeks heat up, giddily smiling to yourself as you felt your legs kicking back and forth in happiness. “Thank you…” You hummed. He only laughed more in return. “Don’t thank me.” He said, lifting your head up by the chin with his fingers as he placed a little kiss on your nose.

🍁 k. mccormick (wc: 360)

FINDS IT SO CUTE

but definitely teases you about it like

“You should take up acting, YN. You’re really good at changing emotions.”

Do you know how some people make facial expressions and random body movements for reference while drawing?

When he sees it for the first time, with no context whatsoever, he thought you got possessed or something CAUSE YOU WERE JUST FLAILING YOUR ARMS AROUND WHILE LOOKING INTENTLY AT THEM

I can just imagine him lying down, watching you drawing, while he’s kicking his feet in the air HEPL

You and your boyfriend, Kenny, were sat slumped against a wall in the back of some alleyway, spending your time together in the quiet where only sounds of passing cars, footsteps and chatter of pedestrians, and the soft winds blowing every now and then. You were getting into your drawings on your little sketchbook, moving from one doodle to the other and leaving many unfinished. Every couple of minutes, you’d revisit the other, but that was only if you were still up to it. Other than that, you had new ideas pulling you away from your drawings every other second. Kenny was playing with the hair that fell by the side of your face as you were doing your own business—twirling, braiding, and unfurling it over and over again. You stretched out your hand and formed it in a reached-out, grabbing motion, shifting it every so often to get a better view of what it looked like. Kenny watched you observing yourself in intrigue as well, resting his chin on your shoulder. As soon as you were done and about to get back to drawing, he lifted himself back up and started to play with your hair once more. While you were drawing out the hand same hand you motioned earlier, you felt a soft kiss on your cheek, which caught you off guard. You turned your head in Kenny's direction, giving him a look that asked, ‘Why?’ Not in a bad way, just out of curiosity. He shrugged in return, cupping your face in one hand with his fingers resting on both cheeks as he squeezed them. “Cutie.”

🎸 s. marsh (wc: 317)

He doesn’t pay much mind to it honestly

He sees it for the first time and thinks it’s kinda silly, but not much after that

He brings it up sometimes though like

“Oh, yeah, I think it’s funny how you’re really expressive.”

But really its not something that bothers him

If anything, he finds it really adorable sometimes, especially when you get a little too into the zone and you’re just changing expressions every millisecond

Honestly, I think it’s a neat little dynamic since you’re probably really bubbly while Stan’s more aloof

You and Stan were in your favorite corner of the world—Stark’s Pond. Okay, technically, it’s one of the farthest things from a corner, given that it’s a whole landscape, but it was a special place unbeknownst to many, especially people who aren’t from the small town of South Park. You two were sat on a bench by the pond, Stan playing the guitar cross-legged, and you were leaning towards it while drawing on your tablet. You hummed along with the songs he was playing, familiar to you as it was your relationship’s self-declared theme song. Your face was twisted in a pout, trying to get a small detail, but important (to you), correct. You clicked your tongue, flipping your canvas every so often to make sure it looked right or physically possible. You sighed, resting your body weight on Stan as he paused to look at you and your art’s progress. “Frustrated?” He hummed, putting his arm down so that it was more comfortable for you to lean onto him. “No,” you clicked your tongue. “Just need to get around this little part. Like, I can’t  draw feet for the life of me.” You sighed, tipping your head a little further as you ground into Stan's shoulder. He found himself giggling at you, patting your back, and giving you a little kiss on the cheek.

[armoreddragon]

how did you first get into making this stuff? do you enjoy it?

There's a lot of possible answers here.

For a couple years after college, I worked at a laser engraving and cutting shop. Leather was a material we knew we could cut, but nobody ever asked for it, so I looked up some basic info and put together some masks as demo pieces. Then I got fired for unrelated reasons, but decided to keep going with the masks on my own. A decade later, I’m still going.

I've always enjoyed making things. The focused calm of working a craft, the challenge of finding the problems that need solving, followed by the satisfaction of holding in your hands something that hadn't exited before. It’s hard to beat that feeling. If you haven’t done it for a while, I highly recommend making a habit of it.

Sometime in college I realized that if I kept making things just for myself, I would eventually run out of both space in my closet and money in my bank account. So I took the best photos I could of what I had, and started posting it up on Etsy.

In high school ceramics class, I had an idea to try and make a flexible dragon skin out of little bits of clay, all glazed differently. I had no idea how to do this. A friend of mine was like "Yo it sounds like you want to look up how to make chainmail for that." She was right.

I work in architecture by day, and the decision to do that was unrelated but definitely related to my crafting obsession. Designing a kitchen, a café, a house, takes months or years of work, most of which is tedious details like picking tile patterns or looking up exactly what order to layer different sealant tapes to make sure the walls are watertight. Designing a crafting project gives me a creative outlet that is immediate. I can sit down for an afternoon and take an idea from a sketch on trace paper, to a final mask formed up out of leather. There's an excitement to that. A reminder that, yes, I can make cool stuff quickly, without needing to sink two years into a project.

For a while I worked to teach myself to draw. I managed to get pretty decent at sketching from life, with a moderate understanding of anatomy and perspective. I liked art, so I thought I wanted to make art. But I struggled with it. If I was drawing something from my imagination, no matter how well I managed to put the lines down on the paper, I would ultimately look at it and just be sad that it didn't exist in the real world. So eventually I gave up on the drawing part, and focused on the part I seemed to actually care about.

I can't envision a version of myself that doesn't make things. I think on some fundamental level, I measure my worth as a person based on what I put forth into the world. I don't know what else to do.

When you decide to turn a hobby into a business, it of course takes some of the delight away. It's no longer something you do when you want to relax and have some fun. It becomes an obligation, to make and ship orders on time, to pack up your stuff and bring it to craft fairs, to track your expenses and file your taxes, to stay on top of the constantly changing social media landscape. But it also lights a fire under your ass. You can't just keep making the same thing you made three years ago–you have to keep making new stuff, keep improving your techniques, keep reaching for new ideas that have never been made before. You lose some of the joy, but you gain a lot of satisfaction.

All through my childhood I filled my closet with little handicrafts kits, that I got as gifts or that caught my eye when following my dad to the art store. Calligraphy, wood carving, weaving looms, boondoggles, spirographs, knitting, crochet, fancy nautical knots, sculpey, and more that I can't remember. After all those different things, I’m so glad that I found a couple specific crafts that really grabbed me, that take enough work to develop expertise, that have expansive enough applications and possibilities, that I could devote a decade or more of my time to focusing on them.

I’d been interested in the furry fandom ever since little fantasy reading teenager me tried looking for stories where the dragons were the main characters, and I found people online who were doing just that. There’s a powerful do-it-yourself attitude that’s baked into the core of the fandom: The world isn’t giving us the art that we want, so we’re going to make it ourselves. I keep having ideas for things that I want, that don’t exist yet. If I want them to exist, I have to be the one to make them.

My dad was a photographer, and I spent many childhood afternoons with him in his darkroom in the basement, delightedly washing negatives, turning them gently over in their canisters of chemicals, sitting still in the dark as Dad unspooled the sensitive film, squinting in the red light as the projected images magically re-emerged on the clean white paper. What could be more amazing, more normal, more right, than having your own little space to work such magic for yourself.

In about 2008 or 9 I ordered my first batch of metal scales, with the idea of trying to make a dragon tail in time for Halloween. It took probably a couple weeks to figure out how to make it, and within a week I had thought of how to do it better and disassembled the entire thing. By the 3rd or 4th time I'd rebuilt it, I thought that it was probably good enough that I wouldn't feel embarrassed to post it online and see if someone might want to buy it.

Of course I love working on these things I make. But I don't think that's exactly why I make them.

[rainofthetwilight]

Jenna/JJ Walker HCS!

since I've also seen the other jaylings get their HC posts, now it's JJ and soon ethan's time to shine!!

(most of these are connected to or need the lore post to understand; so check it out if you haven't!)

Jenna, at first, seems like a sweet and shy kid (if you didn't intimidate her), but she's a literal demon once she gets a bit used to whoever she's talking to

^ to continue with the above, she has trust issues, so if you already leave a bad first impression on her or if she just seems wary then she'll have a hard time even standing next to you

and for that reason it was hard to bond with Jay before he got his memories back, he's a person she knows but doesn't at the same time, and it heavily hurt her because she just wants him to love her like his daughter again

she still was able to keep a good relationship with Nya, but it was a bit hard to talk sometimes because of how much Jenna's changed and that they haven't seen eachother in years

she had such a big bond with Cole, so it would be an understatement saying she missed him severely

she was also very close to Kai! Lloyd, compared to now, wasn't very close to Jenna pre-merge but would love to sneak her some candy when Jay didn't let her

Zane was also pretty close, he'd only wear obnoxiously oversized hoodies just to carry Jenna in them

Wu loved spending time with Jenna, and would give her some scrolls to read to improve her Ninjargon! Jenna hosted tea parties with him, too, and would give him a pink birthday hat instead because his current hat was 'too boring' in her perspective

her handwriting was also pretty decent, too

she is touch starved but sometimes needs her space or she'll get snappish, hugs are what usually calm her down

her favourite animals are, well, dragons! she had basically been around dragons her entire life, so she was never afraid of them, other than dragons though she really loves cats!

her blue phonecase even has a cat on it, it's a small white kitty in the middle and she decorated the rest of the phonecase with small stickers (that are mostly Jay's old ones she borrowed, like his pins)

suprisingly tho, her favourite colour is neither red nor blue, it's actually lavender! her second favourite being any shade of gold, she digs those kind of colours :D she only wears clothing that mostly consist of red and blue to match with her family, she doesn't hate those colours though because they're also on her favourite chart

when she was almost 14, she hit her growth spurt and became the second tallest sibling (Noah being the tallest), she couldn't stop laughing at the look on Kaida's face when she realized she's becoming the shortest 😔 (even Tessa is taller than her, and Ethan was already starting to be tall for his age)

she's, unsuprisingly, unbelievably stubborn, and tries to convince herself to not give up too quickly

she has whole boxes of markers, coloured pencils, and paint! her obsession for art is too great, she even asked Lloyd if she could help paint the new bounty

when she'd go out, there would be some paparrazi she obviously did not like them that much, but had grown used to ignoring them

she had so many of those children colouring books and had alot of drawings pre-seabound, and most of them were complete, but they all burned down along with the monastery in crystallized :')

she was a bit anxious about going to school, but was still excited and had enjoyed it! alot of kids had wanted to be friends with her and she didn't mind the attention

she's a theatre kid! would act in alot of plays when she was still at school and she goes absolutely all out when she does, now she isn't so open about that fact but would sometimes sing and dance in secret (she got caught by Kaida one time, and she never felt so embarrased)

her room's walls are painted by her, she painted simple things like landscapes with some dragons thrown in there

she's that sibling who's always got your back, she'd get into fights if it meant that she'd protect you that way

but she is not much of a good listener, wanting to hurry up with things, but if you needed to rant to somebody so badly she'd try

for her whole life, she was very protective of Ethan, their dynamic was good but got a bit wonky during the timeskip because of how dull everything seemed, and because of how Jenna would be in her room most of the time

she loves to cuddle him alot tho and is still able to carry him sometimes, she never realizes that he's heavier than he looks lmao

sometimes, Lloyd would come and find them asleep on top of eachother on the living room couch, the movie they were watching still playing on the TV

and she despises how Ethan never knocks on her door, fsm knows how many times he's jumpscared her when he slams the door open 💀

she loves to pull pranks on people (that people is Kaida) with Quinn and Finn, those three are unstoppable ����

speaking of that, Jenna warmed up to them eachother quicker than she expected, it just took a while because she was still not sure of them, but she liked their energy and they didn't seem like a threat to her

she was just envious of the two because they spent their entire lives with Nya and Jay, which was what slowed down the process

being very protective of Ethan, she hated the fact she had to share him, so she was very wary of everyone (especially Noah, who she noticed loved to spend time with him) and didn't want him so close to anyone

but when she saw the way Noah treated him gently and had genuienly loved him, and how much fun Ethan had when he spent time with him, she grew to love Noah aswell

Jenna loved to climb on his shoulders before her growth spurt, with him being ungodly tall she felt like she was standing on the borg tower

with all of these fights, she never thought she'd get along with Kaida one day, theur fights would even sometimes get a bit too heated, but once they starting warming uo eachother, and talked in conversations that weren't fights, they both quickly became protective of one another

she doesn't know how to use a gun, she never used a gun before, so Kaida had obviously taught her (Tessa and Noah taught her too when they could)

BUT she does know how to use a sword! she would sometimes train with Lloyd during the merge timeskip, so she has some pretty decent fighting skills and is good with a sword for her age

she has a love-hate relationship with sparring, tho

she hates blood, she really hates blood, but having seen it so many times in her lifetime (*cough* including hers *cough*) she got only a bit used to it

she was scared about coming out as aroace, but nobody in her family is straight (obviously) and neither are the walker kids (obviously #2) and was suprised when they were all so chill

Jenna: Guys, I'm aroace.

The rest of the walker siblings: Cool.

Jenna: ...what-

Ethan: What's an aroace?

during her stay with them, Ed and Edna would teach her how to engineer and how to use unimportant spare parts to make something new, and she was suprisingly a quick learner and it had distracted her a little from what had happened

she is not a great cook in the slightest, she'll break the pan she's using the moment she touches it :'D

she is an avid reader of comics (just like her dad) and finds them to be more interesting and funnier than books, she borrowed jay's starferer comics during the timeskip after the merge and read them all, and god she did not shut up for weeks about it (which made lloyd very proud lmao)

she loves to swim!! her love for it had plummeted a bit after seabound however

but before the merge, she had been taught how to swim by nya quite alot and always loved to go to the beach just to jump in the water (she's that kid to do those massive cannon balls lmao)

and she loves to run too! she'd never back down from a race and is extremely quick, unless you're Tessa or Quinn it's hard to catch up to her sometimes

(I hit that block limit 😭)

EDIT: she, obviously, knows some swear words

she has frequent nightmares from her ptsd (cough crystallized cough near death experience cough fuck I'm spoiling again-) and gets extremely anxious, the pain seems like its still there, and she cannot stay alone by herself for too long or she'll spiral

EDIT: she also has slight pyrophobia from crystallized (try to guess why)

^ during the merge timeskip, when they started happening more frequently, she'd instantly go to Lloyd, but now she almost always goes straight to Tessa during those times. when she's at her lowest point especially, Tessa's the only sister who listens to her and lets her cry it all out which is why she's one of her closest siblings

in fact, Tessa's the first sibling she grew close to!

Nya does know about these problems too, and when Tessa for any reason isn't able to help Jenna heads straight to her

sometimes, when her anxiety gets the best of her too, she talks walks across the monastery courtyard and climbs up and down the stairs a few times, it always calms her down

Tessa mostly uses her a benchpress along with their sisters, so no one is suprised when they see Tessa benchpressing Jenna who's currently on her phone

she's usually comfortable around Finn and Quinn, and begged Quinn to teach her how to fly once she got her powers too

when she and Kaida got along, those hellspawns LOVED to gossip, and would constantly laugh about an inside joke between them while everyone is so confused (me and that one friend meme be like)

like how the brothers have movie nights, the sisters all have movie nights too!!

before Kaida warmed up to them, she'd constantly fight with Jenna during the film and Tessa would try her darndest to shut them up, while Quinn is just focused on the TV while eating popcorn 😎

and if it isn't obvious enough already, other than Ethan of course her favourite sibling is Tessa, but Kaida quickly followed suit

when she'd be bored, she'd grab Finn and Quinn to paint the walls of their room together

whenever she hears Noah talking about Sasha, she goes "nope" and leaves the room instantly

Jenna borrowed Lloyd's old headphones, which she also decorated with her stickers, she only lets Tessa use it

it's easy to tell that something belongs to Jenna, she always has her nickname 'JJ' on her stuff everywhere

EDIT: Jenna also gets an aviator jacket from Tessa! all the sisters have it :DD

in the future, she eventually gets more chill and Ethan will become the energetic one

-

ohh my god that was LONGGG..

bb boy ethan's next!! I'm going to sinai tomorrow though and staying until saturday, so yeah expect him to be a little later on!

[canmom]

sometimes when the bad performance of a game is in the news, people will single out like, a particular asset as emblematic of the bad dev practice.

e.g. a recent pokémon game having a giant sky sphere (nevermind that the physical size of a thing has no bearing on how expensive it is to render), or most recently the 70k triangle Starfield sandwich (which is a fake from some rando on 4chan, the actual sandwich has about 3k tris).

the problem is that peoples' understanding of game optimisation is like... a decade out of date ^^' a modern GPU can serve a scene with millions of triangles without too much difficulty.

(which certainly isn't to say that you shouldn't try to keep triangles down! there is no point having triangles smaller than a pixel, and when it comes to stuff like big landscapes you absolutely need to use LOD optimisations to keep the triangles under control.)

if not triangles, what's the problem? the real stuff that kills performance on the GPU side is stuff like...

-> expensive shaders <-

too many draw calls/render state changes

texture bandwidth

overdraw

the first one means that for each triangle/pixel the GPU has to do too much work calculating noise or whatever; the other three lead to the GPU sitting idle or spending time calculating pixels that will be overwritten by other pixels.

with shaders, there are typically two relevant stages, the vertex and the fragment shader. the vertex shader handles perspective projection, and it is also used for effects like displacement and skinning; it scales with the number of vertices. the fragment shader runs per pixel and scales with the size of the screen and the space taken up by the object on screen. both can be a problem but the fragment shader runs way more often and is way more likely to be an issue.

so if you have an expensive vertex shader, reducing vertices will help. if you have an expensive fragment shader, reducing the number of tris won't help at all. hell, your expensive shader might not even draw any triangles if it's in the post-processing stage, or you're using deferred rendering!

the correct way to analyse how a game draws frames and what takes time is to open up renderdoc and actually measure it. you can't tell just by looking at random assets. even if it makes for a better meme.

it's also quite platform dependent. e.g. on a mobile GPU you get punished really hard for draw calls, and tile-based rendering makes writing to a render texture and then reading from it hideously expensive, which rules out a lot of standard tricks for stuff like planar reflections, refractions, etc. (as an example, we gained a ton of performance on quest 2 when i found a way improved batching for our procedurally generated meshes, cutting 36 draw calls down to 1 for the exact same geometry. on PC you wouldn't even blink at 36 draw calls.)

'course this is all assuming your game isn't CPU-bound anyway.

[dandydingo]

Help how do i learn to draw furry art as beautifully as you do?? Each piece you create is so beautiful!!

First of all, thank you kindly for the compliment!! Secondly, that's a pretty open ended question but I'll try my darndest to answer <3 I'm a completely self taught weirdo though so take er with a grain of salt.

I think in regards to art in general you can't go wrong with practising the boring basics (color theory / perspective / anatomy), furry or no. It's hard to run anywhere without legs and studying those aspects of art is how you get em! Your style will blossom all on it's own once you get a strangle hold on fundamentals. Really can't go wrong with Proko for this, he's got plenty of free videos on Youtube.

Specifically regarding my style though, I tend to lean on shape design, expressionism, and worry myself silly over composition when I'm being a try hard. Studying photography worked pretty well for me actually and I would highly recommend it if you feel like you're missing that eye catching element! Pinterest is absolutely rife with good photography if you need a starting place.

As for my paintings... honestly can't think of an answer for that one! On a technical level I feel they're pretty rough around the edges. Before I was a furry artist though I was a background / landscape one. I think somehow that's where my weirdo color choices come from- I just kinda jumped into digital painting and did my own thing! Experiment, experiment, experiment.

Hope that helps if you're feeling stuck and I wish you luck on your art journey! Just remember so long as you're havin fun and getting into stuff you have a genuine interest in that's all that matters :)

[slavhew]

Any advice for doing back grounds?? Shits mad confusing im tryna practice drawing like characters actually in them and im going insane

ouu i can't say im a good authority on this, because I never did much in lieu of backgrounds except painting some sunsets. I do have some theoretical knowledge but i struggle putting it into perspective, because depth is hard.

I feel like the hardest thing really is making the characters look like they belong in the environment, and that sounds like your problem too? I think ? So it's what I'm going to try and address here.

One that is in my opinion by far THE most important is to start a composition with the background in mind. It is always going to look somewhat wonky if you don't

(Rest under cut)

(exhibit A)

(this is the reason why I often don't do backgrounds, because a vast majority of my work starts as a doodle that i polish up later) (and also I used a game screenshot here, I didn't actually draw the walkway)

compare this to the drawing that was my inspiration, and the difference in flow and focus is astronomical

A good background can be either super simple, just a backdrop or something your characters actively participate in; in both these instances, it will be much easier to draw it if you start out with it in mind and being able to adjust early on is a massive lifesaver

Second, and most often repeated I think, is to think of the space as 3D, and use some geometry to help yourself out

the most useful part of this to keep in mind imo, when it comes to scaling characters, is that they will also follow roughly that line of perspective that in reality "runs parallel" to the rest of them, but in perspective looks as if it gets smaller

There's probably plenty of tutorials on getting a feel for this out there, but looking at other people's art (and the classics) and sketching over them can help

this is only linear perspective examples, but there's lots of them out there! point is, the character, and many lines of the environment are going to "flow" into a point. It's usually demonstrated with tiles and suchalike, but as you can see it has many applications, depending on how exaggarated you want to make the perspective.

You should also be mindful of the perspective of your character versus the environment. A few things to keep in mind are their lines, and their color/shading.

Colors are relatively simple; keep the source of light in mind so the shading feels in line for both the character and environment (perspective lines help with that too).

(this is definitely not to scale but just, to illustrate my point)

And keep in mind that with especially pieces that have great depth, like landscapes, the color of the environment changes the further you look. The lines blur, the details are lost, and it fades into more solid colors. A character and their palette will be affected by this environmental lighting

With keeping the characters consistent with backgrounds, lines-wise, it really helps to block them in first, because you can easier keep track of how they look in relation to backgrounds, and fix accordingly early on.

it's good (and painful, honestly) to keep in mind how bodies are 3D objects too. I had this great reference for this point, that I forgot where i saved, so we have to do with my amateurish recreation:

These lines are going to get distorted and effected by the perspective too. To avoid the characters looking flat against the backgrounds, try to keep them "on the same level" of exaggaration, so to speak..

And lastly. USE REFERENCES!! there is NOTHING more needlessly painful than drawing something as complex as environments out of your head.

All these things contribute to the complex thing that is. backgrounds. Now, please dont take my word as gospel, considering that even keeping all of this in mind, this is about the best i can do offhand to demonstrate my knowledge lol

I wouldn't be surprised if all the things I said here aren't anything new to you, in which case i genuinely apologize, because I'm also a huge beginner with this 😭 but i wish you a lot of luck on your journey practicing this!! It's a lot of work to be sure.

As sort of a PS, a few pieces with cool bgs showcasing some of my points *a lot* more competently, that I have saved in my bookmarks on twitter:

[x] [x] [x] [x] [x] [x]

[seukorei]

I love ur art so much!!!!🥹🫶🫶 how long have u been drawing for? and I was wondering if u have any tips(?) for drawing cuz im trying to learn how to ehe👉👈

thank you so much!! sorry for the late response

i honestly dont know how to answer how long i've been drawing for because i kinda just been doodling since i was a toddler but i started doing it more seriously when i was in 5th-6th grade and then digital art when i was around 12? it doesn't really matter when you start though

tips!!!!!!!!!! this might get long i hope i dont sound pretentious

in my opinion, art is 70% observation and 30% putting it into practice i.e. you first have to see the concepts and the breakdowns and the details before being able to use them at all. they're not going to appear by brute force or out of thin air unless you first observe that they exist and how they are used.

i have an entire archive on art tips and breakdowns that i store that cover basically everything like anatomy, color theory, composition, perspective etc. i also have an archive for art that i just enjoy looking at and want to emulate! that doesn't necessarily mean to copy verbatim someone else's style, but to pick up details in how they use colors or how they conduct lighting or how they paint a landscape. it's to pick out what makes their art so appealing and figure out how that can then be used to apply to your own art! I also just like looking at beautiful art to inspire me :)

general tips i think are really good for improvement vv

study the difference between cast shadows and form shadows. this is REALLY helpful in making your art look more 3 dimensional. for simplicity's sake, cast shadows are generally more hard while form shadows are generally more soft (depending on the form) and every object has a combination of the two. the way that you can see it most notably and then apply it is on clothing, where the clothing folds will cast a shadow while also being rounded and have a form shadow

color and light are deeply intertwined and something that you can use is cool shadows/warm light or vice versa! this doesn't ALWAYS apply, but it is a good starting point.

think of shadow not as an addition but the starting point while light is where you are adding. therefore, the shadows should be heavily influenced by the environment that they are in, i.e. a white box in an entirely red room is not going to have gray shadows, but red shadows. when the white light is shined on it then it becomes white.

use dynamic lighting to create the sense that something is real! this can be done in the way that either your shadows are rendered while your light has little detailed or that your light is rendered and your shadows have less detail

when referencing, use at least one or two "reference" lines that go across the entire picture horizontally or vertically so you are not trying to draw everything relative to each other but instead search for where something is relative to that line and you will be able to then capture the proportions in much more more comprehensive manner

i think this one might be overdone but break everything down into simple shapes!! it becomes a lot easier to understand something when it's not as visually complex and then after you have gotten down the basic shapes of a figure

use blank space as a guide (when referencing or otherwise). sometimes something isnt looking right when you have tried to redraw something and that might be because the blank spaces in between the lines of the figure and outside the figure arent actually matching up!

the heat of your drawing is determined by the dominant colors and when trying to make a color more cool or warm, you don't necessarily need to shift your hue over to that color. for example, if you have a predominantly warm color scheme with strong oranges/reds/yellows/pinks, if you wanted to have bluer shadows all you need to do is to make the color more desaturated. it will pop out as blue because your colors are mostly warm

make shadows a bit more lighter/saturated in the insides of them because light is being reflected onto it

this one might not apply to you, but it really helped my art when i stopped trying to force myself to do lineart. there are ways to improve at lineart but i prefer not to do it and to just create multiple layers of sketches and then at the very end after i've colored i create a layer on top of everything to clean up the messier bits

implement light fall-off! tbh i don't reallyyy know what this is i just see it a lot but it's basically a really saturated red-orange that you mostly see on skin where the shadows meet the light

pick what your brightest and darkest colors are going to be when you start coloring. i would normally stay away from pure white or pure black because by picking other colors as your brightest/darkest you can create mood and tone

fade out the hair at the edges of it because hair isn't really a block despite often being drawn like one. it's a large collection of strands and as it nears the edges those stands would begin to thin out in comparison to the cneter. in addition, add flyaways to your hair to make it more realistic because again, it's a collection of strands that is usually composed into blocks because that's how it looks most of the time

alright that's kinda all I got for now there's so much more i could talk about but i think this is getting long LOL... i hope that at least one of these is helpful in some way, shape, or form <3

[gandalfsdrawingblog]

Some of my early undirectioned stuff

This is just a simple post to show some of the early drawings I made before I decided to try taking a course. The images are not in a particular order, and there's a lot of stuff I don't have here that I ended up deleting as I didn't see value in keeping.

First is a painting I titled "Sunrise by Imil"

This started as a perspective practice with the usual "draw a box on 1, 2 and 3 point perspective"; but then slowly evolved into something that I wanted to see detailed, finished and such. I wanted to have a wintery landscape to show my players a vision of the world they inhabit. They visited Mercury Lighthouse a long while ago, and was a place that I don't feel like I left the impression on how eerie and out of place, yet absurdly natural felt. I would've loved to have this ilustration back then, to show my players a visual of where they were going, rather than a simple explanation of the area.

I also used this piece to get familiar with the brushes and customization tools that Krita offers. I learned a lot about texturing, layers, brush packs and other things with this piece. I'm happy about how it turned out, but feel like there's a lot of things that can definitely be improved.

Second we have a Chikorita fan art.

I wanted to draw something for my GF, and use that as a excuse to practice shaping and sketching. Chikorita was her starter when we played Pokemon HG/SS on a dual run, and she remembers fondly her "Kory", as she nicknamed it. I started strong with the sketch and felt like the shape was pretty much nailed, but as I got to detailing the line art, I found it hard to make the lines not feel wobbly. I need to practice more on my line smoothness.

Then we have Untitled piece #1, a shape practice sheet.

I actually had a lot more of these back when I first plugged the tablet to my PC. I used these sheets to practice lines, shapes and circles (you can see a lot of the circles). I was also trying to practice some shape forming into faces, as some video I saw taught me how. I don't really like the results, and feel like there's a lot of room to improve, but as this was literally 24 hours into my drawing hyperfixation, I think it has a place here. You can also see some early concept for the Lighthouse on the center of the sheet, which in turn came to be fully fledged on the first image of this post.

And that's all I have available to export now. I thought I had more pieces to show, but I guess those will come with time.

Will certainly upload more as I continue the course.

[shelandsorcery]

had an excuse to list a few physical books I love for furthering your art practice

so it seemed worthwhile to crosspost in case anyone else was interested!

For just getting the painting-studies-from-life fire lit under you, I recommend Hawthorne on Painting : https://store.doverpublications.com/0486318745.html -- it's a collection of lecture notes from the cape cod school of art, and there's no pictures, and that seems so counter-intuitive, but the sheer passion for light and colour that shines through honestly is really inspiring. The core concept I took from it is that a painting study doesn't require expert knowledge of anatomy, perspective, structure etc; just a passion for seeing colour, and then putting the right colour down in the right shaped mark in the right place; a simple and infinitely difficult skill to learn and a great way to get out of your own head when the subject matter feels overwhelming. It's a very affordable little pocket-sized book and you can likely track down a used version as it's been a classic for a long time.

For more visual instruction, another classic-and-affordable book I have used to the point of disrepair is Jack Hamm's Drawing Scenery: Landscapes and Seascapes : https://www.penguinrandomhouse.ca/books/352897/drawing-scenery-seascapes-and-landscapes-by-jack-hamm/9780399508066 -- it starts with the bare bones of composition, but it goes into amazing detail on all sorts of elements of scenery from trees to skies to lighting and more. I keep his spread of Types of Clouds bookmarked for easy reference!

And for the fun of discovery and clear, direct instruction, I've really liked the Think When You Draw books : http://theetheringtonbrothers.blogspot.com/ -- while this isn't my personal visual style, they have such great, punchy, memorable instruction on such a huge, wide array of subjects, it's been a great tool to get me over the "okay but cars/bikes/horses/spaceships are HARD" etc threshold!

And finally for figure drawing, the book that really unlocked drawing people for me was Ron Tiner's Figure Drawing Without a Model : https://www.scribd.com/doc/103174602/Ron-Tiner-Figure-Drawing-Without-a-Model -- he covers a few different mental models of the figure to help build it from the ground up in your mind, and he connects these models very clearly to real life anatomy, drawing from life, and character design. Again, not a visual style I personally pursue, but immensely useful concepts that I still use today, 24 or so years after I first read this book, whenever I draw without a reference.

And I always recommend hitting up a used bookshop or two for some collections of art that inspires you -- even if it isn't your chosen medium, or subject matter, or style, if it gets your brain running then why not spend some time with it and see what you can get out of the book? Personally I always come back to my collections of Frank Frazetta, Rodney Matthews, Edward Hopper, Gian Lorenzo Bernini, and Caravaggio artwork, and most of those were random used bookshop discoveries.

Hope there's something interesting amongst this list for you, and please reply/repost with your favs as well!

[bamb-procrastinates]

Liliyan Danaus Info Dump Don't Mind Me (2/2) ;0

Making paintings is her favorite art form.

In different routes Liliyan would make a painting based off of the boy she ends up with, a kind of love language of hers. What makes it different from the other works she's done? These aren't just ordinary paintings, they are a collage of the feelings she wants to reciprocate to the person and a manifestation of all the memories she cherished. She'd overexert to capture those emotions. Rather than use art for the fame and all that she wants it to reach people and evoke emotion. Especially to the loved ones she holds dearly, she wants a piece of her heart to stay with them. (she's cheesy ik)

Cove's would be ocean themed of course with soft seafoam and blues like their home. It would also be inspired by the dolphin wind chimes she got him and it would have this melting effect while there are also some things that hint at their childhood growing up together. To top it all off she'd let him paint an empty space on the canvas if he wanted to, kind of like a way to say "you'd always be a part of my world" or smth like that. Cove would absolutely bawl his eyes out because out of everybody apart from her family would know how much art meant to her.

Derek oh sweet Derek would have a painting that themes around trophies and rewards cuz he deserves it so much. Like Cove's there are some references to the times they spent together. It would have some gold but I also think of adding some warm and comforting colors to remind Derek that he doesn't have to try so hard with her and that he's enough. Oh yeah she'd definitely practice face paint for him and his bros.

Liliyan was hesitant to even make Baxter one when he was only looking for a fling for the summer and really she knew nothing about him which makes it really hard. And Liliyan takes relationships seriously (platonic or not). Slowly but surely she'd think of a way to make a colorful painting out of this monochrome muse. Just learning about Baxter and seeing the layers of her initial thoughts on him unfold to something entirely different brought a new perspective on how she makes these kinds of paintings. After he left, the painting was left as an unfinished pencil drawn sketch and she couldn't even give it to him.

(Ok no more sad)

Hug person (⁠・⁠∀⁠・⁠)

She loves hugs since it was the easiest way for her to show gratitude and appreciation to others when she was struggling to communicate as a little kid. The gesture then became a natural instinct of hers.

Favorite drink is root beer.

She is ambidextrous and gets double wrist paint from hours of drawing and painting oof.

Loves listening to 80s music

Has a biological aunt who took care of her temporarily when she was an infant until she had Pam and Noelani take custody over her. Her reason for this is because she was only 18 at the time with no parents and that she was a college student who could barely make any income. So she made the tough choice to hand Liliyan over to a more stable family. They reunite at some point and still keep in touch with a good relationship.

The walls in her room are literally her canvas, like she would paint flowers, animals, and landscapes Rapunzel style. Elizabeth's old room is no exception.

She loves all flowers

Obsessed with these scented slimes cuz they're such great stress relievers for her:

Random fun fact: I made my MCs' first names based on plants and their last names after a bug/insect.

Liliyan Danaus (Lily flowers and the scientific name of the monarch butterfly aka the danaus plexippus. Random fact, some lilies bloom early in summer or throughout autumn.)

Oren Wasp (Oren meaning pine or ash. Wasp is already obvious but another fun fact, wasps are more aggressive in the fall. Perfect for his personality in step 1)

Bara Wasp (Bara short for Balete Rosa, balete is a tree native to the Philippines which is where they're from and rosa for rose. Together it makes it Bara which in tagalog means obstructing or blocking) 'baradong ilong' pls don't translate

Ivy Meadowhawk (First name is obvious, meadowhawk the dragon fly, she's a fairly new mc so I can't say much about her.)

[meirimerens]

Geniune question how do you draw so much? I really admire your work but I have such a hard time not getting constantly hit with artblock I wonder how you do it.

i'll begin to tell you that being unemployed and out of school does help. won't lie! the art you see posted here is part of a bigger pattern of Making Art (for portfolio-related reasons & whatnot) so i'm always. Makin Art. i'm fully focused on Art for the better or the worst. second disclaimer is that i hyperfixate and not in a fun teehee enjoyable way - when i start a piece, i will neglect getting enough sleep or feeding myself well until i see it finished. this is not healthy, and while it is part of how i Draw So Much, it's unsustainable for you as much as it is for me. do not fret if you can't Churn Art Out like i do - you're probably healthier off this way. i'm trapped in cycles of Arting and when i stop drawing or writing get get genuine physical symptoms of restlessness, my limbs itch or ache, i pace a lot, i have racing/disordered/cyclical thoughts, like Not Fun. tldr i pray To God You Don't do it like i do.

now some actually helpful tips lol:

have multiple things going on at once. it might seem counterproductive but not being hyperconcentrated on Art allows for your mind to get inspirations from multiple areas. that might be having a job, being in college... for me it's having both personal and fanart on my plate among other things. - i've found that art block can come when you try to cram too much art at once, a form of burn-out, a psychological bottleneck; it's like constantly pulling on the reins of a horse, it will get used to the pulling, and you cannot out-strength a horse, nor can you out-block artblock. when i'm not drawing, i'm writing, listening to music, checking out movies, traveling (even on small scales): all of that feeds into my art, it's all inspiration fodder. when i'm writing, i might write a line which i think would have a banger foundation for a scary image, and the scary image appears to me. new idea!. - don't force yourself to draw, you cannot out-block the block, do something else and inspiration will come.

artblock can often comes when your ideas/desire to draw outdo your current skills, which is a Very, Very common issue, especially if you're improving fast. identify what you're struggling with, and take the time to study it, even if it's just for 10 minutes. full focus, nothing else going on. i also have on my phone entire folders will of references, typically "how to draw [bodypart]" refs, some art pieces i find are visually striking and inspiring, pictures for poses, etc. - if you're struggling with backgrounds, try to trace a picture as study, then reproduce it without tracing, just with it as a visual reference. watch tutorials on how to paint a landscape, or how to understand perspective. - if you're struggling with anatomy, try to do some live poses studies on quickposes, line of action or something of the sort. - something else that has helped me tremendously is anatomy for sculptors PDF. it's pretty expensive but you can find it online for free. wink wink nudge nudge. it breaks down all the muscle groups on the body and gives you a better understanding of the way the human body moves. invaluable resource imo. it's very thin-centric though, so i'd recommend pairing it with like. google search [how to draw fat on a person], [body type you want to draw] and pairing it with the knowledge in the PDF. if you're pudgy or chubby or fat yourself you can use your own body as a reference ain't nothing wrong with that and see how the anatomy underneath reacts with the different levels of body fat or muscles. - i also have saved a tab for head angles ref, light on a face 3d ref model, and the pose tool. the pose tool has collections of live drawing pictures for both clothed and nude, in different poses (sitting, reclining,...). it's also very thin + young-centric (mostly for the women, how curious) & a number of the female poses are eroticized/male gazey but I Grit My Teeth And Bear It. i use them in application with the anatomy knowledge i learned from mentioned above, etc.

something that might seem counterproductive but works for me is that I Hoard WIPs. this makes it so that if i'm not fuckin wit a piece i'm working on and it's frustrating me, i put it aside for a little bit and go work on something else.

preddy much it... tldr I Do It in unhealthy, hyperfixated ways that if i catch you reproducing i'm coming to your house and hitting you wit a stick, however there are a few things that help me power through artblock, namely I Be Studyin What I Draw, i keep these mfer thangs [my refs] on me, and i find inspirations in multiple areas of life.

GOOD LUCK SOLDIER

[invoke-parlay]

Day 4: These were today’s drawings. I’m not a huge fan of drawing landscapes and have never tried them before because I tend to get overwhelmed and I’m never sure where to start. Perspective and shadows are hard. I really wasn’t sure how to shade/what to do with all the space for the grass/fields, and also how tf do you draw clouds?

August 20, 2024